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TALKING FUNNY: Louis CK, Seinfeld, Chris Rock & Ricky Gervais (when Louis & Ricky say the n word)
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I watched this a few months ago...shit was funny. Rock wasn't really giving a fuck about the gay talk.
I like Louie show, his stand up is better than Jerry Seinfeld. I haven't heard Ricky Gervais stand up.
This.
Louie is peaking right now, or at least elevating himself to a new level. His style is a bit like Chris Rock mixed with George Carlin with a dash of Bill Cosby. Years of solid to great stand up, innovative in his TV work. I value his input into this sort of conversation.
Seinfeld was the star and co-creator of the most successful sitcom ever and is widely regarded for his observational humor. Rock has had some of the most iconic and impactful stand-up specials ever. I agree with Howard Stern that those two have an unquestionable place in this conversation and it's on a pedestal.
Gervais... I've never seen the British Office (and hardly saw the American version). I'd like to give it a whirl someday. I've heard some of his stand-up and he's good but not nearly great from what I've heard. If a Gervais fan posts more I'm up to listen to it but he's hardly a comedy icon.
you have the profile of a catty simpleton
louie shits on ricky gervais. rg is like a shorter fatter 80% less funny jim carrey. all that fake ass lughing he be doin
^^^
the British Office is a damn masterwork...he damn near INVENTED an entire new style of comedy and format for a sit-com (Louie has done the same with FX and Seinfeld 'Larry David the same and Rock did the same with his HBO series)
that was the most uncomfortable part of the convo for rock and you could see it
More Louis CK, Chris Rock and white people saying "******" here, for those who are interested in that conversation:
Is It EVER Okay For a White Comedian to Say N*gger?
I intend to watch The Office-- both versions-- one day. (If anybody wants to drop a link,that day may be sooner than later.)
I was a fan of the Chris Rock show but I wouldn't put it in that discussion or with Seinfeld. Rock's undisputed stand-up accolades are enough in his case-- I remember the show as sometimes very good but far from groundbreaking.
If you see how talk shows are done AFTER?
Yeah it was he had news, sketches, music and comedy.
that dude BIRTHED the whole new crop of shows...particularly how he used being on HBO.
Especially after Arsenio left the format he created (hell look at he staff of writers who INCLUDED Louis CK btw) and tell me it wasn't groundbreaking.
And it was CONSISTENTLY funny...which something you can't say nowadays.
Conan didn't have all of those things along with plenty of others? Better, possibly; groundbreaking, I don't see.
The skits the music the audience participation etc.
On a short run with less money?
Hell Rock's street interviews from that show ALONE were classics.
His interviews with Sharpton, Jessie, etc.?
Go back and watch then get back to me?
I probably saw every episode when it ran; I don't think I need to go back. (I'd much rather watch The Office, which I've never seen, than rewatch that show, which was closer to The Tonight Show than Chappelle's Show.)
I don't think classic = groundbreaking, which I think is the crux of the matter here, though we obviously value the show differently as well.
Seinfeld's primarily defined by his show but he does have a defining stand up set:
Rock, you can definitely argue for either of his first two specials, but I think Bigger & Blacker is by wide acclamation his defining piece...
However, I'm just going to post Bring The Pain, anyway, because Bigger & Blacker doesn't seem to be on Youtube:
Louis C.K. has several good specials but does he have a defining one? I may have seen all of them once and they all were very high quality but nothing stands above the rest in my memory months later.
Ricky Gervais? Is it primarily The Office? I mean, he does stand up. Does he have a classic stand up anyone can point to?
Rock, you can definitely argue for either of his first two specials, but I think Bigger & Blacker is by wide acclamation his defining piece...
However, I'm just going to post Bring The Pain, anyway, because Bigger & Blacker doesn't seem to be on Youtube:
Louis C.K. has several good specials but does he have a defining one? I may have seen all of them once and they all were very high quality but nothing stands above the rest in my memory months later.
Ricky Gervais? Is it primarily The Office? I mean, he does stand up. Does he have a classic stand up anyone can point to?
Louis C.K. Wears a Suit, Kills at Madison Square Garden
The first thing I noticed Thursday night when Louis C.K. walked out in front of a sold-out crowd at Madison Square Garden was that he was wearing a suit. It's a thing he's been doing on his most recent live dates.What's the big deal? you might be thinking. Well, C.K. is a person who famously dressed down for everything, from an opening of his friend's playto all his stand-up special tapings to even appearances on the Late Show With David Letterman, despite the fact that Letterman, a person he greatly respected, asked guests to wear ties (C.K. wore a full suit for his last appearance and Letterman thanked him). Seeing him in a suit, then, is at a minimum surprising.
More important, C.K. is a person who defined himself in the public spotlight as a disgusting, shlubby everyman, so a change in attire signifies a shift in what he's trying to convey to the audience. And as I learned over the course of his tremendous, marathon-length set last night, the suit indeed reflected a new direction for his act.
In my estimation, there are two types of male comedian who wear full suits (as opposed to men who wear just a sport coat, which is typical for a stand-up trying to look presentable): comedians trying to present professionalism and comedians trying to undercut the perception of professionalism with silliness.
For the first type, think of old-school showbiz professionals like Jerry Seinfeld, John Mulaney, and Aziz Ansari. Comedians proud to call stand-up their job. Before the 1960s, comedians traditionally wore suits onstage, so much so that Mort Sahl wearing sweaters in the 1950s became iconic. As a result, a male comedian wearing a suit always feels classic. As looseness in manner and appearance onstage has become de rigueur, a suit still indicates, I worked very hard on this.
And that much was clear with C.K. Considering his set ran over 90 minutes, it seemed like the comedian felt he had something to prove. He confirmed as much recently to New York's David Marchese: "The best I ever was as a stand-up was 2006 to 2011," C.K. said. "I was dedicated and obsessed with stand-up. I was so good then. Ever since then I’ve been damned good but not as good, because I’ve been making my TV show and doing stand-up in the off-season." But without Louie in his way, it's clear he was able to really work on the act.
It paid off. There is material in his current show that is downright masterful. There is one chunk about how he's a dick to people when he's not with his kids that I just marveled at. The centerpiece is a story about calling down at a fancy hotel to complain that the laundry he dropped off wasn't ready when it was supposed to be, only for housekeeping to respond incredibly rudely. The phone call escalates to become almost like a three-person short play, with each character having completely realized perspectives and voices. And it all ends up deftly taking on the idea of white privilege from a unique and human angle. "It's wrong that white people get preferential treatment," he starts the joke. "But as long as they do, what the fuck is going on right here!? This isn't just about me. If you're treating white people this way, how the fuck are you treating everybody else?" The fact that the story takes place at a fancy hotel is also noteworthy, as this is the first act of C.K.'s were it felt he totally embraced the fact that when you're rich and successful, it's hard to tell a joke from the everyman's perspective. Overall, the material was much less confessional than he is often known for and much more observational and absurdist.
Which brings me to the other type of male comedian who wear suits onstage: stand-ups trying to counter all of the expectations above, contrasting smart attire with stupidity. The most classic example is Steve Martin, but the Stella guys also did it (though they were obviously influenced by Martin). Steve Martin's act was a send-up of classic show-business schlock, so a suit was necessary. But beyond that, mixing his revolutionary brand of silliness with the image of a man in a perfect suit created something really special. On a technical level, a suit conveys that the person is going to do something important, so when they do something very not important, like dance stupidly, it's more surprising and thus funny.
And last night, C.K. embodied a bit of that second type of comedian, too: He was the silliest I've seen him ever be. There was a good deal of absurdism in his early work that got cleared out when he shifted to doing more deeply personal material. But his current act adds in an appreciated lightness. Near the top of the show, he talks about how much he loves naps. Midway through he goes, "Yeah, I'm still talking about naps." Or there was the fun little bit about how when his daughter heard about "9/11 deniers" on the radio, she thought they were talking about nine people who deny the number 11 exists. Far from my 4-year-old is an asshole, he got a few minutes out of just how tickled he was by this. Or there is his chunk about the trailer for Magic Mike that led to him joyfully acting out Channing Tatum and Matthew McConaughey's shirtless antics. In total, all of it gave off the impression that he was having fun.
Before you start thinking C.K. is ready to transition into a tuxedo-wearing Vegas act, there were still glimpses of the classic, gross Louis throughout.Maybe the most vivid example of this was his story about watching his Mexican father go to the bathroom, which he described as watching someone try to urinate out of a pillowcase. It was a nice reminder that though Louis C.K. is dressing sharper and might be smiling more, he's still a worthless piece of shit underneath. He might've been wearing a suit, but the top button of his shirt was still undone.
http://www.vulture.com/2016/09/review-louis-ck-at-madison-square-garden.html
The first thing I noticed Thursday night when Louis C.K. walked out in front of a sold-out crowd at Madison Square Garden was that he was wearing a suit. It's a thing he's been doing on his most recent live dates.What's the big deal? you might be thinking. Well, C.K. is a person who famously dressed down for everything, from an opening of his friend's playto all his stand-up special tapings to even appearances on the Late Show With David Letterman, despite the fact that Letterman, a person he greatly respected, asked guests to wear ties (C.K. wore a full suit for his last appearance and Letterman thanked him). Seeing him in a suit, then, is at a minimum surprising.
More important, C.K. is a person who defined himself in the public spotlight as a disgusting, shlubby everyman, so a change in attire signifies a shift in what he's trying to convey to the audience. And as I learned over the course of his tremendous, marathon-length set last night, the suit indeed reflected a new direction for his act.
In my estimation, there are two types of male comedian who wear full suits (as opposed to men who wear just a sport coat, which is typical for a stand-up trying to look presentable): comedians trying to present professionalism and comedians trying to undercut the perception of professionalism with silliness.
For the first type, think of old-school showbiz professionals like Jerry Seinfeld, John Mulaney, and Aziz Ansari. Comedians proud to call stand-up their job. Before the 1960s, comedians traditionally wore suits onstage, so much so that Mort Sahl wearing sweaters in the 1950s became iconic. As a result, a male comedian wearing a suit always feels classic. As looseness in manner and appearance onstage has become de rigueur, a suit still indicates, I worked very hard on this.
And that much was clear with C.K. Considering his set ran over 90 minutes, it seemed like the comedian felt he had something to prove. He confirmed as much recently to New York's David Marchese: "The best I ever was as a stand-up was 2006 to 2011," C.K. said. "I was dedicated and obsessed with stand-up. I was so good then. Ever since then I’ve been damned good but not as good, because I’ve been making my TV show and doing stand-up in the off-season." But without Louie in his way, it's clear he was able to really work on the act.
It paid off. There is material in his current show that is downright masterful. There is one chunk about how he's a dick to people when he's not with his kids that I just marveled at. The centerpiece is a story about calling down at a fancy hotel to complain that the laundry he dropped off wasn't ready when it was supposed to be, only for housekeeping to respond incredibly rudely. The phone call escalates to become almost like a three-person short play, with each character having completely realized perspectives and voices. And it all ends up deftly taking on the idea of white privilege from a unique and human angle. "It's wrong that white people get preferential treatment," he starts the joke. "But as long as they do, what the fuck is going on right here!? This isn't just about me. If you're treating white people this way, how the fuck are you treating everybody else?" The fact that the story takes place at a fancy hotel is also noteworthy, as this is the first act of C.K.'s were it felt he totally embraced the fact that when you're rich and successful, it's hard to tell a joke from the everyman's perspective. Overall, the material was much less confessional than he is often known for and much more observational and absurdist.
Which brings me to the other type of male comedian who wear suits onstage: stand-ups trying to counter all of the expectations above, contrasting smart attire with stupidity. The most classic example is Steve Martin, but the Stella guys also did it (though they were obviously influenced by Martin). Steve Martin's act was a send-up of classic show-business schlock, so a suit was necessary. But beyond that, mixing his revolutionary brand of silliness with the image of a man in a perfect suit created something really special. On a technical level, a suit conveys that the person is going to do something important, so when they do something very not important, like dance stupidly, it's more surprising and thus funny.
And last night, C.K. embodied a bit of that second type of comedian, too: He was the silliest I've seen him ever be. There was a good deal of absurdism in his early work that got cleared out when he shifted to doing more deeply personal material. But his current act adds in an appreciated lightness. Near the top of the show, he talks about how much he loves naps. Midway through he goes, "Yeah, I'm still talking about naps." Or there was the fun little bit about how when his daughter heard about "9/11 deniers" on the radio, she thought they were talking about nine people who deny the number 11 exists. Far from my 4-year-old is an asshole, he got a few minutes out of just how tickled he was by this. Or there is his chunk about the trailer for Magic Mike that led to him joyfully acting out Channing Tatum and Matthew McConaughey's shirtless antics. In total, all of it gave off the impression that he was having fun.
Before you start thinking C.K. is ready to transition into a tuxedo-wearing Vegas act, there were still glimpses of the classic, gross Louis throughout.Maybe the most vivid example of this was his story about watching his Mexican father go to the bathroom, which he described as watching someone try to urinate out of a pillowcase. It was a nice reminder that though Louis C.K. is dressing sharper and might be smiling more, he's still a worthless piece of shit underneath. He might've been wearing a suit, but the top button of his shirt was still undone.
http://www.vulture.com/2016/09/review-louis-ck-at-madison-square-garden.html
I can't believe people are mad NOW?!?!?!??!!?
Jerry Seinfeld Reflects on His 'Comedians in Cars Getting Coffee' Interview Style and Favorite Guests
12:30 PM PDT 8/1/2019 by Kirsten Chuba
Courtesy of Netflix
Seinfeld and Dave Chappelle cruised around Washington, D.C., in a season 10 episode.
After nine seasons, the star’s series earned its fourth Emmy nomination, as he looks back on memorable episodes and explains why the Netflix show "is an absolute trifle."
In July 2012, Jerry Seinfeld premiered Comedians in Cars Getting Coffee on Sony's digital platform Crackle, scooping up his funny friends in vintage cars and going for a drive and a coffee date at a local spot. After nine seasons, the show was picked up in 2017 by Netflix for season 10, which earned the series its fourth Emmy nomination — and its first in the informational series or special category. The season's guests included Dave Chappelle, Ellen DeGeneres and Jerry Lewis (filmed a few months before the icon's 2017 death). Days before the 11th season's July 19 debut, Seinfeld, 65, sat down with THR to talk awards, favorite guests and toothpaste brands.
Moving from Crackle to Netflix, how has the show changed over time?
ADVERTISING
When I get to the editing part of it, I know better what I want to make the show into. Although each show kind of is its own thing and takes me in a different direction, I go, "This one I think is going to be about this, and this one is going to be about this." When you start, you have three hours of material, so let's say you pick out 20 items and you know you can only use 10 of those. It becomes quite a puzzle to assemble it.
Do you have a favorite episode from over the course of the show?
I'm really excited about Eddie Murphy this year because I think a lot of times with interviewers, if I can call myself that, it's like a nut you want to crack. You want to get inside the shell and get to the nut inside — literally, in my case. And I feel like we brought a certain perspective on Eddie that people really want to see and maybe have been missing. It's hard to see these people in the conventional press format that they do; it's hard to get to that person. I think something like Larry King and Charlie Rose, those were the shows where you really — but even on those shows, they don't work as well because the only one who can talk to most people is someone that does what they do, they know how to talk. I think they should just have interviewers on those shows.
Courtesy of Netflix
Seinfeld with Alec Baldwin in New York.
How did getting Eddie on the show come about?
We're both from Long Island, we both started at the same club on the same week, the first week of July 1976, and I thought people would really like to see him again. The show's about the life of stand-ups and what our life is like. [A stand-up] show is only an hour; the other 23 hours a day, this is what you're doing.
Do you have someone you still really want to get on the show?
I haven't really thought about it. I don't know if we're continuing at this point. There's a lot of people I'd like to have back — I like doing multiple episodes with certain people.
How do you pick the guests? Do you have a wish list?
It's a very casual thing, it really is. That was the idea: Let's try to make something. It couldn't be more of a trifle, even though we kill ourselves to make them. The show itself is an absolute trifle. That's what comedy is — it's a trifle, it's a cupcake.
Courtesy of Netflix
Seinfeld and Ellen DeGeneres shared laughs and stories at Tre Lune in Montecito, California.
You got another Emmy nom for the show. Is that still exciting for you?
It's lovely, it's wonderful. Any time people like what you're doing, it's wonderful.
You mentioned in this season's promos that a lot of copycat shows have popped up. How do you feel about people using your format?
It's just like people saw what I did and said, "That's kind of nice, that's kind of different, let's do that." Does it really bother me? Absolutely not, it was just a bit.
How do you prepare for these interviews?
I don't. There's no preparation, just a hang.
Courtesy of Netflix
Seinfeld drove a 1962 Fiat 600 Multipla with Saturday Night Live star Kate McKinnon.
Do you research them beforehand if you don't really know them?
Nope, I look up where they grew up and if they have any kids, just big basic stuff like that, just an interesting person to talk to. I never want to talk about the regular things anyway — they don't interest me. I want to know what toothpaste you use and what you think of these Waterpiks and if they really do anything.
Do you have a preference for who should host the Emmys, or should they go hostless like the Oscars?
I don't know. Maybe we should have lots of hosts — but I guess that's who the presenters are. I don't know, they seem to be struggling with their awards show: "Who are we now? What is this show now?" It seems to be like it's lost its footing a little bit, the awards show.
Would you ever want to do it?
No, no.
12:30 PM PDT 8/1/2019 by Kirsten Chuba
- EMAIL ME
Courtesy of Netflix
Seinfeld and Dave Chappelle cruised around Washington, D.C., in a season 10 episode.
After nine seasons, the star’s series earned its fourth Emmy nomination, as he looks back on memorable episodes and explains why the Netflix show "is an absolute trifle."
In July 2012, Jerry Seinfeld premiered Comedians in Cars Getting Coffee on Sony's digital platform Crackle, scooping up his funny friends in vintage cars and going for a drive and a coffee date at a local spot. After nine seasons, the show was picked up in 2017 by Netflix for season 10, which earned the series its fourth Emmy nomination — and its first in the informational series or special category. The season's guests included Dave Chappelle, Ellen DeGeneres and Jerry Lewis (filmed a few months before the icon's 2017 death). Days before the 11th season's July 19 debut, Seinfeld, 65, sat down with THR to talk awards, favorite guests and toothpaste brands.
Moving from Crackle to Netflix, how has the show changed over time?
ADVERTISING
When I get to the editing part of it, I know better what I want to make the show into. Although each show kind of is its own thing and takes me in a different direction, I go, "This one I think is going to be about this, and this one is going to be about this." When you start, you have three hours of material, so let's say you pick out 20 items and you know you can only use 10 of those. It becomes quite a puzzle to assemble it.
Do you have a favorite episode from over the course of the show?
I'm really excited about Eddie Murphy this year because I think a lot of times with interviewers, if I can call myself that, it's like a nut you want to crack. You want to get inside the shell and get to the nut inside — literally, in my case. And I feel like we brought a certain perspective on Eddie that people really want to see and maybe have been missing. It's hard to see these people in the conventional press format that they do; it's hard to get to that person. I think something like Larry King and Charlie Rose, those were the shows where you really — but even on those shows, they don't work as well because the only one who can talk to most people is someone that does what they do, they know how to talk. I think they should just have interviewers on those shows.
Courtesy of Netflix
Seinfeld with Alec Baldwin in New York.
How did getting Eddie on the show come about?
We're both from Long Island, we both started at the same club on the same week, the first week of July 1976, and I thought people would really like to see him again. The show's about the life of stand-ups and what our life is like. [A stand-up] show is only an hour; the other 23 hours a day, this is what you're doing.
Do you have someone you still really want to get on the show?
I haven't really thought about it. I don't know if we're continuing at this point. There's a lot of people I'd like to have back — I like doing multiple episodes with certain people.
How do you pick the guests? Do you have a wish list?
It's a very casual thing, it really is. That was the idea: Let's try to make something. It couldn't be more of a trifle, even though we kill ourselves to make them. The show itself is an absolute trifle. That's what comedy is — it's a trifle, it's a cupcake.
Courtesy of Netflix
Seinfeld and Ellen DeGeneres shared laughs and stories at Tre Lune in Montecito, California.
You got another Emmy nom for the show. Is that still exciting for you?
It's lovely, it's wonderful. Any time people like what you're doing, it's wonderful.
You mentioned in this season's promos that a lot of copycat shows have popped up. How do you feel about people using your format?
It's just like people saw what I did and said, "That's kind of nice, that's kind of different, let's do that." Does it really bother me? Absolutely not, it was just a bit.
How do you prepare for these interviews?
I don't. There's no preparation, just a hang.
Courtesy of Netflix
Seinfeld drove a 1962 Fiat 600 Multipla with Saturday Night Live star Kate McKinnon.
Do you research them beforehand if you don't really know them?
Nope, I look up where they grew up and if they have any kids, just big basic stuff like that, just an interesting person to talk to. I never want to talk about the regular things anyway — they don't interest me. I want to know what toothpaste you use and what you think of these Waterpiks and if they really do anything.
Do you have a preference for who should host the Emmys, or should they go hostless like the Oscars?
I don't know. Maybe we should have lots of hosts — but I guess that's who the presenters are. I don't know, they seem to be struggling with their awards show: "Who are we now? What is this show now?" It seems to be like it's lost its footing a little bit, the awards show.
Would you ever want to do it?
No, no.
Just press play.
come on yall...this is what i'm talking about...that show played 7-8 years ago and no one said anything...this is at best a delayed reaction in social media..but the question is what was the delay? this didn't happen in 19XX this didn't happen before facebook or twitter or social media in general...that show aired in 2011... where was the outrage then??
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