Minneapolis native Pete Lee has been declared the winner of CMT and Rooftop Comedy’s NEXT BIG COMIC competition, an online search for America’s funniest comic. The online talent search launched in February at www.comic.CMT.com, and featured 12 finalists just on the verge of breaking out. As the winner, Lee will receive a slot at the 2010 Aspen Rooftop Comedy Festival in June.

Watch Pete’s official acceptance speech and a hilarious clip from his award winning set above.

Posted: March 16th, 2010 under Aspen, Cool stuff from Rooftop Comedy, Video.
Comments: none

The 12 minutes of comedy heaven most commonly known as “ROFL” is back with its 44th installment. Now hosted by Alex Koll, this week’s episode features jokes from Mike Vecchione, Andi Smith, Doug Mellard, Tom Dustin, Chad Daniels, and more. Tune in and find out why ROFL was recently named one of iTunes’ top 20 podcasts.

Download ROFL for free on iTunes.

Posted: March 12th, 2010 under Cool stuff from Rooftop Comedy, Video.
Comments: none

CMT Next Big Comic finalist John Ramsey may have ditched his suit and tie for a six string and a stetson, but he sure didn’t ditch his trademark sense of humor. Who knows, with pipes like that maybe John will be country music’s first crossover comedy act turned pop star… since Darius Rucker.

Visit CMT.com to watch more funny clips from John and the other three funny finalists in CMT’s Next Big Comic competition. Make sure to vote for your favorite comic, and help send the winner to the 2010 Aspen Rooftop Comedy Festival this June!

Posted: March 11th, 2010 under Aspen Rooftop Comedy Festival, Cool stuff from Rooftop Comedy, Video.
Comments: 2

By Mark Potts

Damn you, Michael Emerson! Your acting leaves me conflicting. As Ben, I want to hate you for everything you’ve done. You’ve killed John Locke, you’ve tortured the Losties we love, and you probably had sex with Juliet (who is super hot) while being a complete dick to her. But yet, Emerson, you somehow make Ben completely human. I feel bad for you. You’re a victim of fate, of jealousy, an abusive father, and fear.

So is the tale of this week’s episode of LOST. I was quite pleased with another solid episode. It really feels like we are gearing up for some excitement.

We got to see how Ben’s life would have been in the flash-sideways. He is a history teacher who lives with his father. And his father is actually somewhat nice to him too. And Alex, who was the child he kidnapped on the island, is his student! (Why she does not speak French or live in France like we suspect her French mother Danielle Rousseau would be is another story and probably a fact we should just ignore).

And the principal is mean. After hearing from Alex about how the principal is going to the school nurse for check-ups (hot and steamy school administrator sex) Ben decides to blackmail him to get his job. But the principal says he will ruin Alex’s life by writing a bad recommendation. What is Ben to do? Think about himself or Alex?

Meanwhile, back on the island, Ilana finds out Ben killed Jacob so she is going to kill him (dang!) And she forces him to dig his own grave (double-dang!) When he is about done, Flocke shows up and tells him to come join him. He set up a rifle for Ben in the woods. Ben runs for it, Ilana chases. Ben grabs the gun but, instead of killing her, he explains why he killed Jacob. It’s freaking heart-tugging. I’m not going to say I had tears in my eyes, because real dudes don’t cry, it was just dust or something. But then Ben says he is going to Locke because he is the only one who will have him. Ilana immediately says, “I will have you.” And then some more dust flew in my eyes and Ben went back to the beach.

And off island, Ben didn’t take the principal’s job in order to save Alex’s future. I think this episode proves that Ben has never been a villain, just a confused man trying to stay in control in order not to be left behind. Will he redeem himself with everyone on the island? Time will only tell.

Elsewhere, Jack continues to do badass things. Richard wants to die, but has to have someone else do it. So Jack lights some dynamite, sits it between them, and says Jacob won’t let him die. And guess what? The wick on the dynamite miraculously goes out. Thank God, because this Jack is awesome. If Jack from the last few seasons had a chance to die, I would have been rooting for it. But I have a feeling Jack is going to come out as a hero in the end.
As my friend pointed out, LOST again has separated the groups into rival camps in the same locations. Jack is at the beach, Locke (Flocke, really) is with the others. They’re setting up for a fight, that’s for sure.

And at the very end, we see a scary submarine heading to the island. It’s Charles Widmore! That old bastard. What is he doing there? My nipples are already hard thinking about it!

Posted: March 10th, 2010 under Cool stuff from Rooftop Comedy, Ruminations, theorizations and stuff, Shows.
Comments: 3

By Hari Kondabolu

“W. Kamau Bell is the most important guy doing comedy right now. He’s got the most astute, hilarious and completely righteous material going and he’s going to be a legend in his own lifetime like Richard Pryor and Lenny Bruce. Think Bill Hicks but slightly taller.” — Margaret Cho

It’s praise like that has made W. Kamau Bell’s “Face Full of Flour” one of the most anticipated comedy albums of 2010. Recorded live at the San Francisco Punchline and produced by Rooftop Comedy Productions, the album features comedic meditations on Barack Obama, the wrongness of the Right, interracial mating, and why Black + White = Black.

Kamau was nice enough to take a break from his busy schedule to answer a few questions from fellow comedian Hari Kondabolu.

Hari Kondabolu: Why did you name your CD “Face Full of Flour” and how does it and you differ from your last album “One Night Only?”

W. Kamau Bell: First of all, my first CD wasn’t named “One Night Only” It was named ONE NIGht ONLY,” which is a very funny joke if you get it. Most people didn’t. And secondly, how come you didn’t listen to my CD before the interview, Hari? I thought we were supposed to be cool. I’m going to go unfollow you on Twitter… There. It’s done.

This CD is called Face Full of Flour because there is a joke on it that was inspired by a Rice Krispies commercial from way back the 80’s. In the commercial a mom throws flour on her face to convince her family that she’s working harder than she actually is. My joke recommends Barack do the same thing.

Dammit. Now the joke is ruined. Nothing is less funny than a joke explained.

HK: Why make this album now?

WKB: I was very much aware that for like two years I was one of the only comics talking about Barack Obama. My first joke about him was in 2005, and I did it that year on Comedy Central, which according to Comedy Central is the very first Barack Obama joke. Don’t believe me? Google it. (I’m talking to the “YOU” who is reading this right now. Go ahead and Google it. Hari knows this already.)

Anyway, now that Barack is President there has been a ridiculous media story going around that it is impossible to make jokes about Barack Obama. I know this is ridiculous because I haven’t stopped telling Barack jokes since 2005. I kind of wanted to be on record again as being ahead of this nonexistent curve. Also, the country is in such incredible transition so it is great to be able to release a CD that addresses the transition while it is still transitioning… transitorially.

HK: You’ve told me that there are things on the last record that you no longer stand by. Did you have any fear when recording this record about making that particular moment permanent?

WKB: First of all, allow me to go very public with the first part of what you said. I had a joke on the first CD about Condoleeza Rice, which I also did on Comedy Central. It was a very funny joke to me when I wrote it… because I was so angry at Condoleezza at the time and at her stature as a such high ranking Bush cabinet member, but very soon after I had done it, it became clear to me (actually it was made clear by many, MANY women in my life) that the joke was not helpful to the struggle of women as a group… no matter how evil I perceived her to be at the time. And as my friend and main co-conspirator Martha Rynberg said so eloquently to me at the time, “You can’t talk about ending racism and then go out and create more sexism.” (KAMAU’S NOTE: This has now OFFICIALLY become the most unfunny interview in the history of Rooftop Comedy.) And unfortunately for me, the joke is forever out there on the Internet so occasionally people discover it and GO OFF on me. Recently when a dude on a website went off on me on his blog, I commented on the blog that I agreed with him, which I’m pretty sure shocked him. People don’t realize that us comics spend about 45% of our days Googling oursleves.

On some level I’m always thinking about how people will take something I have said. But I can say that right now I stand by the things on this record. I’m still progressing as a writer and performer, and as much as I love it, stand-up comedy can be a pretty poor way to communicate subtle ideas. And I’m certainly not above rethinking things I have said if new information comes in. As Muhammad Ali said, “A man who views the world the same at fifty as he did at twenty has wasted thirty years of his life.” (KAMAU’S NOTE: Is this the first Muhammad Ali quote in Rooftop Comedy history?)

HK: Margaret Cho said you were the most important guy doing standup right now and compared you to Richard Pryor, Lenny Bruce and Bill Hicks. That’s a huge statement. What do you do with that?

WKB: I continue to thank her profusely and also realize that I haven’t accomplished one million of one thousandth of a percent of what all those geniuses did. I think she was just trying to say that she liked what I do a lot, and one way to explain to people outside comedy how much you like a comedian is to invoke the legends. Admittedly, those are the legends I would want to have my name associated with. And me and Margaret have had long conversations about the comedians we like and those names have certainly come up. I think the comment really speaks more to a tradition of comedy that I am trying to engage with… the agenda driven / socio-political / social critic comedian. I think those names — Pryor, Bruce, & Hicks — are also a shortcut for someone who reads that quote to decide if they might be interested in what I do. She’s basically saying, “If you like these comics, you might like Kamau.” It would be different if she had compared me to Bill Cosby, Jonathan Winters, and Carol Burnett. Those three are also geniuses, but I don’t do ANYTHING like they do.

HK: Do you see this as a record that is very much informed by San Francisco? Could you imagine being somewhere else the past 5 years and still be able to make this record?

WKB: I don’t know. There is certainly a freedom of expression thing that exists in San Francisco — and other major cities — that I don’t feel when I travel in most smaller cities. But San Francisco is not perfect. Far from it. In fact, much of the frustration in my act comes from the difference of perception of San Francisco and the reality. People perceive SF as being as liberal and lefty as can be, but San Francisco can be just as conservative and especially racially fucked up as any place in America. SF is like 6% black… and falling. This city is literally chasing diversity out of it to make room for condos. I do have great audiences in SF and all around the Bay Area, and the media here has been very supportive of me, especially The San Francisco Weekly & The East Bay Express, but at this point I find myself much more at home in Oakland. But as Tony Bennett said, I’ve left my apartment in San Francisco. Add a rimshot here.

HK: You are one of the elder statesmen of the San Francisco scene. I’ve met so many comics with such drastically different styles that cite you as an influence or pivotal figure in their development? Why are you so great?

WKB: First of all, just because I’m older than you, Hari, that doesn’t make me an “elder statesman.” Come on, I’m tying to convince Hollywood that I’m 22! And I don’t know who these unnamed comics are that you are talking about. If anything I’m an example of what happens when you go your own way. I could’ve (and maybe should’ve) moved to LA years ago, but I really wanted to create something of my own… that I had ultimate control of, and that has happened through my solo show (KAMAU’S NOTE: I’ve read ahead and I’ve seen that Hari is going to ask me about my solo show later, so I won’t go into my show now). The San Francisco Bay Area is awash with a history of GREAT COMEDIANS. Comics who grew up here like Margaret Cho, Greg Proops, and Jake Johannsen… to comics who transplanted themselves here to grow their acts, like Marc Maron, Patton Oswalt, Robert Hawkins, Jim Short, Tom Rhodes, Dana Gould, Janeane Garofalo… I believe. And when you look through both of those lists you’ll notice something. Again, I haven’t accomplished any part of what ANY of those comics have done. And those are mostly just comics from the recent era. We’re not talking Mort Sahl, The Smothers Brothers, Paul Mooney, some dude named Robin Williams. I have a looooong way to go before I make The SF Comedy Hall of Fame.

HK: You really refocused your energy from doing pure stand-up to your one-man show, the “W. Kamau Bell Curve: Ending Racism Within An Hour.” Do you still love doing stand-up? How does your stand-up (and specifically the content of this album) differ from the content of the one man show? Does the show inform your stand-up now?

WKB: I LOOOOOOOOVE stand-up. When I’m killing in stand-up, no feeling is better. The difference between stand-up and solo for me is that when I do solo I feel like I am using a scalpel to get my point across. When I do stand-up I feel like I am using a two by four… with a rusty nail in the end of it. (KAMAU’S NOTE: I may have taken this metaphor too far.) I feel like a great stand-up set is like beating someone up in a dark alley. They don’t know where the blows/punchlines are coming from and they can’t stop you. (KAMAU’S NOTE: I have CERTAINLY taken this one too far.) The solo show is much more crafted and I am trying to build an arc, so that by the end you feel like there was a reason that you showed up besides just laughter. However, differences aside, in both formats I’m trying to get body-doubling-over laughter.

The solo show also incorporates video, audio, slides and stories that are far more personal than I get in stand-up. As far as the stories go, to me it feels like what I would imagine it was to do stand-up in the 70’s, when audiences allowed you to take your time more. Although the by product of this is that solo has DEFINITELY made me a better stand-up.

HK: Has Barack Obama’s presidency made it easier or harder to talk about race for a general audience in America? It is still possible to tell jokes about Obama? (You know I know the answer to this question, Kamau, but, I mean, c’mon! I’m asking this for the kids)

WKB: Before Barack began campaigning, occasionally there were crowds that made me feel like, “HEY! GET OVER IT! THAT RACISM THING IS LONG OVER!” But ever since the campaign up through today, racism has become so much a part of America’s daily discussion that now I don’t have to spend as much time fighting to get people to understand that racism exists. There are definitely still times when crowds who didn’t come to see me specifically feel like, “WE DIDN’T COME TO A COMEDY CLUB TO HEAR ABOUT RACISM! WE CAME TO A COMEDY CLUB TO GET DRUNK!”, but every comic deals with that. And THAT is a big reason I started my solo show. I’d rather have fifty people who wanted to hear what I want to talk about vs. 200 who would rather eat nachos and drink Bud Light in peace.

HK: You have become a beloved and respected commentator on issues of race in San Francisco? Does this add a responsibility and pressure when you write and perform? Do you ever feel handcuffed by a sense of responsibility?

WKB: “Beloved and respected”??? Next question. The only people I feel responsible to are my good friends and my family. They are the only ones that I want to make sure can stand behind what I am saying. And as I have said, many of my friends will call me on my shit when they believe I am going in the wrong direction OR if they think my message is confused. Hari, I believe you have called me out on stuff on more than one occasion. And I appreciate that, because my friends want me to succeed as much… if not more than I do. I don’t feel handcuffed at all. I feel supported. But having said that, I do heartily support a comedian’s need/inalienable right to go up onstage and fall flat on their faces and also to go over the line in an effort try to find out where their individual line is. I also don’t try out many jokes on people before I do them onstage, because I have a fear that if I get input too early that it will somehow negatively affect the joke’s chances of succeeding.

HK: You’re one of the most prolific comedy writers I have ever met. Why did you choose the jokes you did for this record?

WKB: These are for the most part jokes that have been created in the Obama Era, so they feel very current for me, and I think that material that feels alive makes for a great comedy CD. There is of course a danger that topical jokes may not hold up over time. There’s some Lenny Bruce stuff that might as well be in a different language, because the references are so specific to that era. You’d be best off with Wikipedia open to get through some of it. Although it is amazing how much of Bill Hicks’ stuff is still relevant today… not that I’m comparing myself to Hicks.

Even the some stuff on my CD that isn’t topical is still newer jokes for me. For example, I did just get married, so those jokes about my relationship are fresh. I think George Carlin and Bill Burr are great examples of how to be a comedian. A comedian is supposed to be constantly writing and trying out new material, and therefore you should have a new hour every year or so. I’m not there yet, but I’m trying. My first CD was basically all my best jokes at the time, this one is more the stuff I was really thinking about on the night I recorded it. The goal is to have a stack of comedy CDs a foot high when it’s all said and done. Although by the time I’m done, CDs will be obsolete, so I guess the goal is to have a stack of mp3s a foot high. Can you stack mp3s?

HK: How have your friendships with Nato Green and Hari Kondabolu affected you as a writer and performer?

WKB: I’ve never met them. BUT SERIOUSLY… As you know, the three of us — you, Nato, and myself — have a comedy tour called Laughter Against The Machine which we have done to sold out audiences in the Bay Area and will soon be taking to Seattle. And the entire reason for LATM is so that we can do shows surrounded by comedians that inspire, challenge, and most of all entertain us AND the audiences that we perform for. It is opinionated comedy for times that need opinions. Nato is a political comic in the truest sense, in that HE is political onstage and off. He’s not just attacking both sides equally. He has a group of ideas that he wants to put forth AND he truly believes that the world would be a better place if he was in charge. I think of the three of us, he actually represent most what LATM is supposed to be. And you, Hari… and it pains me to say this to your Internetic face… are one of my favorite comics of all-time, and I know that because the moment I first saw you it made me want to be a better comedian. And I tell you this even though I know you will one day use it against me. Probably tomorrow.

Face Full of Flour is available on iTunes. Keep up with Kamau on www.wkamaubell.com

Hari Kondabolu is a standup comedian based in Queens, NY. He has appeared on Jimmy Kimmel Live, Comedy Central’s Live at Gotham and John Oliver’s New York Stand-Up Show. www.harithecomic.com

Posted: March 8th, 2010 under Cool stuff from Rooftop Comedy, Interview.
Comments: 4

Though technically raised in New York City, Dwayne Perkins considers himself a Boston comic. New York is where he first took to the stage, but Boston is where Dwayne spent his formative comedic years. After a childhood of consuming a diet of George Carlin and Bill Cosby, Dwayne decided the microphone was something he wanted in his own hand, and started using the spotlight as a way of representing his own thoughts and ideas.

Relocated to Los Angeles in the late 1990s, Dwayne was picked in 2008 as “One of Five Comics to Watch” by Rolling Stone Magazine. He has appeared on Star Search, Comedy Central and The Tonight Show with Jay Leno.

His live stand up album entitled “Dwayne Perkins to the Rescue” was recently released by the Rooftop Comedy productions.

Rooftop: There are two ways to record a live CD; several shows edited together, or one straight shot. Which is this, and why did you choose this path?

DP: We edited together two shows, but it feels like one straight shot. We did that just because we had the luxury to do so. Most of the jokes come from one set, because that way people feel like they’re there, and it doesn’t feel all cut up, but we recorded two just so you have that backup set. We only put in one or two jokes from the second show, and they were both recorded on the same night.

Rooftop: What number CD is this for you, and do you ever listen back to bits you improved after recording and say, “Dammit, I could have done that better.”

DP: I don’t listen back too much to my old stuff, but you know, this is my second CD, and I already feel like I’ve changed some of the jokes on it. That’s why I believe it’s important for people to come see a comic live, because an act always progresses, its always morphing and evolving. With my first CD, I think I was more concise, probably I was terrified because I just wanted to get to the jokes, you know, but now I’m more comfortable, and the set feels like more a like a conversation, more conversational. Comedy is all about timing, and I feel the timing on this CD is a lot better than my first one.

Rooftop: How long did it take you to come up with the material for this recording; did you envision, “Ok, I want to record a CD” and wrote to achieve that goal, or did you realize, “Hey, I have a bunch of material, I should record it?”

DP: It was actually Rooftop coming to me and saying, “Hey, would you like to do a CD?” A lot of my friends have been recording DVDs, so I thought that was the way to go, but when Rooftop came to me they made me re-think it. Now I think CDs are the way to go, because I think some people will sit down and watch comedy, but I comedy is really good for driving, when people just want to get from one place to another, anyone can pop a CD in and listen to comedy.

Rooftop: How long have you been performing, and how long did it take you to find your voice?

DP: I would stay I’m still trying to find my voice, but the voice I’m currently using, it probably took me five, five or six years to develop. I’ve been performing for going on fifteen years now, and I’d say it’s really interesting because my “joke style” came pretty fast, meaning I’m still today writing jokes in the same vein as when I started out. I’d say at the seven-year mark I found my rhythm and persona.

Rooftop: Your bio says you’re looking to delve further into acting and writing; are you looking for new challenges, or are you simply being inspired more by new artistic directions these days?

DP: Probably both. You know, I’m definitely looking for more challenges. What I find is that comedy, without even knowing it, when you’re doing comedy it’s training you. You know, you’re training as an actor, and your also training to be a writer and director, because you’re doing it all on stage, live. I find that when I watch movies, or read things, I just feel that I could do as good a job or better than what’s passing right now for “acceptable.”

I also love telling stories; above all I’m a storyteller. So as a comedian I tell them verbally. I could tell them in written them, or as an actor I could be a tool for the story, where someone is telling their story through me. Either way, I just want to be a part of the process. And I think, you know, so many people tell stories, but I don’t think they care about the people they’re talking to. I think there’s a lot of room to be funny, to be even irreverent, but to have heart. To not dumb it down too much, but not to be overly complicated for the sake of being complicated. I think my comedy is like that. Well-read people like my comedy, and people who don’t read like my comedy, and I think I want to sort of expand that into other forms of entertainment.

Rooftop: You keep a regularly updated blog; is that simply for the thoughts in your head, or is it a first run for joke ideas?

DP: You know, it’s really just the thoughts running through my head. I call it “Amusing Musings.” Things happen to me, and I think they would make a good blog. If I write ten, actually if I write twenty blogs, maybe one will make it into my act as some sort of joke.

Basically, I live in one city, but I travel to other cities, but I want to be able to touch people in all cities in some ways, on some levels. So they can watch clips, they can watch comedy and hear me in interviews, but I think reading my blog is the most personal way I can reach out to them.

And it’s a hoot to write, and it’s good practice for me, as a writer, to tell my story in the most colorful, concise manner. David Sedaris is actually my inspiration for writing; he writes really, really funny books.

Rooftop: Does your material come from personal experiences, or do you look for the absurd in daily life, what’s called “Observational Humor?”

DP: It’s a little bit of both. I would say I’m a storyteller, but I don’t tell that many stories, and I don’t think I would be called absolutely observational. I think at the end of the day, we all become observational, because if you want to keep writing jokes, at some point you’ve told your story, so you have to sort of talk about what [else] you think and see.

With George Carlin being my main inspiration, I think my jokes are more or less my opinions, but I don’t really have super strong opinions. “My opinions about the self” is the way I would describe my comedy. Like, I’m not going to buck the system. I don’t really care if things aren’t fair. I mean, I care, but until people stop trying to date out of their league, or until men stop drinking and beating up their wives and things like that. I think the revolution is the revolution of the self. But I’m not preachy about it on stage.

I just try to make people feel like, when I tell my jokes, one, be positive, it’s gonna be all right. But two, within that positivity, take accountability. Not only for your own actions, but for your own happiness. Which is why I always try to be happy. I’ll be honest when I’m having a bad day, but I don’t like it when comics sort of revel in having a bad day, because no bad day ends up in a comedy club. A bad day ends up in a hospital, or in a morgue.

It’s hard because I’m just trying to be positive and happy, happy-go-lucky, but still be compelling, and not overly vanilla. It’s tough, sometimes I tell stories, sometimes I give opinions, but I try to be positive throughout.

Rooftop: You just made me laugh, because I’m thinking about Doug Stanhope and his latest CD, “From Across The Street.” At one point, Doug spews forth a particularly hilarious diatribe of self-examination and negative thought, then laughs and tells the audience, “You go to a comedy show to feel good and laugh, yet you leave mine feeling worse than when you came in.”

DP: [Laughs] Wow, that’s really funny.

Rooftop: Back to you, you were chosen by Rolling Stone as one of five comics to watch; how much advance notice did you get you were chosen, or was it a surprise, and how did that make you feel?

DP: It made me feel great! I think with those things, getting picked like that, it’s so subjective. What I liked is, Rolling Stone talked to people who are part of the comedy scene, and those people suggested me. I mean, there are so many people worthy of something like that, you feel a little silly getting it, but you know you’re doing something right, for your number to be called. Not that you’re the only one worthy, but you’re doing something right. Sometimes people see in you things that you don’t see in yourself, so you don’t want to fight that. You want to agree with it, say “I’m going to make that true,” even if it happens retroactively to their belief in you.

Dwayne can be found on the web at www.dwayneperkins.com. “Dwayne Perkins to the Rescue” is available on iTunes.

Posted: March 4th, 2010 under Cool stuff from Rooftop Comedy, Interview.
Comments: 5

The legendary pit bull of comedy, Bobby Slayton, was nice enough to make an exclusive video to remind us to watch “Born to Be Bobby,” his debut one hour stand up special which premieres tonight at 9/8c on Showtime. In his words, “It’s really great, and not fun for the whole family. That’s what stand up comedy is all about.” Set your Tivo, America!

Posted: March 4th, 2010 under Cool stuff from Rooftop Comedy, Video.
Comments: 2

by Mark Potts

Finally, a great episode this season. After feeling like I was being rubbed in my privates by sanding paper all season, LOST gives us an episode worthy of the final season. So far, all the episodes have felt like season three LOST.

Note to readers: if you don’t watch LOST, this article will confuse the hell out of you. And if you do understand what I’m saying, then hello my fellow nerd! Ladies, aren’t I hot for talking about LOST with such knowledge? You know it.

Moving on, in this episode, we discover that Sayid is a killer in both the island and “sideways” time lines. He gets to kill Keamy, again, and he kills a bunch of important on-island people as well.

Sayid gets in a fight with the mysterious Dogan, who runs the temple. Dogan is about to kill him when a baseball falls off a table, causing him to stop. Why? Because the baseball is actually a container with the secret to the world inside. Not really, but would you be surprised? No, the baseball is a reminder of his son who was almost killed in a car crash but Jacob saved in return for Dogan coming to the island.

Dogan tells Sayid, “Leave!” Then, when Flocke (Locke [the good guy we’ve known all series but was killed last season] + Fake [because it’s no longer Lock {it’s the Man in Black, who is evil}] = Flocke) comes, Dogan says, “Wait, stay! And kill him!” But Dogan tells him to not let Flocke speak because if he does, it is too late.

So Sayid goes into the forest and encounters Flocke. Flocke says, “Hello Sayid,” then Sayid stabs him. But alas, it doesn’t not even hurt him! I guess Flocke has magical words or something? Seriously? I have no idea, but I guess he does. Flocke promises Sayid he can see his dead lover again if he kills Dogan. Naturally, Sayid does this because almost every character on this show thinks about only themself. Seriously, no one thinks big picture. Except maybe Sawyer. But his hotness is skewing rational thought.

Then Flocke comes into the temple, killing anyone who was still there. Meanwhile, Kate tells crazy Claire that Aaron is alive and safe, Claire doesn’t care (because she’s crazy now? She’s stupid and annoying and should have stayed dead), Ben tries to tell Sayid they need to leave, Sayid looks at Ben really scary-like, I think Ben shitted (or shat? I didn’t learn the past tense of ‘shit’ in fourth grade), and everyone left the temple.

Lots of props to the episode for not giving us many questions. LOST is notorious for being like “hey, we’ll answer your questions!” and me being like “finally, I’ve been waiting forever” then being like “haha, just kidding, we’re going to pile this shit on” then me being like “I’m so angry but cannot stop watching” then it being like “we win!” But not this episode. It answered a lot of things, which means we are coming closer to the end of the show.

What will I do when it’s over? I just don’t know. I just, sigh, don’t know… GOLDEN GIRLS!

Posted: March 3rd, 2010 under Cool stuff from Rooftop Comedy, News'n'stuff.
Comments: 4

By Mark Potts

It’s that time of year again: the battle of good, deserving films versus those that, by some grace of God, are nominated (I’m looking at you, The Blind Side). What film will win? What actor will give a moving speech? What actress will dress in something that shows awesome nipple (I’m looking at you, Precious actress)? I don’t know, but let’s break down the major nominations and see what we have.

Visual Effects
Not a major category, per se, but I have something to say. It’s Avatar vs. District 9 vs. Star Trek and if the world were a fair place (it isn’t) District 9 would win. For very little money, Neil Blomkamp (which sounds way too much like blumpkin to not make me giggle) and his crew were able to create life-like and realistic looking aliens. Meanwhile, James Cameron made an awesome looking film about blue cats fighting but could afford it by constantly pressing money on his at home money-pressing machine.

Animated Feature
Up has to win. I know, I know, Fantastic Mr. Fox was awesome, incredibly old school, and had a great soundtrack, but that film didn’t make me cry five times and cuddle with my fiancé for hours on end begging her “to never grow old, never grow old.” That film fucked me… Up. Get it? PUN!

Actress in a Supporting Role
Vera Farmiga from Up in the Air would be a good choice, but she used a butt double for her nude scene, so she’s out. Besides, Mo’Nique will win this no matter what. Can you imagine what the plate makers for the Oscar statues must be thinking when they print her name? I’m not saying her name is stupid, but it’s stupid.

Actor in a Supporting Role
Christoph Waltz will win because he played a nut job well. Plus, he’s won almost every other supporting role this season. Woody Harrelson would probably give the coolest acceptance speech because he’ll be stoned out of his mind.

Actress in a Leading Role
Sandra Bullock, really? Don’t get me wrong, she is good in The Blind Side, but The Blind Side, really? No. Helen Mirren would be a good choice because she’s the definition of cougar if there ever was one. But I want Meryl Streep to win because she wins everything and she also seems high all the time, so her speeches are always entertaining.

Actor in a Leading Role
As I’ve stated before, I look like George Clooney, so I’m hoping he wins because it would probably help me out in some way. But if I were a betting man, I’d go with Jeff Bridges. His performance was phenomenal. So was Jeremy Renner’s, who, when told on the Today Show of his nomination, seemed genuinely surprised and honored. You don’t see that in Hollywood much these days.

Best Picture
Oh boy, there are 10 this year! How exciting. This was obviously not a ploy to get more people to watch the telecast, was it? No…

I’m glad Up was thrown into this category but it has no chance. The Academy doesn’t like to bestow awards on comedies or animated films. That is why Bill Murray has yet to win one which is a damn shame. So we are left with three front runners: Up in the Air, Avatar, and The Hurt Locker.

Up in the Air was a great film. It had something for everyone and George Clooney was amazing in it. He looks like me too, did I mention that? But it doesn’t have the buzz anymore.

The folks behind Avatar like to say they deserve it because of their positive reviews and record-breaking box office. But they forget to mention they are barely in the top 25 films when it comes to ticket sales and the fact that the film was a kitty cat version of Dances with Wolves. It was a great film, but not the best. That award will probably be given to The Hurt Locker. Which is fine. It’s a small indie movie that deserved more butts in the theatre seats. But, if I had my way, it’d go to District 9.

So, that’s it. Get excited! Start an Oscar party! Take a shot every time someone makes a joke about Jews and old people! You’ll be out in 30 minutes, I guarantee it.

Posted: March 1st, 2010 under Cool stuff from Rooftop Comedy, Movie Reviews.
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Chris Garcia – Snug Life from cleanwhitelines on Vimeo.

Rooftop Comedy’s Chris Garcia stars in “Snug Life”, a music video about Snuggies. Produced by Clean White Lines. Drop it like it’s warm… cuz it’s a Snuggie!

Posted: February 26th, 2010 under Cool stuff from Rooftop Comedy, Video.
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