Biz and Theresa celebrate YOU, our listeners, and what an amazing job you're all doing…most of the time! From serving baby oatmeal out of a piping bag to poking your kid in the eye before a shot, you guys are nailing it! Show notes
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Today we're spotlighting what we think is the greatest comedy of the year. The Bullseye staff has poured over plenty of records, including industry veterans, newcomers and lesser known talents. Now we're ready to showcase what we think is the best stand up comedy of 2014.
You can find all of these albums available for purchase, except for the set from the Atlantic Ocean Comedy and Music Festival.
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Hari didn't think he would be a comedian. He thought that he was going to law school. Then somewhere between taking an Americorps Job organizing immigrants in Seattle and taking the LSAT, things changed direction. He transitioned into stand-up comedy.
Hari talks to us about the unique profile of his fans, how he fits into the "alternative" comedy scene, and how he actually got into a discussion about the racism of Apu from The Simpsons with Hank Azaria -- the real voice of Apu.
Every week we like to check in with one of our favorite culture critics to get some recommendations of things that are worth your time. This week, Los Angeles Times book critic Carolyn Kellogg stops by to talk about some of her all-time favorite westerns, starting with one that broke the mold.
Jake Kasdan grew up in the movie business. His father is Lawrence Kasdan, who wrote two Star Wars films, an Indiana Jones movie, and both wrote and directed The Big Chill. And Jake's been no slouch, either. He directed his first film, Zero Effect, when he was only 24. He's gone on to work on a slew of other projects, from critically acclaimed cult shows like Freaks and Geeks, to the beloved sitcom New Girl, to the hugely commercially successful film Bad Teacher.
His new movie is Sex Tape, which sees Jason Segel and Cameron Diaz re-teamed as a married couple who accidentally release an intimate home video to the internet.
Kasdan talks about his years working with Jason Segel, the strategy involved in shooting a movie that has both feelings and (comedic) nudity, and how he unintentionally returned to working in television on New Girl.
The English actor, comedian and writer Steve Coogan started out as a brilliant impressionist. He was beloved by audiences for his pitch-perfect impressions, and put his voice talent to good use on the satirical puppet show Spitting Image. But Coogan wanted more for himself, and began developing his own characters. While working on the radio current affairs parody On The Hour with Armando Iannucci and Chris Morris, he created his most enduring character to date -- the awkward, know-nothing sports desk reporter, Alan Partridge.
Coogan has now spent two decades off and on with Alan Partridge, as he's been fleshed out and moved from radio to television and back again. Alan has become a very important part of his life, although as Coogan says, Alan is "like a relative that you’re very fond of but you only want to see at Christmas and holidays. You don’t want to live with them." He's now brought the character to the big screen, with Alan as a regional radio deejay who accidentally gets roped into a hostage situation at his station.
Coogan has also acted in a number of movies and television shows in England and abroad, including The Trip, Night at the Museum, Tropic Thunder and 24 Hour Party People. He also recently co-wrote, produced and starred in the drama Philomena, which garnered several Academy Award nominations, including Best Picture and Best Adapted Screenplay.
He joins us this week to talk about his early days as an impressionist, the increasing emotional complexity and dynamism of his character Alan Partridge, and seeking humanity in his comedy.
Over thirty years ago, in 1980, Kevin Kerrane entered a world of unusual characters. "Jocko" Collins, "Sinister" Dick Kinsella, Cy Slapnicka. They were baseball scouts -- men who drove from game to game and town to town looking for fresh and undiscovered talent. They watched the players intently, but they didn't care who won or who lost. They were looking to see how an individual player runs, walks, and throws, and picturing how that talent might parlay to the major leagues. Kerrane renders these men and their stories in vivid detail in his classic history of baseball scouting, Dollar Sign on the Muscle.
The book fell out of print over the years, so Kerrane went back into the field in 2013 to provide a look at scouting in its current iteration.
Kerrane talks to us about some of the legendary scouts, the particular language and vernacular of the baseball scout, and the balance between old-school qualitative and new-school quantitative analysis of players.