Oh John Carroll

Category: comedy (page 1 of 3)

The Blunder Weeks: Leap 1

Leap 1: Changing Opinions

The first month after your President’s inauguration is a special time when you will observe him tweeting rapidly and will begin to get to know him and learn all of his little ways. It may be hard for you to imagine your President’s world at this time as he is not focused and his goals are undefined. In some ways, it is not so different from life on the campaign.

However, at about five weeks after inauguration (just over one month), your President will begin to take the first leap forward in his neuroses. New opinions bombard your President inside and out during this time, which can bewilder him. Some of these new things are related to the development of his cabinet and staff. Others are a result of your President’s increased alertness to TV news as his feelings have become more sensitive than they were immediately before inauguration. Therefore, it is not so much the opinions themselves that are changing but, rather, your President’s perceptions of them. During leap one, your President will become much more interested in the swamp around him. He can focus on pictures in books more clearly and can see beyond the human range of fact. You may also notice that your President responds to you and others more and in new tweets.

These are examples of what your President might do after going through this leap: (Note: A President never does these things all at once! Your President only does a few things from this list.)

— Looks at commercials longer and more frequently
— Responds to CNN differently
— Gives a social smile for the first time
— Responds to white supremacists more clearly
— Is more awake and “busy”

Children’s Book or Improv Warm-up?

  1. Bippity Bippity Bop
  2. Hey Wake Up
  3. Zip Zap Zop
  4. Kitty Cat Career
  5. Moo, Baaa, La La La
  6. Snuggle Puppy
  7. Hey Diddle Diddle
  8. Bunny Bunny
  9. Dream Animals
  10. Hug Tag
  11. Muppet Face
  12. Press Here

Answer key

The Female Accent →

I recently made a web site for The Female Accent. We’re an independent improv troupe performing in and around Washington, DC. I hope you’ll check the site out, particularly if you’re in the DC area.

The site is hosted at Tumblr. If you’d prefer to follow us via other networks, we’re on Twitter and Facebook.

With the New Yorker online archives free to all this summer, you should go read this Simon Rich piece. If you like it, go buy Ant Farm. You won’t regret either decision.

I joined the dating app Tinder last week. I had an idea for a piece where I’d run a series of a conversations where men chatted with a woman (played by me, naturally) who was obsessed with the new Amazon Fire TV. Instead, I instantly met a dude who spends all of his time on Tinder badgering women for nude pics. While unplanned, I wound up giving him a taste of his own medicine and had a blast doing so.

This was a lot of fun to do, and seems to be making its way around the web — we posted it about 24 hours ago, and have had thousands of new visitors to the site. You should go read it!

Tim McCloskey lays into Jimmy Fallon for Philadelphia:

He’s not funny. He’s not a good actor. He’s not a good interviewer. And so far, he has yet to have an original idea.

Fallon is the kind of guy that pulls out an acoustic guitar at a party and does a Neil Young impersonation or takes someone’s sunglasses and pretends to be Stevie Wonder.

Or worse, he puts on Tom Jones and does the Carlton Dance. He’s that guy.

Lesli-Ann Lewis wrote a great piece for Ebony about Dave Chappelle’s alleged “meltdown” in Hartford, Connecticut a few days ago:

While the racial makeup of the crowd was incidental, the way they treated Chappelle is not. It speaks to a long complicated history: the relationship between the White audience and the Black entertainer. This is a relationship you can easily trace to early minstrel shows, to archetypes of Blacks that still define the roles we’re offered today. We have seen more Black comedians bow to racist tropes, demean themselves—albeit unintentionally—for White audiences.

Jordan Lints has a funny piece up at Splitsider’s The Humor Section.

Previously: a piece I co-wrote with Nick Klinger, published in that same section.

Grantland’s Alex Pappademas writes about Andy Kaufman, his legacy and his posthumous album Andy and His Grandmother:

In a sense Kaufman was the last comedian ever who could do the kinds of things he did without people seeing it as someone “doing an Andy Kaufman.” We know the Kaufman spirit when we see it. We feel it enter the room whenever a comedian sabotages the tension/release physics of the comedy act. It was there, a little bit, in Zach Galifianakis’s old stand-up act, when he’d tell dumb jokes in a solemn monotone while accompanying himself on piano or take the stage as his imaginary brother Seth or bring in a gospel choir to sing his punch lines. There’s a little bit of it in Colbert and Tim and Eric Awesome Show, Great Job! and the more conceptual bits of Jackass and any part of Craig Ferguson’s show in which Ferguson banters with a robot. But all of these things were alternative comedy presented to alternative-type people who knew exactly what they were in for. “Kaufmanesque” is now a format as formalized as the ones Kaufman used to booby-trap.

I discovered Andy when I was a teenager, and am forever grateful for it.

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