Let me start by saying that it’s about time. I’m not sure how many 2 Broke Girls viewers realize this, but Garrett Morris was an original SNL cast member. With that in mind it’s almost shocking how little the show has decided to do with Earl. On a typical episode I can count all of his lines on one hand, and by the time the twenty-something minutes are up I still have a few fingers left over.
“The Sax Problem” that’s of concern this week is strictly Earl’s, and in much the same way Sophie and Oleg got the most character development in “And the Basketball Jones” last Wednesday he takes centre stage [no pun intended]. Given how often Morris has been relegated to the sidelines I was actually apprehensive about how he would do being given so much heavy lifting, but I never should have doubted him. Continue reading
Posted in Comedy, music, review, television, writing
Tagged 2 Broke Girls, And the Sax Problem, Beth Behrs, Caroline, CBS, drugs, Earl, Garret Morris, heroin, jazz, Jennifer Coolidge, Jonathan Kite, junk, Kat Dennings, Max, Oleg, plot, pregancy, review, Ruby, S5E9, saxophone, smack, sober, Sophie, writing
Hugh Laurie puts out his first blues album tomorrow.
If you’re American (actually, if you’re anyone with a television who’s not British), you know probably Hugh Laurie as Dr. House, that snarky doctor with the good writers and a screechy female following. If you’re British, you know Hugh Laurie as that guy your parents talk about who seems to be sort of common-law married to Stephen Fry.
"The question of why a soft-handed English schoolboy should be touched by music born of slavery and oppression in another city, on another continent, in another century, is for a thousand others to answer before me: from Korner to Clapton, the Rolling Stones to the Joolsing Hollands. Let’s just say it happens."
And if you’re into New Orleans blues, you have no idea who Hugh Laurie is at all. But don’t worry! He isn’t doing a blues album because that’s the cool thing for actors to do now, and he isn’t trying to convince anyone that he was born in New Orleans. He’s doing it – well, he’s doing it for no discernible Hollywood-esque reason. He’s a musician and he love New Orleans blues, and in the context of his celebrity it doesn’t really make a lot of sense, and he knows and admits that: “Let this record show that I am a white, middle-class Englishman, openly trespassing on the music and myth of the American south.”
As someone who – well, I’m not like a jazz expert, let’s just say As a 21 year old who knows who Jelly Roll Morton is, there were two things that made me want to pay attention to this album. The first was the preface he wrote to the album, at once gushing about the greats and saying that he doesn’t want to see blues “confined to a glass cabinet, under the heading Culture: Only To Be Handled By Elderly Black Men”. The second was his recording of St. Louis Blues, which starts out with a seriously impressive (but not obnoxious) piano intro, and features Hugh Laurie singing in all his British earnestness, and it somehow works. This is not the album of a poser or a bored celebrity. Elvis Costello reportedly said, upon hearing Laurie play, “This guy is a musician before he’s anything else. He’s probably a better musician than an actor.”