The Best Medicine is a weekly podcast featuring Rooftop favorite Dan Gabriel and fellow funny comic Robert Duchaine. The podcast is aimed to “dispense advice to help our fellow man navigate through a turbulent world,” and boy, does it. With stories of life on the road, an impressive cast of guests, and hard hitting advice, BM will have you BM’ing yourself into hysterics. This week’s guest is comedian and former Golden State Warrior mascot Sadiki Fuller! Have a look!
Ruminations, theorizations and stuff
From Ed Palencia, The Comedy Reviews Blog:
“I’ve listened to a few comedy albums this year from comedians who weren’t ready. They had some good ideas and starting points, but still… Just because someone has a buddy with an MP3 recorder doesn’t mean you should start in on artwork for your CD just yet. If you’re not ready, you’ll find yourself in the middle of the schoolyard with a tangle of jump rope around your feet.”
“But if you are ready…oh man, it’s a beautiful thing. Which brings me to the topic at hand: Adam Newman’s album, Not for Horses. To put it simply, Adam Newman was ready.”
I like how my standard opening has gone from being ironic to heartfelt through the power of repetition. In some ways it upsets me, but then I calm down, and think about how much I love you all, then I feel better.
A couple weeks ago I co-produced my first show! Underbelly, the show I mentioned in last month’s blog post, finally had its New York premier, and it went damn fine. The whole premise is “Stand-Up Comedians Doing Everything but Stand-Up” –which I can happily say we more than delivered. Throughout the show there was a magic show, several skits, songs, dancing, puppets, myself topless covered in “cocaine”, and comic Nick Vatterott doing something with milk jugs that though I did not quite understand, left me full of pleasures and smiles. The show was pretty packed, we had a cake decorated like one of the performers “taking a shit in an ice cream sundae” and overall I was well pleased. Other comics are coming up to me pretty frequently with ideas, asking how to get on Underbelly –if I had any regret, it was waiting this long to put on a show.
It was a good highlight, which provided some wonderful perspective for a somewhat crushing low. Back in March I had my first audition for the Comic Strip, a respected New York comedy club, and after the second lottery I received my second audition spot, which I performed at last Tuesday night. The format was different: the audition itself was a show, complete with live judging, a proper host (Sherrod Small), a packed crowd, and an admittedly forced degree of severity and drama added to the show to make it interesting. “The judges are going to be mean, they’re going to try to rip you apart on stage, but it’s part of the show, don’t worry about it,” was what we were told before performing. My last audition went well enough; one of my jokes really connected, the other fell a little flat after rushing through it upon getting the light early. This was considerably worse. After waiting a couple hours, first for the show to start then for the long judging rounds to finish, I finally had my time to perform –for a minute and a half. Before me, each comic had their full time, the three to five minutes we were told we could perform, everyone getting five and some good feedback from the crowd. I got through one bit and the set-up for another before being audibly buzzed and forced to stop. “Maybe this kind of stuff will work downtown, but it would never work here. You’re too alt to work here.” “You didn’t even tell jokes, that’s the problem, you sat up there for five minutes and never told a joke.” And so on. One of the judges stood up for me a bit, arguing that I didn’t even have the time to get anywhere, that I was doing something different and no one knew what to expect, and we didn’t find out what I was even going to do. “He was trying something new and different, I don’t see why we can’t have a comic like this work here.” The crowd responded well to that, before the booker interrupted and pointed out that they weren’t laughing, that’s why acts like mine wouldn’t be booked. Finally I asked, “Please, I just have to know: did I get passed or not?”
Afterwards, the booker talked with me, this time friendly and complimentary. He thanked me for being a good sport, and told me that he liked that I was different, that I shouldn’t let go of that, that if this were an alternative room he’d book me in a heartbeat, and that he likes the weirder stuff but it just doesn’t work for this room. Great. The whole thing’s given me a lot to think about. I know what I’m doing is strange, isn’t stand-up in a conventional sense, and I understood going in that what I planned to do isn’t what they prefer. But to not even be given the time to do anything, to be cut off before I even had a chance to show what it is that I do, that was rough. At least when I look at it I can’t say I had a bad set –I just didn’t have a set. Matters were slightly complicated when my roommate followed me, riffed with the judges beautifully and got both passed to work at the club and received management in the same night. It’s not always fun to have one of your worst nights in comedy a few minutes before one of your closest friends has his best. But in all honesty, though of course it hurts a bit to see someone else get opportunities you didn’t, I can’t be anything but proud for him. The timing, perhaps, stings a little, but it’s good to see someone talented get what’s coming to them. I hope that’s some kind of maturity.
In summary: it was a miserable experience. It left me doubting my material in a club setting, feeling embarrassed, a bit angry, and further frustrated from the booker’s positive comments and the suspicion that the harsh treatment was only for the sake of the show, which is a wonderful way to treat my only opportunity in a year. But oddly, I feel confident about it all. It was one of the worst experiences I could’ve had in that setting, and that’s made performing far easier since then. I performed the first two jokes twice at shows last night, to great reception, and have been taking a lot more risks with what I choose to perform –why not? It couldn’t be much worse than that. Somehow, it’s made comedy and writing new material go a lot smoother this last week. After that night, amid the support and nice words from my friends, I heard plenty of stories about the amazing comics the venue has ignored and rejected in the past. Here’s hoping I can be one of them.
10 years and eight movies later, the Harry Potter saga is over. I did some research and found out that the series did, in fact, make about 14 gagillionjillion dollars.
But most importantly, Hermoine turned out really, really hot.
Though some saw it as a cash crab, WB and the filmmakers decided to split the second film in half in order to get as much of the book in the film as possible, which is something I very much welcome. Sure, they get way more money now, but also, we get two very good films. Someday, when they get released as one movie, it’ll be an epic 4.5 hours of movie watching. Also, an epic 4.5 hour erection over Hermoine. Seriously, have you seen her lately. Talk about a curse. On my wiener.
You’ve probably seen the film or heard about it, but for those who don’t have erections about Hermoine, in this film, Harry faces Voldemort for the final time. But before that, he must destroy all the Horcruxes. There are seven total, all containing a part of Voldemort’s soul. Luckily, one of those isn’t Hermoine. Because she is hot and I’d hate for her to have to die.
It’s a 130 minute film, about 100 of those being action. It is truly fantastic how it all comes together. Neville Longbottom who, if I can say so, truly grew into his very British face to become kind of hot (but not hot like Hermoine. I mean, I like girls. Not boys. Not boys named Neville. Stop it, erection!), shows up in a big way as the de facto leader of the Hogwarts students while our group of three have been searching for Horcruxes. When they arrive, they devise a plan to take over the school from Snape, who is now running it after killing Dumbledore. Also, Hermoine is there. And hot and stuff. She even has boobs now. And an age that is legal.
Alan Rickman as Snape is the best part of this entire series. The guy truly can play evil and be kind at the same time. When Harry learns what Snape has done for him, it is truly heartbreaking for both characters. Rickman shines through this film, which is very hard to do with the likes of Michael Gambon as Dumbledore, Ralph Fiennes as Lord Voldemort and Emma Watson as the super fucking hot Hermoine.
It is obvious, I loved the film. You should definitely see it. It is truly an accomplishment that these films remained this good over the decade they were in production. It’s a lesson in storytelling and love that author JK Rowling turned over her baby, the Harry Potter saga, to these filmmakers, to bring into fruition. Of course, you can always have the argument that the book is better, but that is a ridiculous argument. Books and movies are completely different media outlets. Books have the time to explore indefinite side stories and characters. Movies have about 2.5 hours, if they are lucky. Movies have to sacrifice and Steve Kloves, who adapted all of them, did the best job possible. There will always be things left out that I wish weren’t (for example, the way Voldemort meets his demise in the books is way cooler than in the movie), but those are pointless arguments.
Besides, books are stupid. Unless they have photos of Hermoine in them. Hot photos. So, so hot.
Here’s some exciting news, citizens of San Francisco. The Roxie Theater in the Mission District is continuing their tradition of great comedy programming by bringing a very special 3 – part program to their screen Wednesday, July 13th.
JONATHAN WINTERS: BIRTH OF A COMEDY GENIUS
From his early break-through as a regular on the NBC COMEDY HOUR, to his prolific work on the STEVE ALLEN/DINAH SHORE/JACK PAAR shows, and his own short-lived 15 minute series THE JONATHAN WINTERS SHOW, the man literally re-invented the concept of “live” comedy. In this great new documentary from Johnny Legend you will literally witness the birth of a comic genius – and understand how he inspired the generation that followed – from Andy Kaufman to Robin Williams to Seinfeld and countless others! Produced by Johnny Legend. Digital. 2009. 72 mins. WORLD THEATRICAL PREMIERE! Plays at 6:15pm and 10pm.
MY BREAKFAST WITH BLASSIE
This insanely hilarious take on MY DINNER WITH ANDRE features legendary comedian Andy Kaufman and wrestling superstar Fred Blassie as they wile away the morning over breakfast in a local Sambo’s restaurant. It’s like nothing you’ve ever seen or heard! Newly restored and the first Roxie showing in over a decade! Directed by Linda Lautrec and Johnny Legend. In Color. Digital. 1983. 55 mins. Plays at 7:45pm ONLY!
EXTRA ADDED ATTRACTION: BREAKFAST SPECIAL
A one-hour super-treat featuring recently discovered Andy footage PLUS other great material featuring Fred Blassie and Johnny Legend himself! Plays at 8:45pm ONLY!
Enter our Facebook Photo caption contest for a chance to win 2 free tickets to the screening of your choice. Contest ends Friday July 8th at 2PM PST.
SF Sketchfest is proud to present an evening with the hit comedy Childrens Hospital, and NTSF:SD:SUV:, the latest live action show scheduled to join the Adult Swim line up. The cast and creators will be here in person to explain/defend themselves in this lively not-to-be-missed evening of entertainment featuring never-before-seen footage, comedy pieces with the actors and their characters, an audience Q & A and more surprises. Join Rob Corddry, Rob Huebel, Erinn Hayes & Lake Bell of Childrens Hospital and Paul Scheer & June Diane Raphael from NTSF:SD:SUV, along with Executive Producer Jonathan Stern for a night of comedy, medicine and terrorism.
Childrens Hospital entered its third season June 2. Created by Rob Corddry (who stars as the clownish Dr. Blake Downs), it’s a brilliant send-up of medical dramas, with a top-notch comedic cast, including Ken Marino, Megan Mullally, Rob Huebel, Malin Akerman, Erinn Hayes, Lake Bell and Henry Winkler.
NTSF: SD: SUV (that’s National Terrorism Strike Force: San Diego: Sport Utility Vehicle) is a hilarious new program from the mind of Paul Scheer (Human Giant) that takes high-voltage procedural dramas to task…force. Look to your left. Now look to your right. Two of those people are terrorists. If you want to learn how to stop terrorism you must clear you schedule and join some of the cast of Adult Swim’s newest show NTSF:SD:SUV, for a special screening, discussion and terrorist prevention demonstration. Attendance is mandatory if you want to live to see tomorrow.
One show only!
Tickets on sale now!
Thursday, June 30
8pm BUY TICKETS
at Marines’ Memorial Theater
609 Sutter Street
San Francisco, CA 94102
Co-presented by Nerdist, Rooftop Comedy and Marines’ Memorial Theatre.
Rooftop recently helped one of our fave podcasts, Pop My Culture, partner up with the awesome online magazine Chinashop. PMC was recently named #2 Comedy Podcast by Rolling Stone – you can catch up on it here.
Check out the funny new episode of “Culture Pops” made exclusively for Chinashop by Cole and Vanessa at the Roxy in LA.
San Francisco based comedian (and Rooftop Comedy’s “Joke Librarian”) Emily Heller and San Francisco’s funniest bike mechanic Marcello Fama host a weekly radio show called “Slumming It,” and it’s hilarious. The show features “Comedy, Music, Games, Freaks, and More” and can be heard live on FCCFreeRadio every Monday night from 8pm-10pmPST or via download.
This week’s episode features GREAT interviews with Karina Denike (formerly of the band “The Dance Hall Crashers”) and local San Francisco comedian Chris Thayer. Emily also discusses her recent trip to Israel and there’s a great “joke off” about a serial pantser near the end. You’re just going to have to listen.
By Carrie Andersen, Punchline Magazine
On his debut album, Wizard Hello, comedian Alex Koll immediately pulls the audience into his mystical world, presenting himself as a wizard (of course) and describing the ins-and-outs of “wizard comedy,” which apparently involves telling jokes to magical crystals. From there, Koll takes us on a tour of the most surreal nooks of his imagination, spinning yarns about what Prince’s ostensibly dream-driven “1999” should have described had he actually been dreaming as he wrote it (a fight with giant lobsters and chocolate shark hands, for starters), or what Sasquatch “heavy on the sass” might sound like (“Yeti or not, here I coooome!”).
Read the rest of the review at Punchline Magazine
First, let me start by saying I’m not going to make any “beaver = vagina” jokes. It isn’t that they are immature or not funny. It is because they have all already been used and now they are cliched and that sucks. Whatever. Thanks a lot, world.
“The Beaver” is an interesting film. For one, it is Jodie Foster’s first film she has directed in 16 years. Two, it stars Mel Gibson, who has been chastised and pretty much publicly shunned since audio recordings of his fights with his former girlfriend leaked to the public (if you haven’t somehow heard these, let me sum it up for you: Gibson has a bad temper and says mean things in loud voices.) And the screenplay is a blacklisted screenplay from a few years ago written by first-time film writer, Kyle Killen.
Also, it is just a weird story. Gibson plays Walter Black, a troubled and depressed husband who has nothing going for him. His family hates him, he is terrible at his job, and he just wants to die. He has no idea how he got to this place, and does not care. So, he is forced to move out of his home.
While throwing some of his items away, he comes across a beaver hand puppet in a dumpster. He picks it up, goes to a hotel, gets super drunk, wakes up the next morning with the beaver on his hand and it is talking to him in an amazingly funny cockney British accent. The Beaver (I will capitalize that now because it is a physical character. So there you go, grammer nazis. Fucked up your complaints about the lacks of beaver capitalization from before!) is telling Walter what to do, how to get better. And for some reason, Walter listens.
From here, Walter gets back in his family’s life in a big way (and rather quickly, too. It is kind of odd how this happens in about a 12 hour span.) His wife, played by Foster, is happy and his younger son loves The Beaver (damn you world! That would have been a good joke, there.) But his older son, Porter (Anton Yelchin) is not happy. He already hated his father and this makes him hate him more.
Porter has his own issues, though. He doesn’t want to be like his father, going as far as writing down each similarity and trying to avoid them. He is the smart kid at school, writing papers for people and getting money for it. One day, he is approached by the Valedictorian, Norah (Jennifer Lawrence), who needs him to write her Valedictorian speech (this is kind of a stretch here, but I guess if I can accept a man talking through a puppet, then I’ll accept this.) Porter likes the girl and wants to do a good job for her, but being like his father, messes it up along the way.
“The Beaver” is definitely a film you should see. It is funny and interesting, but ultimately, way more dramatic than I thought it would be. I remember reading about the screenplay years ago, reading that it was a dark comedy. This is more like a drama with some funny parts sprinkled in. Foster took the film a different direction for some reason. I like the results, but rarely does a film come along that I wish had two versions. This one, and the dark comedy version. If she had gone down the comedy path, I think this film would stick out amongst the summer pile of films way more than it does. As it is, the film isn’t being seen, and that is still sad.
I’m trying to think of a good joke it end this on, but all I keep coming up with are lame beaver jokes. I’m really upset by this.