Archive: November, 2008
|(L-R): Michael Ian Black, David Wain, Michael Showalter|
In the latest City Paper, A.D. Amorosi chats with the boys of Stella — Michael Ian Black, David Wain and Michael Showalter — in support of their performance tonight at the Keswick Theatre. Here on Critical Mass, Jimmy Viola touches base with Wain and Black to talk about stage fright, comedians they admire and the direct correlation between good looks and career advancement.
City Paper: Your most recent film, Role Models, stars Paul Rudd. Tell me about your working relationship with him and why you keep bringing him back for your films.
David Wain: [Rudd and I] ... both have a real penchant for horrible TV shows and movies that we really enjoy. Having that short hand on that set and a combined experience is a great head start. Plus, this is one of the best actors there is, comedic or otherwise.
CP: How is the creative process with Stella?
DW: It's pretty organic. Whats nice is with Stella we haven't performed for each other in a couple of years. So it's really fun to be able to get back together and see what that three-way dynamic is now.
It's not exactly standup and it's not exactly sketch, but we write it in the same way that you would [create standup and sketch material]. We come up with an idea and write it out and rehearse, [but] when we're actually on stage we very often will throw away what's on the page and it can go any number of directions. And we'll never tell you tell you which is which.
CP: How have you seen stand up comedy change from working on The State in the early '90s to directing full-length films now?
DW: The whole idea of sketch comedy comes out of the fashion and videos of the time. For m, certain landmark moments are when people enter the forum like the Tim and Eric Show on Adult Swim. I think that they've, really more than anyone I can think of, have evolved the form beyond in a very cool way.
I also really love what Ali G is doing. Every TV show and every group tries to figure out a new take on sketch and none of them ever does. [Someone] like Sasha Baron Cohen finds their own cool way of attack.
CP: Describe your Stella troupe mates in a few sentences.
DW: Michael Ian Black is sardonic, cool to the touch and razor sharp. Sho is furry, warm to the touch and supersonic.
CP: Stella was a show on Comedy Central for one short but unforgettable season. How has the fan reaction been since it was canceled? Do you have a lot of people asking you to do another season?
DW: People remember Stella. They come up to us and tell us they like it, so on that one level it has a cult following. There was no mystery at all why they took it off the air — it had terrible ratings, generally the reason why shows get canned. People are always looking for what the controversy was, but it was very straightforward.
CP: You do the voice of The Warden on Adult Swim's Super Jail. Did you have any idea how twisted that show would turn out?
DW: I was so busy working on [Role Models], I was barely paying attention. [I've] watched it now ... I had no idea. The animation just blows me away. They really do incredible, meticulous work. They've been working on it for a really long time. I think they finished all of it before any of it was aired. It's one of the few shows that doesn't export its animation overseas and does it all in flash in a studio in New York, so it's a very handmade experience.
CP: One of the funniest movies that hardly anyone has seen is 2007's The Ten. Tell me about the making of that film.
DW: Making it was awesome. I put it together with my friend Ken Marino. We wrote it in a week kind of in a lark. I love it too and think it's really funny. It had a very, very low budget. We filmed in 40 locations or so in 40 days. To bring in all of these amazing actors — some of whom were friends, some of whom we've never with worked before. A real shame how nobody saw it.
CP: You've worked with a lot of notable actors. Who would still like to do work with?
DW: Some of whom I've met and gotten to know recently — I love Jonah Hill, Martin Starr, some of those guys. I really like the Lonely Island guys. There's a bunch. There's a larger comedy world.
MICHAEL IAN BLACK
CP: How would you describe your partners in Stella?
MIB: David Wain is crusty with pillow soft lips. Michael Showalter — sandwiches and cats.
CP: What contemporary comedians are you a fan, if any?
MIB: I tend to not watch very much comedy to the point of avoidance.
MIB: I just do [comedy for a living] and don't want to see it and be influenced by it. Although I watched the Ricky Gervais HBO special last night with my wife.
CP: What's more important — developing your own voice as a comic, or being well-versed in studying comedy?
MIB: I think I would rank those two in that order. It's far more important to have your own distinct voice and vision than to be an aficionado. I don't think it matters. Quoting Monty Python won't help you. I love [Tim and Eric]. I think they're brilliant. What makes them so great is their totally distinct point of view. They have really found something that's pretty unique to them and they know exactly what it is.
CP: You've worked with a lot different actors, especially with your appearances on VH1. Have you had any funny run-ins with celebrities?
MIB: Most actors are really interested to collaborate and work — very [few] people are tremendous dicks, aside from one other person who I perform in Stella with.
CP: Do you still get nervous after 20 years of performing together [the trio met in college at NYU]?
MIB: I think you always get nervous, but it's just part of the job because it's something you'd expect it. I'd be more worried if I wasn't more nervous. Every time I get in front of a crowd, I get nervous.
CP: Between VH1 and Sierra Mist and Pets.com and your poker playing, you seem to have established a more accessible face of comedy. Why is that?
MIB: It is probably because I'm so much better looking. Women want to be with me and men want to be me. Then there's the fact that I'm gifted with not only the looks but also with my penchant for my own natural hilarity.
Doug Benson wraps up a stand at Helium Comedy Club (2031 Sansom St., 215-496-9001) tonight at 10:30 p.m.
He's stoned again.
It's 8:30 in the morning on Wednesday in the studio of WMMR's Preston and Steve Show. Doug Benson, their special guest, whose credits include The Marijuana-logues ("Like The Vagina Monologues, but with pot") and Super High Me ("Like Super-Size Me with weed instead of McDonalds") sports an unshaven face and a baseball cap. A cushion of gray bags cloud around his eyes, which are relaxed and almost squinting from his tell-tale doobie smile.
Then the inevitable topic of Benson's green lifestyle is raised by the radio hosts.
"Philly is one of my favorite cities to spend Thanksgiving in because it's one of the only places where none of my relatives live in," he said. "My family is totally supportive about my pot smoking. During holiday dinners they're like, 'You smoke pot and you're successful in endorsing an illegal substance that children shouldn't use. Good job, son.'"
By 9 a.m., Benson is hurried out of the studio and into a cab. Next stop: Main street in Manayunk for MMR's Spanksgiving Day Parade. Benson is the presiding honorary guest in the freakish spectacle, seated atop a fire truck next to a hot tub of bikini-clad P&S bimbos/groupies, a slew of Mummers, burlesque dancers and leather-masked gimps chugging close behind. Save for the WMMR Vans, photographers, and locals news cameramen, the whole scene is like something out of Hunter S. Thompson novel, the experience surely intensified with Benson's perpetually off-the-charts THC and sleep deprivation levels.
Later, sitting in a booth at Mad River after the Spanksgiving spectacle ends, Benson is relieved to munch on eggs gand pancakes from a breakfast buffet. Maybe he always says that whatever city he is in at the moment is one of his favorites to visit when he appears on radio shows, but Philly actually is — at the very least since Helium is a no-brainer East Coast stop for comics.
Plus, the weed is decent too.
"People always ask me what my favorite strain is, but I really don't have one," he says. "Actually, I went to the Cannabis Cup in Amsterdam last year and there was a strain called 'choco-lope.' That was good."
Benson has adapted to a lifestyle working on cable networks, making jokes at the expense of Britney and Paris on VH1's Best Week Ever and placing sixth in the finals of NBC's Last Comic Standing without ever downplaying his stoner lifestyle, a recurring motif in his stand-up routine. But many of Benson's jokes are about other things, too, from his new orgasm cry to three-legged cats and the danger of meeting a girl on MySpace who's really a front for To Catch a Predator.
But, Benson says, "If my jokes aren't about smoking pot, then I'm usually high on pot when I write them."
He often tells a true story about how he left a huge bag of weed in his jacket pocket when he dropped it off at the dry cleaner. Nervous about how they'd react, Benson stayed cool and picked up the garment as if nothing happened. The dry cleaners pinned the bag of weed to his lapel and also pretended nothing happened.
"Drunks always have these epic stories about the crazy shit they do when they're drunk. Mine are like, 'So I smoked a lot of pot, got sleepy and passed out,'" Benson says. "There's a lot of forgetfulness. One time I looked for my sunglasses for a half hour when they were on my head the whole time. Then there's the old waiting for the elevator that never comes because I forgot to press the button. But non-stoners do that stuff, too. Old people do it all the time."
Anyone who's seen Benson knows some of his funniest lines come from shutting down hecklers. "A lot of people like seeing comedians fire back a snappy retort at a heckler because it makes drunk people look really stupid," he says. "It's not something you can plan for. You have to assess each scenario differently and listen to what they yell at you, because usually it's something really funny that can be thrown right back in their face."
"I also understand that I'm in the business of sitting people down and getting them drunk, so I can't complain, but when people are drunk, all the rules go out the window," he adds. "I wish comedy clubs had a two-joint minimum instead of a two-drink minimum because then people would be a lot more mellow."
But Benson is anything but mellow as he stumbles on stage to the cheers of a jolted crowd at Helium last Wednesday night.
"Hi, everybody," he says with an ear-to-ear grin into the microphone. "Give it up for those two opening guys whose names I definitely can't remember right now."
His eyes have the same eased, tell-tale squint — albeit with a reinvigorated twinkle — as he sips from a clear liquid in a tall glass.
"Wow, thats definitely not water. Hey, did any of you guys hear me on the Preston and Steve show this morning?"
Ah, fan-made videos.
"Street of Dreams":
"If The World":
"There Was A Time":
Okay that's enough, I'm bored.
Every Monday, the Showdown tells you who to see and where to see ‘em.
Monday: Brooklyn/Portland's/San Diego's Castanets are fitting for the weather and folksy to boot. Much like fellow lablemate Sufjan Stevens, their eerie indie twist on Americana will render you all cozy and contemplative. At Johnny Brenda's. With Miles Benjamin Anthony Robinson. Doors at 8 p.m., tickets are $8.
Tuesday: Norwegian singer-songwriter Sondre Lerche's got it all. An indie pop troubadour who's quite easy on the eyes, Lerche, who composed the score for the 2007 Steve Carell flick Dan in Real Life, will make you swoon and sway. At World Café Live. With Dan Wilson. Doors at 6 p.m., tickets are $20-32.
Thursday: Stop drinking Sparks long enough to celebrate Thanksgiving. Eat turkey, tofurkey, turducken, stuffing, pie. Gather 'round friends and family. Take a break. Seriously, please stop drinking Sparks.
Saturday: Super-fly/somehow now family-friendly hip-hop duo Method Man and Redman take you on at the Troc. Currently touring on their Still High Tour, expect Cheese Wagstaff and Funk Doctor Spock to kill it. With Termanology and Rapper Big Pooh. Doors at 9 p.m., tickets are $30-$32.
Sunday: Power metal on the Sabbath — there are few things more righteous. UK rockers Dragon Force plan to stupefy their audience with thei mentally unstable thrashing abilities. DF's long guitar solos and equally long hair mean their live set is easily the fitting way to spend your Sunday night. At the Electric Factory. With Turisas and Powerglove. Doors at 8 p.m., tickets are $25-$27.
Photographs by Michael T. Regan
- He did two sets. The first was all Beach Boys songs. The second was his new album That Lucky Old Sun.
- His band was pretty sick. Drums, percussion, bass, three guitars, saxophone, keys, vibes, and a back up vocalist. Nine voices, including Brian, were harmonizing together.
- He opened with "California Girls." Other popular Beach Boys songs included "Little Surfer Girl," "I Get Around," "In My Room," and "Do You Wanna Dance?" among others.
- Two guys got in a fight. One in his 50s, the other in his 30s. The younger guy was being too loud for the older guy. They had words, the older guy pushed the younger guy's face, an ambulance came for the younger guy because his contact rolled back in his eye.
- I had to split at intermission, so I don't know if they played "God Only Knows."
The latest edition of City Paper’s Local Support podcast is available for streamage and subscribage above.
|Like A Fox|
Like A Fox sounds like The Cure, bag pipes and all. Here's a challenge — try to listen for the guitar solo over the acoustic riff halfway through "Internal/External." Its hard to hear, but a very nice, very subtle touch. nonetheless.
Tuff Crew's "Old-School Jacking" is off DJ Too Tuff's set of 17 unreleased tracks from back in the day. Somewhere on City Line, there's a Caddy blasting the beat from this song with the bass cranked up loud enough to cause bystanders caught in the wavelength to lose control of their bodily functions.
What begins like a mantra from an indie rock yoga session and ends like the catchy electronica soundtrack of a Lexus commercial? Stephen P. Anderson's (formerly of Xonic Shockum) "Aahioomba."
Their name is Illinois but their folk-tinged rock-turned-pop is all Philly. They also drink whiskey. Their song, beautifully titled "Irish Whiskey," is an iTunes and Local Support Exclusive.
The northernmost tip of the Local Support empire reaches New Brunswick, once home of a rock band from the late '70s known as Figures of Light. Their lyrics, as least as far as "Gimme Gimme Gimme" is concerned, are more fun and low-bow then their progressive, transcendent-sounding name would lead one to believe. “Gimme gimme gimme/ gimme some cash/ all of the rest of my life is trash.” Old words, ageless meaning.
|Viro the Virus|
Viro the Virus' funky beats and church organ fills are certainly infectious. I saw him open for GZA in September. His funky beats and church organ fills are certainly infectious. He had a fan in the front row more hulking than Suge Knight and he was really getting into the music; he looked like he was about to smash anyone lacking the tenacity to match his fist pumps and arm flails to get into the music as his fists pumped and arms flailed. Luckily, no one had his spine snapped. Any artist who can inspire such fervor is fine in my book.
Sometimes you gotta wonder if Local Support prime minister Jon Solomon chooses the song order to jolt audiences, especially when considering the contrast of styles between the relaxation-inducting Greg Robinson's "To Parts Unknown" and American Speedways' blistering sprint "One Foot In, One Foot Out." Its always encouraging to hear a band that can rock out and tear up solos without wearing leather loincloths, burning down churches or generally taking themselves too seriously.
Niao's "Summer Showers" sounds sort of like Sigur Ros splattered by a freight train (in a good way), but it's all Fela Kuti once the bass kicks in. Good timing — I was getting confused by all the white noise.
Hi-Boys' "Girl in the Groove" is my new favorite song to play as a pick-me-up when I run out of coffee. It could easily be mistaken for The Beatles by a tentative ear — always a compliment.
Local band interested in submitting music to Local Support? Click here.
Like A Fox - "Internal/External" - Where's My Golden Arm?
Tuff Crew - "Old School Jackin (featuring Prime Minister Dope)" - DJ Too Tuff's Lost Archives
Stephen P. Anderson - "Aihoombah" - Songs 2008
Solus - "Hub & Holmes" - Rhizome
Illinois - "Irish Whiskey" - The Adventures Of Kid Catastrophe: Chapter One
Figures Of Light - "Gimme Gimme Gimme" - Smash Hits
Marc Silver & The Stonethrowers - "Earthly Bed" - Past Is Prelude
Viro The Virus - "Word Flu" - The Sharpest Blade
Greg Robinson - "To Parts Unknown" - Cdr
American Speedway - "One Foot In, One Foot Out" - Ship Of Fools
Mischief Brew - "Bury Me In Analog" - Photographs From The Shoebox
Niao - "Summer Showers" - Summer Showers
Hi-Boys - "Girls In The Groove" - Absolutely Another Allentown Anglophile "Again" (c)
1929 - "The Twin Is Dead" - Last But Not Leased
Thee Minks - "Girl On The Go" - Are You Ready Now?
Monkey 101 - "French Feelings" - 45
It’s always nice when someone does something innovative in video games, especially when it comes to first-person games. For the last 10 years it’s been the same old, same old, with waves of World War II shooters – countless, even – and looking Master Chief’s visor, blowing away hordes of aliens. Mirror’s Edge changes a lot of things about the genre, many of them good, but in the end it does manage to come up a little short.
In Mirror’s Edge, you take control of Faith, a runner in the game’s bleak totalitarian setting. Runners are the carriers of sensitive information in this world, and they’re forced to move where no one can see them: across rooftops, underground, and through empty buildings. If you haven’t heard already, the game is based on Parkour, and you’ll move Faith across said rooftops and over obstacles using only the abilities of the human body. And when I say jumping across rooftops, I mean across really, really high buildings. Be advised that it’s been said that some people get motion sickness from playing, but I felt fine the whole time.
One of the game’s most significant achievements is its simple control scheme. One button controls all the high movements, like jumping, while another the low movements, like sliding. For someone like me, who was raised on button mashing and memorizing Mortal Combat fatality sequences, I was caught off guard by the simplicity. It really does work well, though, especially given the fact that Mirror’s Edge has you leaping, rolling as you hit the ground, hanging from ledges, and sliding down pipes, all of which are accomplished with just two buttons.
The thrills in Mirror’s Edge can be found when you hit your stride. As you start to string moves along, Faith picks up the pace, and the flow of the moves feels and looks good. But that’s where the game hits its first major hurdle. There are a lot of points where you’ll mess up, spend 10 minutes figuring out what you’re supposed to do or just die about 20 times trying to accomplish a sequence. For a game that puts so much stock in movement, it can be maddeningly frustrating to hit such a wall.
The game also looses some points in the combat department. The game made you feel like you should be running from enemies – which is a unique feat in a first-person game – mainly because it only takes a hit or two to put you on the ground. But when forced to fight, the system reveals its clunkiness. Faith doesn’t have weapon beyond her fists and feet, so the only time she gets her hands on a weapon is when she disarms on of the many cops on her tail. You can make a disarming move with just one button, as long as you time it right, but it seems to not work all of the time. The disarming animations are interesting the first time you see them, but they get really repetitive quickly.
Taking a page from a lot of other recent games, Mirror’s Edge is really short. If you’re an avid game player, you could probably whiz through in a sitting or two. You also have the option of doing speedruns of different levels, but unless breaking records and trying over and over again to do so is your idea of fun, you might be better off making this a rental.
Overall, Mirror’s Edge is fresh and really fun, but with a bunch of missteps along the way. If you look past that, you’ll see a game that makes all the right moves but just doesn’t get a 10 for the landing.
Plenty of the expected 18,000 participants in this weekend's Philadelphia Marathon will spend their chilly Sunday morning fretting over mile splits and personal bests. Stuff that, in the grander scheme of things, is irrelevant. Or not as relevant as the album they should cue up next on their headphones.
Like I said, it's a race of 18,000. Only one of those people will win. You probably know going into it whether or not that person is you. (Hint: it's not you.) So for most people running on Sunday, their only real adversary is going to be themselves. And if that's the case, why get all bent out of shape and overstressed?
I love long distance runners - as Joe Biden's mother would say, God love 'em — and I realize that it's damn near impossible to take the fierce ubercompetitiveness out of the athlete. But at the same time, those who fixate so heavily on how they're doing in relation to how they did last time, or pitted against how some imaginary rival is doing, or what the hell ever, are totally missing out on the most joyous aspect of running a marathon: escape, Zen-style. Retreating into one's own thoughts for a few hours while dashing through ever-changing scenery. Preferably with some great tunes keeping one motivated.
In that spirit, here's a sampling of what I've been listening to out on runs this year. I encourage my fellow members of the 26.2-mile club — a society my buddy Sean McCann once astutely dubbed "the hobbling, the exhausted, the triumphant" — to borrow liberally from it on race day.
Or if you've got the post-marathon energy, please reply with your own home-stretch playlist. Since I'm sitting this year out, I can use the suggestions for next year.
1. Primal Scream Screamadelica - Sure, maybe that wash of house and dub lacquer, or the general drugginess, might not make this perennial anglophile favorite the most obvious candidate for workout music. But it's paced so incredibly! The little lift on the strummy "Movin' On Up" gets you going into a gradual ascent. By the time you're 4:48 into "Come Together" - that point where the instruments kick out and it's just the beats and the gospel choir - good God, that kick drum will be pounding you along your way.
2. The Germs (MIA) — Until you make it down to Delaware Ave., the marathon will be a clusterfuck of overly aggressive dudes and ladies jockeying for position on narrow streets with no room to stretch out. You'll be pissed, and you'll want absolutely every doubletime drumbeat and nihilistic Darby Crash lyric in The Germs' catalog to lash out. I recommend "Lexicon Devil": "I want tin soldiers that can push and shove / I want gunboy rovers that'll wreck this club."
3. The New Pornographers Electric Version — Okay, calm down. This is just a game, after all. There will be another day, there will be another marathon. Enjoy the ride with some buoyant power-pop from some of Canada's finest. I nearly picked Twin Cinema, since running to "The Bleeding Heart Show" is Red Bull injected directly to your femoral artery. But no, that album has those pesky slow songs. Electric Version, on the other hand, is "The Bleeding Heart Show" times 14: "From Blown Speakers," "The End of Medicine," "It's Only Divine Right"...hell, I'll even give Bejar "Balad Of A Comeback Kid." Excuse me, I need to run around the block now.
4. Papertrigger Snake Sale — Earlier this summer, Papertrigger drummer Brian Dwyer slipped me a rough mix of his band's forthcoming full-length debut and I immediately loved it; not just for its airy psychedelic cabaret, but for it's appropriateness while sprinting along the Schuylkill Banks trail. The frisky piano on "Show us Your Teeth" is a momentum-builder, and the mellow Amnesiac-ish ballads like "Move To The Ground" are unexpectedly helpful in allowing you a breather. Best of all, clocking in at just around 40 minutes, Snake Sale is the perfect album for a five-mile run.
5. Jay-Z The Black Album — The dearth of hip-hop on my iPod is somewhat embarrassing, and in lieu of fumbling around with my CD copies of It Takes A Nation Of Millions or The Iceberg, I just scroll to The Black Album and let it fly. I didn't think extensive narrations from HOVA's mom would get me moving ("December 4th"), but damn. The slow sampledelic funky pace of makes this a good choice around Memorial Hall and Belmont Plateau - once you've conquered the first of the course's two hills. One the way down, let "Dirt Off Your Shoulder" carry you to the next water station.
6. Television Marquee Moon — I promised myself that I would write about this album without referring to the title track as "epic," but goddamit, I can't. So let me just say that the epic, 10-minute scope of "Marquee Moon" will transcendentaly literally lift you out of your body and allow you to watch from the clouds as West River Drive gives way to center city and you realize you've just run half the course. Way to go!
7. Nick Cave and the Bad Seeds Henry's Dream — In case you hadn't gathered by now, I enjoy running to albums that are generally not thought of as running albums. Cave is a melodramatic poetic brooder, and his Bad Seeds have a fondness for lush arrangements and prominent string sections. Sound too cerebral for that dash up Lemon Hill, aka hill no. 2? Flip on "Papa Won't Leave You Henry" and head into the dark night of the soul; you'll be back on level ground before you know it.
8. Justice Cross — The most miserable part of any marathon, arguably, is the last 10 miles of it, and in Philly, it's a seemingly neverending jog down Kelly Drive, and then across Ridge, and down to the very end of Main Street in Manayunk. The turnaround takes forever to appear, and honestly can't come soon enough, since the street will be lined with yupster douchebags taunting you with beer and pastries. Man, fuck those people. You'll need some feisty music to pull you through this stretch, and were it not for Cross, I wouldn't have made it through the Broad Street Run alive this year. Crank it, beginning with "Genesis." Think of it as a Dave P. DJ night in your brain that carries you out of the depths.
9. Tokyo Police Club Elephant Shell — Alright, you've done it, the worst is over, it's just another three miles left up Kelly Drive and this collection from Ontario's peppy Sci-Fi indie kids will carry you along with a smile on your face. Only one cut exceeds three minutes ("Your English Is Good," a shot to the arm in itself), and the uberconcise skittish rhythims and batallion chants on "Juno" and "Sixties Remake" will have you pounding your fist as you round boathouse row.
10. The War on Drugs Wagonwheel Blues — The finish line is approaching, and you want something beautiful and triumphal as you dart across. Is anything more appropriate than "Arms Like Boulders"? That song gives me chills when I listen to it on the train; if I had it playing as I finished 26.2 miles, I'd probably weep with elation.
Amazing. Props for going the distance with this, mysterious bike-guitar hero.
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