I make zines I am obsessed with the smell of sunscreen. My website ---->birdsongmag.com and this really cool interview about me was just published by East Village Boys. Also being single is starting to bum me out. Just throwing it out there.
I went to San Francisco last week. It was pretty much awesome except the weather sucks. I mean it. Mark Twain was right on when he said “The coldest winter I ever spent was a summer in San Francisco”.
but there was some pretty sick graf (mostly MSK AWR), street art and murals kicking around the city. I spent most of my time riding a tiny bike around the city and ended making several desperate attempts to chase after graf trucks as they passed me by. fortunately a few were parked when I found them, so today ill post up some nice graf trucks, cause, you know, “trucks is the new trains” thats what the kids say right? Anyway…here are the trucks and soon ill post up some of the sick murals and street art i came across.
AWESOME SHOW THIS SATURDAY NITE NYC! (10/15/09) [View | Hide]
Starr Space, a Brooklyn-based performance art venue founded by artist Jules de Balincourt, is pleased to announce an evening of live performance that will take place on Saturday, October 17th, 2009. Organized by Joseph Whitt, this event will feature live sets by Hawnay Troof, Ana Da Silva, Max Steele and the Party Ice, and special set by DJ Anthony Thornton. Doors open at 9:00 P.M. Show starts at 10:00 P.M. Cost is $7.00 at the door, until filled to capacity.
Ana Da Silva is a founding member of The Raincoats, a British post-punk band formed in 1977, frequently cited as a seminal influence by bands such as Nirvana and Sonic Youth. In February 2005, Ana released a solo album, The Lighthouse, on Chicks on Speed Records. Stuart Moxham of the Young Marble Giants collaborated on one of the album’s tracks “Modinha.” Since the release of The Lighthouse, Ana has played several sporadic solo sets in Europe, and this will be her first ever appearance as a solo artist in America.
Hawnay Troof is an Oakland-based one-man electronic/rap/dance/funk unit consisting of Vice Cooler, also a founding member of punk bands XBXRX and Kit. Since his teens, Cooler has traversed the globe several times, performed countless live shows, and earned resounding praise from the likes of Henry Rollins and Solange Knowles. Peaches has called Cooler “the world’s greatest performer,” and Aaron Rose once described him as “one of the most talented entertainers alive.”
Max Steele is a go-go dancer, writer, performance artist, and singer who currently lives and works in Brooklyn. This year, he was profiled by Interview Magazine and The New York Press recently described him as “that boy at the party who you really resent because you either want to be him or fuck him.” Max Steele and The Party Ice is Steele’s “gay soul” disco band, and this is their second appearance at Starr Space. With The Party Ice, Steele’s lead vocals inspire all manner of gyrations and bounding sexual thrusts from a bevy of accompanying dancers.
Anthony Thornton is a Brooklyn-based artist whose output has included a private-press tape label, free-form ceramic sculpture, essays on female iconoclasts, and several unreleased compositions in power electronics. As DJ, Thornton will round out the evening with a polarizing set of gabber, coldwave, ethereal Italo and dissonant female rap, converging all disciplines for an unparalleled listening experience into the wee hours.
Starr Space is located at 110 Starr Street, Brooklyn, NY 11237. Directions: Take the L train to Jefferson St., exit at front of train, then walk 2 blocks down Starr (past Maria Hernandez Park) to 110 Starr St.
Maybe we could do a Hump Day Grab Bag every week w/ a different one of us writing about things we like. I would like that because I’m unemployed and web links are all I have right now. You would like that because you are employed and web links are all you have right now.
I always imagine myself giving interviews. It’s not only because I love to hear myself talk. But I like long, intense conversations. And I usually judge people on whether they are capable of having those. That’s wrong because maybe they just can’t have them with me because they’re intimidated or don’t share my interests or don’t like my conversational style. Maybe they aren’t in the mood for a long conversation. Maybe they have a pimple and think I’m staring at it (I don’t care about your pimple). I’ll stop judging people for that now. Last year I thought, “I know, I’m going to write a book that consists of a series of women being interviewed. It’ll play to my strengths. I’m great at imagining conversations. I’m so bad at physical description and also, (perhaps consequently) not much interested in it. This is probably because when I was younger I was always afraid to look up. I looked down alot. So the reason I couldn’t describe the physical world is because I never looked at it. Maybe that’s why I was bad at geometry. I’m working on changing that now, just for the purpose of describing things better during conversation. But I still don’t want to describe what the door looks like when I’m writing. I’m more interested in what the door might make someone feel, or of what it reminds them. Man, this book is going to be incredible.” Then I realized that I can’t write anything longer than two pages and that David Foster Wallace had already written that book but with dudes. Now that I’ve read some of his essays I don’t hate DFW, but it’s funny when people think I or they should. One day maybe I will be interviewed. If that day were today and if someone asked me, “What are you reading, watching and listening to?” this is what I would say.
I think Max, Tommy, Jess, Tatyana, and others who are at work or who like to plan emotions would like this song.* (Oh that? That’s my Crying Hoodie. See the pockets? I stuff tissues and regret in there.) It’s for my mom.
Most days I just want to have a screening of Tyson in my apartment. If my description almost made Tommy cry, imagine what the real thing would make you feel? Nas provides the background music to Tyson’s self-sketching. And the man can sketch!
Mary Gaitskill remembers a cat, has a sister with fibromyalgia and tries to mentor a poor kid. Awkwardness ensues, but she keeps it real. Real guilty. I love Mary Gaitskill. Because when she writes about a little white girl inserting a toothbrush up another little white girl’s vagina, you KNOW that Mary Gaitskill really did that to some little girl. Put the toothbrush down, little Mary. There are other ways to go about this. You can tease her until she develops an eating disorder, okay? All her fiction deals with sex, but in this memoir you can barely find it at all.
http://www.granta.com/Magazine/107/Lost-Cat/1
Judd Apatow and Adam Sandler talk about Funny People. Charlie Rose doesn’t ask the questions he should ask and I want his job. Apatow says he would’ve ended up depressed, selfish and alone if he had not decided to get married and have children. Many thoughts emerge from this, none of them easy. Adam Sandler is real uncomfortable during this interview, and Judd speaks for him because he knows. That’s what friends do, and Funny People is still brilliant.
Why didn’t I mention or think of Blazing Saddles in my last post? I don’t know, but it complicates the argument. Mel Brooks and Richard Pryor co-wrote. Alot of great scenes like this one.
Have a great workday, y’all.
*Correction: I think Max, Tommy, Jess, Tatyana, both Laurens, Gigi, Roy, Diego, Michelle and Daniel would all love this song and in my dream we’re all listening to it together while we make zines. And eat pie. This Friday. I mean PieDay, you know, the day that comes before Caturday and Punday.
Q & A WITH DANIELLE CONOVER (10/12/09) [View | Hide]
http://www.youtube.com/watch?v=ivMR-ajbJ2Q
by Max
Danielle Conover and I met when we were both at Sarah Lawrence. WE took a sculpture / performance art class together, as well as a literature lecture about famous plays throughout the ages. Often times, though, we’d skip our lit class to get stoned and listen to Kate Bush and talk about what Agamemnon REALLY meant. We started a high-gothic country punk band, BANG! BANG! INDIANS! and are lifelong friends. She made an incredible puppet / opera, SUN’S GONE OUT, based on the Oresteia, which I was immensely proud to have done the music for. After school, I moved to NYC and Danielle went home to San Francisco to get a Master’s in Performance Art. She has since relocated to Kansas and has been working on a new show, The Miniature Housewife, which debuted at this year’s Kansas City Fringe Festival. She had told me only a little about the piece before I saw this tantalizing clip on YouTube:
Conover’s work draws from a really unique mix of forms and influences. She’s a trained mime and clown, a staunch third-generation third-wave feminist, a puppeteer, a punk rocker, a poet, a modern dancer and a mystic. Her performances often use the deceptively beautiful and simple language of nursery rhymes and early childhood stories to investigate complicated social and emotional processes. Her poems pick up where the Sensualists leave off, in the blood. So much of contemporary artwork and writing by women is, thanks to a virulently misogynist ongoing critical discourse, located in a binary of “dreams / ethereal / emotional” versus “visceral / gory / exhibitionist”. What I admire so much about Danielle Conover’s work and artistic sensibility is the productive and positive use to which she puts these (a contemporary audience’s) expectations. Her characters live in the liminal state of the waking dream, the immaculate memory, the social and communal autobiography. Her work is at once grounded in real dirt and human flesh, yet allows for fantasy, invites a reimagining of our bodies, hearts, and minds. I am totally proud to be able to say I know her. I grilled her for some more information about the new show, below.
Q: What is the Miniature Housewife?
A: The Miniature Housewife is a performance project (I say that because I can’t really call it play plus I worked on it for a year and it’s more of a socio-personal investigation) I started with an idea about feeling really small in contrast to the tasks and expectations that women still face when considering being “wives” Wives of men, wives of culture, wives of what they want to do in life. Feeling small versus having really big problems and emotions about the problems, which make them bigger exponentially. I realized during this investigation that I (and maybe every woman) comes at the end of a lineage of women who have a huge build-up of feeling about their role in society and their role in the home. I feel like a great part of my upbringing was flavored by a strong love/hate relationship with things/events like Christmas, thanksgiving valentines day…all the holidays, birthdays, anniversaries…all those times that feel so important and so real and end up never being the way you wanted them to be. Disappointment. Such intense disappointment that actually created giant vortexes of self doubt, surreal self doubt that gets dark, and scary and overwhelming. During this process I have come to understand and believe that this secret dark churning I was witnessing/experiencing was manufactured by culture. It was the result of a failed attempt to satisfy a trend… over and over again, basically because we as women want to be acceptable and loved. Why does anybody do anything right? to be loved.
So, after a lot of thinking I began to collect images. I cut up country living magazines. There are a lot of these publications floating around everywhere, but since I’m in the Midwest now I felt like they were more concentrated. Piled up on coffee tables. More intense. Truly weird. I cut up these images into 1/2 inch strips and wove them together into quilt squares.I wanted to make a scrambled quilt. I have the squares still but I haven’t sewn them together. I got distracted. Instead I started writing. A lot of writing. 4 months maybe. I began to muse about all the odd housewife-y things that we are all so familiar with. Oven mitts, miracle whip, maraschino cherries, cocktail hour. I started watching Real Housewives. Disgusting. Beautiful. It taught me that even in today’s culture, we haven’t solved or reconciled our love/ hatred of women. We want them to destroy themselves, to hate each other, to be awful bitches. It’s funny to us. We like to judge it and watch it spiral out of control. We like to think we’re better than them. I like to think I’m not a stupid cunt little housewife. Yet, there are so many things I love about the idea of ACTUALLY being a housewife. For example, the relationship I have to the hearth, the kitchen, the feeling of creating a home, with yourself or with a lover. That feeling is so beautiful, has no stone cold rules and is so satisfying and feels complete. It’s why we are here, to find home. Just because I like to make my husband a perfect meal and feed it to him and watch him enjoy it doesn’t mean I’m a sucker housewife bimbo, and it also doesn’t mean that our relationship is “straight” or square. That our intimate life isn’t unconventional or original. That we aren’t even a little bit queer. Hello. I investigated the Greek goddess of the hearth, discovered that her name is Hestia and that she has no story written about her in Greek literature because she never left home. She had no adventure. In fact, she gave up her seat at Mt. Olympus to DIONYSUS! WOW! That explains the Real Housewives to me perfectly. That’s what happened. Dionysus got a hold of the idea and ran with it. We eat all his shit right up. It’s delicious, and poisonous and even important. I amassed 40 pages of prose on all this and then began building the show from there. My husband and partner Dan Griffiths helped turn the script into action, image, etc…he’s really good at that. He reads what I wrote and then he tells me what is happening onstage. Tada! We have a Play. “PLAY”. There is also original music in this show. The songs are covers and original songs, that to me talk about the feelings I have about my position in the world right now as a young wife. There’s also live video in which I play a villain named monster chicken who bosses the Miniature Housewife around and is revolting and has a beehive hairdo (it’s all my hair too!). You can check her out on YouTube. She’s awful. My hope is that this show will delight audiences and make them laugh and look at what it must be like for the individual woman who just wants to do things right but ‘ figure out how or what that is, quite…
Q: It’s in the Kansas City Fringe Festival– what’s THAT like?
A: Well by the time this is published or shared, I’ll know more, but for now I’ll say that I have found Kansas to be surprising. Sure, the arts organizations on the whole don’t have the same support financially and socially as they do in other cities, but they exist and the artists that live here are as varied and as strange as any place I have ever been, and maybe even more interesting and original sometimes. I am a little nervous to show some things to a Kansas/Missouri audience but as I make the show, and show it to friends, I get a little more brave, and I think that if you bring something honest to an audience, they will receive it happily. Generally, I think, the audience wants you to win. They want to love you, that’s why they came, so if I go up onstage and have an opinion or a judgment of their capacity to understand or accept a concept, then I am making a fatal mistake for myself, for the success of my show. Also, keep your eyes out for The Miniature Housewife in other cities like San Francisco and New York, and Chicago…
Q: What does being a housewife mean to you? You recently got married.
A: I think I explained a bit of that in the first question, but to elaborate I’ll say that to investigate being a housewife, really, I first need to have the title housewife taken away or changed, to like “ Woman of the Hearth” or “Social-Mother”. I don’t know really. I have a wonderful relationship to food…I think that’s part of it. I bring that to my relationship with my husband. And I think that’s part of the tradition of housewivery, but I think that culture kind of encourages an unhealthy relationship to food. Like, it wants you to want it so bad that you might eat any and all of it as fast as you can, or you think it will make you fat so you don’t eat enough, then you have secret fantasies about big gross things to eat. I think if we treated food with the respect I think it commands, then we would all be a little bit happier. We’d be better housewives. I don’t do all the work in my house by any means, but in the kitchen I feel like a good witch. I heal us with beautiful meals. And I feel like a beautiful housewife. Also, on another note, I should say that even though I don’t think marriage is any kind of necessary or right thing to do, for me it is a blessing and a challenge and I really enjoy the process of learning how to be a team of two who always no matter what happens, are dedicated to solving the problem and exploring the next thing…always with curiosity and compassion for each other. Oh, and when Dan and I got married we made a really important decision that I think is important to share. We decided that from the beginning, no matter what that we would ALWAYS say what we wanted. No matter how inappropriate we thought the other person might think it was. We would say it, and if after we said it, it still sounded right, we would fight for it until we, A. Got it, or B. Learned that we could settle for something else if it meant the other person also got to have what they wanted.
Q: Something I really like about your work is that it’ll SAY it takes place in a house or domestic home-space. But THEN Nature /Wild(er)ness comes in to change everything. Are you a nature freak? Are you a secret hippie?
A: I’ve been thinking about this question for a while. First of all, I’m not sure if hippies really are defined by their love of nature. I think more than being a nature freak, I have a feeling that there are several versions of reality that we can chose to experience. Sometimes we experience more than one at a time, and there are lots, different for everyone I’m sure. But the two I see clearly are the culture world, and the natural world. I don’t think they are mutually exclusive and they probably draw on each other for inspiration but I tend to think that we as humans have an imbalance in our experience of the two. We think that nature is wild and that culture is familiar. But really, it’s quite easy to see if you change environments, as I did when I moved from the city in SF to the woods in Kansas (yeah there’s woods) that nature is more sensitive to an individual than culture is. Nature, or the natural world pays very close attention to you, it holds space for you, it totally respects you and holds you totally accountable for what you do while a part of it. Culture is different. It’s chaotic. It thinks about the big picture, everyone at once. It inspires competition and speed. I like that about culture and I wouldn’t want to take myself out of it, but I think that we need a balance, or we will allow culture to use us up. We will forget about our bodies, how food is made, how our houses are built, why we are important and beautiful. And these are the things we will wish we remembered when we are sick…how to heal ourselves. So yes, I guess I’m a secret nature freak. I feel like it’s really important to preserve it. Because we need it to survive. And yes it’s perilous and gross and uncomfortable sometimes but so is culture. major.
Q: You and I used to be in a band together, and I really miss it! You’re singing in your new show, yeah? Are you playing music a lot?
A: Bang Bang Indians was the first time ever that I realized I could actually sing. You and I would go into the music building at Sarah Lawrence and make strange ballads to June Carter Cash and I remember one time specifically that I tried really singing out and I went into this operatic style and you totally laughed at me but it wasn’t mean it just felt like ” why are you doing that? You’re so weird!” It felt like a really wonderful encouragement. To be honest it was a really important moment in my life that gave me total confidence that I could sing out and people could take it. I’m now singing with a group of old hippie dudes at the Americana Music Academy.
Anatomically Correct with Laureness-CLOACal Musings (10/8/09) [View | Hide]
Don't stand underneath me! I splat!
I figured since my first entry on the Birdsong blog was technically about nature (Isabella Rossellini’s “Green Porno”) that for my comeback post (yes guys, it’s been awhile) I should return to my roots. This blog after all is inspired by birds (in a way), mostly their songs, so why shouldn’t we learn more about them? AND what better place to start then the glorious multi-purpose orifice indigenous to our avian friends,the CLOACA!
Talk about multi-tasking, the cloaca is a multi-purpose opening in birds, amphibians, reptiles-certain marsupials and mammals. That’s three-in-one!
A few facts about CLOACA:
-The word, which is Latin in origin, means sewer
-Birds poop, pee, and reproduce through this opening
-Bird aficionados refer to the cloaca as the vent, a verb meaning “to defecate.”
Next time you proclaim, “I’m venting” or “I need to vent” think twice, especially if you’re present at your local Audubon Society Chapter meeting.
If your planning on visiting Rome, don’t forgot to see the Cloaca Maxima, one of the largest sewers ever created.
Our very own Blanco was recently interviewed by Collective Art about things like his artistic influences, his personal background, and why he’s so drawn to street art. The only thing its missing is turn ons/offs and measurements (jk its all there). Recently Blanco did some portraits of yours truly. And they’re awesome.
Also TONIGHT Max Steele headlines part 2 of “Fag City,” the East Village Boys sponsored reading series he debuted at this summer’s Hot! Festival at Dixon Place, which featured Daniel Portland and I. It starts at 9pm SHARP in the basement of the Delancey Lounge. Its the opening act for a 7 hour marathon of readings, music and performance art hosted by Penny Arcade and Justin Bond. Here’s the flyer!
ALSO Tatyana and Michelle started a new HILARIOUS BLOG called Seriously You’re the Worst and seriously its the best you’ll laugh yr ass off.
I’m sure you’ve all already seen it, but I still want to take a moment out of my busy day of loafing to talk about how fuckin’ hilarious Regretsy is. I laughed until I tinkled and then I laughed some more.
I love this girl and I love that she is a girl. Awesome.
End transmission.
Total ShoWOOFs — aka Babesong (10/2/09) [View | Hide]
So last weekend we at the Birdsong Collective were shot by our good friend MZ aka Milli Zanilli. We were later buried at sea. Haha JKJKJKJK it was for larfs and press and stuff. They look really cool! Unfortunately there were some very prominent members missing from the shoot, but they’ll hopefully soon have portraits by some Birdsong artists and I think we’re going to do this again. Soon.
This Saturday is the season premiere of Saturday Night Live, and I’m not sure what to feel. I have a strange relationship with SNL, for reasons I will come to, but I do think that watching it is a good way to get used to certain inevitable feelings that arise when you’re watching comedy, specifically live comedy. Because alot of SNL isn’t funny. There will be stretches of 10, 15, 20 minutes where, in a group of viewers, no one laughs at all, where a room just sits, waiting for real laughter to break through all that control. And in those moments, aspects of individual personalities reveal themselves. Someone in the room will give a fake titter after a long lack, to try and ease the room. Someone in the room will say, with authority, “That’s funny” without laughing, because comedy is like sadness: you can have the feeling without the tears. Someone in the room will try to anticipate the laughter of others because they just don’t get it but fear their non-laughter would somehow turn against them. Someone in the room will laugh at everything, because it’s just one of those nights. And someone on the floor will laugh at something completely different because they are really, really high and just noticed that the two people onscreen do not get along in real life. I could isolate reactions all day, it’s part of what my brain does, and it’s one of my own reactions to social situations.
But this is part of the problem with SNL for me. I never really lose that ‘reaction isolator’ part of my brain when watching it, because for the most part, it’s not consistently funny enough to turn that off. So if it’s like stand-up at all, it’s like a Five Buck Yucks kind of deal, where you pay a flat fee to see several different comedians who you’ve usually never heard of. And some of ‘em are really, really bad. (When you see a comedian actually say, “That’s one of those jokes you’ll get later on,” it produces this sympathy-disgust beast that teaches me so much about myself for a second because I’m like “I am not gonna laugh until you are funnier I am not gonna laugh until you are funnier I am not gonna laugh” and it may not be an ethical reaction but it also really may be.) Other sketches though, are such straight-up game-changers that it makes comedy feel purposive, essential, and political if for no other reason than the fact that giggles can be hard to come by. Maybe this is what certain viewers felt when they watched Eddie Murphy sing “Kill the White People” on SNL in the early eighties.
The black militance trope is a little dated now. But when I was in college, my best friend Avril and I watched this video repeatedly for 90 minutes and never stopped laughing. I think we used to do this alot with other things, I think we liked to laugh together loudly. Other than the important prerequisite, “Do you know people very, very well?” being able to laugh together and make each other laugh and being able to count on your laughter and have you know that you can count on mine–it’s what seals a lifelong friendship for me. This is why my Birdsong friendships are so important, because yall are crazy and hilarious. I can’t speak for Avril, but I think that my laughter also had something to do with imagining white people watching it and how it might make them feel. I’m sure I have a revenge issue that’s bad for me.
Oh, but I ramble.
It makes me feel strange that some of the most potent racial satire to come out of SNL in the past few years comes from Andy Samberg. Not because I think that white comics shouldn’t talk about race or anything simple like that. I’ll say that it challenges me, and anyone who wants to write about race and comedy. It challenges me because it says that race comedy, and race relations, are different now. This is not the eighties and nineties, where we were the only ones even doing racial comedy and it was based mostly around identifying the differences between black and white Americans. Alot of white folk who grew up in the nineties are simply more racially aware and I don’t know if it’s because of the era they’ve grown up in, if they want to disidentify with their families, if it’s erotic, if they had a brown nannymaid when they grew up, if Toni Morrison saved their life in high school or if they are just really wonderful or some combination. But in any case, the pool of people who see and are interested in racial difference is growing, and increasingly, white folk are branding themselves as both the object of critique and the instrument of its transmission. Stuff White People Like begat White Whine and White People Problems and countless others, I’m sure. White comics seem to know who the proper targets should be, and among the most relevant targets for our discussion is bad white people.
I love the Ras Trent skit, it’s hilarious and Necessary. But it also wants to let me know certain things. It wants to let me know that Andy Samberg is not any kind of enemy. It wants to let me know that we are on the same side that he is an ally, and that he knows, maybe even better than me, how silly white college kids are. When I see these things I think, ‘There goes that defense mechanism I learned in elementary school and thought only belonged to me and other people of color. I thought it was one of our things, and now you’re doing it, so now, I gotta go reformulate some aspects of my identity right quick.’ It’s also apart of a larger history of what we could call…”normative adaptations”?? Academics am I right? Like, when a middle-class white person would make fun of “trailer trash” just to kind of let you know that that’s where the real racism is. In magic, we call that diversion.
Racial awareness has become another part of the self-consciousness package for many Americans. And while the legislative and affective implications of this can only mean good things for everyone involved, I wonder how it will alter the motivations and aims of cultural production by people of color. For comedians like Dick Gregory, Moms Mabley, Richard Pryor and on through to Dave Chappelle and Chris Rock, exposing white myopia was a driving force of the work; these artists inherited and refined a set of strategies and critical tools that allowed for potent diagnosis of contemporary racial issues. Their work enacted, in public, what so many people of color had learned to be true in private, while very young. I fear that certain kinds of outsider critique will lose their force, now that whites “see racism too,” on and off the stage. It also makes me excited to see what new kinds of outsiders will emerge, what the next generation of comics will have to say about identity, what their specific struggles will be.
I think of Kenan alot. Remember Kenan Thompson, from Kenan & Kel? Do you? Do you? And I think, what’s up with Kenan? Should I be disappointed in him, or does he not get any good material, or is he really, really uncomfortable around these people?
My friend Josh Orr told me that Hannibal Buress, a Chicago comedian, was recently tapped to move to New York and write for SNL, after an appearance on Late Night with Jimmy Fallon. I got so excited. Because subversive whiteness is rad. I need curveballs, you need curveballs. But I’m jonesin’. If I can’t have an InLiving Color or House of Buggin’ substitute because that was the nineties and Fox was a new network with nothing to lose, then I want subversive blackness on Saturday nights. I want racially relevant comedy that’s not just another white person at a party saying racist things. I want racial comedy where the brown folks aren’t just the noble accessories to a white woman’s ignorance. I want to see awkward race relations between people of color. I want to see no mention of race at all too, I want to see brown folk being awkward and sarcastic and zany. I want to see SNL take its favorite formula of “Take A Definitive Personality Trait Of Our Time And Exaggerate It For 7 Minutes At A Dinner Party” and have it play itself around a non-white character. I want Maya Rudolph back. Maybe SNL will find more comedians of color and this will spread to the other networks and it will all be okay and they can broaden the range of comedy they present and it will be so relevant and new that I’ll never complain again.
If not, I guess we’ll always have a vision of what interracial comedy can be when we watch Marsha Warfield (of Night Court fame), Sandra Bernhard, Robin Williams, Paul Mooney, Tim Reid, Edie McClurg and others roasting Richard Pryor, on the Richard Pryor Show.
Yay got it...and stickers and more to boot! I feel so spoiled. :D Now I feel obliged to promote around. Btw LOL at that rock of love bus gif..that girl cracked me up.
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