You can offend a rapper the same way you can offend a cartoonist; by implying that their career “looks easy”. Cartoonists must compete in the public eye with Internet doodlers who draw in their ample free time, and rappers have to battle the false impression that they’re just boopity-bopping over a beat loop.
Before hip-hop and rap were widely understood, they were exploited as “novelty” records; a passing trend, not something that would dominate and rend asunder every other type of fucking music on earth. Rap was not a “lifestyle”. It was a fad, like the hula hoop and the Twist. So, like many other musical fads before it, rap became a haven for bad comedy.
Caddyshack is a rare film for me, in that I’ve been afforded a relationship with it since childhood, based purely on the timing of my birth, and the easy-going nature of my parents. When I was 8, and parties at the public pool were as common as skinned knees, one scene from this 1980 comedy was legend.
The doody scene.
I’m not here to talk about that scene, and how it changed the way the world looks at a Baby Ruth, however. I’m talking about that other thing.
It really gets my goat when people talk shit about Chevy Chase. Not just as a fan of his work, or as an admirer. I think some people judge Chevy Chase unfairly, with a scrutiny they do not apply to other comedians or entertainers.
Okay, you read an article relating an incident where Chevy Chase was a jerk. So what? Did he come to your house and fuck with you? Did he push your mother into the street? This is Chevy Chase we’re talking about. I give him absolute carte blanc to be as big a jerk as he likes. Continue reading →
In 1994, a severely truncated version of Oliver Stone’s Natural Born Killers was released to theaters nationwide, after a long and brutal production. It grossed about half its budget on opening weekend, and broke even in 2007. It was based on a story written by Quentin Tarantino, who was currently ablaze in Tinseltown thanks to Pulp Fiction. It starred former sitcom bartender Woody Harrelson, and Geoffrey Lewis’ daughter Juliette (the nymph in Scorcese’s Cape Fear remake), as mass-murdering marrieds Mickey and Mallory Knox.
The most powerful force known to our world is laughter. This is why films that make us laugh are so precious. We carry them through generations on numerous formats, and celebrate the comedians who’ve since left us. We share them with friends and loved ones, so we can laugh together. And since humor is subjective, we love to bicker over which movies are the funniest. Continue reading →