Dismissing privacy concerns, a federal judge overseeing a $1 billion copyright-infringement lawsuit against YouTube has ordered the popular online video-sharing service to disclose who watches which video clips and when.
A judge ordered YouTube to produce data on which of its videos get viewed most often and by whom.
U.S. District Judge Louis L. Stanton authorized full access to the YouTube logs after Viacom Inc. and other copyright holders argued that they needed the data to show whether their copyright-protected videos are more heavily watched than amateur clips.
The data would not be publicly released but disclosed only to the plaintiffs, and it would include less specific identifiers than a user’s real name or e-mail address.
Lawyers for Google Inc., which owns YouTube, said producing 12 terabytes of data — equivalent to the text of roughly 12 million books — would be expensive, time-consuming and a threat to users’ privacy.
The database includes information on when each video gets played, which can be used to determine how often a clip is viewed. Attached to each entry is each viewer’s unique login ID and the Internet Protocol, or IP, address for that viewer’s computer.
Stanton ruled this week that the plaintiffs had a legitimate need for the information and that the privacy concerns are speculative.
Stanton rejected a request from the plaintiffs for Google to disclose the source code — the technical secret sauce — powering its market-leading search engine, saying there’s no evidence Google manipulated its search algorithms to treat copyright-infringing videos differently.
The court has yet to rule on Google’s requests to question comedians Jon Stewart and Stephen Colbert of Viacom’s Comedy Central.
source: YouTube ordered to reveal its viewers [cnn]
Presenting The 25 Funniest People in America. From Conan O’Brien to Stephen Colbert, Tina Fey to Craig Ferguson, let’s count down the names of the entertainers who make us laugh the hardest.
25. AUGUSTEN BURROUGHS
Burroughs’ best-selling memoir Running with Scissors — about being raised by a nutso shrink who studies his poo and rents the back shed to a pedophile — is unbelievably disturbing. And sidesplitting. At first we felt guilty giggling at his adventures with an electroshock therapy machine, but Burroughs knows that laughter is the best antidepressant. Much better than booze, which the author struggles to kick in his equally effervescent follow-up, Dry.
24. CATHERINE O’HARA
After her run on SCTV in the late ’70s, Hollywood didn’t know what to do with O’Hara. Fortunately, Christopher Guest did. In Waiting for Guffman, she and Fred Willard are tracksuit-wearing answers to Ginger Rogers and Fred Astaire; in Best in Show, she’s a onetime floozy with a prize terrier and a torrid past; and in A Mighty Wind, O’Hara shows off a subtler comic touch, proving that humor doesn’t always mean a pie in the face.
23. SARAH SILVERMAN
The Lenny Bruce of the 21st century might be this hot, foul-mouthed, button-punching stand-up. Silverman is ruthlessly funny about topics like sex, the Holocaust, and 9/11, which may be why The Sarah Silverman Program has a permanent slot on our DVR. Oh, and if you hadn’t heard, she’s f—ing Matt Damon.
22. DAVE CHAPPELLE
The fact that Diamond Dave is all but absent from the comedic stage these days doesn’t invalidate his funny. After all, Chappelle’s revered Comedy Central show — on which the wiry comic gleefully engaged in crass T&A humor, swore like a sailor, and mocked everyone in the multiculti rainbow, confronting race in a way that is positively Pryor-esque — is still the best sketch comedy this country has seen in more than a decade. For that alone, he deserves a spot on any list like this.
21. DEMETRI MARTIN
You know what’s funny? Palindromes and anagrams. ”Shut up, Grandma,” you say, but we say shut up yourself and watch Demetri Martin work a stand-up mic. ”A drunk driver’s very dangerous. Everybody knows that. But so is a drunk backseat driver — if he’s persuasive.” The floppy-haired heir to Steven Wright won a prestigious award at last year’s Edinburgh Festival Fringe, taking him from the comedy underground to…the comedy slightly less underground.
20. DIABLO CODY
Not to be partial, but the newly minted Oscar winner showed off her comedic — and emotional — chops with her debut screenplay for Juno. Did we mention it won an Oscar?
19. CRAIG FERGUSON
Late night is the province of the mono-name. Jay! Dave! Conan! Then there’s that Scottish guy, two-name ID required: Craig Ferguson. You know, the one who can’t quite be pinned down. Since taking over CBS’ Late Late Show from Craig Kilborn in 2005, Ferguson has brought a fresh burst of energy to the format. He’s reinvented the opening monologue, doing away with most of the topical jokes and just ad-libbing about his life. Along with fresh energy, he’s brought something else — ratings. Ferguson, 45 and a brand-spanking-new U.S. Citizen, doesn’t get as much media attention as time-slot competitors Jimmy Kimmel or Conan, but with an audience of just under 2 million, the great Scot outperforms the former and has climbed within 500,000 viewers of the latter.
18. JACK BLACK
Black is an entirely new classification of human: the frenetic slacker. Before his turn as doofus band reject/inspirational teacher Dewey Finn in School of Rock, he was the Ritalin-deprived half of Tenacious D (along with his partner, Kyle Gass) and the list-obsessed record-shop shlub in High Fidelity. He is, inarguably, the coolest fusion of music and comedy since Spinal Tap. (And, if Tropic Thunder is as good as we’ve been led to believe, we’ll forgive him that whole Nacho Libre business.)
17. DAVID LETTERMAN
With a receding hairline and a jogger’s grim jowls, Dave is no one’s idea of a hip comic, and he likes it that way. New-school gone old-school, the upstart who first pumped irony into the talk show still rails against the stupidity of the powerful and yet has the charm to melt Julia Roberts.
16. AMY SEDARIS AND DAVID SEDARIS
Big brother is the best-selling author of the sublime autobiographical essay collections Me Talk Pretty One Day and Naked, full of terrific riffs about stuff like his cuckoo-clock North Carolina clan and his midget guitar teacher. Little sis was the rubber-faced star of Comedy Central’s truly strange Strangers With Candy, as well as coauthor of the book Wigfield.
15. WILL FERRELL
See, there’s this man-child who latches onto Will Ferrell in most every role he plays — and good luck getting the little guy to let go. As a result, we are treated to inspired displays of dolt-trapped-in-the-headlights hijinks, be it in the form of Old School’s keghead Frank the Tank (who goes from repressed to regressed to undressed) or Talladega Nights’ Ricky Bobby, the dumbest, most earnest NASCAR driver on the circuit — who’s also the most comfortable with his sexuality.
14. RICKY GERVAIS
Okay, so he doesn’t spend all that much of his time in America. We don’t care. Whether as the creator of The Office and Extras, a supporting actor in movies like For Your Consideration or Night at the Museum, or doing killer stand-up (as seen most recently in Grand Theft Auto IV), he’s still as funny as the dog’s bollocks.
13. ELLEN DEGENERES
DeGeneres, whose career seemed all but kaput a few years ago, has earned back adoration simply by being her affably dry self on the Emmy-winning The Ellen DeGeneres Show. Whether it’s her circuitous monologues, her deadpan celebrity interviews, or that vocal turn as Dory in Finding Nemo, she remains one of the cleanest, coolest funny ladies around.
12. DAVID CROSS
All conversations about his genius start here: Along with Bob Odenkirk, he created the cunning HBO sketch series Mr. Show, which routinely put SNL to silly shame. And not only does Cross work little miracles in supporting roles (remember his role as feckless freak-job Tobias on Fox’s Arrested Development?), he can drop some pretty fearsome stand-up (who else talks about being raped by the Virgin Mary?). Simply put, this dude never kowtows for his funny.
11. CONAN O’BRIEN
Smarty-pants isn’t usually a compliment, but O’Brien wears them so well. When this Harvard geek isn’t riffing on Muammar Gaddafi in his monologue, he’s making absurd innovations in low-brow comedy. Now, let’s see if those absurd innovations will play on The Tonight Show….
The Saturday Night Live scene-stealer has found her stride in her third season, thanks to breakout characters like the Target clerk and the obsessively competitive Penelope, as well as spot-on impressions of Jamie Lee Curtis and Suze Orman.
9. LARRY DAVID
Because he’s a balding, neurotic, self-consumed, multimillionaire malcontent who reacts to most social interactions as if he just took a whiff of some really bad cheese. Because the only thing he hates more than these situations is himself. Because he’s the most hilariously doomed white-guy antihero we’ve ever seen, and has no problems taking on every sacred cow. Because we have no idea how much of this Larry David — from the HBO comedy Curb Your Enthusiasm — is swiped from the real Larry David. And because both Larry Davids co-created one of the best comedies ever, Seinfeld.
8. AMY POEHLER AND WILL ARNETT
The funniest married couple on the list. (Sorry, Judd Apatow and Leslie Mann.) When they’re apart (she, on Saturday Night Live and in Baby Mama; he, late of Arrested Development and currently guesting on 30 Rock), they’re great. But when they’re together, as when they played brother-and sister figure skaters in Blades of Glory, they’re resplendent. So let’s get those crazy kids together more often, shall we?
7. MATT STONE AND TREY PARKER
Now in their eleventh season of South Park, these potty mouths with a purpose continue to remind us what full creative control gets you: moments so wrong, they’re right (Ben Affleck falling in love with Cartman’s hand comes to mind). Added bonus: The ninth season episode, ”Trapped in the Closet” contains the most sober explanation of the background of Scientology you’ll ever hear.
6. CHRIS ROCK
Television failed him (Saturday Night Live didn’t know what to do with his bright-bulb humor, and his HBO talk show couldn’t contain him). The movies didn’t get him (though this is as much Rock’s fault as anyone’s, given he wrote and directed his most recent starring vehicles, the underperforming Head of State and I Think I Love My Wife). But on the stage, Rock is a man on a mission, mercilessly tackling race, religion, money, and relationships. And his missionaries are legion.
5. STEVE CARELL
Sometimes, it hurts so good. The pain, the discomfort, the agony of watching Carell’s Michael Scott work himself into another awkward scenario on NBC’s The Office…and almost work himself out. And the fact that we don’t hate Michael — on the contrary, we feel a warm, chocolatey pity for him — is a testament to Carell, who leavens the bald incompetence with wide-eyed awe.
4. JON STEWART AND THE ‘DAILY SHOW’ TEAM
The Daily Show with Jon Stewart is the most consistent laugh machine on TV — and the only news source for scores of cynics and slackers. It’s not often that a comedy show can tackle politics, embrace a cogent point of view, and still maintain its anarchic spark. The scribes at The Daily Show pull it off four nights a week. As the heart and soul of the show, Stewart is evenhanded but never meek; as an interviewer, he can make his guests comfortable even as he’s taking them apart. Then there’s his gang of ”correspondents,” who soldier straight-facedly into the great American absurd and take no prisoners. Empirically speaking, there’s nothing funny about what’s going on in the world right now. Yet here we are each week, chortling.
3. TINA FEY
It takes a certain self-confidence to play a woman who accidentally dates her third cousin, erroneously assumes her neighbor is a terrorist, and gets called the C-word by a colleague (especially when said character is based on you). ”I love going to those uncomfortable places,” says Fey, who stars as 30 Rock’s workaholic TV maven and is also the NBC show’s creator and exec producer. ”I’ll go down any weird avenue.” Maybe this year’s surprise Emmy win for best comedy will empower Fey to pursue some dreams for her alter ego. ”Liz Lemon could do an international adoption for a Russian baby and get the paperwork wrong with the European dates and somehow end up with a huge, muscular 13-year-old. Yeah, I could see that.” Hopefully we will too.
2. STEPHEN COLBERT AND THE ‘COLBERT REPORT’ TEAM
The once (and, we’re sure, future) presidential nominee, author, and dedicated windbag also happens to be one of the smartest satirists working today. Heck, if all the dude had on his resume was the legendary 2006 White House Correspondents Dinner, he’d go down in comedy history. But week-in and week-out, Colbert takes aim at the political-industrial complex — and I don’t care if there’s no such term — and spins the facts into truth. Or truthiness. Whichever’s easier.
1. THE JUDD APATOW POSSE
Can you even remember what movie comedy looked like before writer-director-producer Judd Apatow and his ever-expanding comedy clan (including Seth Rogen, Leslie Mann, Jonah Hill, and Paul Rudd) came along last summer with two stiff shots of cathartic humor — the oops-she’s-preggers romp Knocked Up and the high school raunchfest Superbad? Today, when studio execs have a comedy that feels flat or formulaic, the call goes out to ”Judd it up” — sweet irony for a man once best known for critically beloved flops like TV’s Freaks and Geeks. ”It was always my dream to become a verb,” Apatow deadpans. ”That’s what I wrote in my high school yearbook.”
I am not going to comment and I’m not going to post her entire rant. You can click here if you want to read the whole blog entry. But Adrianne Curry has a talent, she looks good in a photograph. She should not, however, try to philosophize on any subject of importance. Here’s what she decided to say:
MY Boycott against BET and Black History Month
Because of my last blog, and all the wonderful feedback I got..it made me think…
This is gonna be hard guys. I LOVE the comedians on BET. I also LOVE the fact that they play my favorite show of all time, In Living Color. However, I do not believe in seperating ANY RACE in America. WE ARE AMERICANS! How dare we have Black History Month! In my eyes, the Native Americans deserve it MUCH more, seeing how we destroyed their ENTIRE SOCIETY. There are hardly any of them left! They also have been proven to have the WORST living conditions on their reservations. I want AN AMERICAN HISTORY MONTH. One where we learn about EVERY race, ALL OF OUR LEADERS, EVERYONE! I think by having a month dedicated to one race, and not one for any other, is RACIST. Every fund set up to only help people of one race is SICK and RACIST.
By they way, is it February?
Source: “MY Boycott against BET and Black History Month” [adricurry MySpace]
Last week at the Laugh Factory, Jon Lovitz beat up Andy Dick. Apparently last year Andy Dick went up to Jon Lovitz and, according to Jon, “looked at me and said, ‘I put the “Phil Hartman hex” on you - you’re the next one to die.’ I said, ‘What did you say?’ and he repeated it. I wanted to punch his face in, but I don’t hit women.”
The two ran into each other again last week, and while Jon was expecting an apology, Andy didn’t deliver. So, Jon took matters into his own hands. Laugh Factory owner Jamie Masada, who witnessed the assault, said, “Jon picked Andy up by the head and smashed him into the bar four or five times, and blood started pouring out of his nose.” Lovitz told Page Six, “All the comedians are glad I did it because this guy is a [bleep]hole.”
I’m kind of with all the comedians on this one.
Now Jon gives his account of the events:
“I realized, ooh, ‘here’s my chance,’ so I pulled him back by the shirt and I then I just pushed him almost as hard as I could, really hard, and, you know, I smashed his back and his head into the bar and I just lost it. And then I kept doing it…I would’ve kept going…and when I did it the second time it was really hard and he went [untranscribable sound of unmanly anguish].”
One thing of note, most of the comedians were on the show during the same time period. This is when Saturday Night Live was the funniest, IMHO.
10. Bill Murray
With his trademark smirk, Murray simultaneously celebrated and lambasted the sketch-comedy genre. Thrust into an impossible situationessentially replacing the too-big-for-his-britches Chevy ChaseMurray added both knowing smarm (nerd kid Todd DiLamuca) and blank-faced understatement (“cheeseburger, cheeseburger, cheeseburger”) to a cast lacking both. He established such an indelible cool-guy persona that 20-plus years later, we’re still incapable of holding missteps like Garfield against him.
Best bit: Nick the Lounge Singer
9. Dana Carvey
He makes the list owing to the sheer number of breakout characters he created and embodied: the Church Lady, Garth, Hans, Carsenio et al. No player in the show’s history counts more to his or her name. Throw in his gift for mimicry—George Bush, Jimmy Stewart, Ross Perot, even cast mate Dennis Miller—and it’s no wonder that Carvey was featured in roughly 92.5 percent of all scenes during his seven-year tenure on the show.
Best bit: “Chopping Broccoli”
8. Molly Shannon
The most underrated performer in SNL history, and one of the few woman cast members who was too dark, manic, and, well, weird to shepherd into a window-dressing role. Oh yeah—and her Mary Katherine Gallagher orchestrated a much better pratfall than Chevy Chase’s Gerald Ford ever did. You almost felt sorry for the chairs into which she careened.
Best bit: Delicious Dish on NPR (a.k.a. Schweaty Balls)
7. John Belushi
He got more laughs with a single arched eyebrow than Horatio Sanz did with 25 minutes of nonstop madcap antics. Whether touting the nutritional bona fides of donuts or wistfully reminiscing while visiting the graves of former cast mates, Belushi boasted more range than most classically trained stage actorsand could still pull off fart jokes with aplomb. Had he not been derailed by substance-abuse issues, he’d have morphed into a hell of a character actor by now.
Best bit: Samurai Delicatessen
6. Gilda Radner
The show’s most joyous performer, Radner’s sunny smile masked a serious anarchic bent. Unlike most of the show’s early-era legends, Radner was as comfortable fronting a band (as Patti Smith sound- and sleaze-alike Candy Slice) as she was at the “Weekend Update” desk (where she weighed in as confused pundit Emily Litella and hygiene-obsessed Roseanne Roseannadanna).
Best bit: Lisa Loopner
5. Chris Farley
Forget that he weighed half a ton and, toward the end of his run, couldn’t scratch his ear without breaking into a massive sweat. Farley trumps his idol John Belushi and every other comer as SNL’s most physically agile comedian, whether destroying thousands of dollars worth of sets as hopped-up motivational guru Matt Foley or retreating into himself as the sheepish host of “The Chris Farley Show” (to Paul McCartney: “You remember when you were with the Beatles?”).
Best bit: Chippendales audition
4. Eddie Murphy [my personal favorite]
Of all the 300-odd SNL cast members, none has been asked to carry the show by him or herself like Murphy was—and none could have pulled it off with such seeming ease. Without Eddie Murphy, in fact, SNL wouldn’t have survived the lean years between the original troupe and the Carvey/Hartman/Nealon era. For that reason, it’s easier to forgive him for his sharply reduced effort once 48 Hours punted him into the comic stratosphere.
Best bit: James Brown’s Celebrity Hot Tub Party
3. Dan Aykroyd
By far the most versatile player in the original troupe, and one of the few who excelled equally as a performer and as a writer. Aykroyd also ranks among the few players who could bounce easily between political sketches (especially as President Nixon in “The Final Days”) and stoner silliness (“Fred Garvin: Male Prostitute”). Is there a way to legally stop him from beating The Blues Brothers even further into the ground?
Best bit: Super Bass-O-Matic ’76
2. Will Ferrell
He cheered and danced and sang. He took off his shirt. He reveled in character-specific details (grizzly beards, cowbells, etc.). And oh!, the impressions: He played Unabomber Ted Kaczynski as a glib everyman, Neil Diamond as a porn-addicted hothead, and James Lipton as…well, James Lipton. Then as now, Ferrell is constitutionally incapable of not wringing every bit of funny out of a gag.
Best bit: Anything involving Harry Carey, Robert Goulet, Janet Reno, or Bill Brasky
1. Phil Hartman
His on-set nickname, “Glue,” tells you everything you need to know about the role he played during SNL’s late-’80s/early-’90s resurgence. He elevated everything and everyone with which he came in contact—his beatific grin during “Chopping Broccoli,” for instance, merits almost as big a laugh as the skit’s premise. Unfrozen Caveman Lawyer, the Anal Retentive Chef, Bill Clinton visiting McDonald’s…In honor of his ego-free comic eminence, say it once more, with feeling: Sassy!
Best bit: The Sinatra Group
Constance Rice,* a civil rights attorney in Los Angeles, has the smartest take I’ve yet seen on the Don Imus “nappy headed hos” controversy.
More to the point, Imus should only be fired when the black artists who make millions of dollars rapping about black bitches and hos lose their recording contracts. Black leaders should denounce Imus and boycott him and call for his head only after they do the same for the misogynist artists with whom they have shared stages, magazine covers and awards shows.
The truth is, Imus’ remarks mimic those of the original gurus of black female denigration: black men with no class. He is only repeating what he’s heard and being honest about the way many men — of all races — judge women.
Just as black comedians who make mean jokes about Asians and Latinos don’t see themselves as racists, I’m sure that Imus doesn’t see himself as a racist either. He reveres blues artists such as B.B. King and Ray Charles. He praises American icons such as Jackie Robinson and Martin Luther King Jr. He clearly likes former Tennessee Rep. Harold Ford and has interviewed Sharpton a few times. He treated Lani Guinier with uncharacteristic respect during her guest appearance to discuss her latest book.
His sympathy for the Katrina victims came through. And after the James Byrd dragging-lynching in Texas in 1998, Imus did not joke. In serious tones that couldn’t hide his sorrow or disgust, he quietly remarked that it was unwise for black people to ever trust whites.
After listening to him for 10 years, I’ve concluded that Imus is not a malevolent racist. He is a good-natured racist. And the streak of decency running down his self-centered, mean persona is sometimes pretty wide.
That captures Imus perfectly, I think.
I used to listen to the show a quite a bit during my morning commute and have seen the MSNBC simulcast a handful of times. My general take is that he’s a weird dude. He’s simultaneously a self-centered jerk who berates his staff and will ramble on for weeks on end about some perceived slight and a guy who devotes considerable time, energy, and money in trying to ease the suffering of kids with cancer and other debilitating diseases. He’s both a Neanderthal and a patron of the arts. He’s a naive rube and an incurable cynic. Most bright, talented folks are a bundle of contradictions, I guess, but Imus is much more so than most.
Some of the show’s humor, especially that by executive producer Bernard McGuirk, is undeniably racial but probably no more “racist” than that of Lenny Bruce or Red Foxx or Richard Pryor or Chris Rock or Dave Chapelle or Carlos Mencia. No doubt, we’ve learned time and again, it’s different when a member of an ethnic group makes a joke about his own kind than when an outsider does. Yet Rock, Chapelle, Mencia, and others make plenty of jokes about other races without getting nearly the condemnation of Imus.
And, unlike Imus, their material is all pre-scripted. With the exception of some recorded bits, Imus does four hours of off-the-cuff talk every morning.
Duncan Black, taking exception to similar comparisons made by Howard Kurtz on CNN, is dubious of the logic that, because “other people have used the word ho in other contexts” Imus shouldn’t be condemned for it. But Kevin Drum is right:
A slur aimed at specific people is obviously different than a generic slur in a rap song, but it’s not that different. If one is offensive, so is the other, and it’s hard to argue that the cesspool of misogyny in contemporary rap has no effect on the wider culture. It’s not that this excuses what Imus did. It’s just the opposite. If we’re justifiably outraged by what Imus said, shouldn’t we be just as outraged with anybody else who says the same thing, regardless of their skin color?
You’d think.
Imus has been, rightly so, condemned for using racial and gender slurs to describe some decent women whose only sin, apparently, was being less physically appealing to the Imus staff than their counterparts on the Lady Vols. But I don’t see why that’s much worse than rappers and comedians–who are much more influential with our young people than the geezerly Imus–constantly using that language to apply to women generally.
At the same time, though, effective humor is often edgy. Bruce, Pryor, Rock, and others used humor to positively impact the discussion of the incredibly sensitive issue of race. We don’t want to outlaw words that make people angry, nor put topics that make them uncomfortable off the table.
It’s perfectly reasonable for the corporation that pays Imus’ check to want to protect its image and avoid alienating its advertisers and audience. At the same time, it’s been clear for a quarter century or more that this is who Imus is. Firing him for something Rice correctly notes “doesn’t even come close to one of his meaner riffs” would be much more egregious than his remarks.
UPDATE: Calvin Cordozar Broadus, Jr., perhaps better known by his nom-de-rap “Snoop Dogg,” has weighed in on the controversy.
Snoop frequently refers to women as “b**ches” and “hos” in his music, but he insists Imus’ use of the term was unacceptable and the 66-year-old DJ should be taken off the air.
The Doggystyle star says, “It’s a completely different scenario.”
“(Rappers) are not talking about no collegiate basketball girls who have made it to the next level in education and sports. We’re talking about hos that’s in the ‘hood that ain’t doing s**t, that’s trying to get a n**ga for his money. These are two separate things.”
“First of all, we ain’t no old-ass white men that sit up on MSNBC going hard on black girls. We are rappers that have these songs coming from our minds and our souls that are relevant to what we feel. I will not let them muthaf**kas say we are in the same league as him.
Kick him off the air forever.”
Via Steven Taylor, who observes, “To be honest, Snoop’s right–he and Imus aren’t in the same league. Snoop and his ilk are worse in terms of propagating racist and sexist stereotypes and attitudes in our culture.” As if to prove this, the AP provides “Snoop Dogg Hit With Gun and Drug Charges.”
You can’t make this stuff up.
_________
*As an aside, Drum reports that Constance Rice is a second cousin to Condoleeza Rice, who she admires personally even though she doesn’t share her politics. I suspect they’d agree on this particular issue, though.
According to sources, the hopped-up comedian hopped onstage Saturday at L.A.’s Improv comedy club and dropped the n-bomb on a room full of stunned clubgoers. Andy was heckling comedian Ian Bagg during his routine, when Dick allegedly got out of his seat, jumped onstage and began joking with Bagg. The subject of Michael Richards came up, but the two comics quickly moved past it. As Dick exited the stage, he suddenly grabbed the mic and shouted at the crowd, “You’re all a bunch of niggers!”
Unlike the Richards incident, there’s no video of this one. My guess is that he was trying to be funny by mocking Richards, since there’s no provocation here and thus no context for a racial outburst. Either way, it doesn’t appear to have come across as funny. It may be that racial humor is best left to black comedians.
TMZ has a very blurry video of what purports to be Michael Richards launching a bizarre, racist tirade at a black member of his audience.
Richards, who played the wacky Cosmo Kramer on the hit TV show “Seinfeld,” appeared onstage at the Laugh Factory in West Hollywood. Kyle Doss, an African-American, told TMZ he and some friends were in the cheap seats and he was playfully heckling Richards when suddenly, the comedian lost it.
The camera started rolling just as Richards began his attack, screaming at one of the men, “Fifty years ago we’d have you upside down with a f***ing fork up your ass.” Richards continued, “You can talk, you can talk, you’re brave now motherf**ker. Throw his ass out. He’s a nigger! He’s a nigger! He’s a nigger! A nigger, look, there’s a nigger!”
The crowd is visibly and audibly confused and upset. Richards responds by saying, “They’re going to arrest me for calling a black man a nigger.”
One of the men who was the object of Richard’s tirade was outraged, shouting back “That’s un-f***ing called for, ain’t necessary.”
After the three-minute tirade, it appears the majority of the audience members got up and left in disgust.
One would think.
Here’s the video:
Even compared to the infamous Mel Gibson rant, this is quite inexplicable.
Update: Shakespeare’s Sister writes, “I’ll never be able to watch an episode of Seinfeld again without thinking about that loathsome tirade—and I certainly won’t be completing my collection of the series on the DVD, lest another penny of my money end up in his pocket.” I’m generally able to compartmentalize my views of performers’ personal lives and their entertainment value; otherwise, I would be boycotting most of Hollywood. (I won’t be buying the Seinfeld DVD’s, either, but then I wasn’t before this.)
She links an interesting CNN report on the incident at YouTube which, interestingly, does not allow embedding but works at the moment on the site. Richards is back at work at the comedy club, it seems.
Meanwhile, Pajama Media’s Tel Aviv correspondent quips, “[I]t’s not like his career can afford to take the hit. But who knows? Maybe Mel Gibson has a part for him in his next movie.”
A pretty good discussion is going on in the comments sections at both Althouse and Unfogged, too.
He called two black hecklers the “n-word” and enthusiastically referenced a time when blacks were often victims of civil rights abuses, but Michael Richards said his verbal barrage during a stand-up routine was fueled by anger and not bigotry. “For me to be at a comedy club and flip out and say this crap, I’m deeply, deeply sorry,” the former “Seinfeld” co-star said during a satellite appearance for David Letterman’s “Late Show” in New York. “I’m not a racist. That’s what’s so insane about this,” Richards said, his tone becoming angry and frustrated as he defended himself. Richards described himself as going into “a rage” over the two audience members who interrupted his act Friday at the Laugh Factory in West Hollywood.
His explanation was reminiscent of Mel Gibson’s assertion that he wasn’t anti-Semitic after he let off a barrage of Jewish slurs during a traffic stop last summer: despite what came out of his mouth, that’s not what is inside him.
Industry colleagues were in no hurry to accept Richards’ apology.
“Once the word comes out of your mouth and you don’t happen to be African-American, then you have a whole lot of explaining,” comedian Paul Rodriguez, who was at the Laugh Factory during Richards’ performance, told CNN. “Freedom of speech has its limitations and I think Michael Richards found those limitations.”
Veteran publicist Michael Levine, whose clients have included comedians George Carlin, Sam Kinison and
Rodney Dangerfield, called Richards’ remarks inexcusable. Comics often face hecklers without losing their cool, he said. “I’ve never seen anything like this in my life,” Levine said Monday. “I think it’s a career ruiner for him. … It’s going to be a long road back for him, if at all.”
It’s ironic that Sam Kinison’s former publicist is outraged by this, as Kinison’s entire act was over-the-top misogyny. And I disagree with Rodriguez that the use of the “N-word” exceeds the boundaries of permissible free speech.
Still, speech has social consequences and Levine is likely right that this will cause substantial damage to Richards’ career.
Seeing the success of Comedy Central’s “Daily Show” and “Colbert Report,” Fox News is working on a conservative news satire show.
Fox News Channel might air two episodes of a “Daily Show”-like program with a decidedly nonliberal bent on Saturday nights in late January, with the possibility that it could become a weekly show for the channel.
The half-hour show is executive produced by “24’s” Joel Surnow and Manny Cota and creator Ned Rice, who previously wrote for “Politically Incorrect” and “Late Late Show With Craig Ferguson” through This Just In Prods. It would take aim at what Surnow calls “the sacred cows of the left” that don’t get made as much fun of by other comedy shows. “It’s a satirical news format that would play more to the Fox News audience than the Michael Moore channel,” Surnow said. “It would tip more right as ‘The Daily Show’ tips left.”
There would certainly be an audience for such a show but the description here does not look promising. For one thing, a once-a-week format is unlikely to work. There are already a flurry of late-night comedians doing their takes on the events of the day, not to mention “Saturday Night Live” and other weekly venues. Immediacy is part of the effectiveness of these shows. Further, it’s not just the format that has done so well for Comedy Central but the hosts. Unless they find someone with the comedic timing and ability to be simultaneously likable and snarky that Stewart and Colbert possess, the show won’t make it.
Amy Poehler and Seth Meyers are all about good chemistry. The new anchor duo at NBC’s Saturday Night Live’s Weekend Update, making their debut this weekend (11:30 p.m. live ET/delayed PT), point out that they’re both from New England. Both got their starts as comedians in Chicago. And they’ve already played a team in a popular SNL sketch: Dan and Sally Needler, “the couple that should be divorced.”
“Seth and I have a very familial, dare I say fraternal, relationship,” Poehler says in a joint interview at SNL’s offices. “We have a very similar sensibility.”
Meyers also “writes great jokes,” she adds, “and I’m really looking forward to saying them and getting credit.”
Meyers has other plans. After Poehler snatched the Update anchor slot from him two years ago in an audition face-off, “My vengeance was to get it with her and torpedo her.”
Wisecracks aside, how they gel may be crucial to determining the health of the late-night staple, which begins its 32nd season. Behind the desk, they follow such storied anchors as Chevy Chase, Dennis Miller and Norm MacDonald.
And under the surface, SNL is weathering its biggest shake-up in years. Producer Lorne Michaels, stuck with what he called “massive” budget cuts, trimmed three cast members: Eight-year veterans Chris Parnell and Horatio Sanz, and Finesse Mitchell, who joined in 2003.
Two others — Rachel Dratch and head writer and Update anchor Tina Fey — left to work on 30 Rock, Fey’s NBC sitcom, due Oct. 11. It’s about the goings-on backstage at a show suspiciously like SNL.
SNL had its worst ratings yet last season, averaging 6.5 million viewers, a 6% drop from 2004-05. And amid the cutbacks, a new director was named.
“There’s a ton of transition going on,” says Poehler, 35. Though she says she’ll miss her co-stars, “we’re kind of excited about the idea of a slimmer (cast),” she adds brightly. “Skinny is in right now.” source
Mike Douglas, who drew on his affable personality and singing talent during 21 years as a talk show host, died Friday on his 81st birthday, his wife said. He died at 5:30 a.m. in a Palm Beach Gardens hospital, said his wife, Genevieve Douglas. She wasn’t sure of the cause, but said he had been admitted Thursday. Douglas became dehydrated on the golf course a few weeks ago and had been treated on and off since. “He was coming along fine, we thought. It was really a shock,” she said. “We never anticipated this to happen.”
Douglas’ afternoon show, which aired from 1961 to 1982, featured his ballad and big-band singing style, other musicians, comedians, sports figures and political personalities, including seven former, sitting or future presidents. “People still believe ‘The Mike Douglas Show’ was a talk show, and I never correct them, but I don’t think so,” Douglas said in his 1999 memoir, “I’ll Be Right Back: Memories of TV’s Greatest Talk Show.” “It was really a music show, with a whole lot of talk and laughter in between numbers.”
[...]
Douglas was among the “early settlers” in daytime talk shows, said Robert Thompson, a professor and director of the Center for the Study of Popular Television at Syracuse University’s S.I. Newhouse School of Public Communications. “Mike Douglas was an old-fashioned traditionalist, holding down the fort while the culture was changing,” Thompson said. “He was always the very friendly talk show host, nice to everybody. He would lean toward his guest as if he really cared. He owned that territory.”
Hosts Phil Donahue, Dinah Shore and Merv Griffin also found success about the same time. Douglas said in his book that people often confused him with Griffin, another singer of Irish heritage. (Douglas was born Michael Delaney Dowd Jr. in Chicago, Illinois.)
Douglas fondly recalled when Tiger Woods, who as a preschooler was already drawing attention, appeared on the same 1978 show as Bob Hope, an avid golfer. “I don’t know what kind of drugs they’ve got this kid on,” Hope quipped, “but I want some.”
Douglas was genial most of the time — he was nicknamed “the Cary Grant of the coffee break,” according to Allmusic.com — but confided in his memoir that his composure was sorely tested one week in 1972 when former Beatle John Lennon and wife, Yoko Ono, were his unlikely guest hosts. One of the guest celebrities they selected was well-known anti-war activist Jerry Rubin. “He just got on my nerves. It sounded like this guy hated the president, the Congress, everyone in business, the military, all police and just about everything America stands for,” Douglas said. He recalled becoming confrontational with Rubin. But Lennon “picked up the mantle of Kind and Gentle Host, and he did it quite well, reinterpreting Jerry’s comments to take some of the sting out and adding a little humor to keep things cool,” Douglas said.
Douglas also had a number of hit singles, first with Kay Kyser’s big band — he was a featured performer on the radio and eventual television program, “Kay Kyser’s Kollege of Musical Knowledge” — and later on his own. “The Men in My Little Girl’s Life” hit the top 10 in 1966.
I recall the show during its final years, when I was a young teenager. I remember an episode where hard rocker Ted Nugent was the guest and how well he and Douglas got along. Looking back, that’s rather remarkable considering the divergence of their musical styles. But I think they had mutual respect for each other’s work ethic and the tribulations of the lifestyle.
British comedians Justin Lee Collins (with grapes) and Alan Carr perform a sketch with actress Misha Barton from the Friday Night Project based on ‘The OC’, the TV show in which Barton appears, at London TV Studios. Mischa is a special guest star for the Friday Night Project TV show.
Well, I guess that clears up who this guy was. Lucky Bastard. Mischa is looking good, I apologize for calling her “fat” the other day. The only thing I despise about these pictures is that the sketch called for her to dress up in a soccer uniform. It’s like a cruel joke to me. Teasing me with thing I like most in the world (Mischa) and the thing I hate most in the world (Soccer). Why’d you do it, Mischa? You’re so above soccer.
Singer Buck Owens, the flashy rhinestone cowboy who shaped the sound of country music with hits like “Act Naturally” and brought the genre to TV on the long-running “Hee Haw,” died Saturday. He was 76. Owens died at his home in Bakersfield, said family spokesman Jim Shaw. The cause of death was not immediately known. Owens had undergone throat cancer surgery in 1993 and was hospitalized with pneumonia in 1997.
His career was one of the most phenomenal in country music, with a string of more than 20 No. 1 records, most released from the mid-1960s to the mid-1970s. They were recorded with a honky-tonk twang that came to be known throughout California as the “Bakersfield Sound,” named for the town 100 miles north of Los Angeles that Owens called home. “I think the reason he was so well known and respected by a younger generation of country musicians was because he was an innovator and rebel,” said Shaw, who played keyboards in Owens’ band, the Buckaroos. “He did it out of the Nashville establishment. He had a raw edge.”
Owens, elected to the Country Music Hall of Fame in 1996, was modest when describing his aspirations. “I’d like to be remembered as a guy that came along and did his music, did his best and showed up on time, clean and ready to do the job, wrote a few songs and had a hell of a time,” he said in 1992.
[...]
In addition to music, Owens had a highly visible TV career as co-host of “Hee Haw” from 1969 to 1986. With guitarist Roy Clark, he led viewers through a potpourri of country music and hayseed humor. “It’s an honest show,” Owens told The Associated Press in 1995. “There’s no social message — no crusade. It’s fun and simple.”
Singer, songwriter, and guitarist Alvis Edgar Owens Jr. ruled the country music scene for a period in the mid-1960s, producing a clear, twangy, danceable sound that he repeated across dozens of chart-topping singles. Though he would later become a fixture on television through the success of Hee Haw, Owens is best remembered by fans and those younger stars he has influenced for timeless hits like “Act Naturally” (#1, 1963) and “My Heart Skips a Beat” (#1, 1964).
[...]
During a period he spent in the Seattle area in the late fifties, Buck struck up a musical relationship and personal friendship with a young fiddler, Don Rich. Their partnership was crucial in Buck’s career, and Rich stayed with Owens as musician, guitarist, and leader of Buck’s band, the Buckaroos, until his death in 1974.
Owens’s first #1 hit, which began a string of six years in which he had at least one #1 and usually had three, was “Act Naturally” in 1963, later covered by the Beatles. Following this with a series of similar singles with a clear sound that seemed literally to jump out of AM transistor radios, Owens hit the top again and again with songs such as the ballad “Together Again” (#1, 1964), “I’ve Got a Tiger By the Tail” (#1, 1965), “Think of Me” (#1, 1966), and “Sam’s Place (#1, 1967).
Unlike most other artists during the heyday of the Nashville Sound, Owens would virtually always record with his road band, giving his records both a distinctive sound and a live feel. From 1963 to 1967, during the peak of Owens’s commercial and artistic career, Owens and Rich were joined by pedal steel player Tom Brumley, drummer Willie Cantu, and bassist Doyle Holly on all of Owens’s records and on the Buckaroos’ own marginally successful releases on Capitol. While Nelson nominally produced his sessions, Owens would shape and control the band’s sound and songs. These factors, and Owens’s desire to keep the same winning song and arrangement formula, helped to create the conditions for his signature style based upon simple storylines, infectious choruses, twangy electric guitar, an insistent rhythm supplied by a drum track placed forward in the mix, and high two-part harmonies featuring Owens and Rich.
Rather than using the stolid session musicians most country singers relied on, Owens put together a solid road band and brought it into the studio (the band was eventually named the Buckaroos by a brooding ex-con who played bass in the band for three weeks: Merle Haggard). He did it because he wanted the live show to sound like the records, but the result, happily, was the opposite: the records sounded like a live band. Using what he’d learned about AM radio sound in Washington, Owens mixed his records using tiny speakers so he’d know what they’d sound like in the real world. The guitars fairly shimmered. The vocal harmonies cut like diamonds. If you were listening to the radio, you knew a Buck Owens song in an instant. It jumped right out of the speaker.
Owens was named the most promising country and western singer of 1960 by Billboard, and his top-10 duets with Rose Maddox in 1961 earned them a nod as vocal team of the year in DJ polls. But it was in 1963, after updating his sound again, that Owens’ career went ballistic. He moved away from the traditional country shuffle to a more upbeat, driving style (”…like a freight train coming through your livingroom,” as Buck said) with the single “You’re For Me” in late 1962. A few months later, “Act Naturally” became his first No. 1 hit. It was rock ‘n’ roll with a country feel. The Beatles later covered it without changing much of anything. It crossed over to the pop charts, and it began an astonishing run: for the next four years, every Buck Owens single went to No. 1. Fifteen in a row. At one point, he had a B-side, “My Heart Skips a Beat,” alternating in the top spot with its A-side, “Together Again.” “Love’s Gonna Live Here,” the follow-up to “Act Naturally,” was No. 1 for 16 weeks. He even sent an instrumental — the signature “Buckaroo” — to No. 1. The streak finally ended in October 1967 when his tribute to his fans, “It Takes People Like You (To Make People Like Me),” underachieved, stopping at No. 2. The next single, “How Long Will My Baby Be Gone,” went to No. 1, as did three more songs in 1969.
He played sold-out shows at Carnegie Hall and the London Palladium. In 1968 he played at the White House by special invitation of President Johnson, and he blew away the hippest room in America, the Fillmore West. Creedence Clearwater Revival, the biggest American rock band of the period, listed “listenin’ to Buck Owens” as one of life’s pleasures in “Lookin’ Out My Back Door.” Beginning in 1966 he hosted a syndicated TV show, “Buck Owens’ Ranch,” for six years. He hit on a trademark when he painted his guitar red, white and blue. And he was smart with his money: He ran his own music publishing company and, with his manager, Jack McFadden, a booking agency. He bought radio stations and opened a recording studio in Bakersfield, which country music writers now called “Buckersfield.”
He was no poet. His lyrics were simple and direct, relying more on clever wordplay than deep insight. Merle Haggard had since stepped out of his shadow to become the so-called “bard of the working man” (not to mention marrying Bonnie Owens, who had a few minor hits of her own). George Jones was a far better singer, and even his own boy Don Rich was a better guitarist. Unlike many fellow artists, Owens avoided drugs and drink, living as a quiet family man. But Owens was a rebel at heart doing his music his way, shunning the conventions of Nashville, and fairly owned country in the ’60s.
[...]
In 1969, he agreed to co-host what critics called “a hillbilly version of Laugh-In” with Roy Clark on CBS. Hee Haw started as a special, then it was a summer replacement, and then finally it earned a spot on the schedule. It went to the top of the ratings. Critics said it was ridiculous. But the biggest stars in country music came on, and the show treated the music seriously. CBS canceled it in 1971 in a move away from rural shows, but it went on and on in syndication. A generation, and then another, grew up knowing Buck Owens as the co-host of Hee Haw.
Gary Kaufman had an interesting Owens profile, “The Baron of Bakersfield,” as part of Salon’s Brilliant Careers series in 1999. It begins,
A decade before Waylon and Willie and the boys became revered as “outlaws” for shunning Nashville and basing their careers in Texas, Buck Owens changed country music and became its biggest star from a flat little oil town called Bakersfield, Calif.
He was a rebel without a dark side — a polite, law-abiding, hard-working family man who invested his earnings prudently, stayed away from drugs and drink, preferred working with musicians who did the same and spent 17 years hamming it up as the co-host of the corniest show on TV, “Hee Haw.” But he was a rebel nonetheless, insisting on playing his own music, his own way, with his own band and in his own town at a time when country singers were supposed to go to Music City and sing over sweet, canned backing tracks laid down by session players and string sections. They named the hard, guitar-driven honky-tonk sound that purists still call “real” country after his town, but the Bakersfield Sound is the sound of Buck Owens.
Despite his remarkable influence as a musician, Owens is doubtless best remembered by those under 50 for “Hee Haw.” Both he and his co-host Roy Clark were much better musicians than comedians, but their pickin’ and grinnin’ overshadowed the music on the show.
Update (3/26): The Nashville Tennessean has a long obituary which includes this passage:
Though many knew him primarily for his role on the popular syndicated television series Hee Haw, Mr. Owens’ guffawing presence on that show did not hint at his musical significance. Before Hee Haw’s 1969 premiere, Mr. Owens had redefined the sound of country music. He had already worked in television, giving future superstar Loretta Lynn her first media exposure on KTNT in Tacoma, Wash. He had already brought the snarling, treble-heavy Fender Telecaster guitar to popularity.
He had established Bakersfield as a place where renegade artists made edgy country music that served as the sinewy anti-thesis of the lush, pop-leaning records coming from Nashville in the 1960s. He led his electrifying Buckaroos band to triumphant concerts overseas and at New York’s hallowed Carnegie Hall. He had inspired a British rock group called The Beatles to record a version of Mr. Owens’ hit Act Naturally, and he had done enough to ensure a lasting place in American music.
“I looked at CNN.com today and (the headline) said, ‘Hee Haw Star Buck Owens Dies,’ and it made me mad,” said country musician Brad Paisley, a longtime fan of Mr. Owens who became a friend of the legend’s. “This is a guy who influenced The Beatles. They covered him. He’s one of the most important country artists ever. That headline should say, ‘Music Legend Buck Owens Dies.’”
The LAT piece, by Randy Lewis, features this fitting synopsis of Owens’ last night:
“He had come to the club early and had a chicken-fried steak dinner and bragged that it’s his favorite meal,” Shaw said. After dinner, Owens told band members he didn’t feel up to performing and decided to drive home. On his way to his car, fans on their way in told him that they had come from Bend, Ore., and that they were really looking forward to hearing him sing. Owens turned around and did the show. “He mentioned that onstage: ‘If somebody’s come all that way, I’m gonna do the show and give it my best shot. I might groan and squeak, but I’ll see what I can do,’ ” Shaw said. “He died in his sleep — they figure it was about 4:30 [a.m.] — probably of heart failure. So he had his favorite meal, played a show and died in his sleep. We thought, that’s not too bad.”
MY Boycott against BET and Black History Month
Last week at the Laugh Factory, Jon Lovitz beat up Andy Dick. Apparently last year Andy Dick went up to Jon Lovitz and, according to Jon, “looked at me and said, ‘I put the “Phil Hartman hex” on you - you’re the next one to die.’ I said, ‘What did you say?’ and he repeated it. I wanted to punch his face in, but I don’t hit women.”
“I realized, ooh, ‘here’s my chance,’ so I pulled him back by the shirt and I then I just pushed him almost as hard as I could, really hard, and, you know, I smashed his back and his head into the bar and I just lost it. And then I kept doing it…I would’ve kept going…and when I did it the second time it was really hard and he went [untranscribable sound of unmanly anguish].”
Singer Buck Owens, the flashy rhinestone cowboy who shaped the sound of country music with hits like “Act Naturally” and brought the genre to TV on the long-running “Hee Haw,” died Saturday. He was 76. Owens died at his home in Bakersfield, said family spokesman Jim Shaw. The cause of death was not immediately known. Owens had undergone throat cancer surgery in 1993 and was hospitalized with pneumonia in 1997.
Singer, songwriter, and guitarist Alvis Edgar Owens Jr. ruled the country music scene for a period in the mid-1960s, producing a clear, twangy, danceable sound that he repeated across dozens of chart-topping singles. Though he would later become a fixture on television through the success of Hee Haw, Owens is best remembered by fans and those younger stars he has influenced for timeless hits like “Act Naturally” (#1, 1963) and “My Heart Skips a Beat” (#1, 1964).
