Yes, this is a picture of Darkwing Duck, not Popeye. Whatever.
This episode was recorded all on the same day, and edited quickly so that I could upload it while I went out for the night. In this episode, Luke recaps OsFest and GenCon Indy 2012; Carrie gives us an updated day-in-the-life breakdown, and we do a non-spoilery review of “Kick-Ass 2”. Also, in this episode, Luke shares a couple of thoughts he had recently that made Sara declare him some kind of megalomaniacal douchebag. Will you agree with Sara? Tune in and find out.
This episode has comedy tracks by the Chad Mitchell Trio, Moulin Rouge, the Lonely Island, 2GE+HER, and Insane Ian featuring the Stacey.
And if you have a copy of the 1982 K-Tel “Just For Laughs” LP that you’re willing to sell me, please let me know.
Episode length: 2:26:34
Podcast: Play in new window | Download
I haven’t listened to the episode yet but I already have a comment; this may be my favorite episode title card yet. X-Wing Duck. Nice. If a fanfic doesn’t already exist where DW ends up in the Star Wars universe, it should.
Yes Luke bring your rig to everything you can. Maybe you will need it maybe you will not, but it’s good to have it no matter what lies they tell you before you get there. So bring it. And a candy bar. And your lovely wife. And a candy bar for her. And a picture of a cow. Everything you will need no matter if the con is going to provide these things or not.
Carrie, I had a tree fall in my yard also. You should get a chainsaw. I think you would really enjoy it. VVVVVRRRRRRRRRRRRRRRRRRRRRRR!!!!! Then you could attack a tree which I think you would enjoy. Then you could carry your tree into a pile, which is not as enjoyable. And electrocution. That isn’t fun at all.
Long-time listener, SECOND-time commenter I think. Love WTE, thank you Luke for being the inspiration, and thank you Carrie for putting this together!
The inspiration for Flat 29′s version of “Murder Was The Play” is the tune “Murder She Wrote,” which was a big hit in the U.K. for Jamaican reggae duo Chaka Demus and Pliers.
[This is a repost from the previous page, since it fell through a crack of some sort last time. Wibbly-wobbly, timey-wimey, beefy-bally, etc. No worries.]
My two cents re: your two thoughts. Keep the change.
Thought #1: Traffic is one of those things in the world that everyone hates and yet no one does a Goddamn thing about. Never have so many been in such agreement and yet so little done. Personally, I never understood why we all collectively decided that everyone should go to work and come home at the same time in the first place. Some weird lizard-brain societal desire for sameness and conformity, I guess, pushed to an extreme that makes such conformity borderline-despicable. The more you sit surrounded by traffic, the more you are told by the world around you, “You are not special, you are traveling the same road as everyone else, this is time you will never get back and nobody cares.” I don’t have a solution because apparently no one does, I just wanted to get that off my chest. For more on the soul-crushing existential anguish of traffic, please see my song “One Damn Lane” now available for purchase on TheFuMP.com.
As to idea #2…I’ve never been in a position where someone pays me for my ideas. Occasionally people pay me for the end result of my ideas and hard work to make them a reality in the form of a finished product, but I’ve never been paid for my ideas alone. But I’ve read plenty of accounts from people who DO sell ideas, and here’s the deal with the devil: YOUR IDEAS ARE NO LONGER YOURS ONCE YOU SELL THEM. They now belong to whoever paid you for them, and it’s the check-signer’s right to bend, fold, twist and mutilate your ideas to their shriveled little heart’s content. The best producers and executives in Hollywood respect the writers and creators, but in almost every case that’s their CHOICE to do so, not their obligation. (For some great horror stories on how crappily the Hollywood sausage factory treats the idea people, I highly recommend the book “Writing Movies For Fun And Profit” by Tom Lennon and Ben Garant, of The State and Reno 911 fame). As great as it might sound to have simply hired animators to make a kick-ass “When You Wish Upon A Death Star” video FOR you, the cold hard facts are these: very few talented people will work for free, money has to come from somewhere, and if it ain’t from you, it’ll be from someone who might disagree with you and demand changes that severely compromise your vision, especially (in the case of “Death Star”) if they’re afraid of Disney suing them. Sure, it’s a pain in the ass to do all that work yourself (believe me, there are days when I feel like I’d KILL for an assistant editor on my web series, Some Jerk With A Camera) but at least when it’s all done, it’s 100% YOURS. Compromised aesthetically, perhaps, but not creatively.
This year was my first time going to the Wisconsin State Fair, and I think you pretty well covered what I noticed about it – the place with the beer battered cheese dog on a stick and the deep fried cheese dog on a stick captured all of the trends.
The Kick-Ass comics. Yeah. Um, if you haven’t read the comics but liked the movie (have not seen 2 yet so I can’t comment), trust me, keep it that way. I’m not against violent art at all; Repo the Genetic Opera and Scream are among my all-time favorite movies. But Kick-Ass the comic just manages to offend me. And that takes a lot. Mark Millar (pronoucned Mill-are) has a knack for writing awful comics that get turned into good movies because of how much the source material is ignored; which is pretty counter-intuitive given how more than not ignoring the source material that much is usually a recipe for disaster. I liked the movies Kick-Ass and Wanted. I wouldn’t touch the comics without gloves.
Three words; booby trapped uterus.
I can recall many times when Luke had a problem similar to the one in Omaha where the people running the con don’t realize how inadequate their sound equipment is until it is needed for Luke’s show.
For the Death Star video I was expecting something similar to Marvel Poppins and when I saw the video without sound at Gencon, I had the song running through my head and was instantly impressed.
Knowing the time, energy and commitment made into creating the video that Luke especially showed the previous two days, I was very upset that the crowd at the masquerade was unable to see it. As much as I wanted to scream out to the people in the crow’s nest to fix it once I realized the problem was theirs and not the video feed, I was concerned that it would detract from the performance itself.
As with many things created by Luke, there are multiple small references. I had to explain to everyone I had see it what 307 Ale meant as they all asked about it. However, I did not get all of them. In the Utenni room part, there are three robots at the end. I know the middle one is from Meet the Robinsons but could not recognize the other 2. I also could not figure out who the skier is in the Han scene with Luke inside the tauntaun.
I often ask myself the same questions about Chicago area traffic even though I understand why certain roads have traffic congestion even during weekend afternoons.
I have a similar dream about creating an organization to help comedy music artists create and promote their wares (with Mr. Tuesday in charge of video production) but that dream starts by me winning a multi-million dollar lottery jackpot.
Is it wrong that I keep imagining Bacon 2: Electric Boogaloo as being done to the tune of Tom Smith’s version of Bacon?
Also, I have to ask. If such a song got done, where would the Mofo be? For example, if Insane Ian did such a cover (as he did with Joco Got Jacked), would that song be Tom Smith as a Mofo, Devo Spice as a Mofo, John Denver as a Mofo (again), or maybe Luke Ski as a Mofo? I’m really unclear as to how all this Mofo business works.
Traffic expands to fill available road space. Building bigger roads just results in more traffic. http://en.wikipedia.org/wiki/Lewis-Mogridge_Position
Also, the Death Star video is teh awesome.
Hi Luke and Carrie !
Thanks for playing my voice message, although I’m not sure that it was fit to be heard anywhere by anybody, but it was fun anyway. Carrie was nominally amused by it, so that makes it all good.
And thanks for playing the “Nazi Polka”. Was that just for me because I live in Germany? It was cute. I think the comedian Ricky Gervais nailed it when he did the bit about whenever a German person is talking, all anyone can think of is “Hitler Hitler Hitler Hitler Hitler”.
In response to your comment, yes, I do live in Germany. I feel like the only “D” fan over here. I came here with the US Air Force in 1987, and stayed here when I got out of the service in ’95. The military radio station, AFN, played Dr. Demento each Sunday, but stopped in 1992, probably because he was playing too many marijuana related songs.
So I had a long period of separation from dementialand, and survived on the shows I had taped on audio cassette. I discovered dementiaradio.org, and then madmusic.com about 4 years ago, and have thankfully re-established my link to dementialand.
I can’t say that I’ve been a real active voice on the Dr. Demento show, but I am a frequent Skyper on DJ Particle’s show. You can check out the archives at Madmusic.com, and she lists who the celebrity Skypers are for each show. (I’m a “Celebrity”. Cool.)
I’ve had a great week listening to lots of Luke Ski music downloads that I purchased at thegreatlukeski.com.
“Worst Tribute Ever” is epic and awesome. I especially like “Shake That Booty” by Scooter Picnic.
“KFC Bitch” and “What’s Up Spock” are some of my all-time favorite Luke songs, and “Everything’s a Song” is my favorite from Carrie.
Episode 2 of Bad Rapport, “The Neverending Gig Story”, is still my favorite. This sounds like every gig I’ve ever played. I play in the kind of bands that you mention, where the audience gets drunk and they only want to hear standard songs that they can shout along with, and they yell “Play Free Bird” a lot, and you have no monitor speaker.
Concerning equipment, I have the same rule; “Always Bring Everything All The Time”. Even if I know that the stage will be run by a professional sound crew. It’s crazy and stupid, but crap happens, and professionals don’t always turn out to be as professional as you would like, and people’s ideas of what a PA system is, is open to wide interpretation. There’s often unfamiliar equipment with the wrong type of connectors, etc., and the artist on stage always gets the blame for sounding like crap.
Now, since you mentioned it, I would like to make a comment about the Bad Rapport “Best of” compilations. I tried listening to the “Best of 2012” compilation, and to be honest, I didn’t really care for it. I found that the bits seem disjointed when they are removed from their context, and I didn’t enjoy them like that. This is not meant as a criticism, but as a fan, I thought that might be some insight as to why they don’t sell well for you. Jus’ sayin’.
I have all the episodes archived on my hard drive, so I get my LCBR fix any time I want anyway. I like listening to the show, and how it flows from topic to topic, with the people involved at that time.
Wow, extra long and rambling comment.
You’re the Best!
Dementially Yours,
Goofy Gary