Category Archives: Music Comedy

Snappy, jazzy and funny

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1329891458 23 Snappy, jazzy and funny

Peter Helliar will bring the snazz appeal to the Melbourne International Comedy Festival. Picture: Chris Scott Source: Herald Sun

SNAZZY: strikingly fashionable; having gay designs; a blend of snappy and jazzy.

For Peter Helliar, the word means more teenage dag after his nan said he was the "snazziest boy in church" in a lemon jumper, green shirt and thin leather tie for his confirmation.

Fast forward 25 years and the favourite funnyman has named his new Melbourne International Comedy Festival show Snazzy.

Unlike his 2011 sport-based show World of Balls, it gives him carte blanche to discuss all the times he’s been snazzy since.

The show’s part confessional and part therapy session, as Helliar reflects on his upbringing as he raises his own sons, Liam, 9, Aidan, 7, and Oscar, 3.

"My mum used to threaten me with the naughty boys’ home. She’d pretend to get on the phone and call them, then wait by the window for the van. I was terrified.

"I tried that on one of my kids and he wouldn’t go for it," he said. "We ended up in the car driving around for ages searching for a scary-looking house. It was a battle of wills."

Helliar also talks about rejecting an offer to star on celebrity weight-loss show Excess Baggage.

"I lost 14kg last year – thanks for noticing. I thought, ‘Am I really as big as Dipper?’," he said. "At the very least I don’t have a sob story. I’d be asked how I got fat and I’d have to say because I like chips and beer and I don’t jog enough. Simple as that."

Snazzy runs at the HiFi Bar from March 30-April 22.

MELBOURNE INTERNATIONAL COMEDY FESTIVALMarch 28-April 22comedyfestival.com.au

It received a great applause. Not Aptitude The difference is in the people not the equipment. He told her of horses which he had purchased for any trifle and marketed for outstanding sums; of racing matches, during which his judgment had infallibly foretold the winner; of shooting parties, ,during which he had killed more birds (nevertheless without possessing a person very good shot) than all his companions in concert; and described to her some popular day's sport, together with the fox-hounds, in which his foresight and ability in directing the dogs had repaired the errors with the most expert huntsman, and where the boldness of his riding, nevertheless it had never endangered his individual life for the instant, had been continuously leading other folks into complications, which he calmly concluded had broken the necks of lots of. His signature style, a mixture of rock guitar and country sound, emerged right through the ones formative years.

Hear the one about the comedian who can’t take a joke?

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1329739028 79 Hear the one about the comedian who cant take a joke?

Billy Connolly fans received a punchline they weren’t expecting when the veteran comedian responded to heckles by flouncing off to his dressing room — twice in one week. The “Big Yin’s” double walk-off at theatre performances in the north of England recently created international headlines — and with good reason.

For stand-ups, heckling is an occupational hazard, a thin-skinned comedian being about as much use as a one-legged footballer. Remove that element of danger and you negate the entire point of live comedy in the first place.

According to eyewitnesses, Connolly’s first hissy fit was prompted by repeated cries of ‘Wildebeest’, a reference to one of his classic routines, the second by persistent shouts of “You’re s***!” from the back of the room (an endless parade of people wandering back and forth to the loo appeared to vex him also).

In each case, he stopped up, mumbled his goodnights and slouched to the wings. At 69, and with millions in the bank, he presumably decided he didn’t need to stand there and take the abuse.

“The man is nearly 70. He’s the elder statesman of comedy so perhaps we should cut him some slack,” says Dublin stand-up Steve Cummins. “And remember, his best stuff doesn’t usually come out of audience interaction. He goes off on these long, rambling stories. He isn’t talking off the top of his head. He’s worked long and hard at his material. It isn’t off the cuff.”

Hecklers, says Cummins, fall into two categories: smartarses and drunks. He knows which he prefers.

“I have a good relationship with hecklers,” he says. “Sometimes they can be spectacularly funny. I firmly believe that if someone gets in a good zinger, you need to acknowledge it and move on. Everyone else knows it’s funny. You look the bigger person if you take it on the chin and proceed from there.”

Sometimes comedians can make spectacular misjudgments in curbing hecklers.

At the Edinburgh festival a few years ago, English stand-up David Whitney is said to have responded to persistent interruption by head- butting an audience member. He was arrested and charged with serious assault.

“A lot of people think the deal with comedy is you go and shout at the man on stage for a few hours,” says stand-up Gearoid Farrelly.

“Usually they get caught up in the wave of laughter and want a piece of the glory. The only way you can deal with it is to make them the butt of the joke, which can’t be what they want in the first place. I feel bad putting them down sometimes. It’s usually very easy. All you have to do is say, ‘Shut up ya knob’ and you get a round of applause.”

Seasoned comedians have honed a variety of trusted slap-downs. As far back as the late ’70s, Steve Martin was putting hecklers in their box with ‘Ah, I remember when I had my first beer too . . . ‘.

Jasper Carrott used to say: “Sit back in your chair and I’ll plug it in”.

The acerbic Jack Dee would tell the rest of the audience, “Well, it’s a night out for him, isn’t it?” before adding, “For his family it’s a night off.”

The problem with these cutting comebacks is that it assumes the audience is coherent enough to appreciate them.

Late in the show, after a fair portion of the room has spent the evening flooring lager, your wit may not get the respect it deserves.

“I once said to a [heckler], ‘What are you going to do when King Kong wants his arse back?’,” UK funny-man Lee Evans recalled a few years ago. “He said, ‘This!’ and hit me in the face.”

Of course you don’t want to intimidate punters to the point where they are afraid of saying anything. There can be a thin divide between putting manners on hecklers and castrating an audience. Comic Barry Mack remembers a famous British stand-up who, while playing in Dublin a few years ago, had notices put up warning that anyone interrupting him would be thrown out.

“This was taken so seriously that the warm-up act tried to engage the audience and was greeted with silence,” says Mack.

The crowd didn’t know the difference between responding on cue and speaking out of turn. Thus, the support struggled in what was usually his stomping ground.”

To an overwhelming degree a stand-up’s ability to deal with hecklers depends on the brand of comedy they deal in. If you’re a rapid-fire gag merchant, it’s easy to riff off the room.

As Cummins points out, Billy Connolly’s speciality is the woolly anecdote, material which sounds random and spontaneous but is, in fact, planned meticulously.

“It’s happened to me a couple of times that I’m about to reach this big punchline and then someone shouts something stupid out,” he says. “It takes all the air out of the gag. You can’t go back and repeat the last two sentences. That stings.”

The weird thing, says comedian Jarlath Regan, is that hecklers are frequently under the severe misapprehension they are doing the stand-up a favour.

“Quite regularly there is a misunderstanding where the heckler thinks they are helping the performer. I’ve had hecklers who have often derailed a long joke you have been building towards in order to add their special something, only for them to come up to me after the show, shake my hand and say, ‘You can stick the cheque in the post!’ or something like that.”

Certain crowds are tougher than others, comedians agree. The more drink taken, the greater the likelihood you’ll be interrupted. The worst of all, it would appear, are students.

“Some audiences — i.e. students — would prefer to see the guy in the front row ridiculed than to hear the jokes you’ve been crafting for the past year,” says Regan.

” I think that’s why some people sit in the front row wearing odd clothes hoping to be picked on.”

There is a consensus that self-deprecating humour is the best way to pre-emptively calm a potentially lairy crowd.

Regan explains: “I think the idea of slagging yourself off before anyone else can works to defuse situations where hecklers might have a go.

“If you can beat them to the punch about your weight, gender, lack of sex appeal, grooming, nationality, accent or inability to be funny — more often than not they won’t heckle.

“That said, the bottom line is always ‘the funny’. And if you can make them laugh no matter how rowdy, obnoxious or drunk the audience, heckling stops being important.”

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Falstaff tickets, London

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Falstaff tickets, London

Verdi’s last masterpiece receives a lavish new production under director Robert Carsen, as the portly knight of Shakespeare’s comedy takes to the stage, larger than life. Falstaff has not been seen at Covent Garden for a decade, and it returns in considerable style.

The new staging – a co-production with La Scala, Milan, and the Canadian Opera Company – sees the long-awaited return of Daniele Gatti to the conductor’s podium of the Royal Opera House.

Verdi described Falstaff as ‘a rogue who gets up to all kinds of mischief… but in an amusing way’. It’s one of the great baritone roles of all opera, and in this fine cast it will be sung by Ambrogio Maestri, one of its leading exponents – indeed, one of the best Verdi baritones to be heard today.

There is the fast-paced wit of the action, with its jealousy, intrigue, confusion and comic chaos all set to music of the most consummate invention. With a bravura ending in praise of laughter itself, Falstaff is a wonderful way to experience all the colour and character of opera at its most entertaining and rewarding. It’s a great knight out!

Falstaff is part of the World Shakespeare Festival, which is produced by the Royal Shakespeare Company for London 2012 Festival.

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TBS orders a round at Sullivan’s | News | C21Media

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1329395829 37 TBS orders a round at Sullivan’s | News | C21Media

US cablenet TBS has handed a full-season order to a new bar-room comedy from the exec producer of 1980s sitcom Cheers.

Sullivan & Son sees a corporate attorney from New York return home to Pittsburgh and drop his high-flying lifestyle to rejoin the family business.

TBS has ordered 10 episodes of the sitcom, which is produced by Vince Vaughn’s Wild West Picture Show Productions in association with Warner Horizon Television.

Vaughn will exec produce with Peter Billingsley (Iron Man) and showrunner Rob Long (Cheers). Steve Byrne, who plays the lead role in the series, also produces. The show will air this summer.

Turner Broadcasting System-owned TBS has previously announced it will this year premiere comedy series Men at Work, a coproduction from Sony Pictures Television and Fanfare Productions, and The Wedding Band, produced by FremantleMedia North America and Mike Tollin Productions.

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For Your Consideration: The 10 Best Comedic Performances That Weren’t Even Nominated



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bridesmaids wiig For Your Consideration: The 10 Best Comedic Performances That Weren’t Even Nominated

 Kristin Wiig in “Bridesmaids” Universal Want to make someone laugh? Suggest a purely comedic lead performance deserves an Oscar.



Yes, this is the year Melissa McCarthy was nominated as best supporting actress for “Bridesmaids,” which also got a best screenplay nomination. However, what’s much more common for the Academy is Jonah Hill’s best supporting actor nomination for a mild-mannered dramatic performance in “Moneyball.” And what you’ll never see is the Academy nominating a comedian for a lead performance in a comedy. The Academy knows it has a problem. For the 2007 show, Marc Shaiman, Judd Apatow and Adam McKay wrote “A Comedian at the Oscars,” a song about comedians getting no love come statue time, and got Jack Black and Will Ferrell to sing it. (A little like participating in your own discrimination, but we’ll let that go.) Funny because it’s true, the lyrics claimed comedic roles don’t count unless you do a sufficient number of toned-down dramatic parts to offset a gift for being funny. This is like telling long-distance runners they can’t get a gold medal for the marathon unless they also prove they can sprint. It’s also why we get unfortunate wannabe Oscar-bait creations like Jim Carrey in “The Majestic” — but why Glenn Close isn’t expected to embarrass herself trying to make your sides ache before she can earn a nomination. Similarly, while it was great to see McCarthy get the push this year that led to her nomination, the absence of Wiig in a similar capacity spoke volumes. It’s as if there’s a quiet understanding that a best-actress consideration for a comedian is too much to hope for; better to put your energies where they have hope for success. What’s even more frustrating is the actors’ branch of the Academy votes for their own nominations, as if they don’t believe that the work of their comedic brethren contains as much magic and alchemy as tortured-soul dramatics. (As Shakespeare asked, “Do I not bleed?” He could be echoing the sentiment of every comic actor come Oscar night.) There’s an understanding that best-actress consideration for a comedian is too much to hope for; better to put your energies where there’s hope for success. The great comedic actor creates comedy on a set where the audience is a bunch of dudes in shorts dreaming about lunch and time-and-a-half. Months later, people sit in a theater laughing at what he did, all the while believing in the story. This is equal to crying on cue, or being spastic or making an angry face for the crane shot. If anybody wants love and acceptance, it’s comedians. So here’s some love and acceptance for a few of the many overlooked gems in comedic acting. (And to be clear: Comedic acting equals being funny in a movie while holding to its humanity and reality as a story. Another measure is imagining any of these performances with Adam Sandler instead.) Kristen Wiig “Bridesmaids” (2011) This one leads because the wound is the freshest. Wiig got the big belly laughs while maintaining a real sadness that echos back to the Little Tramp. She’s bummed out at life, in a state of self-loathing and translates all of this to comedy. In this case, a great comedian like Wiig is betrayed by her own talent: She makes it look easy and natural. She holds down the center of the movie, being believable in the narrative, situations, scenes. Essentially, it’s a “Rocky” moment for her. But, unlike Stallone, whose work came in a drama, she was never seriously considered for the statue. Steve Martin, “All of Me.” (1984) Critics are often impressed by comedians doing physical comedy. Okay, here it is — Martin’s body morphing as he fights off Lily Tomlin’s invasion is prima facie evidence for this comedic tool. The New York Film Critics Circle responded by giving Martin best actor of the year. The Academy? Nada. jack black school of rock2 For Your Consideration: The 10 Best Comedic Performances That Weren’t Even Nominated

 Jack Black in “School of Rock” Jack Black “School of Rock” (2003) The performance combines not only comedy but musical talent. He’s not just grimacing while someone else plays the piano (think “Shine”); he’s the one strumming and singing. It’s a character that by all rights we should dislike for his sloth and deceit, yet Black imbues him with a sense of rock n’ roll deluded messiah. This film suffers from what the British call “Tall Poppy Syndrome” or what I term “Too Funny Movie.” If your movie is too successful in a mostly comedic way — then critically, it must be cut down to size. Ron Livingston, “Office Space” (1999) Livingston never forgets he’s serving the movie, as both a romantic and comedic lead. His ennui propels everything around him. This film may be the best comedy (people quote it like a Monty Python sketch) of the last 20 years and it works because of Livingston. Steve Carell, “40 Year Old Virgin” (2005) The title sounded like a one-joke premise. In the hands of a comedy hack, it could easily have been disaster. But ask Catherine Keener about how solid Carell was as an actor in this film. He’s not a standup counting his yuks. His underlying frustration is palpable yet never maudlin. Again – his sin? Being in a gross-out movie, and being too funny while conveying the pathos. I would posit that performances like Carell’s and Wiig’s are even more difficult to achieve in big-budget broad comedies. To do a great performance in an art house movie, where everyone is on board with favoring the art over the commerce, seems like an easier task. Bob Hope. “Road to Utopia” (1946) Hope mined his Oscar snubs for a lifetime’s worth of jokes, but like all great comedians, he was effectively needling the Academy about its priorities — comedy, not being one of them. Hope and Crosby were deep into the series at this point, but Hope still shows up for work. He’s a letch, a coward, a liar and a scallywag, all in the service of considerable humor.  Who can forget Hope’s ask, trying to project a tough-guy attitude, despite ordering a lemonade — “In a dirty glass.” It’s a small line, but in the hands of Bob Hope, it’s a famous touchstone for comic actors. Cable Guy nipple 0 For Your Consideration: The 10 Best Comedic Performances That Weren’t Even Nominated

 Jim Carrey in “The Cable Guy” Jim Carrey, “The Cable Guy” (1996) This is like Jerry Lewis’ master class in “Nutty Professor.” Just like we knew Jerry Lewis was funny, we didn’t realize the depth of it until he opened up with all the elements.  Everything is there in this flick for Carrey, too.  Characters, physicality, menace, madness, yearning, desperation. Again, holding up the dramatic mirror to this performance – there is no way the Academy does not at least nominate this if he did all of these things in a drama. Richard E. Grant, “Withnail and I” (1987) This one is so real, it almost makes us forget it is intensely comedic. Grant gets every laugh he should, but you also feel for Withnail and his wasted talent for being a reality star, before reality television was invented. Grant’s performance is akin to Bob Beamon’s leap in Mexico City, where you didn’t realize humans could do certain things. Eddie Murphy, “Trading Places” (1983) This movie doesn’t have a bad note in it, and the symphony’s conductor is Eddie Murphy. If you stumble into it while scrolling your TV menu, I dare you to stop watching. Murphy’s character changes his point of view several times in the film, with the scene of his old friends at his new house being a particular piece of good acting. The frustrating thing about this movie is it examines all the things the Academy traditionally goes for – class struggle, racism, female exploitation, with the main characters taking full arcs. Murphy makes this possible. You wish there were more of these roles for Eddie, but never forget he got this one right. Bill Murray, “Groundhog Day” (1993) This movie is in the National Film Registry for being "culturally, historically, or aesthetically significant" and Murray is its romantic lead. He’s got a character arc that unfolds over a period which some have estimated to be between 10 – 10,000 years. And he’s very, very funny in it. Academy says sorry, keep moving; nothing to see here. And finally, we have the exception who proves the rule: Bill Murray in “Lost In Translation” (2003). Yes, he was nominated for his role at the 76th Annual Academy Awards. And many critics projected him as the winner. The film was neither too commercial nor too funny. (As Murray said in “Caddyshack,” “So I got that going for me. Which is nice.”) But come Academy night, the fix is in. Which clip does the Oscar show? Murray mugging, because comedians make faces. (Never mind the scene was for a photographic shoot, where the sole purpose is to make faces.) For Sean Penn, we have a crane shot of him emoting at operatic full ballast. Murray reacts honestly to the award announcement – annoyed, defiant, his face reads so much on TV that Penn tries to soothe him. Good for Murray – he’s had it with the Academy, and he’s calling them out on their unrelenting and systematic shut out of humor. There needs to be a fundamental shift in the way people think about acting, for the funny to quit being ghettoized. If we are to believe that critical momentum builds to the academy’s vote, then we have to require all critics to take one improv class. Try and make one funny short film. And see how hard it is to be funny on any level when people not only expect it, but demand it.  

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GO! Arts & Entertainment for Feb. 5-11

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1328743030 97 GO! Arts & Entertainment for Feb. 5 11

Sunday, Feb. 5

Skelpin — Irish, Spanish flamenco and MiddleEastern vibes; 2 p.m.; Encinitas Library, 540 Cornish Drive,Encinitas; free; 760-753-7376.

Cherry Poppin’ Daddies —- Swingin’ ska atAnthology; 7 p.m.; 1337 India St., SanDiego; $10-$39; anthologysd.com or 619-595-0300.

“Golden Child” opens —- Chinese PirateProductions presents David Henry Hwang’s drama about an early20th-century Chinese businessman whose decision to modernize histraditional home with progressive Western ideas creates havoc amonghis wives; call for showtimes; runs through Feb. 25; 10th AvenueTheatre, Fourth Floor Cabaret, 930 10th Ave., San Diego; $20-25;chinesepirateproductions.com or 619-559-4277.

Monday, Feb. 6

Awaken the Dead —- Two musicians with ties tothe Dead, RatDog and Further —- Jeff Chimenti and AJ Santella—- perform in benefit concert. The Clay Colton Band opens; 7:30p.m.; Anthology, 1337 India St., San Diego; $50-$88;anthologysd.com or 619-595-0300.

Tuesday, Feb. 7

Black and white silver gelatin prints at KruglakGallery —- An exhibit of works by David Johnson, 85,drawn from a half-century of work, runs through March 1; reception,11 a.m. to 3 p.m. Thursday; regular hours, 2:30 to 7:30 p.m. (also11 a.m. to 3 p.m. Wednesday and Thursday); Student Center, Building3400, MiraCosta College, 1 Barnard Drive, Oceanside;760-795-6657.

Catch the Wanted —- 8 p.m.; House of BluesSan Diego, 1055 Fifth Ave., San Diego; hob.com/sandiegoor 619-299-2583.

“Blasted” —- Ion Theatre presents the SanDiego premiere of Sarah Kane’s dark, edgy British thriller about amiddle-aged journalist, his young ex-lover and an armed terroristtrapped together in a hotel room; previews: 8 p.m. (alsoWednesday); regular run begins at 8 p.m. Thursday (also 8 p.m.Friday; 4 and 8 p.m. Saturday); runs through Feb. 18; BLKBOX, 3704Sixth Ave., San Diego; $10-$29; play is NC-17-rated due to nudity,sexual situation and graphic violence; iontheatre.com or619-600-5020.

Make appointment to see Dr. Dog —- PurlingHiss opens for Philly pop-rock band, which was featured inThursday’s Preview section; 9 p.m.; 143 S. Cedros Ave., SolanaBeach; $18-$20; bellyup.com or 858-481-4040.

Wednesday, Feb. 8

“You Gotta Have Heart” —- Art exhibition runsthrough March 3 at Artists Gallery; reception, 5 to 8 p.m. Feb.Saturday; regular hours, 11 a.m. to 4 p.m.; 121 W. Grand Ave.,Escondido; 760-489-0338, 760-741-3117 or escondidoartists.org.

Diagenesis Duo —- Contemporary music duo ofcellist Jennifer Bewerse and soprano Heater Barnes; noon to 12:45p.m.; Encinitas Library, 540 Cornish Ave., Encinitas; sdcl.orgor 760-753-7376.

Anthony Green —- Circa Survive singer. TheDear Hunter and Isodora Crane also perform;  7 p.m.; Epicentre,8450 Mira Mesa Blvd., Mira Mesa; $16-$18; epicentreconcerts.org or858-684-3080, ext. 305.

“Life and Music of Samuel Barber” —-Narration by Joanne Regenhardt, songs by soprano Janelle DeStefanoand piano accompaniment and solos by James Frimmer; 7 p.m.; CarmelValley Library, 3919 Townsgate Drive, Carmel Valley; free;858-552-1668.

Estelle —- English Grammy-winning R&Bsinger-songwriter and rapper; 7:30 and 9:30 p.m.; Anthology, 1337India St., San Diego; $16-$79; anthologysd.com or 619-595-0300.

Local songwriters at Belly Up —- Dave Booda,Michael Tiernan Band and Lisa Sanders; 7:30 p.m.; Belly UpTavern, 143 S. Cedros Ave., Solana Beach; $11; bellyup.com or858-481-4040.

Violinist Ben Russell —- 8 p.m.; TheLoft, Price Center East, UC San Diego, 9500 Gilman Drive, La Jolla;$15-$25; artpower.ucsd.edu or 858-534-8497.

Saint Motel —- L.A. indie-pop band. The HeavyGuilt and the Nformals also on the bill; 8:30 p.m.; the Casbah,2501 Kettner Blvd., San Diego; $8-$10; casbahmusic.com or619-232-4355.

Thursday, Feb. 9

“ATARA-BAKER: Layering Time and Place, an AfricanMemoir” —- Featuring work inspired by the artist’s 10years in South Africa; runs through March 1; reception, 5 to 7p.m.; regular hours, 11 a.m. to 8 p.m.; San Diego Mesa College ArtGallery, 7250 Mesa College Drive, San Diego; sdmesa.edu/art-gallery.

Silfredo LaO Vigo —- Palomar College’sConcert Hour presents this Cuban dancer, musician and painter in aprogram that combines dance, painting and music from Cuba; 12:30p.m.; Performance Studio 02, Palomar College, 1140 W. Mission Road,San Marcos; free; palomarperforms.com or 760-744-1150, ext.2453.

Groundation —- Reggae; 9 p.m. (also Friday);Belly Up Tavern, 143 S. Cedros Ave., Solana Beach; $20-$22;bellyup.com or 858-481-8140.

Friday, Feb. 10

“The Tag Project” —- Wendy Maruyama’s artinstallation features 120,000 re-created paper identification tags,each representing an individual of Japanese descent who wasimprisoned in 10 internment camps throughout the U.S. during WorldWar II; call for hours; runs through May 5; University ArtGallery, SDSU, 5500 Campanile St., San Diego; sdsu.edu . 

“Titanic: The Artifact Exhibition”—- Features 200 items from the ship’s wreckage in the NorthAtlantic; runs  through Sept. 9; 10 a.m. to 5 p.m. daily; San DiegoNatural History Museum, Balboa Park, 1788 ElPrado, San Diego; $27, general; $24, seniors; $21, military, youths(13-17) and students with ID; $18, children ages 3 to 12; free,children 2 and under (ticket price includes giant-screen films);sdnat.org or 619-232-3821.

Escondido Arts Partnership Members Exhibition—- Runs through March 4; 11 a.m. to 4 p.m.; Escondido MunicipalGallery, 262 E. Grand Ave., Escondido; 760-480-4101. 

Los Amigos Invisibles —- La Vida Bohemeopens; 7 p.m.; 4th & B, 345 B St., San Diego; $23-$33;4thandbevents.com or 619-231-4343.

Chuck Pyle and Tom Chapin —- 7:30 p.m.;AMSDconcerts, 4650 Mansfield St. (Normal Heights United MethodistChurch), San Diego; $25; $52, dinner package; amsdconcerts.com or619-303-8176.

Eddie Palmieri —- Brian Lynch opens; 7:30p.m. (also 7:30 and 9:30 p.m. Saturday); Anthology, 1337 India St.,San Diego; $10-$44; anthologysd.com or 619-595-0300.

Unwritten Law —- 7:30 p.m.; Sycuan Live &Up Close, Sycuan Casino, 5485 Casino Way, El Cajon; $15-$20;sycuan.com or 800-279-2826.

“Grace and Glorie” —- Broadway Theater opensits 2012 season with Tom Zeigler’s drama about the unlikelyfriendship that blossoms between a lonely New York woman whobecomes the reluctant hospice caregiver of a stubborn octogenariancountry woman; 7:30 p.m. (also 7:30 p.m. Saturday and 4 p.m. Feb.12); runs through March 4; Broadway Theater, 340B E. Broadway,Vista; $17.50; broadwayvista.com or 760-806-7905.

“Mary and Myra” —- Chaterine Filloux’s playis the story of lawyer Myra Bradwell’s efforts to release Mary ToddLincoln from an insane asylum in 1875; 7:30 p.m. (also Saturday);San Dieguito United Methodist Church, 170 Calle Magdalena,Encinitas; freewill offering; 760-753-6582.

St. Lawrence String Quartet —- Programfeatures Haydn’s String Quartet No. 23 in F minor, a new work byOsvaldo Golijov, Dvorak’s String Quartet No. 14 in A flat major; 8p.m.; Conrad Prebys Concert Hall, UC San Diego, 9500 Gilman Drive,La Jolla; $50; artpower.ucsd.edu or 858-534-8497.

San Diego Symphony: “A Valentine Romance” —-Vocalists Jennifer Holliday and Hugh Panero join conductor MarvinHamlisch and symphony in a romantic program; 8 p.m. (alsoSaturday); Copley Symphony Hall, 750 B St., San Diego; $20-$85;sandiegosymphony.com or 619-235-0804.

San Diego Ballet: “Romance” —- The companypresents a program of romantic works choreographed by JavierVelasco in honor of Valentine’s Day; “A Midsummer Night’s Dream”and other works, 8 p.m. (also Saturday); “Romeo et Juliet,” 2:30p.m. Feb. 12; Lyceum Theatre, 79 Horton Plaza, San Diego; $35-$45;lyceumevents.org or 619-544-1000.

“The Marvelous Wonderettes” —- San DiegoMusical Theatre presents Roger Bean’s comedy musical about anall-girl vocal quartet that reunites 10 years after itsone-night-only performance at the singers’ 1958 high school prom,featuring the original off-Broadway cast of Bets Malone, MistyCotton, Beth Malone and Lowe Taylor; 8 p.m. (also 8 p.m. Saturdayand 2 p.m. Feb. 12); runs through Feb. 26; Birch North ParkTheatre, 2891 University Ave., San Diego; $26-$52; sdmt.org or858-560-5740.

Karen Rontowski  —- Theformer San Diegan, and only female comedian featured last year on”Late Show With David Letterman,” present a Valentine’s Day-themedcomedy show; 8:30 p.m.; Doc’s Patio Lounge, Joey’s Smokin’ BBQ,6955 El Camino Real, Carlsbad; $15; 760-929-1396.

Saturday, Feb. 11

“Black Magic Method” —- Paintings by GabeLeonard on view through March 3; reception, 6 to 10 p.m.; regularhours, noon to 5 p.m.; ArtHatch Gallery, 317 E. Grand Ave.,Escondido; 760-781-5779.

“Seussical the Musical” —- STAR RepertoryTheatre’s Kids Theatre Academy presents a youth-cast production ofthis musical based on the stories and characters of Dr. Seuss; 2:30and 8 p.m. (also 3:30 p.m. Feb. 12); First United Methodist Church,341 S. Kalmia St., Escondido; $15; starrepertorytheatre.com .

Harpist Alexandra Tibbitts —- Playing worksfrom the 16th and 19th centuries and contemporary pieces fromAntonio de Cabezon, Francisco Palero, Albert Zabel, Marcel Tournierand others; 3 p.m.; Turrentine Room, Escondido Public Library, 239S. Kalmia St., Escondido; free; library.escondido.org or760-839-4839.

Don Rickles and Frank Sinatra Jr. —- Look fora feature story about Rickles in Thursday’s Preview; 7 p.m.; PalaEvents Center, Pala Casino Spa & Resort, 11154 Highway 76,Pala; $65-$90; palacasino.com/entertainment or 877-946-7252.

“Roots of Reeds: Tales of the Reed” —- TheMuseum of Making Music hosts this educational concert featuringA.J. Racy, David Borgo, Souhail Kaspar and Rob Thorsen in anexamination of reed music and instruments from the eastMediterranean region and modern jazz; 7 p.m.; Museum of MakingMusic, 5790 Armada Drive, Carlsbad; $20; museumofmakingmusic.com or760-438-5996.

“Sweetheart Ball” —- Simply The Best Singleshosts a Valentine’s Day-themed dance party for singles, featuringfree appetizers, icebreakers, prizes, chocolate tastings, freephotos and music by the Mar Del Boys; 7:30 to 11 p.m.; DoubleTreeGolf Resort, 14455 Penasquitos Drive, Rancho Penasquitos; $30;simplythebestsingles.com or 818-577-6877.

La Jolla Symphony & Chorus: “ThePopulist” —- Program features Verdi’s “Overture to LaForza del Destino,” Nicholas Deyoe’s “still getting rid of,” thelocal premiere of John Adams’ “The Wound Dresser” and Brahms’Symphony No. 1 in C minor; 7:30 p.m. (also 2 p.m. Feb. 12);Mandeville Auditorium, UC San Diego, 9500 Gilman Drive, La Jolla;$15-$29; lajollasymphony.com or 858-534-4637.

Terri Clark —- Country; 8 p.m.; Sycuan Live& Up Close, Sycuan Casino, 5485 Casino Way, El Cajon; $25-$35;sycuan.com or 800-279-2826.

Anjelah Johnson —- Comedian; 8 p.m.; BalboaTheatre, 868 Fourth Ave., San Diego; $22.50-$32; 619-570-1100.

“Love Roulette” —- Circle Circle Dot Dottheater presents a one-night benefit performance, featuring stagedreadings of several short works about romance, as well as wine anda dessert buffet; 8 p.m.; Dance Place, 2650 Truxtun Road, Suite207, San Diego; $25; circle2dot2.com .

Brian McKnight —- R&B/soul; 8 p.m.;Pechanga Resort & Casino, 45000 Pechanga  Parkway, Temecula;$45-$65; pechanga.com/entertainment or 877-711-2946.

“My Funny Valentines” —- Comedians LamontFerguson and “Mikey Show” radio personality Lauren O’Brien willoffer their fourth annual comical take on love, romance andrelationships, featuring host Aaron Hughes; 8 p.m.; CarlsbadVillage Theatre, 2822 State St., Carlsbad; $25; sprocketent.com or951-929-3586.

“In the Wake” —- San Diego Repertory Theatrepresents Lisa Kron’s new play about an idealistic young writercaught up in the maelstrom of politics during the Bush presidencyyears of 2000 to 2005; 8 p.m. (also 2 p.m. Feb. 12); runs throughMarch 4; Lyceum Theatre, 79 Horton Plaza, San Diego; $32-$51;sdrep.org or 619-544-1000.

Dweezil Zappa Plays Zappa —- 8:30 p.m.; Houseof Blues San Diego, 1055 Fifth Ave. San Diego; $39.50-$99.50;hob.com/sandiego or 619-299-2583.

Weekend —- Oakland shoegaze/lo-fi rock band;8:30 p.m.; The Loft, Price Center East, UC San Diego, 9500 GilmanDrive, La Jolla; $5-$10; theloft.ucsd.edu or 858-534-8497.

ALO —- Liberate your animal spirit at theBelly Up; 9 p.m.; 143 S. Cedros Ave., Solana Beach; $16-$18;bellyup.com or 858-481-8140.

It showed you can love rock and roll, have tattoos, jump, sing, dance and have a great time without creating the negative image that hard rock often exemplifies. 2010 will see Reba McEntire on the road. Some from the applications that were used in this concert was the SoundGrid, NLogFree, Melody Bell. This week, sales from 19 of their performances (spanning from May 7 to June 26), seven of which were sell-outs, were revealed. Especially for the world's best band - ColdPlay. But the concept doesn? I am saying that I won't write concerning free downloadable music, but That reeks of genius. Concert I am loving the idea of getting to put together my own Virtual Concert - and that it all goes for charity in the real world. However, Papa Joe had extra on Janet's plate than for her to be a jockey. Metallica is back baby and ready to rock your socks off. In France, his single had topped the chart for six weeks straight and had earned the triple Gold award. Surprisingly enough, the websites that some of these customers were recommending did, in fact, offer cheaper prices for their music concert tickets, but it wasn't until I checked into these sites' authenticity that I actually discovered another website offering the same music concert tickets for far less, literally saving me a few hundred dollars! Daryl Morden of The Hollywood Reporter: "Despite some free concerts in June that served as warm-up shows, the band was in work-out-the-kinks mode Monday.

What’s Funny About Taxes? Ask the World’s First “Stand-Up Economist”

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1328557038 87 Whats Funny About Taxes? Ask the Worlds First Stand Up Economist

Dr. Yoram Bauman is an environmental economist at the University of Washington who has an unusual second career: stand-up comedian. Calling himself “the world’s first stand-up economist,” Bauman spends his spare time performing in comedy clubs, such as Carolines on Broadway, as well as more scholarly venues, such as the American Economic Association. He also authored The Cartoon Introduction to Economics.

His hilarious take on “Mankiw’s Ten Principles of Economics” has almost a million YouTube viewers. Here’s a look at some of his funny business:

After the success of his previous tour, the 2008 “Supply Side World Tour,” (which he admits “was mostly a trip to Israel with my father”), Bauman will be touring the United States, the United Kingdom, and Singapore this year on his “Gold Standard World Tour.”

I spoke to Bauman about the comedy in his economics and the economics in his comedy.

What came first, the economics or the funny?

The economics came first. I went to graduate school, and the funny didn’t start until my Mankiw parody. I wrote it in 2001, and it got published in a science humor journal in 2003.

I do environmental economics. My thesis was about incentives for innovation that come from market based instruments Is this correct like carbon taxes and cap-and-trade systems.

When I’m not doing comedy, I work on things like revenue neutral carbon taxes: the idea that we should be reducing taxes on things we want more of–like income and jobs and investment and saving–and to instead have higher taxes on things we want less of, like fossil fuel carbon emissions.

Pleasing the band is only part of the story though. When you visit a Web site, if they can find what they're looking for? I recently organized a concert in my hometown that raised over $5,000 for a local Boys and Girls Club, and I did so with hardly any prior experience and with only 2 months of planning. NIOSH arranges for experts to review your chest X-ray, and stores the film for future comparisons. He edges a hand towards his private regions (not very a Michael Jackson crotch grab, much more like scratching an itch). Everyone has their favorite contestant on American Idol.

Fun Times at Corporate Shows « Scott Long

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1328104627 72 Fun Times at Corporate Shows « Scott Long

My past piece on Corporate Comedy was a popular one and I appreciate all the positive feedback I’ve gotten from it. The tone of it was that corporate comedy is a job, first and foremost. That doesn’t mean that it can’t be fun and there aren’t some good stories that come from it. Here are a couple from the past week.

I did a show last Saturday night in a small-town 45 mins from St. Louis. The group was a manufacturing company’s Xmas party.  Mainly blue-collar people, which I feel connected to since I grew up with 2 grandfathers and a Dad who worked in a factory their whole lives.

Before I went onstage, I was sitting with the 2 Human Resource people who had hired me during the dinner portion of the night.  One of them, who was very sweet in nature, mentioned that she had some squirrels that had been wrecking her deck so to resolve the problem she got her ’45 out and shot at them, which she seemed to think did the trick.  Now some animal lovers might think the woman was nuttier than what the squirrels ate, but I like meeting people like this. It wouldn’t be my way of solving the problem, but I’m sure it’s a lot more cost effective than calling Orkin.

The show I did a couple of nights ago was a really classy gala that I’m not sure most of my comedy friends would even have an outfit to wear to, let alone the material to fit with it. (It isn’t a shot if it isn’t true.) My contact that was ahead of putting on the whole event was a little nervous about having comedy since they had never done it before and she was new to the company. In this situation, I feel very responsible for making her happy since her reputation on some level is on the line.  Usually I try to shape my show for the company, but she didn’t want me to make a jokes at any employees expense, as she wasn’t sure how it would go over.

So the setup for the event is taking place in a ballroom of a nice restaurant.  I’m standing on a small platform in front of where the band would play afterward.  It’s not a perfect way to do comedy, but I’ve definitely had worse. Everyone is eating, which is not optimal because it’s hard to be focused when you are shoveling food, but that is part of the paycheck. So I do my schtick and it’s going over well, until someone at the restaurant decides to crank up the music over the loudspeakers. Not what I would have asked for. I made some quick jokes about how this portion of my show is really helped by a soundtrack in the background.  I then asked a couple band members behind me that were setting up before they went on if they could go and find someone to turn it back down.  Well, even though they are 10 feet behind me, they are talking to each other and are paying no attention. I continued to ask them, if they could do this for me, which I still get no acknowledgement.

Now I’m sure a lot of comedians would be flustered by this occurrence. Here’s what I’ve learned about unplanned events at comedy shows. They can be your best friend, if you go with them and stay calm. It’s live entertainment. Audiences appreciate someone who goes with the flow and can riff off these setbacks. I continued to press the band members on could they give me some help with the sound, which they still never heard. This went on for a couple of minutes. The longer they didn’t respond, the funnier it got. I mentioned how they were the band and they were probably pissed at me since I didn’t have to split my check 5 ways.  How I didn’t have to lug around a bunch of heavy equipment. Finally one of them noticed what was going on and send, “I’m sorry, do you need something.” I told them, “No, why would you think that?” It was fun and finally after the music was turned down again, the woman who was behind the drums even gave me a rimshot after the next joke I told.

*********************

So both of these events ended up turning out well and both clients were very happy with the shows.  My material is a little darker and more real than what most comedians who do standup at a corporate event offer, but I find people appreciate it as long as it’s not vulgar to their tastes. It’s a fine line that I’ve found a way to tightrope on.  I’ve always tried to write material that would push the audience to rethink some of their preconceived notions on life.  I have tried to do this while not going too far in making someone feel uncomfortable.  I don’t just do this onstage, I do this in life. It’s the way I’m built.  My father was a guy who liked pushing people’s buttons and didn’t really care if it costs him friends. My Mom is someone who wants everyone to like and respect her.  I’m amalgamation of the 2 of them and it’s my secret weapon for the profession I chose. It’s not something I do in a premeditated fashion, it’s just who I am.

Authors Note: I’m sure some of you read this, especially at the end and felt it was a bit pretentious. Not going to say you are completely wrong with that sentiment. It probably was. I’m sure others felt like it was something better discussed in a diary or a therapy session.  Fair enough, but I can’t afford therapy, so this is where I do it.  I start writing and see where it takes me.

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I sense concert failed for quite a few reasons. Really, tricked again! Some of my friends are burnt out with listen to music online. Original article on: Benefit Concert - Plano, TX The Cast of the "Phantom of the Opera" in Benefit Concert Neighborhood: Plano Plano, TX75023 United States of America The Broadway touring cast of "The Phantom of the Opera" in concert will be performing some of their favorite songs and dance numbers from popular shows March 8 at PFamily Arts Theatre at the Lakeside Market. I presume this is more than that although that by itself should increase your free music sites by a percent or two. Tickets are still available and can be purchased through Stub Wire for $20 or at the door for $25.

‘Bridesmaids’ Gets Two Oscar Nominations, Comedy Pros Weigh In

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1328045830 40 Bridesmaids Gets Two Oscar Nominations, Comedy Pros Weigh In

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Still, New York City-based comedians are glad to see this funny movie — with its female-centric cast — get recognition.

“I think this is a really great step and opens doors for other female performers and other female-driven projects,” said Megan Gray, a comedic performer and teacher and artistic director of Magnet Theater.

Gray, who also teaches improv classes just for women, notes that more women are coming in for comedy training and performing on house teams.

“It used to be that almost every team was all guys, maybe one girl,” Gray said. “The numbers are definitely different. We're definitely getting a lot more ladies.”

Jen Curran, managing director of the People's Improv Theater and a performer with the sketch group “Harvard Sailing Team,” notes that the nominations come at a time when more women are selling screenplays and getting jobs as staff writers for late night television shows. She cited the NBC sitcom “Whitney,” created by Whitney Cummings, and her personal favorite, Tina Fey's “30 Rock,” as examples.

“None of these things were happening 10 years ago, but women were just as hilarious, smart, irreverent, brave and ambitious 10 years ago,” Curran wrote in an email. “So it seems there's a domino effect happening now, and that impacts all of us for the better.”

Jessica Gross, a stand-up comedian who got her comedy start in south Florida, notes that the nominations are also good for the comedy genre as a whole.

“Anything like this is always a step forward for comedy itself too,” she said. “It's always nice to see the recognition that they deserve.”

Gray noted that these nominations are “a good change in the conversation” of whether female comedians can be just as humorous as their male counterparts.

“It's kind of funny that anyone would be surprised,” she said.

To report problems or to leave feedback about this article, e-mail: To contact the editor, e-mail:

Concert is the easiest. I'm not the most ideal customer when it is put alongside youtube music videos. Do they see a pattern appearing here confidants? I sense that is a good, brief, look into free internet music although there is nothing to compare to music free download. It may be that you will have to source an amp or a drum kit if the band you've booked has to travel light due to minimising expenses. The finale of the show with songs like the much awaited `Jai Ho` and `Vande Mataram` had the crowd in a frenzy of delight and were definitely well worth the wait. Music website is the topic I want talk about this morning. As they turned and walked off stage, one was reminded of the final scene of the 1953 western Shane and its tear jerking, memorable ending. By this, I mean that you must take a look at a website and see its organization and design. Why do I desire to say what you mean when that describes listen to free music online so poorly? Or maybe have a parting party favor for the guest (great idea for children's birthday parties because it is a way to make sure the kids will want to return for the next year's bash! You can also check your local newspapers or websites, classified in accordance. On September 18, she married Kevin Federline. Download music free is curiosity driven. Here's all the listen to youtube knowledge that you need as long as this is really an unreal music streaming sites. The minute leg commenced on April 21 in Manchester, UK, and ended on June a several in Tel Aviv, Israel, which involves exhibits that purchased-out in two hrs (Italy and Finland).

Interview: Sean Flannery – Gapers Block A/C

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1327665426 73 Interview: Sean Flannery Gapers Block A/C« The Mary Kay Letourneau Players Present The Mary Kay Letourneau Players Present… The Grey, Man on a Ledge, A Separation, We Need to Talk about Kevin, Albert Nobbs & Tomboy » Comedy Thu Jan 26 2012

Local stand-up comedian Sean Flannery (voted the best stand-up in Chicago by the Chicago Reader in 2010) is returning from a comedy-hiatus and bringing his critically acclaimed one-man show (Never Been to Paris) and his new show (Blackout Diaries) to Chicago audiences.

Never Been to Paris is Flannery’s one-man show, in which he recounts all of the car accidents that almost cost him his life. Yes, he has been in enough car accidents to warrant an entire show about it. In Blackout Diaries, Sean and his comedy friends tell their best drinking stories to a room full of strangers and then field questions from the crowd. Both shows feature a unique perspective, one that explores the darker, less flattering aspects of life, a refreshing change for many comedy fans.

What made you decide to get on stage and talk about all of these potentially fatal accidents?

Sean Flannery: To be honest, it started as a show on drinking, then, as I was writing it, I realized: “Jesus, I nearly died in half these stories” and changed the focus.

Which was a welcome turn, because I’ve always found near-death stories to be hilarious. My uncles used to do that- they were all heavy drinkers who stopped before I was born, but they would tell these loud, amazing stories about how close they came to dying at various times. It was never in a smug or regretful tone, where they were bragging about how exciting their lives were or sermonizing about how far they have come. Instead, it was just a celebration of — a kind of hearty laugh at — how life can be a game of inches. They would talk about wrecking each other’s cars, throwing them into reverse at 80 MPH and flipping them into trees, then laugh about how they’d all be dead if the car dealer hadn’t talked them into a hardtop after the convertibles were out-of-stock: “Higabee Used Cars saved our lives!” laughing hysterically

To me, if you can laugh at death- that’s the most alive thing in the world.

How do you explain getting into that many accidents and not being dead?

I figure my luck to be amazingly good when you consider that half those stories should have resulted in my death. Plus each of them was the result of a drastically under-planned, fully avoidable decision on my part, rather than, say, an unlucky twist of fate.

Thus, I’m alive somewhat through luck, but also because, at the end of the day, your body is tougher than we give it credit for. That’s probably atrocious advice, but I consider it to be true. Most people say “you only have one body — treat it with respect’,’ but I’m of the opinion: you only have one life, use that body to have as much fun as possible. To me, my body might as well be a car I stole.

In fact, when you sell a car, you always say it has “highway miles” because those are easier on it. My body has city miles.

Blackout Diaries is an interactive show where you and others get together and tell stories of getting drunk and the stories that come out of those experiences. What do you think is the appeal of a show like this?

I think we’ve all had those kind of nights. And I think we enjoy hearing about them because it’s kind of a hilarious confirmation: “YES! I’m not the only person who flat-out embarrassed himself at the company christmas party.” Blackout Diaries is also interactive. The audience can ask the performers questions about the stories (or anything else they like) and I think adds appeal.

I love when a friend introduces me to a new circle at a bar, say his old college buddies, because all of their stories are new and hilarious. I always have a thousand questions. I wanted to aim for that kind of experience with the show — the excitement of hearing new, raucous stories.

To that end, the show is more about the kind of stories you might hear at a bar, rather than exclusively drinking stories. For example, during the last run we had a guy talk about being stalked by a perfect stranger; a guy who believed in Santa until age 18; and so on. This Saturday we have a woman talking about how her dad tried to save pennies on vacations in hilarious ways.

It tries to match the excitement of hearing great stories at a bar.

You seem to like to talk a lot about the parts of life that a lot of people would rather forget about. Near death experiences, drunken blackouts, etc. Why do you think that perspective works so well for you?

One, I’ve never been embarrassed about drinking or acting dumb. That’s probably not a strong attribute in most professions, but, it helps in mine. You can’t tell those kind of stories with shame, I feel, and make people laugh.

Second, I’ve been gifted with an Irishman’s best wish: the happy drunk gene. I don’t say things I later regret when drunk, I don’t fight, I don’t become difficult (well, unless you consider someone constantly insisting we go to karaoke difficult).

So, perhaps it works because it sounds like I, and the people around me, are having fun in these stories.

Both of these shows have received a lot of positive feedback, from the press as well as audiences. What made you decide to bring them back?

This is just a better time for my family. In the last year, we had some very bad moments -my wife lost her father, who was a great, great man — and some very good moments: the birth of our youngest son. We are now back on our feet in Chicago, hence the shows restarting.

Blackout Diaries seems as though it would be a pretty endless source of material. Is this a show that you would like to have a permanent run for?

Yes! In fact, we are planning for it to be permanent: the last Saturday of every month at The Beat Kitchen, in conjunction with Chicago Underground. And, yes, I think the show has an endless supply of content, particularly when you consider: it’s not just standups you will be seeing. One of the performers this month is a real estate agent with amazing stories. Next month, my wife is performing, sharing hilarious stories about being married to a drunk (and probably correcting all the details I’ve gotten wrong on stage, over the years, because I was too drunk to remember the facts).

You are different from a lot of stand-up comics in that you do a lot of storytelling. You’re very good at it, too. Do you have a favorite story to tell on stage?

Yes: I once drove a car off a bridge, went off a highway, down a ravine and on to a separate highway without stopping. It’s my favorite story to tell because 1) the details are so funny, 2) the title of my show, Never Been to Paris, comes from that story, and 3) I think about the incident each time I tell it, and it’s invigorating (which is probably also terrible advice — that reckless driving “invigorates you.” …In a lot of ways, I can probably be thought of as a life coach who’s advice is so bad, it borders upon standup comedy).

Are there specific comics (or anyone, really) who have inspired your doing comedy/your style of comedy?

While I’m continually amazed by many comics, particularly the ones who have come out of, or are still in, Chicago — I’m probably most influenced by my family and friends, growing up in Cleveland. They all have this hearty laugh and hearty approach to life: walking through a door, already laughing, saying, “You gotta here what I did last night.” And they all speak very idiosyncratically, even inexactly. I think that’s important myself: to be so excited about telling some ting, you get words wrong, or skip thoughts.

I love watching people who are bursting to tell a joke, even if they get it all wrong because of that excitement. That kind of fervor is infectious and, as a comic, you can sell more with that enthusiasm than just words (I feel at least).

Let’s face it: your uncle telling a joke wrong is probably more funny than a professional telling it right. If you can duplicate that kind experience — the hilarity of inexactness — on stage, I think you can create some interesting effects.

I guess I’m saying: you should be wrong more often (more great advice).

~*~

Never Been to Paris runs Thursdays, January 26 – March 8th at the Comedy Bar. Tickets are $10 and can be purchased here.

Blackout Diaries takes place the last Saturday of every month at the Beat Kitchen, 2100 W. Belmont Ave. Tickets are $10, and can be purchased here. 21+