Louis C.K.

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Andrew Carnegie was among the wealthy philanthropists who funded public libraries in America so that learning wasn’t limited to just the school day. He got no arguments, of course. Bill Gates, who wants to change curriculum, has unsurprisingly had a bumpier ride. A champion of Common Core and the force behind the multidisciplinary Big History courses designed by Australian educator David Christian, Gates and his good intentions have raised the question of whether a billionaire’s influence should have a seat in the classroom itself. While I would have personally loved taking Big History in high school, the issue is a real one. From Andrew Ross Sorkin of the New York Times:

“Beginning with the Carnegies and the Rockefellers, billionaires have long seen the nation’s education as a willing cause for their philanthropy — and, with it, their own ideas about how students should learn. The latest crop of billionaires, however, has tended to take the line that fixing our broken educational system is the key to unlocking our stagnant economy. Whether it’s hedge-fund managers like Paul Tudor Jones (who has given tens of millions to support charter schools) or industrialists like Eli Broad (who has backed ‘blended learning’ programs that feature enhanced technology), these philanthropists have generally espoused the idea that education should operate more like a business. (The Walton Foundation, backed by the family that founded Walmart, has taken this idea to new heights: It has spent more than $1 billion supporting various charter schools and voucher programs that seek to establish alternatives to the current public-school system.) Often these patrons want to restructure the system to make it more efficient, utilizing the latest technology and management philosophies to turn out a new generation of employable students.

For many teachers, [American Federation of Teachers President Randi] Weingarten explained, this outside influence has become off-putting, if not downright scary. ‘We have a really polarized environment in terms of education, which we didn’t have 10 years ago,’ she said. ‘Public education was a bipartisan or multipartisan enterprise — it didn’t matter if you were a Republican or Democrat or elite or not elite. People viewed public education as an anchor of democracy and a propeller of the economy in the country.’ Now, she said, ‘there are people that have been far away from classrooms who have an outsize influence on what happens inside classrooms. Beforehand, the philanthropies were viewed as one of many voices in education. Now they are viewed — and the market reformers and the tech folks — as the dominant forces, and as dissonant to those who work in schools every day. She took a deep breath and softened her tone: ‘In some ways, I give Bill Gates huge credit. Bill Gates took a risk to get engaged. The fact that he was willing to step up and say, ‘Public education is important,’ is very different than foundations like the Walton Foundation, who basically try to undermine public education at every opportunity.’

Gates appears to have been chastened by his experience with the A.F.T. When he speaks about his broader educational initiatives, he is careful to mention that the change he supports comes from the teachers, too. ‘When Melinda and I go on the road and talk to teachers, it’s just so clear there is a real hunger for this,’ he said. ‘If you can take a teacher and give him or her the help to become a great teacher, everyone benefits: the kids, the teacher, the community, the unions. Everyone.’

Gates resists any suggestion that Big History is some sort of curio or vanity project. But some of this earlier antipathy has raised skepticism about his support of the Big History Project. ‘I just finished reading William Easterly’s The Tyranny of Experts,’ says Scott L. Thomas, dean of the School of Educational Studies at Claremont Graduate University in California. ‘It’s about philanthropists and their effect on the poor globally. It’s this exact idea that here you have this ‘expert’ in the middle’ — that is, Gates — ‘enabling the pursuit of this project. And frankly, in the eyes of the critics, he’s really not an expert. He just happens to be a guy that watched a DVD and thought it was a good idea and had a bunch of money to fund it.'”

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Louis C.K. hating on Common Core:

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George Carlin was about to release his first comedy album in seven years in 1982 when he sat for a Playboy interview. He was wondering at that point if he would have a third act after being a straight comic in the ’60s and a countercultural force the following decade, and ultimately he found it in the role of philosopher and self-designated mourner for a sense of decency and honesty in American politics and media. Carlin has been criticized for this latter stage of his career, accused of being too angry to be funny, but I think it’s as valuable a phase as his 1970s brilliance. It elevated him to greatest American stand-up ever, and no one has quite reached that level since, though Louis C.K. and Chris Rock have their moments. The opening of the Playboy Q&A:

Playboy:

Back in the early Sixties, when you were still a disc jockey and just beginning to do comedy in small clubs, Lenny Bruce supposedly selected you as his heir—

George Carlin:

Apparently, Lenny told that to a lot of people. But he never said it to me and I didn’t hear it until years later. Which is probably fortunate. It’s difficult enough for a young person to put his soul on the line in front of a lot of drunken people without having that hanging over his head, too.

Playboy:

Because of what Bruce said about you, are you now overly sensitive about being compared to him?

George Carlin:

Yes, and those comparisons are unfair to both of us. Look, I was a fan of Lenny’s. He made me laugh, sure, but more often he made me say, ‘Fuckin’ A; why didn’t I think of that?’ He opened up channels in my head. His genius was the unique ability to investigate hypocrisy and expose social inequities in a street rap that was really a form of poetry. I believe myself to be a worthwhile and inventive performer in my own right. But I’m not in a league with Lenny, certainly not in terms of social commentary. So when people give me this bullshit, ‘Well, I guess you’re sort of…uh…imitating Lenny Bruce,’ I just say, ‘Oh, fuck. I don’t want to hear it.’ I want to be known for what I do best.

Playboy:

Nevertheless, throughout the early to mid-Seventies, with a five-year run of albums and packed auditoriums for an act that viciously ridiculed every nook and cranny of “the establishment,” you really did seem to be fulfilling Lenny’s prophecy. Then it stopped abruptly about five years ago. No more albums; no more college tours. Why?

George Carlin:

I’ve just now completed a five-year period that can perhaps best be called a breathing spell. A time of getting my health back and gathering my strength. That time also included incredible cocaine abuse, a heart attack and my wife’s recovery from both alcoholism and cocaine abuse.

Playboy:

It’s comforting to hear you talk about that breathing spell in the past tense.

George Carlin:

My wife, Brenda, and I are both clean and sober now. I’ve been doing a lot of writing. By the time this interview appears, my first album in seven years will be out. I’m also working on a series of Home Box Office specials, a book and a motion picture. It’s the American view that everything has to keep climbing: productivity, profits, even comedy. No time for reflection. No time to contract before another expansion. No time to grow up. No time to fuck up. No time to learn from your mistakes. But that notion goes against nature, which is cyclical. And I hope I’m now beginning a new cycle of energy and creativity. If so, it’ll really be my third career. The first was as a straight comic in the Sixties. The second was as a counterculture performer in the Seventies. The third will be…well, that’s for others to judge.”

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“I’ve been uplinked and downloaded”:

“You have to be asleep to believe it”:

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The decentralization of media has given us the Kardashians, holy fuck, but it’s also opened up an infinite number of channels for new voices, many of them comic. In the Guardian, Anna Holmes points out that the Internet has provided women a platform for feminist-tinged wit, which is great because comedy stems from dissatisfaction and the must put-upon people are often the funniest. An excerpt:

“This outpouring, which can be found in print, pop culture and all over social media, has been fuelled by any number of things. Among them are the democratising nature of the internet, the inclusion of new and previously marginalised voices and the fact that many women are not only very tired of being treated like second-class citizens but are very funny about it.

This may come as a surprise to some, because feminism and discussions of gender politics have rarely, if ever, been celebrated for their embrace of the farcical or the witty. In fact, an accusation of humourlessness has remained one of the most pervasive accusations levelled against those involved in agitating against sexism and misogyny.

You might recall Christopher Hitchens’s infamous essay ‘Why women aren’t funny,’ published in Vanity Fair. The late polemicist ended up undermining his own argument for male superiority by explaining that ‘humour, if we are to be serious about it, arises from the ineluctable fact that we are all born into a losing struggle.’ And last year, in a disappointing interview with The Daily Show host Jon Stewart, the normally perceptive comedian Louis CK alleged that comedians and feminists are ‘natural enemies.'”

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From Peter O’Toole to Andre Dice Clay, Woody Allen has written dialogue for actors to not exactly be ignored but to be reinterpreted. He tells them to get his message across but to not feel hidebound to the screenplay. Louis C.K., one of Allen’s recent actors, would cut off your vagina if you stray from any of his words. Two very different approaches that have both yielded pretty miraculous results. In this 1965 clip, Allen talks about his first original screenplay, What’s New Pussycat.

Just prior to the Allen interview is a commercial for Hollywood Bread, which is usually served with a spread made from semen, cocaine and disappointment.



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lincolnck

Louis C.K. has some new stuff he wants you to buy (his Oh My God HBO special), so he’s doing an Ask Me Anything on Reddit. Otherwise he would never talk to you. He doesn’t like you.

I love Louis C.K., but he should probably stop being so strict and self-righteous with people who do minor idiotic things in his presence (complimenting him during his routine, asking him for a photo on the street). You’ve done worse things than those in your life, Louis. You don’t get to be the moralistic one now. You get to be reluctantly patient with others because others were reluctantly patient with you. Don’t be a suckbag. A few exchanges follow.

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Question:

Louie, what is pissing you off more than anything else this week? I hope it isn’t this question.

Louis C.K.:

Hope away, bitch. You just ruined my fucking month.

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Question:

Many comedians, including yourself, sometimes joke or fool around about certain subjects that many people think is over the line inappropriate, My question is, Is there anything that you personally think goes over the line and you would never joke about or make fun of?

Louis C.K.:

Nope. I like joking about everything. This will sound too lofty because it is. This is going to an extreme to make a point: Saying a subject is too awful or painful to joke about is like saying a disease is too awful to be treated. Please do not take that out of context, the context being that I realize this is a crazy statement and I’m going to an extreme to make a point.

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Question:

For funsies: What’s your favorite short joke/one-liner?

Louis C.K.:

Why does Pinocchio lie? Because he’s a fucking liar.

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Question:

Who are some of your favorite stand up comedians? What’s your favorite Christmas movie and why is it Die HardHow many dicks were in the largest bag of dicks you’ve ever encountered?

Louis C.K.:

“What’s your favorite Christmas movie and why is it Die Hard?” made me laugh.

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Question:

Who is your favorite female comedian?

Louis C.K.:

Don’t know. Maria Bamford is great. Tig Notaro. Laura Kightlinger. Kathy Griffin. Sarah Silverman. Jessica Kirson KILLS. Marina franklin can be inspired in moments. she’s not a comedian but Mellissa mccarthy is hilarious. I know i’m leaving some out. Going back Joan Rivers. Carol Brunette Phillis Diller Lilly tomlin. Margaret Smith had great jokes. Rosanne had some great stuff. Moms Mabley. I used to open for Paula Poundstone who is a phenomenal performer. Joy Behar, used to work with her in clubs in new york. She was GREAT in the clubs. Um… There’s a woman named Laura House who i don’t think does standup anymore. Susie Essman. Lots of great women comedians. Lots of shitty ones. More shitty men comedians.

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Question:

How is Ewan McGregor?

Louis C.K.:

You’ll have to ask Ewan Mcgregor that. I can tell you that his cock is fine. Because it’s in my mouth right now. I am not joking. I am blowing Ewan Mcgregor right this second.

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Louis CK, with his wonderful, wonderful mind, hating on Twitter.

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