Nate Haduch

At long last, the conclusion of the Best of Comedy Bang! Bang! 2015 countdown with special co-host Paul F. Tompkins is here with your Top 3 episodes of the entire year. Thanks for listening and Happy New Year!

Merriam-Webster's Word of the Day for January 12, 2016 is:

procrastinate • \pruh-KRASS-tuh-nayt\  • verb

1 : to put off intentionally and habitually

2 : to put off intentionally the doing of something that should be done

Examples:

Somehow, despite procrastinating, Melody managed to hand her assignment in on time.

"You won't achieve [financial fitness] overnight or by happenstance, but by making responsible decisions on a daily basis, working hard and adhering to a well-crafted plan. You also won't achieve it if you let time constraints get in the way, or you procrastinate." — Odysseas Papadimitriou, U.S. News & World Report, 3 Dec. 2015

Did you know?

We won't put off telling you about the origins of procrastinate. English speakers borrowed the word in the 16th century from Latin procrastinatus, which itself evolved from the prefix pro-, meaning "forward," and crastinus, meaning "of tomorrow." Like its synonyms delay, lag, loiter, dawdle, and dally, procrastinate means to move or act slowly so as to fall behind. It typically implies blameworthy delay especially through laziness or apathy.

David Bowie has died many deaths yet he is still with us. He is popular music’s ultimate Lazarus: Just as that Biblical figure was beckoned by Jesus to emerge from his tomb after four days of nothingness, Bowie has put many of his selves to rest over the last half-century, only to rise again with a different guise. This is astounding to watch, but it’s more treacherous to live through; following Lazarus’ return, priests plotted to kill him, fearing the power of his story. And imagine actually being such a miracle man — resurrection is a hard act to follow. Bowie knows all this. He will always have to answer to his epochal work of the ’70s, the decade in which he dictated several strands of popular and experimental culture, when he made reinvention seem as easy as waking up in the morning.

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Rather than trying to outrun those years, as he did in the ’80s and ’90s, he is now mining them in a resolutely bizarre way that scoffs at greatest-hits tours, nostalgia, and brainless regurgitation.

His new off-Broadway musical is called Lazarus, and it turns Bowie’s penchant for avatars into an intriguing shell game: The disjointed production features actor Michael C. Hall doing his best impression of Bowie’s corrupted, drunk, and immortal alien from the 1976 art film The Man Who Fell to Earth. Trapped in a set that mimics a Manhattan penthouse, Hall presses himself up to his high skyscraper windows as he sings a new Bowie song also called “Lazarus.” “This way or no way, you know, I’ll be free,” he sings, smudging his hands against the glass. “Just like that bluebird.” Bowie sings the same song on Blackstar, an album that has him clutching onto remnants from the past as exploratory jazz and the echos of various mad men soundtrack his freefall.

Following years of troubling silence, Bowie returned to the pop world with 2013’s The Next Day. The goodwill surrounding his return could not overcome the album’s overall sense of stasis, though. Conversely, on Blackstar, he embraces his status as a no-fucks icon, a 68-year-old with “nothing left to lose,” as he sings on “Lazarus.” The album features a quartet of brand-new collaborators, led by the celebrated modern jazz saxophonist Donny McCaslin, whose repertoire includes hard bop as well as skittering Aphex Twin covers. Bowie’s longtime studio wingman Tony Visconti is back as co-producer, bringing along with him some continuity and a sense of history.

Because as much as Blackstar shakes up our idea of what a David Bowie record can sound like, it’s blend of jazz, codes, brutality, drama, and alienation are not without precedent in his work. Bowie’s first proper instrument was a saxophone, after all, and as a preteen he looked up to his older half-brother Terry Burns, who exposed him to John Coltrane, Eric Dolphy, and Beat Generation ideals. The links connecting Bowie, his brother, and jazz feel significant. Burns suffered from schizophrenia throughout his life; he once tried to kill himself by jumping out of a mental hospital window and eventually committed suicide by putting himself in front of a train in 1985.

Perhaps this helps explain why Bowie has often used jazz and his saxophone not for finger-snapping pep but rather to hint at mystery and unease. It’s there in his close collaborations with avant-jazz pianist Mike Garson, from 1973’s “Aladdin Sane (1913-1938-197?)” all the way to 2003’s “Bring Me the Disco King.” It’s in his wild squawks on 1993’s “Jump They Say,” an ode to Burns. But there is no greater example of the pathos that makes Bowie’s saxophone breathe than on “Subterraneans” from 1977’s Low, one of his most dour (and influential) outré moments. That song uncovered a mood of future nostalgia so lasting that it’s difficult to imagine the existence of an act like Boards of Canada without it. Completing the circle, Boards of Canada were reportedly one of Bowie’s inspirations for Blackstar. At this point, it is all but impossible for Bowie to escape himself, but that doesn’t mean he won’t try.

Thematically, Blackstar pushes on with the world-weary nihilism that has marked much of his work this century. “It’s a head-spinning dichotomy of the lust for life against the finality of everything,” he mused around the release of 2003’s Reality. “It’s those two things raging against each other… that produces these moments that feel like real truth.” Those collisions come hard and strong throughout the album, unpredictable jazz solos and spirited vocals meeting timeless stories of blunt force and destruction. The rollicking “‘Tis a Pity She Was a Whore” gets its name from a controversial 17th-century play in which a man has sex with his sister only to stab her in the heart in the middle of a kiss. Bowie’s twist involves some canny gender-bending (“she punched me like a dude”), a robbery, and World War I, but the gist is the same—humans will always resort to a language of savagery when necessary, no matter where or when. See also: “Girl Loves Me,” which has Bowie yelping in the slang originated by A Clockwork Orange’s ultraviolent droogs.

Though this mix of jazz, malice, and historical role-play is intoxicating, Blackstar becomes whole with its two-song denouement, which balances out the bruises and blood with a couple of salty tears. These are essentially classic David Bowie ballads, laments in which he lets his mask hang just enough for us to see the creases of skin behind it. “Dollar Days” is the confession of a restless soul who could not spend his golden years in a blissful British countryside even if he wanted to. “I’m dying to push their backs against the grain and fool them all again and again,” he sings, the words doubling as a mantra for Blackstar and much of Bowie’s career. Then, on “I Can’t Give Everything Away,” he once again sounds like a frustrated Lazarus, stymied by a returning pulse. This tortured immortality is no gimmick: Bowie will live on long after the man has died. For now, though, he’s making the most of his latest reawakening, adding to the myth while the myth is his to hold.

Our old friend Zach Galifianakis joins Scott and Scott's nephew Todd on this week's Comedy Bang! Bang! After Scott & Todd catch up and play "What's That Phrase?", Zach tells us about his new FX show "Baskets" and considers Todd to be his new stand-up opening act. Later, U.S. citizen Don Darling stops by all the way from Wisconsin to tell us all about being a Sugar Daddy.

2015 Holiday SpectacularHo! Ho! Ho! BLECH! It's the most wonderful TIME of the year, the Holiday episode of Comedy Bang! Bang! is upon us and our most dearest of friends (and a complete stranger) stop by including intern Gino Lambardo, John Lennon of The Beatles, Ho Ho the naughty Elf, The Time Keeper, Baron Andrew Lloyd Webber, and small time business owner David Bunting. Pa drum drum drum drums!

If you’re a fan of Kyle Mooney and Beck Bennett’s sketches “Wing” and “Bad Boys,” you’re going to love the latest cut-for-time sketch SNL uploaded today from Ryan Gosling’s episode last weekend. It’s another spot-on ’90s sitcom parody that will look all too familiar to those who grew up watching Steve Urkel/Stefan Urquelle on Family […]

Merriam-Webster's Word of the Day for November 12, 2015 is:

sinecure • \SYE-nih-kyoor\  • noun
: an office or position that requires little or no work and that usually provides an income

Examples:
The king was in the habit of rewarding his loyal supporters with sinecures.

"The status of former presidential nominee turned influential insider is more than just a nice sinecure for a politician in the twilight of his career. It's the foundation for another presidential run." — Jamelle Bouie, The Chicago Tribune, 14 Jan. 2015

Did you know?
Sinecure comes from the Medieval Latin phrase sine cura, which literally means "without cure." No, the first sinecures were not cushy jobs for those suffering with incurable maladies. The word sinecure first referred to "an ecclesiastical benefice without cure of souls"—that is, a church position in which the job-holder did not have to tend to the spiritual care and instruction of church members. Such sinecures were virtually done away with by the end of the 19th century, but by then the word had acquired a broader sense referring to any paid position with few or no responsibilities.

BuzzFeed's Tom Chivers asked several atheists How They Find Meaning In A Purposeless Universe.

The way I find meaning is the way that most people find meaning, even religious ones, which is to get pleasure and significance from your job, from your loved ones, from your avocation, art, literature, music. People like me don't worry about what it's all about in a cosmic sense, because we know it isn't about anything. It's what we make of this transitory existence that matters.

These kinds of questions always make me think of Richard Feynman on beauty, science, and belief.

Tags: religion   Richard Feynman   Tom Chivers   video

Merriam-Webster's Word of the Day for October 23, 2015 is:

googol • \GOO-gawl\  • noun
: the figure 1 followed by 100 zeros equal to 10100

Examples:
In January 1997, astronomers Fred Adams and Gregory Laughlin predicted that the universe would end in a number of years equal to approximately one googol.

"Google spits out massive amounts of information. Even the name Google, a misspelling of 'googol'— the number one followed by 100 zeros—is innuendo, delivering a promise of massive amounts of results with each search." — Alexis Sobel Fitts, The Huffington Post, 25 Aug. 2015

Did you know?
During the 1930s, American mathematician Edward Kasner found himself working with numbers as large as 10 to the 100th power—that's a one followed by 100 zeros. While it is possible to write that number using standard scientific notation, Dr. Kasner felt that it deserved a name of its own. According to his own account, Dr. Kasner asked his nine-year-old nephew, Milton Sirotta, to pick a name, promising the boy that he would use the word in the future. Milton made up the word googol, and so the enormous number was christened. Dr. Kasner kept his promise, and the word has spread and been widely adopted by mathematicians and the general public alike.

Last week, Indiana governor Mike Pence signed a disgusting piece of legislation into law that will allow businesses to discriminate against LGBT people based on the grounds of "religious freedom." (Well, the actual wording of the law is a little more complicated than that, but that's what it will end up doing in effect.) In response, many companies have responded with statements that they are considering pulling their business or curbing potential expansions that they had planned within the state. That attitude has started to leak over to bands as well. Wilco, who were set to perform a show at the Murat in Indianapolis on 5/7, announced on their Facebook page earlier today that they would be canceling in protest of the recently passed bill:

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Joanna Newsom’s Divers is an album about a profound love, but it hardly features any love songs. The singer/songwriter recently explained to Uncut that her marriage in 2013 had invited death into her life, “because there is someone you can’t bear to lose,” she said. “When it registers as true, it’s like a little shade of grief comes in when love is its most real version. Then it contains death inside of it, and then that death contains love inside of it.” There is only one domestic vignette on the record, towards the end of “Leaving the City”, where Newsom and her love go running on a beautiful day. Immediately, though, her high dims: “The spirit bends beneath knowing it must end.” 2010’s Have One on Me traced the death of a relationship as Newsom tried and failed to defeat a proud…

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…man’s human nature. On Divers, she attempts to defeat time to stave off death. To bear the weight of its subject, Divers fits to scale, ornate and roaming after the intimacies of Have One on Me. The arrangements—tackled by Newsom along with eight different musicians, including Nico Muhly, Ryan Francesconi, Dirty Projectors’ David Longstreth, and her brother Pete—cover the ground of all her past work in a fraction of the time, making this her most dynamic and exhilarating album. The first half in particular veers between baroque poise, jaunty blues, and rococo beauty, as if searching for answers in disparate places. Landlocked between the dry, acoustic arrangements of “The Things I Say” and “Same Old Man”, the lilting harp and piano of the title track casts her lover as a deep sea diver and measures the distance between them, “how the infinite divides.” The meticulous internal rhymes in the chorus of “Leaving the City” contract against the tug of her harp, a cascade of tiny parts that form a huge, billowing whole, like tiny bones in a vast wingspan. “The longer you live, the higher the rent,” she sings inside the frenzy.

Divers makes a landscape out of this abstract fear of loss. On the courtly “Anecdotes” and “Waltz of the 101st Lightborne”, she is part of a battle fought by birds to try and wrest control of time. “You Will Not Take My Heart Alive” is the most Ren Fair piece here, on which Newsom contemplates ascension to some transcendent plane, “[severing] all strings to everyone and everything.” Its sister song “A Pin-Light Bent” descends sadly back towards reason and reconciliation of her unsuccessful quest to outrun time. “In our lives is a common sense/ That relies on the common fence/ That divides and attends,” she sings with palpable mourning, accepting that her life, “until the time is spent, is a pin-light, bent.” Where this kind of cosmic existentialism could come off like a stoner marveling at the moon, Newsom pulls it off with balance of poetry and reason. Her fantastical world is sometimes hard to get your head around, but it brings surreal, sometimes sci-fi delight to a record that’s otherwise often lyrically despairing.

Where Newsom’s second and third records each overhauled what came before, Divers is a refinement that draws on elements of each of its predecessors. The shapes of her records often get misinterpreted as concepts themselves, rather than the sign of a writer attuned to her work’s needs. Ys from 2006 was the five-song suite; Have One on Me from 2010, the three-disc opus. On its surface Divers is more conventional, a single disc where nine of its 11 songs are under six minutes long, but it also happens to be a wild, genuine concept album. The final song, “Time, As a Symptom”, ends with Newsom in raptures, commanding white stars, birds, and ships to “transcend!” On the very last burst, she clips the word to “trans—”. The first word on opener “Anecdotes” is “sending.” It is a perfect loop.

Most artists on their fourth album settle into atrophy, or at least comfort, Newsom delivers such complex, nuanced music, filled with arcane constructions, that she is only her own yardstick. (In a recent interview about Divers, David Longstreth cited The Milk-Eyed Mender as one of the reasons he quit college: “[What] am I doing here if someone is already out there making music like this, on this level?”) Her consummate craft is a given; what surprises every time is her ceaselessly renewing sensitivity for life’s vicissitudes and the fantastic ways she finds to express them. Divers is not a puzzle to crack, but a dialog that generously articulates the intimate chasm of loss, the way it’s both irrational and very real. Nothing will stem the fear of a loved one’s death, which western culture does little to prepare us for until the very end, but by pulling at the prospect of mortality from every angle, Newsom emerges straighter-spined, and invites you to stand alongside her.

When you hear an album was inspired by the likes of the periodic table, Euclid’s geometry, Kandinsky’s writings and the matter of sound and colour, you get a sneaking suspicion that it might be just a little bit special. And never one to disappoint, Elements is as breathtakingly beautiful and poignantly polarised as one would expect from one of this generation’s finest classical talents. While much of Ludovico Einaudi’s piano-heavy back catalogue is known by many from Shane Meadow’s This is England franchise, his more experimental material receives little exposure in comparison. An ever- growing presence in more recent releases, the Italian maestro continues his movement into the sphere of electronica with his latest 12-track offering – and with great effect.

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Providing the perfect juxtaposition to the likes of the classically classical “ABC” and the all-enveloping opener “Petrichor”, tracks like “Numbers” show Einaudi’s other side, creating a tension that breeds a sense of depth and movement throughout. Nowhere is this more apparent than the emotive “Four Dimensions” – arguably one of the LP’s pinnacles – which is followed immediately by a bassline more suited to a certain Fleetwood Mac banger, forming the backbone of “Elements”.

While these more electronic flourishes are to be admired in their own right, the tracks that really stand out are those the Italian composer is best known for. The likes of the ever-evolving “Drop” and strangely sinister “Mountains” show that Einaudi is very much still doing what he does best.

To say his music his cinematic is all too obvious and Einaudi’s ability to create intricate and emotive musical narratives is a rare gift to be admired. With album closer “Song for Gavin”, we see this side of Einaudi that so many know and love – his ability to write effortlessly poignant and heart-rending pieces of wholly immersive music with nothing more needed at his disposal than his trusty Steinway.

Today, I sat in on a bereavement support group, although if you were standing at the door you might have thought it was a well-attended afternoon party. Thirty or so middle-aged and older attendees plus ten of us from my training course sat in a crowded circle of folding chairs in a high-ceilinged, sun-lit recreation room. Most of the time was spent taking turns singing songs and egging each other on to try and sink a beach ball into the kiddy basketball hoop that stood in the corner. After ten or so Indian women with graying hair and saris tried their luck at the hoop, someone finally pointed at me.

As the tallest woman in India and the only American in the room, I felt a lot of pressure to succeed. Perhaps it was that season of A team basketball in seventh grade in which I boasted zero points and zero assists, or maybe the two or so weeks a year I pretend to care about the Celtics—who am I kidding, it was the four years of rigorous beer pong training when my parents thought I was getting a bachelor’s degree—but in any case you’ll be extremely proud to know that I sunk both my shots. Nothing but net.

Later, everyone went around and introduced themselves. My Malayali friend next to me translated in a whisper. “That’s so-and-so, her husband died six months ago.” or “He’s from wherever, his baby died three years ago.” I was just starting to feel like, Okay, I get it, everyone here had someone die, when the last man stood up. He looked about sixty years old, with a shock of white hair and and light brown eyes. He said his bit and sat down. My friend leaned in. “That’s so-and-so,” he said, “and his wife died one thousand seven hundred and thirty-six days ago.”

A couple of Canucks, Tatiana Maslany and Kristian Bruun give us the 'sclusies on the upcoming fourth season of their hit TV series Orphan Black on this week’s Comedy Bing Bong! They’ll also share the stylish ways they’ve been getting around LA before being introduced to a couple of other celebs, radio hosts Chazmin and Sunny of Good Night In The Morning. Chazmin and Sunny bring the sweetness, charm, and hilarity that their very popular radio show is known for across the nation. It’s an episode that clones and non-clones can both enjoy!

Adams’ 1989 will be released digitally for now, though he has indicated that CD and vinyl versions will also be released. Adams’ take turned the more aggressive, drum-heavy track into a guitar-driven alt-country ballad. Still, Adams doesn’t soften the girl-fight track too much, retaining its catchiness and bouncy, upbeat sound. “Ryan’s music helped shape my songwriting,” Swift wrote of the tribute. “This is surreal and dreamlike.”
Adams first announced his Swiftian endeavor last month. On Instagram, he previewed his annotated copy of the “Welcome to New York” lyrics and revealed that he would record the synth-y pop songs in the style of the Smiths. Swift has been on board ever since the announcement, tweeting that she would “pass out” if it were true.

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Adams was equally complimentary in his confirmation tweet to Swift. “Badass tunes, Taylor. We’re sandblasting them, and they’re holding steady.” Since then, Adams has been previewing snippets of his covers on Twitter and Instagram, showing him and his band in the studio working on the album.
When Ryan Adams began re-recording Taylor Swift’s 1989 album, the pop star was quite vocal on social media about her support for the project. Now, she tells Entertainment Weekly that she’s “honoured” to have Adams cover her album and admitted that Adams helped inspire her songwriting technique. “Ryan Adams is one of the artists who shaped my songwriting,” explained Swift. “My favourite part of his style of creating music is his ability to bleed aching vulnerability into it, and that’s what he’s done with his cover project of my album 1989. When I first heard that Ryan was going to be covering my entire album, I couldn’t believe it. It’s such an honour that he would want to take my stories and lyrics and give them a new life. He’s gotten some of the best musicians together to record this album and if the clips he’s released are any indication, this is going to be something really special.”

At Vox, David Roberts argues that tech nerds are too dismissive and ignorant of politics, particularly if they are as interested as they say they are in changing the world. The piece includes this fascinating one-paragraph take on the state of contemporary American politics:

So that's where American politics stands today: on one side, a radicalized, highly ideological demographic threatened with losing its place of privilege in society, politically activated and locked into the House; on the other side, a demographically and ideologically heterogeneous coalition of interest groups big enough to reliably win the presidency and occasionally the Senate. For now, it's gridlock.

Tags: David Roberts   politics

....and it still looks like a middlebrow kids clothing brand logo.

So why are we doing this now? Once upon a time, Google was one destination that you reached from one device: a desktop PC. These days, people interact with Google products across many different platforms, apps and devices-sometimes all in a single day. You expect Google to help you whenever and wherever you need it, whether it's on your mobile phone, TV, watch, the dashboard in your car, and yes, even a desktop!

Today we're introducing a new logo and identity family that reflects this reality and shows you when the Google magic is working for you, even on the tiniest screens. As you'll see, we've taken the Google logo and branding, which were originally built for a single desktop browser page, and updated them for a world of seamless computing across an endless number of devices and different kinds of inputs (such as tap, type and talk).

Update: The design team shares how they came up with the new logo.

Update: When I said that Google's new logo "still looks like a middlebrow kids clothing brand logo", this is pretty much what I meant.

Gymboree's identity (1993-2000) vs. Google's new identity (Sep 01, 2015)

(via @buzz)

Tags: design   Google   Gymboree   logos   video

laconic: expressing much in few words; concise.

chiliad: a group of 1000.

Persuasion, Blondes' first proper record since 2013's Swisher LP, was prece..

Janus co-founder Dan DeNorch once described his collective's music as "a sound tha..

Jason Heynong-Mantzoukas couldn’t be happier with the worldwide reception to Heynong Man so he’s back to bro-out with Scott about summer, a 3rd gender, and Star Wars. After they discuss the possibility of making Jason a genie who can grant one wish...

While the members of On A Friday, the band that later became Radiohead, were on a break as they attended college, Thom Yorke was a member of a band called Headless Chickens. This is a video of a circa-1989 performance by the band of "High and Dry", a song that later on Radiohead's second album, The Bends, released in 1995.

Tags: music   Radiohead   Thom Yorke   video

Ann Friedman recently created The Disapproval Matrix to better understand where criticism comes from and how to deal with it.

Frenemies: Ooooh, this quadrant is tricky. These people really know how to hurt you, because they know you personally or know your work pretty well. But at the end of the day, their criticism is not actually about your work-it's about you personally. And they aren't actually interested in a productive conversation that will result in you becoming better at what you do. They just wanna undermine you. Dishonorable mention goes to The Hater Within, aka the irrational voice inside you that says you suck, which usually falls into this quadrant. Tell all of these fools to sit down and shut up.

See also Friedman's Hierarchy of Haters.

Tags: Ann Friedman

Merriam-Webster's Word of the Day for July 22, 2015 is:

octothorpe • \AHK-tuh-thorp\  • noun
: the symbol #

Examples:
"To demonstrate and test the varying thicknesses that a pen is capable of imparting, Ivy League students often begin by writing an octothorpe—known to some plebians as a 'hashtag.'" — Evan Siegel, Columbia Spectator (Columbia University), December 6, 2014

"Whatever it ought to be called, Messina chose to use this symbol for collating Twitter searches in 2007 because he wanted a sign that could be input from a low-tech cellphone. He had two options: octothorpe or asterisk. He chose the former." — Roman Mars, Slate.com, December 17, 2014

Did you know?
A versatile symbol with many names (among them hash mark, number sign, and pound sign), the octothorpe has become popularized as the go-to symbol for marking trending topics on Twitter and other social media. It is believed to have been adopted by the telecommunications industry with the advent of touch-tone dialing in the 1960s. Stories abound about how the odd symbol got its name. The octo- part almost certainly refers to the eight points on the symbol, but the -thorpe remains a mystery. One story links it to a telephone company employee who happened to burp while talking about the symbol with co-workers. Another relates it to the athlete Jim Thorpe and the campaign to restore posthumously his Olympic medals, which were taken away after it was discovered that he played baseball professionally previous to the 1912 Games. A third claims it derives from an Old English word for "village."

sidereal: determined by or from the stars.

Andy Samberg is set to host the 2015 Emmy Awards on Sunday, September 20th, and in a new interview with KPCC radio show The Frame, Scott Aukerman revealed that he and his Comedy Bang! Bang! writing staff have been tasked with writing for Samberg: Andy Samberg is hosting the Emmys this year, and I’ve known […]

criticaster: an incompetent critic.

According to a model developed by psychologist Jonathan Cheek and his colleagues, there are actually four types of introversion: social, thinking, anxious, and restrained.

Social: Social introversion is the closest to the commonly held understanding of introversion, in that it's a preference for socializing with small groups instead of large ones. Or sometimes, it's a preference for no group at all -- solitude is often preferable for those who score high in social introversion. "They prefer to stay home with a book or a computer, or to stick to small gatherings with close friends, as opposed to attending large parties with many strangers," Cheek said. But it's different from shyness, in that there's no anxiety driving the preference for solitude or small groups.

I took the quiz at the bottom of the article and I'm a mix of roughly equal parts social, restrained, and anxious introversion with a dash of thinking.

Tags: introversion   Jonathan Cheek   psychology