Ted Alexandro at DC Improv 4/24-4/26

Click here to buy tickets

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Once, Twice, Three Times a Rory

The Source Theater at 7:30pm doing improv with Dr. Fantastic.

Solly's Tavern at 9:00pm doing standup for the festival

DC Improv at 10:00pm doing standup for the festival

ALL SHOWS 8/7/08

Please inquiry with Rory for the "Rory Festival Pass", includes all 3 shows, transportation to and from shows with Rory in Rory's car, meals with Rory, breaks with Rory, photos with Rory, 20 minute power nap with Rory, making a wish in a fountain with Rory, wine tasting with Rory, skipping with Rory, laundry with Rory, saying "Rory" with Rory, a selected reading from Rory, creeping with Rory, staring with Rory, and being left by Rory.

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The Secret Is Out

You may only be able to find this event listed on a Facebook invite, so if thats the case, crash the sucker in the name of "supporting live and local comedy".

Who: Mike Eltringham, Lafayette Wright, Eric Patrick and Courtney Fearrington

What: $10 tickets, Comedy Showcase When: TONIGHT@ 8pm Where: DC Improv Comedy Lounge 1140 Connecticut Ave. NW Washington, DC Why: To make you laugh, and for the comics, a possible chance at appeasing that nagging feeling that nobody likes them and they belong in a sewer.

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The Apple Sisters are coming to the DC Improv!

The Apple Sisters will be performing their award-winning, WWII-era comedy show “Right to Bare Charms” (Chicago Sketchfest, Charleston Comedy Festival, and San Francisco Sketchfest) live at the DC Improv on May 17th at 8 pm.

"The Apple Sisters is a 1940s radio show with a modern twist. Packed with songs, dances and slapstick, they’re sure to put a smile to your face, with only modest product endorsement (sponsored by Corndy! Corn Flavored Candy). Pull up your army boots and we’ll meet you in the mess hall!"

Honestly, I've had the pleasure to see the Sisters on a few occasions and I can't recommend the show highly enough. Also, the show's joining them on piano is none other that WIT's own Travis Ploeger of the world-renowned iMusical.

DC Improv Comedy Lounge
Saturday, May 17th @ 8:00
$15
GET TICKETS HERE

Check the Apple Sisters in all their corn-spittin' fun in the video below.


Kimmy Gatewood, Apple Sister Cora, is originally from Spencerville, MD and is making her triumphant return to DC and is also teaching two workshops through the DC Improv while she's in town- 1. characters & dialects (sold out) 2. musical improv (2 spots)(So by the time you're reading this, you are probably too late, you lazy people!)

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Shows That Make You Go "Hmmmm"

TONIGHT, FRIDAY APRIL 9!!

Classic American Comedy
Parker's Classic American Bistro in Bethesda, MD
10pm FREE
This is one of the greatest showcases in the country. If you are a fan of watching great comedy, or performing on great comedy shows, please check out Parker's tonight. It is a young show and as all young shows are, on a probationary period. We need to pack the room to tell the owners that stand up is as important as we the readers think it is. Do it for your country (or at least your friends.) Tonight, check out John McBride, Brandon Ivey, Nick Turner, Shotgun Tom, Andy Haynes, and Tyler Sonnichsen

TOMORROW NIGHT, SATURDAY APRIL 10!

DCC4N presents: DC Comedy Festival Showcase
DC Improv Comedy Lounge
8pm $10
Featuring the best stand-up comics in DC auditioning for spots in the DCCF '08. Line up includes: Jason Weems, Aparna Nancherla, Jay Hastings, Bryson Turner, Kojo Mante, Nick Turner, Tony Gracyk, John McBride, Tim Miller, & Hampton Yount.
Buy tickets here

WIT's F.I.S.T. Tournament FINAL ROUND w/ JACKIE
Flashpoint Theater in Chinatown
9:30pm $12
The Final Two Teams in the 2008 F.I.S.T. tournament go head to head to crown the ULTIMATE CHAMPION. The audience votes for the winner!
Buy tickets here









WORD!

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Laughter Benefits Charities and You

More comedians are giving back. A few weeks ago, Jay posted about the "Purpose Driven Comedy Show" in an effort to shame the rest of us. Well, we were shamed, but that probably isn't the reason we are seeing more charity shows produced by local comedians in the area. Personally, I don't like to give, I like to take, but that shouldn't stop you from laughing at these important causes.

"Cry Laughing" Comedy Benefit
Supporting the Sintia Mesa Foundation

Four DCC4N favorites, Kojo Mante, Mike Way, Erin Jackson and Jason Weems come together for a night of great fun and big laughs at the DC Improv, on Saturday, April 26, 2008. Two shows in the DC Improv Lounge at 8 PM and 10:30PM. Tickets go on sale Tuesday, March 25, 2008 for $25. Tickets must be purchased in advance. For more information and to purchase tickets, please call 202-296-7008 or visit the DC Improv website.

Stand-Up for Obama Fundraiser Show
Supporting Barack Hussein Obama

Pulling double duty in the charity olympics, Erin Jackson joins Tim Miller, Jimmy Meritt and Jermaine Fowler in raising money to support one of the presidential candidates. One show only: Friday, April 18 at 7:30pm at the Comedy Spot. Tickets are $15. For more information and to purchase tickets, please call 703-294-5233 or visit the Comedy Spot website. Read more!

Dr. Showlove, or How I Learned to Stop Worrying and Love to Bomb

So on Sunday night, I was lucky enough to be part of a pretty stunning line-up of comedians at the DC Improv Comedy Lounge for an audition showcase for The Great American Comedy Festival (booked by Eddie Brill from The Letterman Show) and the Just for Laughs Montreal Comedy Festival. I only write of its prestige because it felt surreal to be on the line-up.

I was performing with comedians that made me gurgle carrot nubs of wonder onto my preemie bib when I first started comedy (Schlegel, Jackson, Myers, Smith, Maher, Mumma, Conner, White...the list goes on...Mante, Weems...that's it, I included everybody! Don't come hunt me!) I'm sorry, that should also be present tense. They still make me burp up pea fluff and awe on my baby bib when we are in the same room (it's awkward for me mostly).

So I was on this show, and I wanted to do a good job at least for myself, but also for my peers because their respect means a lot to me. I went up relatively early in the show and completed a solid set...for a bombing! A pretty solid bombing through and through. Mediocre response? Check. Audience interest wavering? Check. Manage to utterly disenchant a roomful of people within six minutes? CHING CHING CHING!


this man especially hated me!
photo courtesy of Flickr and rileyroxx

That's right. After a good deal of traveling, and "ooh look Aparna is gone and off conquering the world!" (which is not a rumor I started but rather Curt's light lady du jour, whoever that lucky dame may currently be...you have my blessings), I come back to do everyone, including myself, not proud via a less-than-stellar showing for a crowd that decided I am to comedy as rice is to the Atkins diet. I brought back an Atkins metaphor! No? Nothing? I accept your silence, and raise you one cricket farm. I actually didn't mind bombing. I'm pretty new to audition sets, and suddenly I've had to do several in the span of a few weeks so I think it's only natural the quality starts to peter pan off into NeverCleverLand.

Mostly I was bummed out the audience didn't like me at all. And by at all, I mean, really, they were actively polling each other for how they felt about me during my set. I got a copy of one of the handouts, and it read: "Do you like her? Check No, Hell Naw, or Not Even Comfortable Quantifying my Dislike in a Mere Two-Dimensional Square" They also instigated ways to get me off of stage quicker such as blank stares, talking incessantly in the corner, and hesitant pity laughter, all of which, they'll be apathetic to know, moderately worked.


the jokes felt wooden. i felt wooden.
photo courtesy of Flickr and julianrod (PBUH)

But once you realize you really did try and do your jokes justice, and you still couldn't really muster up any positive crowd sentiment, it gets kind of liberating after that. I've seen all of my favorite comics bomb. And honestly, it's more inspiring to me than seeing them do well, because I realize they are just as good with their bad sets as they are with their good ones. And that, to me, is part of what comedy is all about. After the show, everyone was gracious and nice in either avoiding eye contact with me, which is usually how I deal with comics who had bad sets (a cheap parlor trick to impress your enemies), and/or giving me conciliatory butt pats, which is how I usually self-medicate anyway.

So I am lucky! I am lucky to have failed and blogged about it. I am lucky to have amazing peers who do not disown me at the first smell of "this joke's not taking." I am lucky to have seen some of the amazing sets that people did have Sunday night. And I'm lucky that I got a swell opportunity, and I got to learn from it. *cue stage moms awwwing* *cue stage dads punching holes in walls* *cue stage babies looking 'on' as always*
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DC Comedy Spotlight: John McBride

You already know he is a hero, which makes him more than worthy of this week's DC Spotlight. For more than 2 years John McBride has been bringing his laid back style to stages all over the DC area. Growing up as the little mixed kid in Atlanta, he has a very unique view of how the world works and it shows in his material. This loose style equates to most of his jokes hitting you before you even knew they were coming.

But don’t let his comedy style fool you. He is also one of the hardest working comics in town. For several years he ran the Café Rendezvous open-mic, which quickly became a favorite of local comedians to workshop their material. He also help run The Bomb Shelter @ 18th and Red, which was featured in a AMU radio piece on DC Comedy. Now, he and Brandon Ivey are producing the new Classic American Comedy showcase at Parker’s American Bistro in Bethesda. It debuts Friday night. Add another item to the long list of things Jon has done to help the DC Comedy Community.

He has been featured on the Comcast-on-Demand Open Mic and was a finalist in the DC Improv's 2007 Showcase competition. He has also worked with comedians such as Ted Alexandro and Bob Marley.

Catch him performing soon at:

Friday, Feb. 29
Parker's Classic American
4824 Bethesda Ave, 20814
10pm
FREE

Thur-Sun, March 18th-22nd
DC Improv
Hosting for DC Benny
8 and 10:30pm


DCC4N interview with John:
When did you realize that you wanted to do comedy?

I don’t know! I mean I guess this isn’t the right answer. It’s hard to pinpoint a specific time. I had many boring summer days as a kid and I used to watch this show “Stand up Stand up” on Comedy Central. I remember it was hosted by some really corny dude. But they would basically run the same stand up clips over and over again, and I would still watch it over and over again. I clearly didn’t realize it at the time but that show sucked and it’s not normal to watch that show over and over again. But I loved it...

[Read the rest of John's interview, plus a video after the jump!]

...Maybe that was an indication that I might want to do this one day. I also have the really cliché story where my older sister and her bad news boyfriend let me watch Eddie Murphy’s Delirious when I was like 11 or something, this is true and I remember laughing my ass off but I wouldn’t say that was “the moment” either but it definitely influenced me. But I always was pretty funny, my mom is my biggest fan, she thinks I’m hilarious (Shocking I know). I actually just called her and asked her what she thinks my first influences are. She didn’t know about the Eddie Murphy thing until I just told her, looks like I let the cat out of the bag on that one. But she said she used to let me get away with some things I shouldn’t have gotten away with because I did it in “a funny way (my moms words)” to her. She always said “You’re going to be a comedian.” Thanks mom!

Who were some of your earliest influences? What about them captivated you?

Eddie Murphy is the first guy that really influenced me. That time I saw Delirious (read above) was really the first time I saw a comic just dominate for more than an hour. One thing that really caught my attention is when he said something like “You thought you were going to see Gumby and shit…well you’re not.” And then he started cursing and just taking that place over. I was like whoa “You can just do that?” That was the first time I saw something like that. Also, my dad loved Mel Brooks and he would always get us to watch Mel Brooks movies like Spaceballs. I specifically remember him taking me to see Life Stinks, at the time I thought that was the funniest thing ever made and so did he. Then of course I saw other comics on TV. I didn’t really matter who it was when I was a kid I would always just watch it. I guess they would be influences as well. I have other influences also but you asked for my earliest so that’s what I can remember as the earliest. My parents would fight with my sister a lot and I would just drop some kind of joke to chill everyone out. I also proudly hold the honor of being the only person that can make fun of my sister without her trying to kill me. YOU try and see what happens son.

Where did you first perform? What was your first paid gig?

First performed at Dremo’s. First paid gig at The Hyatt. Thanks Curt!!!!

What was your first joke?

I think it was the joke about how no one knows where I’m from. I look Mexican or Arab or whatever. So I like to confuse people, like last week I went to a job interview, I was munching on a chalupa and wearing a turban. They were confused…but hey I got the job though, you are looking at the face of Taco Bell for the new Iraq…I start really soon they said…as soon as it calms down over there…which should be any minute now. I think that was my first joke could have been something else though.

Do you prefer to write on or off stage? Do you enjoy the process of writing?

I prefer to write off stage. That’s where most of my writing gets done. On stage I might discover a new tag or sometimes I even uncover a new angle for a concept that I never thought of. But I will take that off stage and try to write more on it later. I really do like the writing process especially when I got something going. That really gets me excited. I love writing because when you come up with something that makes me think, “I can’t wait to get on stage and do this.” I will say though, there is a direct correlation to how much/well I write and how much I am on stage. The more stage time I get the more I write. I like writing with other comics as well. They throw out a concept and we will just mess around with that for a while. Then I’ll throw one out and we’ll mess around with that for a while. Sometimes you get an angle on something that never occurred to you. It helps and to me it makes it a lot more fun. If both of you are sitting there laughing at a concept or a punchline then it will generally be a good joke. That is the real fun part to me. Also, if you are writing with another comic who is your friend you start talking about other stuff that is happening in your life and realize that something about your situation is really funny too.

What about performing live do you enjoy? Do you ever want to convey a message?

My favorite part of performing live is just when you get on stage you do your first few jokes and you can see that the crowd is really with you. That’s the best part, it’s like I really got them on your wavelength and they want to know what you are going to do next. That’s when I really loosen up and take more risks on-stage. I also like the surprise when you do a joke that the rational part of your head is saying, they are not going to like this because it is making fun of whatever demographic is in the audience. But then when the joke goes over well with the crowd you feel like you kind of got away with something. I don’t specifically write jokes to try to convey a message, I try to be funny. But if there is an instance where I can get something in that kind of proves a point I might, as long as it doesn’t compromise the funniness of a joke. But also I won’t say something that is against my personal morals. Like I am not going to be extra derogatory towards gays or women or just crazy racist or something because I think it can get a laugh, that’s not trying to convey a message but I am just being responsible to myself. What’s the point of having a funny joke if you feel like shit every time you tell it?

What's hacky to you?

Stuff I have heard before basically. People can do jokes about stereotypes and it not be hacky, but you need to try to take a hack(I’m clever) at it in a different way. You can’t be like ‘white people can’t dance’ and all you do is dance like an off beat white person, and that’s the joke. That is garbage, everyone has heard/seen that and we get it. Now does that mean you can’t talk about white people not being able to dance? No, mix it up, find a different angle, I’m not saying it will be the best joke in the world but it might not be hacky. If you are going to use a concept like that, I kind of see it like you have 1 strike against you already for the joke, now are you going to get 2 more by doing some tired ass joke with it or are you going to find a new way to attack it? Some concepts, like the one I just referenced may not have any other angles left though…but you get my point. With all that being said, if you start out with a completely new and interesting concept it really has endless possibilities to be a great joke.

What is your day job?

I’m with the United Way as a Development Associate as of right now. I help them raise money. I like to call it “paper chasing.”

Were your parents supportive of you doing comedy?

This is a really interesting question for me. My mom is very supportive of my stand up. She loves it. My father passed away before I started doing comedy. I often wonder how he would feel about it. He was a really strict man. No nonsense, but he did have a good sense of humor and loved to laugh. I mean I could get him laughing really hard sometimes. I remember I told him a story about my 7th grade Spanish teacher, Ms. Simpson. I was telling him how she pushed this shopping cart just full of all kinds of crap around the school all the time. She didn’t know any Spanish either and we just did the first page of the workbook for the entire semester. But she loved saying the word “Encantado!” a lot, and spit would fly out of her mouth every time she said it. I would just yell out “Encantado!” from time to time and just get him cracking up. But as far as him liking me trying to make folks laugh for a living? I don’t know how he would feel about it. I’m not sure if he would really be supportive or not, I like to think that he would be though. He just wouldn’t think it was a really good career path or choice…mainly because it isn’t.

Where do you plan on moving next?

I think New York. But I’m in no rush, I don’t know, stop asking me all of these questions…anything can happen.

How do you feel about the overall comedy scene in DC? Anything you want to change and what are you going to do to change it?

I mean talent-wise I like the scene. I think we have some really funny people. It’s cliquey but I don’t think there is any scene that isn’t. I don’t mind the cliqueiness anyway, that makes it fun to watch everyone try to measure themselves up to one another. I think there are folks that honestly think that they are the funniest person here, or will be the funniest person soon, and those for whatever reason desperately want to be the funniest person here right now. I think that type of delusion is healthy and hilarious. It’s hilarious because who gives a fuck if you are the funniest in DC(how do you even quantify that?). Just get yourself to the point where you want to be, where you feel comfortable taking it to a new level…whatever that level may be for you. It should be a different path for everyone. Now it’s healthy because everyone is competing, but for what, I’m not really sure. But for whatever reason we are competing and it keeps peoples brains moving and pushes us to come up with new stuff, and that’s great. I think it really helps the scene and helps everyone get funnier and funnier. Anyway, what I would change? More rooms would be tight.


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Larry Poon & Jim Marsdale Show this weekend

Two of D.C.'s most recognizable and irrestible acts come together on stage this weekend to share with you their stories of fame, fortune, music videos, scotch, and dancing with loose woman. You can't go wrong.



"An Intimate Evening with Larry Poon and Jim Marsdale"
DC Improv Comedy Lounge
Saturday March 1, 2008
8pm $10
Buy tickets in advance!

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DC Improv Showcase....and the winner is?

Congratulations to Mr. Marcus Brown for winning the DC Improv's showcase on Tuesday. Marcus crushed the nearly sold out crowd who also enjoyed John Conroy, Phil Mause, Eli Sairs, Joyce Rebar and Keith Irvin. This was easily the best showcase that the Improv has held in quite sometime, hosted by DCC4N favorite Jon Mumma. Jon was aggressive and a little angry, with a flair that people usually don't get to see. On to the guest sets. First up was previous showcase winner Hampton Yount. Always a pleasure, he closed strong on a tear-inducing bit about the Porn Awards. Then the club was treated to a very special treat when national headliner Jim Short stopped by to perform the final set of the night. It's interesting to see the difference in local up & comers compared to the highly-polished Short. (don't die before you're able to hear his joke about werewolves) So, that is the update on that shiz-nit, I'm gonna go bang my head against a tree.

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DC Comedy Spotlight: Seaton Smith

This week's DC Comedy Spotlight shines on one of the most energentic and entertaining comics in D.C., Seaton Smith. After getting his start in New York, he moved to Washington D.C. in 2003 and began to develop his act as a comic who attacks the stage. If you catch him performing now-a-days at such clubs as DC Improv, Baltimore's Comedy Factory, or Cozzy's Comedy Club, you will definitely be going home with one of his characters bouncing through your head.

His ability to yank the audience along with him as he relates one of his wild stories has given him alot of attention. He has been continually featured at the DC Comedy Festival in 2005, 2006, and 2007. Also, last summer he nabbed an opening spot at the Opie and Anthony Traveling Virus Tour , where he performed with such acts Louis C.K., Jim Norton and Carlos Mencia.

Catch him while you can at:

TONIGHT'S "TOP SHELF" @ SOLLY'S TAVERN at 8:30
also:
MARCH 2ND AT THE DC IMPROV
MARCH 21-22 AT MAGOOBYS COMEDY CLUB

He also is a student with Washington Improv Theater and can be seen soon during WIT's Tournament of the F.I.S.T in March.

DCC4N's Interview with Seaton:
When did you realize that you wanted to do comedy?

I was ten when I thought I was funny. And then there was a talent show and I got on for rehearsal and killed. It was fun. But the problem was my stepmom was very controlling type of woman and she made me rehearse for her. Which is more painful than one would think. I did multiple rehearsals and I didn't know that you were supposed to do the same material I think, so I kept coming to rehearsal with different jokes and it got pretty bad to the point where I asked to just host and not do jokes. It was pretty bad. But I regretted not doing the talent show for real. I guess that's my earliest feelings of wanting to be a comic only cause it's seeped in regret. And that, I think, is the essence of being a comic. The overbearing sense of regret and shame.

[Hit the jump for more of Seaton's interview, plus a new video from his set at the DC Improv]

Who were some of your earliest influences?

Pryor, my grandma had "Is it something I said?" And I thought that was the most brilliant thing ever. I didn't have those stories where you would listen to them in secret. My family is big into dirty language. So we enjoyed those tapes together, like family time. Some people watched wizard of oz, we watched Richard Pryor Here and Now. Then when I got into comedy and I was frustrated with the form of opening, setup, punchline it was like a wet dream to hear Steve Martin's Let's Get Small. I had not idea of the brilliance at the time, only cause I wasn't born yet. Then Woody Allen's Comedian did a lot on structure. Bob Newhart Button Down Mind on the bumbling everyday type of guy that you wouldn't notice. But then Sam Kinison, his screaming was like music, plus he had a cleverness that's not given enough love.

What about them captivated you?

Well I mentioned the other ones, but Pryor then was just funny, now I can see from every aspect of comedy he was great at it. Characters, stories, one liners, clean, dirty, plus he could stop doing jokes and talk about something serious or jump into a skit with four or five characters. His ACT, in speaking of his hour to hour and a half sets, would have an intellectual and entertaining arc to them that at the end you would feel a sense of completion. He's like a book you can read a thousand times and find something different.

Where did you first perform?

I guess I answered this. But I'll tell you the second place I performed. I was 14 and there was a talent show at a religious camp I used to go to. You want to talk about good crowds. I got applause breaks before I told a joke. I mean "introducing seaton smith" applause. "hello" more applause. It really did wonders for the delicate teenage ego. then I did a show in newark, nj, another talent show but not religious, with my mom in the audience and I bombed so bad that in the car my mom told me never to invite her to another show until I get famous. So much for the delicate teenage ego.

What was your first paid gig?

I want to say it was Jillian's. I want to say Sean Savoy (then Sean Joxe) was the first to give me some love. I had some really good times at Jillians, and some equally bad times.

Do you prefer to write on or off stage?

Both. I go in spurts where I'll try different writing exercises to flesh the ideas out. But then a joke will reach as far as I can take it and I'll brainstorm with a friend. But that's when I have an idea of what I want to say. Sometimes i have no idea what I want to say about a particular idea so I'll go on stage and hope that the adrenaline will cause a creative moment/magic. whatever.

Do you enjoy the process of writing?

Yes. when I'm doing it. When I'm staring at the page no. When I'm laying in bed thinking about it, sometimes.

What about performing live do you enjoy?

Intimacy. I really like the feeling of a group of people coming together and seeing the same thing and having the same feeling about something. There is an intimacy in that that can feel warm. It's only when you get off stage do you realize somewhere in the back of your head it's not real or it's so temporary that you can't real suck it in. But sometimes aftershocks of it all hit you later at night when you're alone and you feel it again, except a little less. But it's great just the same.

Do you ever want to convey a message?

I want to. But I don't know what it is in general. I know when I speak about race I try to speak on my disposition in the societal paradigm. Meaning I don't say "white people be fucking up" kind of humor which comes from an attacking place. I try to speak on how we all kind of relate cause we're all kind of squeezed in this tight space and we've established rules with one another about how to conduct ourselves. Like I have a joke about how white people can't say the word "African-American" but I only mention only because it speaks to all these rules in place that white people are afraid a rule is being broken just by mentioning that black exists, but on the flip side this hesitation isn't out of nowhere because black people are so paranoid of racism/or racist moments that we're looking for white people to get one syllable wrong. See rules. But that's not my whole act. It's really 7 minutes. I don't know what else I talk about. I hate life.

What's hacky to you?

Not speaking from your own life, experience, perspective, or your own funny. We all have our own funny and if you're not looking inside yourself to find it then it's hacky. Or if you're trying to be anything else than funny ie dirty, weird, offensive without trying to be funny, it's not hacky but it isn't comedy, it's more or less bullshit.

Were your parents supportive of you doing comedy?

Very much so. Too much. They'd want to sit and workout shit with me when I was a teenager. My father keeps calling me telling me I need to be like Tyler Perry. It hurts me to tell him that it will never happen. My mother would make me do choirs and when I argued she'd say, "you'll get a joke out of it." It never happened ma.


Where do you plan on moving next?

New York City. I'm not sure why. Really. I have no idea what to do. I know my options. But they don't jump out at me as appetizing. I just want to be really really really really (infinite symbol) funny and just assume something good will happen. I don't know what though.

How do you feel about the comedy scene in DC?

That's it's a good place to start. The clique thing doesn't bother me mainly because I don't like people enough to want to be in their friend group. I think that would annoy me. As long as I get stage time. And DC has afforded me a lot of stage time. For about 12 calendar months i was doing about 7 days a week. That was fun. I went a little crazy and I was ugly to a lot of people but I grew. I think anyway. People like to tell me I'm a natural onstage. Which kind of annoys me, cause i'm not a natural, I just was onstage so much that it looks easy and natural. Also when they say you're natural they're making a point to say that they don't like my material. Moral of the story: I really would like to stop talking to people.

-What would you change?

Me personally? Nothing. I don't want to do anything except write and perform, but if I wasn't moving, I'd just create more rooms. That's what comedy is, performance.




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"Romantic Comedy" to become the first show to ever sell out in the history of the WORLD!!!!

We are putting on our second showcase at The DC Improv Comedy Lounge on Valentine's weekend combining the sweetest standup and improv comedy just for you, that's right, you snickerdoodle. Our First showcase, "Clash of the Titans" sold out (unlike any show that has ever been produced by any person or persons in any medium!)and we are celebrating by putting on another local comedy showcase with twice the heart, with TWO shows @ 8pm and 10:30pm. Hey pumpkin-pudding, you deserve nothing but the best.

Fall in love with stand up from:
SHOTGUN DENNY TOMM (winner of 2007's "Funniest Person in Baltimore,")
NICK TURNER (jerk from NYC and [little-seen] National Commercials)
JAY HASTINGS (Comcast On Demand)
JASON WEEMS (Last Comic Standing, Comcast On Demand)

And Long-Form Improv/Pillow Talk from:
HOURLY RATE HOTEL f/ Topher Bellavia, Natasha Rothwell, Dan Hodapp (Washington Improv Theater's "161" and "Caveat" )
THE JOHNSON FAMILY VACATION f/ Dave Johnson, Mikael Johnson, Jason Saenz-Johnson (Washington Improv Theater's "161" and "Jackie")

And hosted by the debonair but cuddly JASON SAENZ (member of WIT's "Jackie" and "iMusical)

What: DC Comedy: 4 Now Presents: "Romantic Comedy"
When: Saturday, February 16th @ 8:00 and 10:30pm
Where: The DC Improv Comedy Lounge
Cost: $10 at the door or go to http://www.symfonee.com/improv/dc/home/index.aspx.

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DC Comedy Spotlight: Tim Miller

This week's Spotlight focuses its beam on one of DC’s long-standing favorites, Tim Miller. Born in Waco, TX (ex-attorney general Janet Reno’s favorite town) he took an unusual road to comedy. It wasn’t until after he served in the US Army for 8 years (most comics are pussies!) that he decided he wanted to take a shot at the stage. He since has crushed at local clubs such as The Laughing Lizard, Riot Act Comedy Club, Cafe Rendezvous, The Hyatt in Bethesda, Wiseacres, Baltimore's Comedy Factory, Chief Ike’s, Dr. Dremos, Topaz Hotel and the DC Improv. Tim also currently works in the White House. Didn’t think someone with that type of job could become a successful comedian, did ya? Well, wrong again, WORLD!

He is currently being featured on Comcast On-Demand through the 9th of February. If you have that cable provider, take a peek. It’s FREE!

You can also catch him at the DC Improv MC'ing for Pablo Francisco, Jan 24th thru the 27th.

*Where did you first perform?

Wiseacres Comedy Club in McLean , VA. I remember my first performance being nasty. I did a joke about the pygmies in Africa being very short with long dicks. Before I first got on stage I said to myself I would make fun of a loud group that was up front heckling everyone. That worked out pretty good but after that my set was downhill. I remember driving home in my car and going over the jokes I did, (by the way I never did any of those jokes again) realizing I had probably embarrassed myself but also having such a tremendous weight lifted off my shoulders I had to embarrass myself again.

[Hit the jump for the rest of the interview with Tim, plus a video!]

When did you realize that you wanted to do comedy?

I always thought about it but it wasn't until I went to a live comedy show at Jillian's in Arundel Mills Mall that I said "I can do this"

Who were some of your earliest influences?

Murphy, Pryor, Jamie Foxx. Later on after doing comedy I got into Cosby, Seinfeld, and Chris Rock! I liked the way they commanded the stage. They seemed conversational up there.


Do you prefer to write on or off stage?

I think writing on stage is better for performance reasons. The audience can give you an automatic reaction as opposed spending time writing at work or wherever and then going up on stage to have nobody like it. I enjoy the process of brainstorming but the actual writing is not my favorite thing.

What about performing live do you enjoy?
The creative aspect of being on stage and having those ad libs that just come to you aside from your written material.

Do you ever want to convey a message?

Just concentrating mainly on trying to be funny and maybe in the future when I can sustain an audience I'll drop some knowledge.

What's hacky to you?

Hard to explain and also I wouldn't want to type it all the way out. I guess in short someone stealing another comics' persona on stage. I think that right now we all are just redoing some of the same ideas as previous comics did (relationships, racism, etc) just from a different angle. All art is subjective and I think we seem to be very critical of each other.

How do you feel about the comedy scene in DC?

The DC comedy scene is like high school to me at times. There's different cliques and groups but depending on who you are that might not matter. I don't think you can stop shit like that because the entertainment industry is built off of it. People putting their friends on even if others are more talented. If I was in that position I would too. Everyone has a motive for doing what they do. Do you question that or do you accept it and wait for you time to come. This is not just the DC comedy scene, it's any comedy scene. Remember most comedy shows, clubs, and etc. are run by comedians. To understand that you have to understand the nature of a fucking COMEDIAN. Comedy comes from some kind of pain but when you have a comedian that pain has manifested into a need for attention.

Any advice for newbies starting out in DC?

For any new comedians starting out I would say get up as much as possible. Find early what your trying to do with your career and write your jokes accordingly. I mean are you it in for the money, the fame, or do you want to be the funniest comedian ever. Humble yourself and you won't get bitter (so fast). Good luck and I hope to see you out there.



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DC Comedy Resolutions 4 2008, Part 1

"2006 was about learning how to be funny, and 2007 was about seeing where I am on the food chain, finding myself onstage and learning how to consistently have a good time. In 2008, I am going to make a serious effort at laying the groundwork for a real career so I can quit my day job." -Mike Way

"Perform. Perform perform perform perform perform. Also, in 2008 I resolve to bleed less."-Mike Blejer

"Start going to the gym to get more material."-Aparna Nancherla

"Get Colin Murchie off his ass and involved in this two-man show we've been planning. Finish my one-man show and, at the very least, stage a reading of it..."-Shawn Westfall

"This year I'm working harder on trying to bring out the elements that are naturally funny about myself. I started off with a heavier writing influence, but I'd like to be a little looser on stage. I want to experiment more with improvising, and get back to the joy of experimentation I had when I was starting."-Jimmy Meritt

"I think it's probably advisable that in 2008, women start washing their pussies."-Diana Saez

"My #1 resolution for 2008 is just to avoid apathy when it comes to stage time. Too many times I find myself sitting at my house at 7 at night thinking, "Eh I'll do a show tomorrow night." And then I see people who are getting up 5,6,7 nights a week and I'm disgusted with myself. As far as goals, short term I'd like to win an Improv Showcase and long term I'd like to start getting booked by the local clubs, if I can make that happen by the end of 2008 I'll consider the year a great success".-John Conroy

"Do more jokes about fat chicks."-Sean Gabbert

"Resolution 1: Try and get on shows (By any means necessary; Malcolm X said that, the star of Malcolm X in the Middle)
Resolution 2: Avoid laziness and write more (To achieve this I will get rid of my good job and nice girlfriend. Angry dick jokes here I come!)
Resolution 3: Stop letting a bad crowd get to me WHILE onstage (It's THEIR fault I'm not funny)
Resolution 4: Try and travel to some other cities to do comedy (Hampton's Big Adventure 2: Boner Parade)"-Hampton Yount

"I plan on being resolute, when it comes to performing. Also, I resolve to get better, during performances. Now, if someone can tell I what resolution means... does have anything to do with household goods, and cleaning-up??? Resolve."-Haywood Turnipseed, Jr (Scratch that, I plan on laughing louder; peace.)

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Best Interview Ever: John Mulaney

Yesterday I got to catch zee hilarious Ted Alexandro at the DC Improv. But not just Ted Alexandro. Let's talk about what happened before Ted Alexandro. Three very IMPORTANT very FUNNY people. MC Dawan Owens. YAYYYYYYY. Guest set local Hampton. YAYYYYYYYYYYYYY. And the feature who this post is about...John Mulaney! YAYYYYYYYYY.

John Mulaney actually is an 04 Georgetown alum so he's local, which makes him more relatable somehow. And secondly, he's a rising star! Here's an interview. He's very good. The end.

[Hit the jump for the best interview John has ever done!]

This picture is courtesy of Mr. Mulaney's MySpace profile, which you should check out.

If you have a chance to check him out tonight at the Improv, do it. Or watch VH1's "Best Week Ever" because he's on there too. He is also the kid on your milk carton.

INTERVIEW (questions courtesy of Larry Poon)

1. What is your margin of trial and error before you toss a new joke that doesn't appear to be working?

I really don't have any set number of times I will try something before I discard it. It all depends on what the joke is. If I really like a joke I will try it at least 5 or 6 times even if it is greeted with utter indifference from the audience. The thing is, I perform just about every night so I put stuff on-stage that is not fully formed and work stuff out in the middle of a set so it isn't always that I have this new completely constructed joke and I go "test" it. I will however toss a reference or a tag after only a couple of times: once it is clear that nobody remembers the episode of Living Single I am comparing something to, I am happy to toss it.

2. When you're not on the road you are constantly on stage in and around NY. How were you able to immerse yourself in the comedy scene there? And what's the best way for a comic from DC (for example) to break into the alt comedy rooms in NY?

I would advise people to just go to the shows they are interested in and hang around and literally get to know the people who book them. I used to book a show at a place called Rififi and people would email me having never come to see the show, basically like "You got a comedy show, I'm the bomb you gotta have me." It is a lot easier to ignore someone until they are in your face and you get to know them. At the same time keep trying to get on-stage anywhere in NY at any time to work on jokes. That is obviously what is most important. If you have a good tape and the people running a show know your face and have spoken with you it is a lot easier to get them to watch your stuff and from that, a lot easier to be put on the line-up.

3. How do you handle heckling?

Well, heckling can mean a lot of things. I think a lot of people picture heckling as a joke not going well, and some loud man yelling "you suck!" That is not all that common from what I have seen. Mainly what you get is people talking to their friends during the show or people trying to have a dialogue with you from their seat. Like, some people will talk to you while you are performing and really think that they are adding to the show in some way. I don't know, sometimes I ignore it, and sometimes I indulge it, it depends. If I think I can move past a comment in the crowd without acknowledging it I often will because I don't have the experience to know that "yes, by talking to the crowd I will still keep the show entertaining for the audience."

4. What was your worse experience with a heckler?

I don't have a great heckling story. Mainly the worst shows I can remember are the ones where I go up all slap happy and am greeted with a blizzard of indifference. Then I am on-stage slowly wondering why people don't like the sound of my voice. And then I finish and walk off.

5. How do you balance trying out new jokes/material with the desire to give people a good show?

It is a delicate balance that I am still trying to figure out. I always think though, that if I have one new thing that I am excited about and at least 10-12 minutes to do other stuff that I know works, it is a very good idea to put the new thing in because it will keep me sharper. Like knowing a new joke is coming up keeps me more in the moment for stuff I have already worked out. I really try and find a way to make every set a little different, eve if it is just to keep me on my toes.

6. How has your material changed over time?

I am not sure, it was always kind of like how it is now, I think I have gotten more confident in the mind-set, "I really think this is funny so I am going to tell you."

7. Have you googled yourself and what was the weirdest thing that popped up that was associated with your name?

The woman who had an open letter to me telling me to get off Best Week Ever and threatening to kick me in the testicles.

8. Do you realize that the wikipedia entry for John Mulaney has you listed currently as a co-defendant in the trial of OJ Simpson for the alleged armed robbery of memorabilia dealers in Las Vegas, Nevada?

Good, good. I have never touched that page. People just keep adding things. It is fun to watch.
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DCC4N presents "Clash of the Titans" on January 4th!

On Friday, January 4th, the stars of DC Comedy come out for their first show at The DC Improv combining the best in standup and improv comedy.

Lineup includes stand-up from:
LARRY POON (winner of 2007's "Funniest Person in Baltimore,")
NICK TURNER (superstar from NYC and [little-seen] National Commercials)
JAY HASTINGS (Comcast On Demand)
APARNA NANCHERLA (Finalist in NBC's "Standup for Diversity," member of WIT's "Jinx")

And Long-Form Improv from:
SUPER BEST f/ Tyler Korba, Mike Bass, Brian Coleman (Finalist of WIT's F.I.S.T. Tournament '06)
UP w/ THE JOHNSONS f/ Dave Johnson, Mikael Johnson, Jason Saenz-Johnson

And hosted by the inimitable JASON SAENZ (member of WIT's "Jackie" and "Reindeer Games")


What: DC Comedy:4Now Presents: "Clash of the Titans"
When: Friday, January 4th @ 8:00pm
Where: The DC Improv Comedy Lounge
Cost: $10 at the door or go to Symfonee.com

For more information please email dccomedy4now@gmail.com

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Main Event Interview: Ted Alexandro

Ted Alexandro will be making his way back to the DC Improv, December 18th - 22nd. We here at DC Comedy: 4 Now thought that it would be a fantastic idea to speak with Ted and pick his brain about his beginings in comedy, writing, alternative venues, and his comedy influences. Don't forget to check out Ted while he's at the DC Improv all this week. Let's read this DC!

[Hit the jump for Ted's interview!]

*When did you realize that you wanted to do comedy?

In college I was in a sketch comedy show and a couple of sketches that I wrote made it into the show. It was a real revelation for me that something I wrote could make an audience laugh and that was the seminal moment for my comedy career. From there I did a two man act with a friend of mine and later went solo. So I basically kept whittling down until it was just me up there.

*Who were some of your earliest influences?

My parents had a few comedy albums in their collection and they had good taste, so I was fortunate enough to be exposed to Woody Allen, Steve Martin, Bill Cosby, George Carlin and Flip Wilson from an early age. These were some of the first comedians who I was drawn to but my early influences were actually not professional comedians, just really funny people- family or friends- who I enjoyed being around. Laughter and making people laugh was important to me even as a kid.


-What about them captivated you?

I was captivated by comedians because, when you listen to those old comedy albums, you get a real sense of the power of the comedian. There is such a specific and powerful relationship between comedian and audience, and it was like listening in on another world, an adult world that seemed to be a lot of fun.
As for the ordinary funny people in my life, the thing about them that captivated me was their sense of fun and how humor made everyday life a lot of fun. When I was a kid, so many adults seemed miserable to me but the people who were joking around had a lightness to their spirit and seemed happier. That definitely made an impression on me. I didn't want the fun to stop when I became an adult.


*Where did you first perform?

The first time I ever performed comedy was at a local church talent show. Not the best comedy environment when there are priests and nuns scattered among the crowd but from what I remember it was adequate. I didn't totally bomb, which was enough to make me want to do it again.


*What was your first paid gig?

-How long had you been doing stand-up at that point?

My first paid gig was after I had been performing for about a year. I got hired to open up for Marc Price who played Skippy on "Family Ties". He actually didn't show up so some other guy headlined but it was still exciting for me. I had loads of friends and family there. Whether they had come out to see Skippy or me, I don't know. But they were there and it was great to join the ranks of the professionals.


*Do you prefer to write on or off stage?

I definitely do almost all of my writing off stage. I spend a couple of hours a day writing, usually about four or five days a week when I'm disciplined. I need that time to come up with ideas that would not occur to me off the cuff. Sitting down and writing enables me to go beyond the first or second idea, beyond the obvious to something better. I will tweak ideas or change lines on stage but for the most part my material is written off stage.


*Do you enjoy the process of writing?

I love writing. It can be maddening and frustrating at times- I've heard it compared to the birthing process. You struggle and kick and scream but if a funny joke comes into the world, it is worth it. I love that the writing side is solitary and quiet and then you take ideas that were hatched in solitude and bring them to the masses in a noisy club or theater. It's really quite bizarre.

*As a veteran comic who can play at any club he chooses, what merit is there to performing at alternative venues like Riffi?

I enjoy performing in as many types of venues and in front of as many different types of crowds as possible. I think it makes me a better, more well rounded comedian. Smaller alternative rooms like Rififi give me a chance to explore some ideas or longer bits that I might be reluctant to do in a mainstream club. And the cool thing is, sometimes after I develop an idea in an alternative room I find that I actually can do it in mainstream clubs, too. A lot of the barriers that comics put up in their own minds regarding what material works where, and I've been guilty of it, are actually just impediments to growing as a performer. I don't necessarily change what I do drastically from club to club. I do make slight adjustments, but you're basically presenting yourself- that is the foundation and that remains constant.



*You were instrumental in starting the New York Comedians CoalitionI haven't heard anything about the "comic's union" in over a year, did you guys accomplish your mission or are there more injustices to fight.


The NY Comedians Coalition is still alive and well. We raised the pay for comedians and accomplished the bigger goal of unifying the community of comics in NY and reminding them of the power of a unified voice.
The Coalition was not simply about money, it was about comedians having a voice and having a community of support, and that is still alive and well. We haven't assembled of late but if an issue came about that needed to be addressed we could assemble three hundred comedians pretty quickly.

*What about performing live do you enjoy?

I love making people laugh. There is something unique and beautiful about the relationship between a comedian and the audience. There's nothing else like it in any other field of the arts. I also enjoy testing myself, trying to grow and evolve as a person and a performer, which go hand in hand.


-Do you ever want to convey a message?

Any message that is conveyed is incidental and secondary to making people laugh. Every joke I do stays in the act because it's funny, not because it conveys a message. That said, I write about things that are on my mind and things that interest me so there is an inherent point of view but I never want that to get in the way of funny.


*What's hacky to you?

Hacky to me is lazy, unoriginal comedy that has me walking out of the room within ten seconds. It doesn't have to be a joke that I've heard verbatim; it could be a premise or a topic that has been mined a million times in the same way. It's that "Okay, here we go" feeling, where you know exactly what's coming.


*What is your day job?

I don't have a day job. I used to be an elementary school music teacher when I first graduated college in '94 but I left teaching about eight or nine years ago when comedy started paying the bills.


*Were your parents supportive of you doing comedy?

Yes, my parents have always been incredibly supportive, which I'm so appreciative of. They come to my shows a few times a year and they did even in the early days. I think my Dad thinks he's my manager. He's always thinking of ways to get me gigs and he carries around a tape of my Letterman set, just in case he runs into a TV executive.
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Comcast Showcase @ The DC Improv Comedy Lounge

Comcast brings its Comcastic Comedy Showcase back to the DC Improv's Comedy Lounge on November 24th @ 8:00pm. The first showcase was a awesome night of local, stand-up comedy and Saturday promises to be just as amazing.

The show will feature 11 of the best local working comics the greater DC metro area has to offer. Here is the line-up(in order from most fuckable [sorry Chris]): Mike Way, Jimmy Merritt, Freddi Vernell, Jared Stern, Tim Miller, Sean Gabbert, Matt Kazam, Jon Mumma, Justin Schlelgel, Joe Deeley, and Chris White. The showcase is hosted by Jay Hastings and he shouldn't suck. There are just a few tickets remaining for a lovely, intimate evening of great local comedy. Come out and check it out. Read more!

DC Improv Showcase Show

Tonight is the DC Improv's local talent showcase show. This is a monthly showcase, and tonights show is hosted by Ryan Conner. Tonights line-up is:

*JERMAINE FOWLER
*EVAN VALENTINE
*LANCE WEISS
*LAFAYETTE WRIGHT
*TAYLOR EDGAR

There will also be two guest sets at the end of the show from two previous showcase winners: Bryson Turner & Jake Young

This is what the future of DC comedy looks like, so come out and support the laughs (yep, that's the gayest thing I've ever typed). Read more!

Who Put Her on the Guest List?

So the club comedy ladder to success roughly works like thees.

You start out as an MC (i.e., host).

Den if yer good enough and have enoff material, you kin be a feature.

And one day if you survive "the game," you can hustle your way into a headliner spot.

That begs (or maybe panhandles) the question, where does the elusive guest set fit in?

Well, I'll tell you what. A guest star on a TV program is usually a movie star who has lowered their standards for a small chunk of time for the purpose of prostituting themselves and their career on a small gray screen as opposed to a ginormous silver one. But still, the point is, people still get excited! People watch! People coo! People ooh! whaddhya mean movie star on da tee-vee?! just tell me when and what channel!

By contrast, a comedy guest set is not quite as glamorous if you don't have the name recognition to back it up. Don't get me wrong. It's still impressive to be on the same bill as working comedians, but a guest set is also a timefiller and unless you're a special unannounced drop-in whose last name rhymes with Crosby or Steinmeld…it will probably be a tiny taste of amateurs gone wild (I only speak for my own act, so keep your panties bundlefree)!

So I had a guest set last night at the DC Improv. Thankful? Extremely so and other suckity-uppers. How did it go?! The guest set itself was fun. I had a good time! I made people expel puffs of air in guttural bursts. I left no premise unturned (this is a blatant exaggeration). I think I lost them a bit at the end, but you know, you're supposed to get the audience crimping for more professionalism. That's yer job and yer place in the entertainment social hierarchy.


is this thing on?
photo courtesy of Flickr and hiddedevries

But the weird part was what happened after the set. Y'see, how you feel about your comedy can be kind of superficial sometimes. And as much as I want to say I'm not dependent on external praise, well, that's just exactly it y'see, I'm dependent on external praise. That's part of the reason many (if not most) stand up comedians do comedy.

Sometimes I value a set by how I feel I did. But it's easier to be like Well, so-and-so said I'm awesome, and so-and-so is important and holds power. Thereby, I can feel good about myself until this high runs out, and I need to go back to my dealer (i.e., another show).

Or more realistically, Well, so-and-so didn't even talk to me, and so-and-so is important and holds power. Thereby, nothing I do is or has ever been of any consequence so I need to go home, write another angst poem, and put on more black eyeliner immediately!

Here was the guest set fallout, boyeee:

The headliner wasn't even aware I did a set. And fine. Why should he know or care?

But it was sad when I told him "I liked your stuff" and he looked at me like "that's nice. Why should I care?" And I was thinking "Well, you shouldn't really care."

But I think he sensed the desperation in my eyes because he was like "Are you a comic?" And I said "Meep. Yes."

"Are you local?"

"Yes."

"Did you go up?"

"Yes."

"How was it?"

"Oh, fun! The audience was a little weird though, you were right." (he called them weird! Not me! I was calling back to his set!)

"Yeah well, that's the kind of people I bring in."

*half turns around and walks away*

Awesome! Really glad we talked! Thanks for the advice! Has anybody perchance seen my sandhole?

The feature act was kinder in acknowledgement, and said "G'job, sweetheart!" with a medium-firm handshake. I liked everything except the 'sweetheart' tag. It's one thing if a male comedian would have gotten the exact same praise but somehow adding the 'sweetheart' to the end was like candy-necklacing the whole gesture. To candy-necklace is a verb I just made up that means 'trying to sweeten something up but creating the opposite effect.' Like if you put a candy necklace on a mean person…not only does it fail to make him or her sweeter, it grates at you even more that such a vile person is wearing a candy necklace.

Finally, the peanut gallery of postshow appraisal (which refers to the audience coming up to you after a show) can often flavor an otherwise blasé night savory and rich. The weird thing is I got no feedback from any women. Sometimes women don't like female comics, or maybe I didn't "speak" to any of them. I mentioned my period once. I don't get it.

Oh wait, I just remembered. I did get a smile from an Asian girl. But I don't know if that was intentional or if I was just in her line of sight and she was one of those always-smiles-to-prevent-any-and-all-possible-confrontations types. But here were my other earnings (I identify by race for my own useless purposes. It's not of any importance or weight so lay off!):

**old white man who said "nice work" in a very serious fashion (I like that I have a fan contingent in the old man department but the fact that he gave me this compliment while half-frowning makes me feel iffy about that whole thing. Like it was community service or something.)

**middle-aged white man who said I did great (he leaned across a circle of people to say this which upped the self-esteem boost a little higher than usual…he went out of his way!)

**tall buff black man who shook my hand and said he enjoyed the show (he could have said that to all of the performers but I choose to believe he decided to shake my hand and praise me to my face on behalf of the entire lineup plus he was so tall I was really tickled he even looked down to acknowledge me – my head came up to about his kneecaps).

**small asian man with distinctive ears (nodded rapidly and said "I really liked your stuff" AND shook my hand. I wanted to lie down after this compliment. It was powerful.)

**youngish white man with unidentifiable accent who was pretty effusive in his praise of me but said it the way you would say it to someone who needed their spirits raised (but was also a loud heckler at the end of the show which made me a little doubtful about whether his praise should even count or not), and then he tried to tell me a joke that I didn't understand at all hence rendering the social interaction a failure overall.

In conclusion, the night was a success!!! And earlier that day, I got to cuddle a puppy, and she was so excited about it, she peed on my foot!


a giddy attack of self-esteem
photo courtesy of Flickr and nouveau Read more!