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thecomedybureau · 4 years

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The 100 Best Things in Comedy We Were Witness to In No Particular Order of 2019

OK, 2019′s officially over and we’ve wrangled our 100 truly favorite things in and around comedy (and it really spans all of comedy) that are not ranked whatsoever. It’s just like the title says and, it’s, as it is every year, quite long, so we won’t waste any more time with this intro.

Oh, in case you forgot and/or curious and/or need a quick refresher, here’s our 2018 list.

1. Rory Scovel Live Without Fear-This documentary follows Rory Scovel and his journey through six nights of completely improvised hour sets. In a single word, it’s inspiring. You see the way Scovel truly connects the audience and keeps it that way through his indelible charm and endless curiosity. The near unbelievable story of the Relapse Theater in Atlanta is also beautifully threaded in the doc as well. The clips of the improvised performances capture the magic that stand-up comedy can be that’s absent from the majority of comedy specials. You should be required to see this whenever and wherever it comes if you have any level of interest in comedy at all.

2. Naomi Ekperigin-From her own stand-up, to her podcast with husband Andy Beckerman, Couples Therapy, and her writing across TV, and everything else she does, Naomi is such an thoroughly commanding, yet delightful presence that we love seeing every time anywhere (and she should already be way bigger of a star already).

3. Cait Raft’s Presentation on “Bradley Cooper’s a Star Is Born Takes Place in an Alternate Reality Where 9/11 Never Happened”-Witnessing the imagination of Cait Raft up close was a privilege for us. This amazing dissection of the zeitgeist left us in stitches and with our mouth agape for how thoroughly it proved its point.

4. Corporate Season 2-The second season of the ultra dark workplace comedy delivered once again on its hysterical nihilistic satire that’s so prescient, yet still so unbelievably funny.

5. Mom-Prov Presents Family Therapy-Improviser Izzy Roland was daring enough to have her mom and her grandmother, both of whom are also in showbiz, to join her on stage for one of the most madcap, fourth wall-breaking, entertaining improv shows we’ve seen all throughout 2019.

6. Jena Friedman-So, this year, Jena delivered yet again with her subtle delivery and calm demeanor that hides her absolutely killer jokes. The follow-up to her Adult Swim special, Soft Focus, upped the ante with an interview of a gun-toting John McAffee and her brilliant Conan set about everyone’s true crime obsession.

7. Brendon Walsh’s Afternoon Delight-This last year, Brendon Walsh let everyone know that he was and still is one of the best at pulling prank calls, which is so much harder now than it was even ten years ago. This live show actually has Brendon place live prank calls in between stand-ups and the ride you go on is absolutely thrilling.

8. Jacqueline Novak’s Get on Your Knees-Novak’s solo show has more than earned its spot as an Off-Broadway show with bringing such an exquisite, almost never before seen comedic sensibility to the topic of blow jobs.

9. #F*ckF*ckJerry-Props to Vulture Senior Editor Megh Wright for sparking the fire to take out the egregious social media accounts of F*ck Jerry that just lifted jokes from comedians all across the Internet without pay or attribution.

10. Lorelei Ramirez-We’ve known distantly about Lorelei Ramirez for so many years, but seeing them up close was a breathtaking experience that had us laughing so hard. Their artistry in comedy that gracefully borders on performance art and even horror is absolutely inspiring.

11. Aaron Urist-Denver’s Aaron Urist is such a killer joke writer and joke teller and has been for years. We just were reminded about that with his burning bush joke during his latest LA trip.

12. Booksmart-Olivia Wilde’s directorial debut was not only a reinvigorated take on movies that specifically hone in on the end of high school, but also had a sincerely hopeful vision of the future generation. We hope that Booksmart finds its way to the top of the coming-of-age comedy films pantheon.

13. Rachel Mac on Lights Out-One of the highlights of Lights Out with David Spade is how unfiltered and raunchy they let comics get during their sets on the show. Rachel Mac took that amount of comedic license and thrived in getting into the nitty gritty about her last teaching job.

14. What We Do In The Shadows-The FX TV adaptation of the seminal Taika Waititi and Jemaine Clement film in 2014 exceedingly succeeds in nailing the comedy of minutia in the world of the undead that also happens to be in a (somewhat) grounded reality.

15. PEN15-Maya Erskine and Anna Konkle’s vision of 2000 and their performances as teens were so spot on that PEN15 would deserve acclaim just for that. However, the heart of this show made its humor stand out in an ever crowded field of coming-of-age comedy.

16. Tiffany Haddish’s Black Mitzvah-A lot has happened for Tiffany Haddish since her last special (she’s a legit A-list celebrity now), but it’s clear that she is still her unapologetically positively, life loving self. This special is evidence of that, especially with her bit about her New Year’s show that she got undeserved flack for.

17. Straw Men-Lindsay Adams, Danny Palumbo, and Sam Wiles (and producer Kimmie Lucas) put on what is our favorite imagining of a comedic debate that we’ve seen thus far. The encouragement to make the most ridiculous, baseless arguments and being transparent about the whole thing is a golden goose of comedy.

18. The ending of Gloria Bell-Well, we can’t very well give away the ending to this English language dramedy remake from Sebastián Lelio that has Julianne Moore shine as bright as she has ever shone before, but just know that we stood out of our seats, applauding what she did to John Turturro right at the end.

19. I Think You Should Leave-Tim Robinson’s unflinchingly absurd sketch series unequivocally has many of the best sketches of 2019. The hot dog costume and Mexican restaurant sketches will have us busting up through, very likely, the next decade.

20. Les Miz and Friends-Bonkers (and we mean that in the best way possible) doesn’t begin to describe how wild this meta and great this puppet and human hybrid take on the theater institution of Les Miserables. The sheer cleverness on every level is awe-inspiring.

21. Dave Ross’ The Only Man Who Has Ever Had Sex-Ross has been a longtime favorite of ours for the contrasting bounciness and darkness of his comedy. His debut album captures this dichotomy perfectly.

22. Nikki Glaser: Bangin’-Nikki Glaser’s first Netflix hour special started off with a bang, pun intended. Her frank, but heartfelt exploration of all facets of sex is so damn funny that Glaser gets away with being as blue as she wants.

23. Super Dating Simulator-This live, interactive version of various Japanese video game dating simulators is one of the more innovative and surprisingly charming things we saw this year. Creator Sam Weller did a bang-up job not only making a video game work as a stage show, but doing so with a very off-beat sub-genre of video games

24. Emmy Blotnick’s Party Nights-Blotnick’s latest album shows Emmy at the peak of her delightful observational powers. The concept of a “Self-Potato” is just priceless.

25. Tammercise!-Folks in comedy are getting all sorts of clever these days to redefine traditional formats and disciplines and push the art form forward. Madeline Wager does this exquisitely with a solo show of a woman unraveling that doubles as legit aerobics class.

26. The Cherry Orchard w/Chad Damiani and Jet Eveleth-Damiani and Eveleth explore a new angle on postmodern clowning by supposedly doing a Chekov play going through dress rehearsal without any of the players knowing what they’re supposed to do. The back and forth between the live direction and the tomfoolery on stage is truly hysterical.

27. Bake Stuff with Lindsay LIVE-It’s about time for a comedic cooking show that actually does teach you a wonderful recipe and also explores and resolves(?) childhood trauma. Lindsay Adams’ Bake Stuff with Lindsay, which we indeed saw live, accomplishes all of that and inspires all those watching to cook through their feelings.

28. Shalewa Sharpe’s So, You Just Out Here?-Shalewa imbues homespun wisdom with marvelously colorful descriptions all throughout this very satisfying album.

29. The Amazing Johnathan Documentary from Ben Berman-The Amazing Johnathan’s life story is pretty captivating as is. The story about Ben Berman trying to tell his story amidst several other people trying to tell his story is absolutely engrossing and is somehow all true.

30. Julio Torres’ HBO special “My Favorite Shapes”-Torres’ special is simultaneously one of the most daring and silly hour specials in recent memory and his elevation of prop comedy to a whole new level is to be commended.

31. The Underculture with James Adomian-James Adomian has been one of comedy podcasts’ most in-demand and bright shining stars. It comes as no surprise that his own podcast that revs up all his characters has some of the best, most dynamic, absurdist interviews in political and pop culture satire.

32. Daniel Van Kirk’s Thanks Diane/Together Tour-Van Kirk’s first, complete hour that he both toured with and released as an album is so impressive with how deftly Dan manages a balance of sincerity and mischief from wire-to-wire.

33. Conan in Greenland-Conan marvelously turns his travel specials series Conan Without Borders on its head by attempting to buy Greenland based off of Trump’s stupid tweets.

34. Mary Beth Barone’s Drag His Ass: A F*ckboy Treatment Program-Mary Beth Barone’s live show exploration into her dating life is illuminating and hilarious throughout, but the actual interview that she does live with a “f*ckboy” is transcendent.

35. Obvious Plant’s Carnival of Toys-Jeff Wysaski AKA Obvious Plant really outdid himself this year in his quest to permeate everyday reality with a satirical twist. He not only made a whole line of custom toy figures that satirize pop culture on so many levels, but opened up a whole pop-up museum for several days to exhibit them in all of their bizarre glory.

36. Sports Without Equipment with Coach Keith Alejo-This Dress Up Gang sketch is one of those ideas that are simple, yet so out-of-left-field. Literally, they take sports without equipment to its funniest conclusion.

37. #Squatmelt-Howard Kremer’s desire to keep the spirit of The Meltdown with Jonah and Kumail alive has evolved into its own very special thing in the form of a DIY stand-up comedy show/walking tour that periodically migrates around LA.

38. Catch-22-Trying to adapt such a monumental literary work like Catch-22 is almost a fool’s errand, but writers Luke Davies and David Michôd do a smash-up job for not only bringing Heller’s immortal words to life, but also sticking the landing for all the darkly absurdly comical moments that run rampant throughout the story.

39. Get Rich Nick-Even if they didn’t have the fantastic banter, riffs, and asides from the very funny duo of Nick Turner and Nick Vatterott, this podcast that explores how to make money real quick is one of the best new podcasts of the whole year. Fortunately, Nick and Nick’s humor runs rampant through every episode and makes Get Rich Nick engrossing and makes you actually laugh out loud.

40. MK Paulsen-The comedy of MK Paulsen can be faster than a bullet, but as satisfyingly silly as a gun that shoots a flag with the word ‘bang’ on it. Every time we see him do stand-up, it’s a fun, rollicking ride that’s equal parts offbeat whimsy, clever wordplay, and an agile sense of timing and play.

41. Father Figurine by Matt Kazman-The dour faces of the family in this dark comedy short play to the highest comedic effect perfectly. A dead patriarch and an apathetic family make for some of the best dry humor in 2019.

42. Funk Shuffle-Danny Cymbal, Dennis Curlett, and Michael Gardner comprise Funk Shuffle, an improv group that manages fly freer and more untethered than almost any other improv group that we’ve ever seen. They make their defiance and experimentation with improv forms really work due to the trio’s unflinchingly playful spirit.

43. Gary Gulman’s The Great Depresh-Gulman, as one of comedy’s premier craftsman, of course, delivers an hour of stellar comedy with this special. He also manages, this time around, to destigmatize depression and, in general, be hopeful. That particular comedy trifecta is such an impressive feat that very few can accomplish.

44. Greener Grass-The scope and ambition of Jocelyn DeBoer and Dawn Luebbe’s directorial debut hints at some really special things to come from them in the future. Their absolutely demented, pastel drenched absurdist vision was a shocking delight through and through.

45. Jenny Slate’s Stage Fright-Slate’s best comedic strength is her unshakeable vulnerability. This hour special lets Jenny present that trait as intimately as she has ever presented it and gives an in-depth look as to where that hilarious vulnerability comes from.

46. Heather Anne Campbell swatting a baby out of someone’s hands in an improv scene-At this point, it should come as no surprise that Heather Anne Campbell is one of our absolute all-time favorite people in comedy and thus, she kind of just ends up making it on this list annually on her own someway, somehow. This year, during a performance of her improv group, Heather and Company, we laughed as hard as we’ve ever laughed at Drew DiFonzo Marks initiating a scene by rocking a baby back and forth and then, Heather insanely swatted it out of his hands and stomped on it. It sounds ludicrous, but trust that Heather made that so unbelievably funny.

47. Adam Cayton-Holland’s Happy Place-Cayton-Holland’s live solo show based on his critically acclaimed book of the same name pulls off oscillating between cleverly wrought and self-aware comedy and some of the most heartbreaking stories you’ll ever hear about his late sister. Holland’s focus and calm make it all miraculously blend together.

48. The Authorized Unauthorized My Favorite Murder Musical-In the world of unauthorized musicals about things that you wouldn’t really think about being adapted into unauthorized musicals (it’s a bigger ever-burgeoning world every month it seems), the staged reading of this My Favorite Murder-inspired musical that we saw was phenomenal. The full stage production to come in 2020 will undoubtedly be something really great.

49. Pedro Gonzalez-Pedro’s jokes are so expertly written and crafted that you forget that he immigrated to America as a teenager from Colombia and learned English as a second language.

50. Garry Starr Performs Everything-UK comedian Garry Starr’s solo show is a genius send-up and celebration of theater as a whole. The physicality and the sheer madness of the whole show are so thoroughly hysterical.

51. Kira Soltanovich-We just want to take a moment to appreciate the agility of the comedy of Kira Soltanovich. Not only does Kira play any room or any show as far as we’ve seen, but her drive is just unstoppable (see ep. of The Honey Dew).

52. Mike Birbiglia’s The New One-Though it seems almost too routine that Birbiglia comes out with a new hour special that garners tons of acclaim for its ornate and complex and, ultimately, very satisfying tapestry of stories, Birbiglia delivers exactly once again with one such solo show/special on fatherhood.

53. Michelle Buteau-We saw Michelle headline just a few months ago at Dynasty Typewriter and were reminded of just how good Buteau is. She combines being heartfelt, having a fun bit of attitude, and an absolute command of the stage in such a beautiful way.

54. Gareth Reynolds’ Riddled with Disease-Many folks know how great Gareth is from his madcap riffing on The Dollop, but Reynolds shows he is fantastic with a sharp, hilarious, yet still fast-and-loose-feeling hour.

55. Sara Schaefer’s LIVE LAUGH LOVE-Sara, above most folks working in comedy today, goes to great lengths to be considerate, inclusive, and vulnerable in her comedy and it’s so, so wonderful because of that. This album is yet another great example of that mix.

56. Sean Patton’s Scuttlebutt-Sean Patton’s latest album is a fantastic note to any and all that Sean is, hands down, one of the best comedians ever to spin a yarn (and also share some damn fine true stories) and deserves way more accolade and attention for that now and going forward.

57. Matt Rogers’ Have You Heard of Christmas?-Rogers had quite a 2019 in putting culture on notice, but his queer and subversive holiday musical extravaganza might be one of the best pieces of holiday themed comedy of all time.

58. The Chris Gethard Show with Robby Hoffman-Not only does Robby Hoffman keep the punk rock, conventions-be-damned spirit of TCGS alive, but she makes it so much her own and lets her hilarious, domineering persona transform the show into another very special, unique round of controlled chaos.

59. The taping of Eddie Pepitone’s latest special-Eddie’s sound and fury and his irreverent stream-of-consciousness-seeming comedy were flawless in this latest hour. Everyone in attendance, including ourselves, were in stitches for the whole taping. Props to director Steven Feinartz for one of our favorite looks of a special that we saw last year (which you’ll all get to see soon in 2020).

60. Eric Dadourian’s closer on Nebraska 2-Dadourian is always all in for the sake of a real bold, imaginative bit and, as such, pulled off one of our favorite closers of the year on his very first full length album.

61. Jessica Kirson: Talking to Myself-Kirson’s hour special on Comedy Central really let Jessica cut loose and let her showcase her stand-up expertise. From the way that Kirson contorts her face to her deep well of voices/characters to razor-sharp quick wit to, of course, her signature asides to herself, Jessica really kills it in this hour.

62. Brody Stevens-Long live the “jock doing performance art” comedy (one of our favorite descriptions of Brody’s comedy by his dear friend Zach Galifianakis) and may he rest in peace. Yeeeees! Enjoy It!

63. Byron Bowers on Colbert-Byron Bowers and his clever, yet sincere, dark, vulnerable comedy put up one of our favorite late night sets this year. From the opening to his frank jokes about his dad make us think that it’s just a little crazy that this is his network TV debut.

64. Desus and Mero on Showtime-With the upgrade of being on Showtime, Desus Nice and The Kid Mero are having the most fun in late night with the freshest voices and format (and they’re able to pull that off with only being twice a week).

65. Fleabag Season 2-creator and star Phoebe Waller-Bridge assuredly has more masterpieces ahead of her, but managing to top herself from one masterpiece season of dark romantic dramedy with another one is something that deserves all the accolades and awards that it has gotten.

66. Kenny DeForest on Corden-Kenny dismantles toxic masculinity so incisively through the whole set that he most certainly earns all the applause breaks he gets the whole way through.

67. Josh Gondelman’s Dancing on a Weeknight-Gondelman is often thought of as one of the best, sweetest people in comedy. This latest album, for all of its being clever and genuine, is proof that he indeed really is that sweet and funny.

68. The Marvelous Mrs. Maisel Season 3-The perennial prestige comedy from Amy Sherman-Palladino earns its keep by having some of the best writing (it’s almost impossible to write jokes that are contextualized for the 50s/60s and make them actually funny for 2019 audiences) and also being one of the most gorgeous looking shows in all of television.

69. Nick Ciarelli and Brad Evans-Whether it be pulling pranks on Twitter, their plethora of hysterical sketches doing an impression of Jack FM on shows around town, or their monthly live sketch character showcase Atlantic City, Nick and Brad are a damn fine comedy duo and have been for quite some time.

70. Caitlin Gill’s Major-It’s quite the magic trick to make an hour of comedy that’s entirely clean and have it being clean not be a thought that you’re thinking about at all when listening or watching it. Caitlin Gill spectacularly does just that with this album as Gill can make all of her earnest rants, imagery, and observations work in any way that she needs to.

71. 97.9 The Rat Race-Ben Roy’s satirical reimagining of a morning radio “zoo crew” is so spot on, then gets real twisted to make this one of the most surprising and rewarding podcasts of 2019.

72. Mike Lane’s Picture Frames-This short film from Lane heightens the idea of remembering those you love after they’ve left this mortal coil to such a ridiculous level every step of the way (and is more and more enjoyably unpredictable the further it goes).

73. Paige Weldon on Corden-Paige’s upbeat self-deprecation is just hard to resist and it makes the best impression in this late night set on The Late Late Show with James Corden.

74. The Righteous Gemstones-Danny McBride’s latest HBO series that darkly and comically dissects the South might be his most ambitious yet, but, of course, he nails it. The constant suspense perpetuated by hysterically tragic characters in the world of televangelists is profound.

75. My Friend Chuck-Comedic erotica author Chuck Tingle (one of the absolutely most unique voices and cadences we’ve heard in awhile) and friend McKenzie Goodwin celebrate their friendship every week for a podcast that’s preposterously funny and, also, more heartwarming than almost anything we’ve heard or seen.

76. Joey Clift’s Telling People You’re Native American When You’re Not Native Is a Lot Like Telling a Bear You’re a Bear When You’re Not a Bear-Clift makes such biting, pun intended, commentary with this short film/PSA that is also so playful that the message about Native identity will undoubtedly stick with you.

77. Megan Gailey’s My Dad Paid For This-Gailey strikes a wonderful balance of charm and attitude and fervent desire to burn down the patriarchy. Such a mix accents her very delightful observations about herself and the world around her in this marvelous debut album.

78. Robin Higgins as Baby Yoda at Tournament of Nerds-Higgins might have made one of the best, first attempts at Baby Yoda cosplay. She also, for what’s supposed to be a roast-style competition between fictional/pop culture characters, perfectly imagined how Baby Yoda would roast someone while maintaining Baby Yoda’s sweetness that has captured the hearts and minds of the Internet.

79. The Man Who Killed Don Quixote-Terry Gilliam went through hell, did a few laps, and came back over several years to get this meta-quixotic tale about reimagining the legendary novel Don Quixote made. The finished film, for us, was worth the wait.

80. Jo Firestone on The Tonight Show-Jo’s sense of play is so pure and present that it’s kind of irresistible. Combined with a perfect amount of self-deprecation, Jo really delivered a terrific set we’ll probably never get tired of.

81. Paul Rudd continues his time honored tradition of playing that one clip of Mac & Me on Conan-Rudd evolves the arc of this long running bit on Conan where, instead of playing a clip of what he’s on Conan to promote, he plays the same exact clip of the universally panned alien comedy Mac & Me. We all know what’s coming and yet, without the benefit of surprise, Rudd’s annoyance of Conan still keeps on being so damn funny.

82. Billy on the Street featuring Reese and Mariah-This year, we were lucky enough to get two instantly classic episodes of Billy on the Street with Reese Witherspoon and Mariah Carey that gave us our fix for our obsession with Billy Eichner yelling at strangers on the streets of NYC.

83. The Dollop England & UK-As Dave Anthony and Gareth Reynolds embarked on an entire England & UK tour of The Dollop, they thought it prudent to do a mini-series specific to Great Britain and did a smashing job making fun of British history. The Cyril the Swan episode is particularly brilliant.

84. Lost Moon Radio-The live musical sketch comedy theater troupe (Lost Moon Radio truly lives up to such a description) marked their 10th anniversary and put on an absolutely fantastic “Summer Block Party” this year that both showed that they still got their ingenious musical sketch comedy chops.

85. Nate Bargatze’s The Tennessee Kid-The calm with which Bargatze pervades all of his comedy is part of what makes it beloved by nearly any and all that see or hear Bargatze’s stand-up. That’s such the case now that Nate gives updates to stories from previous specials on this latest hour.

86. Beth Stelling on Kimmel-Every detail of this set on Jimmy Kimmel Live is pretty stellar. That includes Beth, in general, for her warm demeanor, smile, and cleverness, the Chippendale’s story, Beth’s mom being there in the crowd, and, of course, the surprise guest at the end.

87. Liz Climo’s Please Don’t Eat Me-This illustrated book is just the latest in a long line of uber-adorable and genuinely-funny-for-all-ages books from Climo. Liz seems to have quite the knack for making unlikely animal friendship jokes.

88. John Hodgman’s Medallion Status-Hodgman’s journey through the various statuses of airline privilege/celebrity is a superb serving of existential humor, done up with Hodgman’s painstaking attention to the exactly right details.

89. Jane Curtin’s 2019 New Year’s Resolution “My New Year’s Resolution Is To Make Sure The Republican Party Dies”-Said during a CNN interview with the SNL alum, this was the first thing to make us heartily laugh in 2019.

90. Alex Kavutskiy’s Squirrel-Kavutskiy’s short film dives into the concept of forgiveness unlike we’ve really seen and, as is Kavutskiy’s style, is so darkly spellbinding and so pointedly funny at the same time.

91. Astronomy Club: The Sketch Show-The long running comedy troupe known as Astronomy Club really ran with their chance to do a full-fledged sketch series on Netflix. They’re so endlessly clever on in their sketches, especially when it comes to the subjects of identity and oppression, and pack in so many jokes and sight gags that you’ll definitely want to watch it more than once so you don’t miss anything.

92. Dolemite Is My Name-Eddie Murphy seems poised to make a real return to comedy (and stand-up comedy in particular) and this marvelous biopic of comedian and blaxploitation star Rudy Ray Moore AKA Dolemite is the perfect way to start.

93. Anna Drezen on Corden-Drezen has such a perfect sense of farce and misdirection and puts on a beautiful display of those two things from start to finish in this set on The Late Late Show with James Corden.

94. BUTT’s Yoda themed dating app sketch-This sketch is so prescient of the resurgence of the world’s current (baby) Yoda obsession. Also, while this is so absurd with its deep dive into various Yoda fan art and cosplay, Joe McAdam and Chris Stephens’ take on dating apps is so sharply and deeply funny.

95. Mel Brooks Unwrapped-The never ending bit of attempting a documentary between Mel Brooks and the BBC’s Alan Yentob is yet another display of the true, unquestionable genius of Mel Brooks.

96. 50 First Stephs-The amazing, hysterical Steph Tolev kicked off 2019 with a show where 50 or so of her compatriots and contemporaries did various impressions and characterizations of her. Part roast, part loving tribute, part amazing showcase of the depth of creativity in LA comedy, Tolev’s night for herself was something really special.

97. The Bongo Hour with Sandy Honig and Peter Smith-Honig and Smith brought their wild variety show that featured such wonderful bits, characters, drag, and burlesque to LA and showed, truly, how much better life is when you’re fluid about nearly everything.

98. How Did This Get Played?-Hosts Nick Wiger and Heather Anne Campbell and their take on the “worst and weirdest” video games do their namesake, the beloved How Did This Get Made?, proud. Even if you’re not a gamer, the way they dissect the most bizarre video games ever made along with Heather and Nick’s chemistry is very, very enjoyable.

99. Joe Pera Talks With You Season 2-This second season of Joe Pera’s unique talk-to-the-viewer series is so calming that the comedic twists sneak up in the most delightful way possible. There is a certain beauty to Pera’s show that makes us want to have Joe Pera Talks With You playing on a loop in a contemporary art museum.

100. John Mulaney & The Sack Lunch Bunch-John Mulaney does “it”, yet again. “It” being releasing another hour of comedic brilliance that’s so markedly different than whatever he did before, yet, somehow still stamped with an indelible mark of Mulaney’s comedy of obtuse hyper-specificity.

#top 100 #100 best #best of 2019 #2019 comedy #best sketch #best stand up #best improv #best comedy specials

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indie-struggle · 5 years

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The LBGT, Female, and Race issue in Hollywoodland.

Warning: opinion article - oh, no! First, not all of you will agree with me, which is fine. It's what makes this country great: the fact you can have your own opinions and analyze things without interjection by someone else. This is much different than bigotry: the unwillingness to take someone else opinion into consideration is if differs from your own. We come across this everyday, and some of you may be experiencing it right now - so hear me out. "I feel there needs to be less white men calling the shots." - He said. "There isn't enough diversity in movies today." - She said. "Why aren't gays more visible in movies." - They said. This is tough. To give you a general idea of the problem you can simply listen to what comedians tell women about that constant question, "Why aren't there more female comedians?" and the answer is always the same: do the work, and if you're any good you'll be noticed, regardless of what's between your legs. Fantastic. True, to the point. Work hard and shut the fuck up. The same goes for cinema. Let's get one thing fucking clear: no one is keeping any specific group out while giving special treatment to other groups based on gender or skin color. We're all equally stupid in their eyes: “How the fuck did you get into my office?” If that weren't the case, I'd be on a mountain of money. It isn't the case - look around. Well... you can't see what I can, but take my fucking word for it. Maybe in the golden age of Hollywood (20s-50s), sure, that obvious segregation happened. Big studios, big power. McCarthyism bullshit. But not now, no way. You can write a story and make it on your phone with some buddies. It'll suck, but you can do it. I don't want to give a history lesson in film, but frankly, when it was first looked at past the point of "A poorman's cheap entertainment to watch a woman and man kiss for 15 seconds for 2 pennies", people eventually took to it - they saw its potential. In America, these people were primarily white. And the era that they lived in, other races weren't involved, nor cared to be. All the non-white races that were involved were in different countries: Japan, China, Morocco, South Africa, Turkey, Iran, etc, etc. But we're talking about America here. Fun fact: the majority of people who were writers of these first movies of the era, up to about 1940 - were women. Yep. Women used to have a stranglehold on screenwriting. This faded out due to reason why all things fade out: money and power. But today, you cannot walk into a post-house without the owner being female. I dare you to find a place. And in post is where the movie is made. I will be the first to admit that yes, there is a lack of diversity in studio movies in America, in major areas: writing, directing, and producing. I stress America, because anyone who loves film doesn't just watch American blockbuster movies, and is well aware of the filmmakers around the world who are making astounding films. Our world isn't the black and white franchises that die on a weekend. And whether or not the filmmakers around the world are gay, black, or missing an arm has absolutely zero to do with it. And, it really doesn't have anything to do with it in America, either. The reason there are less gay people in stories is usually because what the story calls for isn't about sexual preference, it isn't about gay life, and it isn't about race. Think about the most recent movie you watched, was it about race or sex? I have a black friend that hates Will Smith and Denzel Washington. Fucking hates their guts. "I'll punch those two niggas in the face," I laugh, but he's dead serious. Why? Because they don't represent actual black people. They represent bringing in black peoples’ money. John Singleton represents black people, but he's been sucked into the Hollywood void. Here's an example of what he means: If the character Billy is a hick, lives in the sticks of Indiana in a trailer, drives a pickup, and drinks Coors with his buddies while shooting fish in the creek - why in the hell would you cast Don Cheadle? Imagine Malcolm X being played by Tom Cruise. Same thing. To cast appropriately is rational thinking - it's keeping realness in film real, or trying to. The part is specific, regardless if the director is a woman, gay, white, black, or arab - they know that anything artificial is immediately rejected by people who know those types of characters. Execs don't think this way. Anything less than truth to character makes that character a token [enter race/sex here] in which is not only dishonest, but it's more than likely there to bring in a certain group for their money (from the studio exec stand point) -- and that's where the real issues lie. Money. Not just making film less real, but money. I've worked in lots of production companies, some teeny-tiny, some quite large. And a widely unknown, yet sad secret is: White heroes bring in more money, especially internationally. Money! In the end that's what they want. It's how they have their jobs and keep them. This isn’t a new tale. And I know, it's fucked up, it's terrible, and it's damn stupid. But, you know, it's two things... their thing: a factory that needs to stay in business. The other thing: it is the people paying the money to watch it. Simple supply versus demand policy of what Hollywood makes: products. It's not a new cycle. You ever wonder why the Adult (30-65) audience is ignored? Think about it. It's always about money and a whole lot of underestimating what the audience wants, where it is, what the artists want, and what people need. Now, let's forget all this sad shit for a moment and pretend we live in a new homogeneous world of America (like Canada), were all races and sex are side by side, "we-are-the-world" perfect society or utopia, or what ever you want to call it. What type of movies will be made? What type of creative interests from a different point of view will be produced? Will those gangster films you love be made? Will they be believable? Is it possible to be creative with cinematic narrative without artists who are scarred? Where will the interests lie or come from? How many happy endings will it take to bore? ... And will drugs still work... Outside of all the bad things Hollywood executives are, they are not stupid when it comes to business. They spend millions on research. Lots and lots of money. They would never in a billion years (not that we'll live past 100) let go of their grip, so that other countries can take over "their" market. And that is exactly what would happen if this type of America existed. This idea of utopian cinema would kill their money, and just as a bonus - interesting, creative cinema would die. That's that, whether you believe it or not. Take that train of thought down the rabbit hole and see what's at the end of it. They know. They spend hundreds of millions of dollars to know. The alternative to it all is a collapse, which is a good thing. But back to that lack of diversity problem which seems a bit more understandable now, doesn't it? There are less gay, bi, trans, lesbian, black, spanish, asian, robot filmmakers in the "bigtime" because of talent, that's the only reason. Talent brings in money, plus, everyone in there has paid their dues. You do not get a free pass or open door simply because you don't have a penis, or you're gay, or you're not white... That isn't how it works - it is not 1940's America. If you want sub-par work, you let the interns run the shop. They know this. You let those who haven't put in the time take over, and you get what you pay for, 100 out of 100. No good. The bottom line is you have to put in your time, take yourself to the edge of your brain, want to die for it, work, and work, and work and work and work and work, and then, maybe, fuck I hope so, just maybe at the end of it all - you've made some progress and are getting better - hell, even get some recognition if possible. Until then, all you'll have is token characters, token movies to exploit people for their money, either because it's a hot "social topic", or because all the ingredients have been thrown in the pot by the non-creatives to make people gravitate towards it (Bohemian Rhapsody comes to mind). It's sad, and people are being used. And until we let loose of this idea that people without experience can give those with experience, a telling, compassionate, thoughtful - shit, even a story with something to say (imagine that) - all that's ever going to happen is more fuel being poured into this big fire of shit. Is that what you want? Because I don't. I love film. I can't wait for the Hollywood franchise comic-book era to collapse - and it will, believe me. But think of the possibilities then - a new 60's revolution of cinema - where that freedom of expression and important things needing to be said are shown that the studios can't ignore. Gay, female, black, whatever. That is the area in which real cinema thrives, not this. And pandering to the system how it is now, is not only a waste of time, but will not end with the results that the people need... and that you want.

#not-about-screenwriting #opinion column #film

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haulix · 7 years

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New openings (4/17/17)

Product Specialist, Marketing Measurement (Spotify - NYC)

Spotify is seeking a Product Specialist that will support the tracking and measurement of global marketing initiatives. This role reports to the Manager of Marketing Data Management, and sits inside the Marketing Sciences team. There will be significant collaboration with vendors, other marketing teams, Product Owners and engineers. You will also leverage Spotify’s world class user data infrastructure and collaborate with Spotify’s global community of 100+ data analysts.

Social/Paid Media Specialist (Mad Decent Records - Los Angeles)

We are looking for the right individual with a passion for forward thinking music and previous digital marketing experience at an ad agency, lifestyle brand, label, or entertainment company. This role will be responsible for helping drive our digital presence across social media using both organic and paid media. He or she will have a proven track record of managing paid media campaigns and continuously looking for creative ways to connect with our large fan base and drive new digital, social and mobile projects.

Creative Director / Essential Music Publishing (Sony - Franklin, TN)

We’re looking for an organized professional who will apply his or her love for songs to supporting our writers and pitching our catalog to a variety of outlets. You will work with a diverse group of award-winning staff writers, top-selling Christian artists, and producers.

Manager, Artist Development (WMG - NYC)

Artist Development works closely with every department to put together artists’ day to day activities and travel arrangements. Making sure the company and management are all in agreement on where the artist is and the work that is being done. Having a close working relationship with agents and promoters to help find new touring and event opportunities for our artists.

Creative Services Manager (Soundcloud - NYC)

You’ll work in close collaboration with the Brand Revenue team (Sales & Account Management) and interface in a cross-functional capacity on a number of projects with Creative Services, Content and Legal to create engaging brand partner solutions. We expect you to take ownership of each project from the early pre-sales strategy and ideation phase and see it through to the campaign’s final execution. In addition, you’ll be driving the communication of the Brand Revenue team’s needs and expectations across other product and content stakeholders.

Marketing Assistant (Production Music Association - Los Angeles, CA)

The Production Music Association is seeking an Executive/Marketing Assistant.

Responsibilities:

Assist in organizing and planning of organization events

Create and execute marketing campaigns through email and social media

Create content to be used online and on social media

Communicate with members

Sponsor research and outreach

Partner Service Manager (Spotify - San Francisco, CA)

We are looking for a Partner Service Manager that will join the Revenue Partnerships team. In this role, you will help shape the future of Spotify’s advertising business by supporting the day-to-day management of some of our most strategic Tech providers that help us scale & optimize our global advertising business.

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Executive Assistant (Sony - NYC)

The Executive Assistant will oversee the day-to-day functions of an executive within International Marketing. S/he will handle a wide range of administrative and executive support related tasks.

Media Specialist (Music General Inc. - Brainerd, MN)

Manage and maintain three different websites on a weekly basis with updated information. Design, create, and see through the printing of advertisements that meets deadlines. Basic knowledge of the Adobe Creative Suite including but not limited to Photoshop, Dreamweaver, After Effects, Illustrator, and Flash. Job will require you to travel in and outside of Brainerd to help set up, run, and tear down production equipment. Able to work at small gigs to large corporate events with great organizational skills. Many events will be filmed so knowledge of video camera operation with pre and post video editing in Final Cut Pro is a must. Clients will want to see deadlines met so organization skills and time management is key. Be able to lift at least 50 pounds and willing to work weekends.

Music Librarian/Arranger (Elan Artists - Rockville, MD)

Rapidly growing artists' management company seeks enthusiastic & motivated Librarian/Arranger for full or part time position. In depth knowledge of classical string chamber music and a related degree are requirements of this position. The ideal candidate would be an arranger as well. Additionally, experience with event planning and/or customer service is highly desirable. Position is full-time or part time depending on best fit for the best candidate; salary commensurate with experience. Office is located in Rockville MD.

Music Research Coordinator (TuneSat - NYC)

TuneSat, LLC, an audio monitoring technology company, is searching for a full time Research Coordinator who will work under the Head of Research and will be responsible for the researching, identifying, and organizing unlicensed commercial uses of music from the Internet and Television into cases.

Music & Entertainment Booking Consultant (GigRoster - Portland, OR)

We are currently looking for individuals who would like to join our team and who have experience in the music business, preferably as a performing musician. This is an ideal opportunity for a person who is familiar with booking entertainment (variety cover bands, Comedians, stage shows, combos, classical...) for the corporate, wedding, convention and casino industries. You should be comfortable working in the private party, wedding corporate event industry around the area including venues and facilities and the types of entertainment local clients look for.

Live Events Assistant (Townsquare Media - Saratoga Springs, NY)

Townsquare Lifestyle Events, the nation’s leading producer of craft beer, wine and food festivals, is growing and we are looking for talented people to join our team! As the Live Events Assistant you will assist with the planning and execution of America on Tap Beer Festivals as well as 5 multi day Food and Wine Festivals.

Marketing Manager for Classical Music (Aspen Music Festival and School - CO)

The Aspen Music Festival and School seeks a full-time, year-round Marketing Manager to work as part of the five-member Marketing and Communications team in Aspen, Colorado. Reports to VP for Marketing and Communications.

Older listings (7+ Days)

Marketing Coordinator (Atlanta Symphony Orchestra)

The marketing coordinator will support the marketing, sales and communications team with primary responsibility for classical, family and education programming. Support Atlanta Symphony Hall LIVE team for select programs/projects. Implementation of integrated marketing plans to drive attendance and audience growth.

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Artist Services Marketing Manager (Live Nation - Beverly Hills)

The Marketing Manager will lead the building and execution of multi-channel marketing programs for Artist Services.

This role is a key member of our team to help maximize awareness to support Live Nation Touring clients & Artist Nation managers with targeted marketing campaigns to help promote all aspects of our client’s careers, including new music, new videos / movies, charitable endeavors as well as ticketing selling initiatives. Knowledge and experience with streaming services such as Spotify, Pandora, YouTube, Tidal, Apple Music and others will be a key part of this role’s responsibilities to ensure that Live Nation is utilizing these platforms to best serve our Artist clients. This role will assist with the creation and development of customized marketing assets (photos, video, GIFS, etc.) and work w creative / production teams to edit and produce content for marketing activation’s.

Radio Marketing Executive (Black Ltd Broadcasting - Greensboro, NC)

Radio Marketing Executives undertake a wide range of activities to market the services and products of a radio station, or group of stations, to existing and potential listeners and clients.The aim is to increase brand awareness and loyalty, grow the audience and attract advertisers.This involves a range of analytical and creative marketing activities. The Radio Marketing Executive commissions research and interprets data about radio markets and audiences. They also maintain contact databases. They design and implement promotional campaigns and events that engage audiences and meet client needs. They ensure consistent communication in all marketing activity.

Radio Marketing Executives work closely with colleagues in sales, sponsorship, promotions, events, publicity and programming. They offer insight about audiences and commercial partners so that the station’s output meets audience and client expectations, contributes to building the brand, and maximizes revenue.In commercial radio this role is vital in supporting the work of the sales team as it seeks to maximize advertising and other revenue for the station or group. Radio Marketing Executives may work in a small team for a single station, or as part of a larger regional or national department serving a number of stations or radio brands.Radio Marketing Executives manage budgets and ensure the efficient use of resources.

Although some of their work is office-based, they must also spend time out of the office meeting with key station contacts, gathering information, and assisting with events. This has been a description of the Radio Marketing Executive’s role in Commercial Radio. However, aspects of the role are relevant to BBC Marketing and Communications Managers with responsibilities for radio, as well as Radio Producers or Broadcast Journalists who are responsible for events and promotions on individual stations, and community radio staff or volunteers with marketing responsibility.

Publicity Coordinator (Global Eagle - Irvine, CA)

The publicity coordinator’s role is an entry-level position to support the Content Programming Department by gathering, compiling and editing data about movies, TV and music programs available for licensing to airlines.

Brand Planner, Creative Strategist (Dolby - San Francisco)

As a member of the Brand team, the Brand Planner / Creative Strategist will help set communications strategies, and then drive the translation of those strategies into creative executions. It is a pivotal role on a growing team that will address experiences as diverse as cinema, live music, gaming, OTT, broadcast, and conferencing; devices including televisions, mobile devices, PCs, home theatre, gaming consoles; and technologies spanning audio to imaging

We offer a collegial culture, challenging projects, and excellent compensation and benefits. We’re big enough to give you all the resources you need, and small enough so you can make a real difference and earn recognition for your work. The ideal candidate will be comfortable in strategic settings, while having no problem ‘rolling up the sleeves’ with team members to tackle tactics and get the job done.

PR Assistant (Kaleidoscope Media - Nashville)

Established Nashville public relations/marketing firm seeks creative, organized, self-starting PR assistant to support our PR Manager on a diverse roster of client work.

DUTIES

Assist in pitching press coverage both national and local.

Develop and nurture relationships with clients and journalists.

Manage multiple client accounts at once.

Research and formulate media lists.

Track monthly press clips.

Draft press releases and pitches.

Maintain media databases.

Music & Entertainment Business Instructor (SAE Institute - San Francisco)

The Music Business program at SAE Expression College in Emeryville, California, invites applications from candidates with professional experience and appropriate academic qualifications to join our team. These roles are on an adjunct basis with contract renewal occurring each semester as needed. The number of positions varies from semester to semester, depending on the needs of the department. Qualified candidates may be eligible to teach more than one of these courses.

Our Music Business Program is a Diploma program that runs for three 15-week semesters. This program is scheduled for evening classes. Each course will meet once per week for 15 weeks.

Producer, Here’s The Thing (WNYC - NYC)

Here’s The Thing is a series of intimate and honest conversations hosted by award winning actor, Alec Baldwin. The Producer will be responsible for curating conversations between Baldwin and cultural luminaries and thinkers who range from Julianne Moore and Questlove to nuclear regulatory experts and classical music conductors.

The successful candidate will be passionate about the pleasure of a good conversation, clean writing, and coordinating production details. This person will be a highly motivated self-starter who can make things happen – as well a team player who thrives on collaboration. This position reports to the Executive Producer of Here’s The Thing.

Agent Assistant (KCA Artists - Nashville)

Booking Agent Assistant needed for booking agency. We are a small office on Music Row seeking a highly organized and energetic team member. Hire includes three (3) month trial period.

Music Publisher and Songwriter Business Development (YouTube - Nashville)

As Manager, Music Publishing Business Development, you will build and maintain strategic relationships with songwriters and music publishing partners, including managing existing songwriter/publisher partnerships, launching new relationships, driving new business opportunities, resolving business issues, and analyzing and tracking key metrics to identify trends. You are as comfortable negotiating agreements and working cross-functionally with colleagues across multiple disciplines to ensure our music partners are positioned for success and our users enjoy the best experience possible.

Festival Support Representative (AEG Live - Tempe, AZ)

The Festival Support Representative will participate in the Festival University program working in both the Ticket Purchase Support (TPS) call center, and the Client Services Department (CSD) taking courses and performing fieldwork on location at festivals. The Festival University program is a full-spectrum experience, allowing participants to learn and work across multiple departments, in-office and on-site at client music festivals. Students may also perform additional duties, such as acting as a TPS Lead, CSD Support member, and engaging with other departments on special projects relative to their interests.

#Music Industry Job Board #Social Media #Marketing #Production #Jobs #Job Board #Now Hiring #Music Careers

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blackkudos · 7 years

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Barbara Ann Teer

Dr. Barbara Ann Teer (June 18, 1937 – July 21, 2008) was an African-American writer, producer, teacher, actress and visionary. In 1968, she founded Harlem's National Black Theatre, the first revenue-generating black theater arts complex in the U.S.

Early life

Teer was born in East St. Louis, Illinois, to Fred L. and Lila B. Teer, well known as dedicated educators and community leaders. Early in her life, Barbara demonstrated extraordinary gifts and talents. At 15, she graduated from Lincoln High School in East St. Louis. At 19, she graduated Magna Cum Laude with a bachelor's degree in dance education from the University of Illinois, Urbana-Champaign, and immediately travelled to study dance with Antoine Decroaux in Paris and with Mary Wigman in Berlin. Her sister, Frederika Teer, was a Congress Of Racial Equality Field Secretary (organizer)in the north & mid-South from 1960. She and Genevieve Hughes were the first women to hold the title.

Career in the theatre

Following her international travels, Teer came to New York City, where she pursued a career as a professional dancer. She studied with Alwin Nikolais at the Henry Street Playhouse and Syvilla Fort (Katherine Dunham Technique). She toured with the Alvin Ailey Dance Company, Louis Johnson Dance Company and the Pearl Bailey Las Vegas Revue. In 1961, Teer made her Broadway debut as dance captain in the Tony award-winning musical Kwamina, which was choreographed by Agnes de Mille. Teer performed in the film version of Ossie Davis’s stage play Purlie Victorious. After a knee injury in 1962, Teer switched her primary artistic focus from dance to theatre. She studied with acting luminaries including Sanford Meisner, Paul Mann, Lloyd Richards, and Phillip Burton. Teer crafted a lucrative and successful acting career, receiving numerous accolades, including a Drama Desk Award and several Obie Awards. Between 1961 and 1966, she continued to perform on and off-Broadway as well as in television and film.

Teer grew disillusioned with the negative stereotypes she came across in her quest for responsible acting roles, making an exception to appear in the 1969 motion picture "Slaves." . In 1963, she co-founded The Group Theatre Workshop with Robert Hooks, which later became the Negro Ensemble Company. Arguing for independence from the white-dominated mainstream, she wrote in a 1968 article in The New York Times:

“We must begin building cultural centers where we can enjoy being free, open and black, where we can find out how talented we really are, where we can be what we were born to be and not what we were brainwashed to be, where we can literally ‘blow our minds’ with blackness.”

National Black Theatre

In 1968, with the emerging cultural consciousness of the African experience, Teer decided to found a new theatrical institution committed to cultural transformation, social change, and historical innovation within African-American communities. Leaving a flourishing career, and following in the activist footsteps of her older sister Fredrica (who had been an organizer with Eldridge Cleaver and Stokley Carmichael), Teer founded the National Black Theatre (NBT). Its mission was self-empowerment, liberation, truth and training for a new generation of artists and creative entrepreneurs. Over five decades, Teer was an agent of change and an eminent curator of the African cultural heritage.

Her representation of authentic cultural traditions of people of African descent born in America was unprecedented. She fashioned a new cultural paradigm by organizing a spiritual and artistic community of people who were conscious of their responsibility as “institution builders.”

Methodology

In addition to her role as a pioneer of Black theatre that reached beyond America, she developed a groundbreaking methodology taught exclusively at the National Black Theatre called “TEER: The Technology of Soul.” TEER Technology utilized the symbolism, rituals, and mythology of authentic West African traditions. It shifted the traditional paradigm of Western theatre from a “self-conscious” art form to “God-conscious” art, allowing artistic expression which thrived on audience participation and was based on “call and response” dialogue embodied in the Black church. The creative process removed the two-dimensional “psychic distance” existing between the artist on stage and the audience. She called it a “Ritualistic Revival — theatre art that flows from the heart.”

Schools and cadre trainings

During the 1970s, NBT continued to be a fertile training ground for actors, singers, dancers, and musicians within the Harlem community and beyond. In 1974, Teer founded the Children’s School for the Development of Intuitive and God-Conscious Art (CSDIG). Having recently become a mother, she wanted to create a nurturing, loving, and empowering environment in which the children of NBT staff could grow, learn, and thrive in a self-affirming and unfettered manner. A concept ahead of its time, CSDIG enabled the NBT staff to bring their children to work with them and provided them with a priceless education.

Teer wrote, directed and produced a substantial and impressive body of work, including ritualistic revivals (plays) and interactive artistic reviews. She believed theatre and artistic expression were sublime sources of healing and nurturing for the Black community and, in fact, for all of humanity.

Self-determination and real estate

Her unwavering commitment to exploring African artistic expression was complemented by the belief that artists should also be owners/entrepreneurs within the communities where they live, work and serve. Teer viewed artistic expression and ownership as a formidable power source for generating social and political change. In that vein, she purchased a city block of property in Central Harlem on a major business corridor at 125th Street and Fifth Avenue. The National Black Theatre was the sponsoring developer for a 64,000 square feet (5,900 m2) real estate project that became the first revenue-generating Black Theatre Arts Complex in the country.

Honors

For her decades of inspiration and cultural advocacy, Teer was the recipient of an Honorary Doctorate of Law degree from the University of Rochester and an Honorary Doctorate of Humane Letters degree from the University of Southern Illinois.

Personal life

Teer had an early marriage to Actor-Comedian Godfrey Cambridge (1962–65) and subsequently had children with Michael Adeyemi Lythcott. She was the mother of two children — son Michael F. "Omi" Lythcott and daughter Barbara A. "Sade" Lythcott.

Wikipedia

#Barbara Ann Teer #06-18 #07-21

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