Category Archives: The Funny

Baseball, The Funny

Get Metsmerized! with Tom Scharpling and Patton Oswalt

metsmerized.jpgAfter yesterday’s screed about the sorry state of the Mets and their desire to kill their idols, I thought some levity was in order. So please enjoy this clip from The Best Show on WFMU from August 18, 2009, in which host Tom Scharpling and famous comedienne Patton Oswalt listen to and riff on the only thing worse than the current Walter Reed ‘controversy’: “Get Metsmerized!”

“Get Metsmerized!” was the brainchild of George Foster, the Mets’ first big free agent signing (and first big free agent bust). Like many of his teammates, eve before the 1986 season began, he figured the team would have a great year. (Even as a Mets fan, I’d say Tom’s description of the ’86 Mets as “sociopaths who could hit baseballs” is pretty accurate.) So what better way to capitalize on a great year than a hastily produced rap song? The Chicago Bears had such a big hit with the “Super Bowl Shuffle” the year before, so surely this would be a big hit, too!

It was not, for the eight billion reasons you’ll hear in this clip. Hip-hop was still in its relative infancy, and in most people’s minds, rap was something that anyone could just do. “It’s just talkin over music! A kid could do that!” Foster and his chosen teammates (Darryl Strawberry, Doc Gooden, Lenny Dykstra, Rafael Santana, Howard Johnson, Kevin Mitchell, Rick Aguilera, and Tim Teufel (!)) proved this wrong once and for all.

As Patton points out, “They even yell off-key.” He also notes that roping poor Santana–who could barely speak English, let along rap–into this mess borders on “a hate crime,” and it’s hard to argue otherwise. Run DMC, this is not.

In an effort to make up for “Get Metsmerized,” later in the 1986 season, the entire team collaborated on a song/video (“Let’s Go Mets!”) that actually wound up being a local hit. While it is also cheesy and 80s-rific, it sounds like “Good Vibrations” compared to this atrocity.

Many, many thanks to @arfortiyef for supplying the clip you’re about to enjoy. You guys should probably follow him on the Twitter and read his site, too.

The Funny, Tuneage, Videocracy

“Bottled in Cork” Video = A Fount of Awesome

I’ve already tweeted about this, and Facebooked it, and mouth-talked it. But on the off chance you have yet to see this masterpiece, here ’tis: the video for Ted Leo’s “Bottled in Cork”, directed by Tom Scharpling, starring Paul F. Tompkins, Julie Klausner, John Hodgman, and a slew of other awesome folk, as they bring Ted to the Great White Way in his musical The Brutalist Bricks! (No Refunds).

Sharp-eyed WFMU-ophiles may spot Terre T, AP Mike, Therese, and some other righteous people. Fortunately for your eyes, you can not see me.

Ya see, I volunteered to be in the crowd scene (brag), but the shoot time got moved up to 4pm, when I would have still been at work. I toyed with the idea of sneaking out early to make the scene, but my German half demanded that keep my nose to the grindstone. (My Irish half was totally down with splitting work and giving everyone the finger as I left.)

Thus, I was denied a shot at rock n’ roll immortality.* And a month later, I was let go from this job. There’s a lesson in there somewhere, though I’m not quite sure what it is.

*Actually, I may have already achieved rock n’ roll immortality, since my enormous bald head can be briefly seen in crowd shots in the following concert films: Fugazi’s Instrument, The Make-Up’s Blue Is Beautiful, and the aforementioned Mr. Leo’s Dirty Old Town. If you can find those movies and spot me in them, you win absolutely nothing.

This video is, quite obviously, a play on the trend of musicals based on a particular band’s/artist’s oeuvre–particularly ones that don’t quite gel with traditional Broadway mores. Like, oh, I don’t know, let’s just say Green Day. So I assume, anyway. Because there is no way in hell I will ever see any of these quote-unquote musicals without the aid of hard drugs and harnesses.

Especially after seeing this clip someone tweeted earlier today (forgive me for forgetting who, whoever you are), which comes from the Bob Dylan musical. Hey, remember when there was a Bob Dylan musical? No? You’re lucky.

The Funny

Norman Lear Meets Albert Camus

FX’s new show, Louie, has only aired two episodes, but it might already be the best show on TV. Party Down would’ve given it a run for its money, but as of yesterday, Party Down no longer exists. (Hey Starz, go zuck it.) I don’t mean Louie is the best comedy-starring-a-stand-up-legend, or the best sitcom, or the best show on non-network TV. I feel like it is already better than 98% of anything currently airing on TV, anywhere.

Granted, I had high hopes for this show already, since I am a huge, huge fan of the stand-up of the show’s creator/writer/director, Louis C.K. And he also wrote for Conan O’Brien, Chris Rock, and The Dana Carvey Show, so his comedy pedigree could not be higher.

But I also had high hopes for his last foray into sitcomery, HBO’s Lucky Louie, and that didn’t quite work out. For that show, Louis C.K. wanted to make a modern Norman Lear-type sitcom, with threadbare sets and working class characters. It was an awesome idea, but one that didn’t quite make it. I don’t know if it was a failure of concept or execution, but it just never clicked into place. I REALLY tried to love Lucky Louie, I really did, but I could never make it past “like”. HBO must have agreed, since they canceled it after one season.

That’s why I don’t believe my judgment is clouded by my feelings about the parties involved, and I can honestly say that Louie is outstanding. It is simultaneously the funniest and darkest thing I’ve seen on TV in years. It is jam packed with LOLs and has moments of despair as bleak as anything you’ve seen on The Sopranos or The Wire–often at the same time.

Louis C.K. basically plays himself, a divorced dad of two stumbling his way back into the single world. It also features clips of his stand-up, which as a sort of Greek chorus to the rest of the action, and are easily the funniest thing on the show. That’s not a comment on the rest of the show–it’s a comment on how Louis C.K. is one of the best stand-up comedians alive. (Video below via Videogum)

I was practically in tears at the last half of this set. And as I laughed, part of me thought, Jesus Christ, why am I laughing at this? Because in pure substance, what Louis C.K. is saying is HORRIFYING. And not in a gross-out way. In a “we’re all gonna die and life is meaningless” way.

Just look at it written down: How “the best case scenario” for any relationship is “you’re gonna lose your best friend and just walk back from D’Agostino’s every day with heavy bags and wait for your turn to be nothing also”. Or how bringing a puppy home is saying to your family, “Look everyone, we’re all gonna cry soon! I brought home us crying in a few years! Countdown to sorrow!”

The only reason this doesn’t sound like a suicide note is because it’s presented comedically, in a Comedy Context, so we can all laugh and say, “Yeah, you’re right, most things we think are important are really kinda pointless, and when you get right down to it, that’s funny.”

Ask yourself: When was the last time TV show came even close to saying something like that?

But the non-stand-up segments are amazing, too. One thing this show does extremely well: showing New York in its actual cramped, annoying glory. It’s not the Sex and the City New York, but much closer to the real New York, where people live in tiny, shitty apartments and there’s traffic and everybody’s sweaty and weird.

In the first episode, Louie picks up a girl at her apartment for what turns out to be the most awkward date in the history of time (he shows up wearing a suit, while she prepares to hit the town in a tank top, and it all goes downhill from there). As they’re leaving her apartment building, he tries to open the front door for her, but opening the door traps her in one corner of the building’s tiny vestibule. He closes the door just enough to let her through, then makes a fumbling attempt to kiss her, made even more uncomfortble the claustrophobic setting. The scene lasted maybe 20 seconds, but it’s the most perfect, New York-y scene I’ve seen in a long time.

Louie is also one of the best directed and edited shows on TV in many years. It’s so artfully done, which is amazing considering it’s made on a relatively low budget and a tight shooting schedule (see this Onion AV Club interview for full deets). Like the scene in the vestibule, which was shot from above, all in one take, so you could feel just how awkward and interminable that moment felt. He might have been able to wring more cheap laughs out of close-ups and quick cuts, but obviously the feeling he wanted to convey was more important than the laughs-per-square-inch.

To me, that’s a sign of maturity. Louie is not needy. It’s a show that already knows exactly what it is and trusts that people will understand it.

I can’t remember the last time I was so impressed with the first two episodes of anything, and not since Annie Hall has someone so skillfully tread the line between comedy and sorrow. Louie is a work of art, and I think you should watch it if you like things that are amazing.