Nov 10, 1999 23:52 from Amaranth
Unfortunately, I had to wrk. I would have loved to see something Dan did
outside of No Shame.
 
Can anybody give me a lowdown?
[No Shame> msg #8400 (10 remaining)] Read cmd -> Next
 
Nov 11, 1999 01:01 from Manual Dexterity
I saw The Lobster PLay, and I must say it was awsome, Dan Brooks is the man.
[No Shame> msg #8401 (9 remaining)] Read cmd -> Next
 
Nov 11, 1999 02:17 from Online
Can one get a videotape of the Lobster Play?
I was planning on going to it tonight, but I got called into work  *damn*
[No Shame> msg #8402 (8 remaining)] Read cmd -> Next
 
Nov 12, 1999 23:32 from Friskee
No Shame would NOT be possible without Cassady.
Cassady is GOD.
Should I stalk him??...no.
Although Currier isn't that far.
*whistlesw*
[No Shame> msg #8403 (7 remaining)] Read cmd -> Next
 
Nov 13, 1999 03:16 from Garbage
Wasn't that last post posted DURING No Shame?
[No Shame> msg #8404 (6 remaining)] Read cmd -> Next
 
Nov 13, 1999 12:15 from Carolyn
Stealthily posting the order:
 
1) This Title Does Not Contain the Words "Mose" or "Hayward"
      Jamal River
      2) Arlen is a Big Bag of Pus or: Arlen is a Big Bag of Pus
      James Erwin
      3) Simpler Expositions Through Flashcards
      Funk Soul Brothers Adam Hahn and Zachary Robertson
      4) Fun With Doppler
      Adam Burton
      5) Sweatshirt Hugs
      Melissa Kotacka
      5.5) Flying Drunk
      Ben Schmidt
      6) Half the Story
      Mark Hansen
      7) Baltimore Bullet Ballet
      Mike Rothschild
      7.5) Middle America
      Dan Brooks
      8) Arlen Lawson is a Thief: The Porn Chronicles Parts 3 -&- 4
      Al Angel
      9) Kiddie-Winky Superfun Story Time: The Decline of Western
      Civilization
      James Horak
      10) That Flying Man Must Die
      Neil "Balls" Campbell
      11) Endless Grace, Elvis, 2 AM, Endless Grace
      and: The Lobster Play Checklist
      Chris Stangl
      12) My Conception and Birth: A Brief Monologue About Nick Clark's
      Conception -&- Birth
      Nick Clark
      13) Did You Catch the "Real World" Finale? Yeah? Well, That's Why
      I Don't LIke Calling These "Skits"
      Arlen Lawson
      13.5) How Not To Watch Theater
      Dave Harman
      14) Dance
      Brad Smith
      15) More Singing, More Happiness
      MIke Cassady with Music by James Horak -&- Mario Sosa
[No Shame> msg #8405 (5 remaining)] Read cmd -> Next
 
Nov 14, 1999 00:27 from Prufrock
To recap once again, "Arlen Is A Big Bag Of Pus" was co-written by James Erwin
and Mike Cassady.
So titled because fate threw us down a few feet from Arlen at the last possible
minute on Friday night.
[No Shame> msg #8406 (4 remaining)] Read cmd -> Next
 
Nov 14, 1999 20:49 from Mindcrime
Well, I have to say I thoroughly enjoyed friday's show. One of the best in
recent history. (P.S. Dan... thanks for letting me in the order at the last
minute...) The song at the end is thus far my favorite piece of the year, and
Erwin's piece was fantastic. Stangls fall was simply riotous. Good to have new
non male blood performing as well, even if I did find her piece cliche and
trite. The only piece I really had trouble with was Al's though. I'm getting
REALLY tired of the word 'fuck' being overused for no real comic reason, let
alone any kind of analysis of language. And the
groos-for-the-sake-of-being-gross is wearing pretty thin this semster. Arg.
typos.
[No Shame> msg #8407 (3 remaining)] Read cmd -> Next
 
Nov 15, 1999 02:15 from Amaranth
There are a few people who are trying to address every taboo they can think of
at No Shame, and it went past dull a long time ago, the end result seeming like
a bunch of junior high kids trying to out-gross each other during lunch. I am
not grossed out, offended or even impressed, just bored.
 
As for Al Angel, I'd like to se him drop the angry monologues and write
something from a female character's point of view -- not what he thinks about
women but how a female would REALLY think. I think it would broaden (no pun
intended) his abilities in writing.
 
  I heard someone say something interesting about the monologues this year:
Except for Dan's pieces, they are only extensions of the personality of the
writer/performer. In the case of Stengl, they all seem to be an extension of
his humor, the same types of gross jokes in different contexts and always very
obviously Stengl. With the older guy who reads poetry, it all seems to be
obsession with his weight problem and the difficulties that weight (allegedly)
made for him socially. Al Angel's monolgues are almost always his raving at the
universe, usually about lack of sex or drugs.
 
  It would be nice to see writers/performers trying out new subjects, forms and
styles rather than recycling their "acts."
[No Shame> msg #8408 (2 remaining)] Read cmd -> Next
 
Nov 15, 1999 13:32 from Avenue Player
for what it's worth, chris stAngl has done some of the most innovative and
creative monologues ever this season.  they're not all the same gross jokes--in
fact, i've been impressed with the way he's been stretching himself to work in
different subject matter.
[No Shame> msg #8409 (1 remaining)] Read cmd -> Next
 
Nov 15, 1999 13:35 from Amaranth
I agree, his technical sense has improved greatly. I don't care much for the
subjects he covers, but it is nice to see how well he constructs things. He
obviously spends time, and he keeps my attention this year because of the way
he makes such intricate monologues.
 
But my point (and the point of the person saying it originally) is that there
is still too much of Stangl/Stengl in the pieces. What I am seeing is not Chris
Stangl playing a veteran/little kid/whatever character but rather Chris the
veteran or Chris as a little kid. It may be a subtle difference, but Chris is
not straying far enough from home. There's too much of himself on stage. He
needs to go further.
 
Can he create a character that is not hyperactive in a monolgue that does not
rely on gross humor? I know he can, it's just a matter of whether or not he
will.
[No Shame> msg #8410 (0 remaining)] Read cmd -> Next
 
Nov 16, 1999 04:06 from Sock
I absolutely have to defend Stangl here.  His characters ARE distinct
characters, different from one another and different from Chris Stangl.
There are unique nuances in the language he chooses, the style in which he
speaks, and the gestures and level of hyperactivity.  The worm-filled veteran
was surly, loud, and yes, gross...but not overly active; he didn't tear all
around the stage, as I imagine the worms sapped a lot of his energy.  The older
brother character from a few weeks back, lecturing his sister on the rules of
Shotgun! and other subjects, was bouncy, silly, gross in the way only an
11-year-old kid can be, and perfectly child-like.  I see very much contrast
between these characters and lots of others of Stangl's, too.
[No Shame> msg #8411 (78 remaining)] Read cmd -> Next
 
Nov 16, 1999 08:31 from Thufir
Probably just a matter of opinion here.  On my end, I'm with Amaranth and find
Stangl's monologue characters to be mostly the same.  Probably because the
"gross" thread is so overwhelming.
[No Shame> msg #8412 (77 remaining)] Read cmd -> Next
 
Nov 16, 1999 14:43 from Sock
Yeah, but that's his STYLE.  Everyone has a STYLE in how they do a thing.  I
don't think it's bad to have a discernable style.  The characters are still
different.  Some characters, like the veteran, do seem to exist almost
primarily to gross people out, and the gross-out factor is Big with them, but
the kid bit on the whole was hardly gross.  There was a vomit reference or two;
it was passing grossness.  On the whole that piece was actually almost
charming, I thought.
[No Shame> msg #8413 (76 remaining)] Read cmd -> Next
 
Nov 16, 1999 16:48 from Crotch Monkey
all i have to say is, "three dead babies on a chain", gross or not gross
(gross, in this case) has undebatable comic value, and if that little kid
grossing out everyone (it was a strong character, btw--probably my favorite of
his stuff in all of history) is the way thast stangl can own an audience, then
so be it.  sure, he could explore different characters, like im sure that he
will, but i dont think his problem is not developing experimental characters at
all.  and thats my five cents.
love,
-mike "(parenthesis)" cassady
[No Shame> msg #8414 (75 remaining)] Read cmd -> Next
 
Nov 17, 1999 15:52 from Dan
I've got to say I really diasagree with you on this one, Wolf; not so much on
your fundamental assertion -- which I think is correct -- but with the value
judgment attached to it. (Also, semicolons should not be used to set off a
dependent clause. Shakespeare did it, too; the degenerate fucker.) I think the
adoption of character as a mask rather than as a full costume (metaphorically
speaking, of course) is a legitimate performative genre quite suited to No
Shame. I like performers who wear their characters like Saran Wrap -- ones who
make no pretense of truly acting, but rather simply want to write with a
different voice. Even our lord and master Megan Gogerty did this quite a bit;
frankly speaking, when a performer relies heavily on a rapport with the
audience, they're already playing a deep character every time they step on
stage. Just because a piece is written in character doesn't mean it can't be
performed with a little Brechtian alienation from that character.
Says I.
[No Shame> msg #8415 (74 remaining)] Read cmd -> Next
 
Nov 17, 1999 16:29 from Amaranth
"Brechtian alienation"? Are you bucking for grad school, Dan? ;^)
 
I do agree that Stengl's characters are different and that "Three Dead Babies"
was funny, but my assertion was, as Dan seems to recall, that I agreed with
someone (whom I notice hasn't joined this debate) making an observation that
the monologues this year are mostly the writer/performer being themselves
behind a character. As Dan said, this is a legitimate form of expression. But
it does seem that almost *everyone* is doing it, even Stengl/Stangl/however it
is spelled.
 
I think that Chris can go beyond himself (just as there is a difference between
an archetype and a cliche` or between an old saying and, well, a cliche`, so
there is a difference between style and repeating oneself). The growth he has
shown since last year is impressive. The question is: does he want to go
further?
 
And isn't my second sentence in this incredibly obnoxious?
[No Shame> msg #8416 (73 remaining)] Read cmd -> Next
 
Nov 17, 1999 19:35 from Ender
 
Stangl.  Definitely no "e" in it anywhere.
 
[No Shame> msg #8417 (72 remaining)] Read cmd -> Next
 
Nov 17, 1999 20:20 from Garbage
I agree.  I have known Chris for some time and nover noticed any 'e' in him.
Also, what does the expression "bucking for grad school" mean?  Specifically,
how does it relate to Dan's mention of Brechtian Alienation (which I thought
was particularly apt to the ouevre of Stangl; don't ask me why.)Also, tell me
what color my hair is.  I've always thought of myself as blonde, but it only
seems to look that way in specific types of light nowadays.
[No Shame> msg #8418 (71 remaining)] Read cmd -> Next
 
Nov 17, 1999 23:29 from Fanky Maloon
I definitely agree that there's no "e" in Stangl.
[No Shame> msg #8419 (70 remaining)] Read cmd -> Next
 
Nov 17, 1999 23:32 from Sock
Your hair is officially sandy brown.
 
[No Shame> msg #8420 (69 remaining)] Read cmd -> Next
 
Nov 18, 1999 01:01 from Amaranth
I will not write his name as "Stengl."
I will not write his name as "Stengl."
I will not write his name as "Stengl."
 
I have to write this how many times?
[No Shame> msg #8421 (68 remaining)] Read cmd -> Next
 
Nov 18, 1999 01:33 from Avenue Player
just stop.
[No Shame> msg #8422 (67 remaining)] Read cmd -> Next
 
Nov 18, 1999 11:03 from Thufir
I'm tempted to misspell his name as "Stenglea" the next time it comes up.
[No Shame> msg #8423 (66 remaining)] Read cmd -> Next
 
Nov 18, 1999 14:48 from Sparkychick
No, no, no, you've got it all wrong.  If you're going to misspell someone's
name, you've got to do it plausibly, so it sticks for years.  "Stenckl" or
"Stenckel" looks right to me.
[No Shame> msg #8424 (65 remaining)] Read cmd -> Next
 
Nov 18, 1999 14:55 from Thufir
Stenckal.  Perfect.
[No Shame> msg #8425 (64 remaining)] Read cmd -> Next
 
Nov 18, 1999 17:14 from Garbage
Stinkle
[No Shame> msg #8426 (63 remaining)] Read cmd -> Next
 
Nov 19, 1999 01:46 from Amaranth
I actually feel guilty for starting all this.
 
the Catholic in me, I guess.
[No Shame> msg #8427 (62 remaining)] Read cmd -> Next
 
Nov 20, 1999 01:03 from Nichol Bolas
Where's Al, did he have a gun?
[No Shame> msg #8428 (61 remaining)] Read cmd -> Next
 
Nov 20, 1999 01:16 from Haz Mat
Was Al's skit all planned or did he totally flip out.  Someone please let me
know, cuz otherwise I will be totally scared.
[No Shame> msg #8429 (60 remaining)] Read cmd -> Next
 
Nov 20, 1999 09:45 from Carolyn
Yikes.  Can someone fill in details for those of us who only play along from
home?
[No Shame> msg #8430 (59 remaining)] Read cmd -> Next
 
Nov 20, 1999 10:43 from Ender
 
1) The Stinky Businessman or Mose Hayward by Jamal River
2) No!  It Can't Be! Nooo! by Anwar Williams
3) NA([picture of Batman emblem])--Stuffing! by Adam Hahn
   (Not sure if there was a more spelled-out version; the emblem
    was just scribbled there in the order I swiped from Dan)
   (Hi Dan!)
4) Please Don't Read the Title of This Piece in the Order by David
   Harman
4.5) Teen Wolf by ?
     (Chris Okiishi has the author list with the scripts)
5) The American Dream in One Calorie by Kyle Lange
6) Turning Tricks for God by Neil Campbell
7) Allemand Left Your Partner by Aprille Clarke
8) A Spiritual Exercise by Chris Okiishi
9) Picket by Nick "Sexy Has Never Been My Middle Name and I Will No
   Longer Tolerate These Slanderous Lies, Okay, Well, Maybe Just a
   Little" Clark
10) Return of the Hindus by Mike Rothschild
10.5) The New Year by Dan Brooks
11) The Kiss by Willie Barbour
12) A Butter Beetle Battle by Mike Cassady and Aaron Galbraith
13) Why Al Angel is the Greatest Man Ever to Perform on this Stage
    and We All Want to Have Hot Sweaty Sex with Him.  A
    Collaboration by Everyone Who Has Ever Been in No Shame, Ever
    by Al Angel
14) Foonca Feteria, Forest Firebest Friend by Arlen Lawson
15) Chris Stangl's Face by Chris Stangl
 
Just a reminder:  Scripts are happily accepted at NoShTh@aol.com in text or
HTML format (but if you send it as HTML, please send it as an attachment rather
than in the body of the text).  Jeff Goode, No Shame webmaster, also greatly
appreciates the names of performers in pieces, but I wasn't about to try to
reconstruct that on so little sleep so please note performer names with
submissions and/or during reviews.
 
Also, if you prefer not to submit scripts for copyright reasons, Jeff accepts
synopses too.  Preserve your moment in the sun!  Send it to Jeff.
 
Piece.  Out.
 
[No Shame> msg #8431 (58 remaining)] Read cmd -> Next
 
Nov 21, 1999 03:16 from Analretentive
I love No Shame you guys are great, keep up the good work it takes guts to get
up on that stage and do what you do every week.  Don't let people say your
material sucks, (Al) it does not suck and they are not up there doing anything
and till that time they are up there on that stage they have no room to talk!!!
[No Shame> msg #8432 (57 remaining)] Read cmd -> Next
 
Nov 21, 1999 09:56 from Ender
 
Oh, by the way--this last show was the final show from which pieces will be
considered for Best Of No Shame this semester.  That means a couple of things:
 
1) You should all start combing through the orders at the No Shame web site
(www.NoShame.org) refreshing your memories so you can nominate your personal
favorites, and
 
2) Writers:  If you go combing back through, consider adding (can't say this
enough) scripts and/or synopses in email to NoShTh@aol.com so people will know
which piece was which as they go through the online archives.  Some real gems
get lost in the shuffle sometimes, and this will help avoid that.
 
Just thought I'd bring this up in a more immediate context..
 
[No Shame> msg #8433 (56 remaining)] Read cmd -> Next

Nov 21, 1999 11:22 from Quicheo
Hear, here!
[No Shame> msg #8434 (55 remaining)] Read cmd -> Next
 
Nov 22, 1999 00:02 from Friskee
Mike Cassady is still a god.
Would there *BE* No Shame without him??
If there was, *I* wouldn't go!!
*whistles*
[No Shame> msg #8435 (54 remaining)] Read cmd -> Next
 
Nov 22, 1999 01:04 from Dan
So what happened with Al is that nobody is quite sure what happened, and until
that can be resolved we're not sure what is going to happen, either. The only
thing I can vouch for is that he left in a hurry (as my dead sprint through the
house will attest to) and that for a big guy, he moves pretty quick.
[No Shame> msg #8436 (53 remaining)] Read cmd -> Next
 
Nov 22, 1999 09:06 from Quicheo
For those of you playing along at home, some more details--in the middle of
Al's sketch, he pulled a volunteer from the audience, who he had, per his
script, intended to simulate sodomizing.  The audience member, instead,
diverted from the plan, insulted Al and his writing, and ended up in a rather
physical altercation on stage.  This ended with Al crumpled on the floor,
sobbing, then running from the theater.  Dan attempeted to catch him, but, as
he mentioned, Al was moving quick.  That was the last we heard of Al that
evening, though speculation runs rampant.  What's next?  Anyone's guess...
 
[No Shame> msg #8437 (52 remaining)] Read cmd -> Next
 
Nov 22, 1999 10:48 from Thufir
Dude.  You're kidding.  Right?  Tell me you're kidding.
[No Shame> msg #8438 (51 remaining)] Read cmd -> Next
 
Nov 22, 1999 10:54 from Mystic Shadows
The things I miss when I don't go to No Shame for a night.
[No Shame> msg #8439 (50 remaining)] Read cmd -> Next
 
Nov 22, 1999 10:58 from Avenue Player
there are two (or more) possible theories regarding the event.
 
1) it was genuine.  Al talked to the kid he was going to pick "at random" from
the audience before the show, convinced him to do it, etc.  as the kid was
sitting in the audience, he thought, "hey, this is my big opportunity!  i'm
sick of [whatever aspect] of Al's pieces, so i'm going to really shake things
up!"  the time came, kid shook things up, Al got pissed off and very nearly
beat the living shit out of him.  evidence that supports this theory:  i talked
to a performer after the show, and he/she said in a tremulous voice, "that
wasn't supposed to happen.  I saw the script."
 
2) it was staged.  Al decided to respond to all the criticism he's been getting
as of late for the graphic content of his pieces by means of the staged beating
of a detractor.  In order to generate controversy, he just disappeared after
the show and is, at this moment, gleefully reading this from his home.
evidence that supports this theory:  the kid sounded "acty" when he talked, as
if he were reading memorized lines.  Also, it sounds like something Al might
do.  and if it was, it was pretty well done, huh?
 
see you at dead week, kiddos, if no one dies first.
[No Shame> msg #8440 (49 remaining)] Read cmd -> Next
 
Nov 22, 1999 13:24 from Queequeg
What's the "if nobody dies first" part? Is that just a pun, or did Al threaten
people?
[No Shame> msg #8441 (48 remaining)] Read cmd -> Next
 
Nov 22, 1999 13:28 from Avenue Player
just a pun/harbinger of doom.
[No Shame> msg #8442 (47 remaining)] Read cmd -> Next
 
Nov 22, 1999 23:54 from Amaranth
I had the impression that it was a planned bit, and I didn't notice Al crying,
although I was up by the light booth and need new glasses badly. . .
 
The kid did seem very "stiff." I don't recall seeing him before at NS. DId
anyone see him after the piece?
 
The fighting looked staged -- no real punches thrown, just wrestling. And the
piece seemed to be a _Reader's Digest_ compilation of the worst of Al's old
scripts.
 
An interesting aside: when I talked with Al last year, he basically said he was
making do with U of I as it didn't offer what he really wanted to pursue. There
is a chance that Al has just burned/freaked out and is unhappy here and staged
that as a prelude to just leaving here (I think I saw a second heckler on the
grassy knoll). Does anyone know how his grades were? Does anyone know where he
lives and can call/drop in on him?
 
One of the things that did seem serious about the whole thing was that Al was
very on-edge from the bit's start and actually yelling in way that seemed more
intense than previous pieces. Wasn't Al also one of the ones who asked for
marijuana when NS was at Space Place? Just a thought. . .
 
Someone check on him, please.
[No Shame> msg #8443 (46 remaining)] Read cmd -> Next
  
Nov 23, 1999 00:06 from Amaranth
ON the subject of other bits:
 
I nominate the "Na-na-na-na. . . Stuffing"! piece for BONS even though it was
primarily a one-joke bit. He had telegraphed the joke in the title, and I don't
think anyone saw it coming anyways. I have never, never, never heard that kind
of laughter at No Shame before. I thought I was going to hyperventilate!
 
The Teen Wolf bit: what was the purpose? t's been a while since 've seen the
movie, but the bit seemed like just a summation, nothing added.
 
Stangl (I spelled it right this time) did a solid piece. He is showing a lot of
growth,and I would like to see him when he takes the next step.
 
Anwar Williams did what I thought was the most interesting experiment in No
Shame in a long while. Some of the things he did were interesting, such as the
mini-spotlight flashlight. It was good to see minorities at No Shame in such
large numbers, too. And it was in synch with the soundtrack provided, which
often doesn't work.
 
That said, I think it didn't work as a whole and really didn't fit into NS
well. He needed a certain amount of time (it went over 5 min, didn't it?) and
needed to bring the audience into it more. This was hard soince he was using a
lot of things that would've made more sense to an African-American audience.
And the piece was not coherent enough to draw me in and give me trhe
gut-reaction he apparently intended.
 
IF anyone knows him, pass it on that it would be good to see more from him.
However, I think perfomers (at least) should make an effort to not walk out
after they finish their piece. I think his whole audience leaving was an insult
to the other performers, as was his later picking up the equipment and leaving
a few pieces later (as the crabby old man bitches and grouses).
 
The stinky businessman skit seemed an attempt to make 5 minutes out of one
joke. It didn't work for me.
[No Shame> msg #8444 (45 remaining)] Read cmd -> Next
 
Nov 23, 1999 08:46 from Whitewolf
 
What week is BONS this semester?
[No Shame> msg #8446 (44 remaining)] Read cmd -> Next
 
Nov 23, 1999 10:22 from Stubble
in anwar's defense, i talked to him on his way out and he did in fact have
somewhere important to be and apologized to me for leaving.  as far as i know
that goes for the rest of his cast as well.
[No Shame> msg #8447 (43 remaining)] Read cmd -> Next
 
Nov 23, 1999 10:31 from Ender
 
Yeah, I was in the light booth and he asked me how to go about getting his
stuff.  He was very apologetic, but needed it right away.  I told him when the
preceding skit was about to end, and he took care of it as quick as he could.
 
[No Shame> msg #8448 (42 remaining)] Read cmd -> Next
 
Nov 23, 1999 11:18 from Avenue Player
BONS is Friday, December 10, 1999 (the LAST BONS of the popularly-determined
20th century).
[No Shame> msg #8449 (41 remaining)] Read cmd -> Next
 
Nov 23, 1999 17:05 from Quicheo
He, He, He.  Is that a resistant-to-the-masses in-joke I spy there Aprille??
[No Shame> msg #8450 (40 remaining)] Read cmd -> Next
 
Nov 23, 1999 16:56 from Frackledart
Jeez, I can't believe there's any debate about if Al
really flipped out or not. It was so obviously staged. I wish somebody would
genuinely freak when they're on stage, but he didn't. 1)The kid he picked was
so plainly delivering lines. There's no way that was sincere. 2)Al had been
planning to do something zany like this for weeks (it was a secret, though).
3)As Jed Wholf already pointed out, it wasn't much of a fight.
And although it is true that the end part wasn't on the script, it's certainly
not far fetched to imagine that Al would want to include his actors in his
group of shocked and baffled onlookers. The less people who were in on it, the
less people who could spoil it. Speaking of in on it, I don't mean to presume
anything, but why did Dan so readily chase Al? And why, upon being being unable
to catch him, was he so unruffled as he calmy called for the next piece? I have
not to talked to Al or Dan or the kid (who I belive is named Nick), so ya'll
don't have to belive me or nothin'. But it was way fake.
As for the rest of the show: I liked it pretty well. I got bored part way
through, but I still thought it was a solid night. Oh, and Jed? I think there
were some typos in your post: you accidentally said you DIDN'T like Teen Wolf,
The Stinky Buisnessman, or Anwar's piece, when I can only assume that what you
had meant to say was you had mega-butt love for all three. Don't feel too bad,
though, I forgive your accursed error.
[No Shame> msg #8451 (39 remaining)] Read cmd -> Next
 
Nov 24, 1999 12:07 from Ender
 
This will look suspiciously familiar to those of you who read the web site, but
I decided to post it here as well since it's not specific to that audience.
Here goes.
 
Something has actually occurred to me a few times of late regarding the whole
urge-to-be-in-the-show thing.  At one time or another I think most No Shame
"regulars" have written and performed a piece that was simply about not knowing
what to perform at No Shame that night.  A throwaway get-in-the-order piece.
Sometimes the punch line is that they didn't have a dollar to get in, sometimes
not.
 
There are shades of gray between this type of piece and a full-fledged inspired
skit/joint/bit/whatever.  My thoughts are regarding the ones that you and I and
everyone watching recognize as simply being filler "I had to write something"
material.
 
While I admire the dedication to writing every week, something I have NOT been
doing (try more like "writing once this semester"), when there's limited room
in the order and people getting turned away, is "I wanted to be in the show"
really the best reason for bumping someone else?  Or for making the show go
later because there were enough over fifteen pieces being submitted that Dan
broke down and took 'em all?
 
I can assure you all I'm not thinking of anyone in particular, or even any
pieces in particular; I haven't got the memory for that sort of thing.  Just a
vague sense of a question forming in the back of my head some nights as I watch
the show.
 
It also occurs to me that new performers (new blood is good) would be less
intimidated if there weren't such a huge fight to get in the show, and that
anything that might reduce the pre-show mayhem is good.  As you try to write
something for the show, if you simply can't come up with anything but you throw
something together anyway because you have to perform SOMETHING and this will
do, is that the best motivation for doing it?
 
I hope I'm not stepping on toes, not trying to offend or anything.  Just
bringing up something worth discussing in as open and honest a way as possible.
 
-Adam B.
 
[No Shame> msg #8453 (38 remaining)] Read cmd -> Next
 
Nov 24, 1999 12:20 from Prufrock
Hear, hear.
On another unrelated note, I have talked to Al. Al is pissed about the way the
piece turned out. Al did not want the piece to turn out that way. Al does not
want to talk about that piece anymore for any reason.
On another unrelated note which actually is related to my previous unrelated
note, it's incredibly fucking uncool to post someone's phone number and
encourage everyone who reads the forum to call a performer up about his piece.
I personally would encourage the FM or poster to delete that ASAP.
[No Shame> msg #8454 (37 remaining)] Read cmd -> Next
 
Nov 24, 1999 13:22 from Ender
 
Actually, not a bad idea at all.  Done.  (Jim--I'm sure anyone who knows Al
well enough to be calling him also has access to his phone number.  And yes,
people who don't know him well enough to be calling have access to, but no
sense encouraging them..)
 
[No Shame> msg #8455 (36 remaining)] Read cmd -> Next
 
Nov 24, 1999 14:39 from Manual Dexterity
In reply to Adam B. I waited in line from 10:20 to 10:40 to be turned away from
doing my piece because i was basically No. 16, and I'm new blood. Dan did tell
me to get in the front of the line for the next show, as it turns out, I can't
make it to the next show, the first show I will miss the whole semester. My
role in No Shame was as an audience member and I'm a writer and I worte
something, finally that I felt confident to perform, but it was a mad fight to
just submit a piece, because all us newbies were in the back as spots were
already taken by the regulars. So, I'm glad that people want to see new people
becasue I have more things to submit for next semester, just give us a chance
:)
[No Shame> msg #8456 (35 remaining)] Read cmd -> Next
 
Nov 24, 1999 18:01 from Dan
THis is just an idea, and in no way reflects anything that the board has
discussed, much less is considering implementing, and it's probably a shade
irresponsible for me to suggest it here without talking to the board about it
first, but we're a bunch of folksy ragamuffins anyway so here we go:
Given the recent necessity of turning pieces away every week, and the recent
post from our friend Manuel (so good to see a more diverse performing crowd)
what if we allowed new performers to come to the front of the line every night?
Seeing as how we, on average, get three new performers per semester, and seeing
as how "new" would be defined as "never performed on the No Shame stage before,
ever" I don't think it'd take much of a bite out of the stage access the rest
of us enjoy. What do y'all think, as regulars and as folksy ragamuffins?
[No Shame> msg #8457 (34 remaining)] Read cmd -> Next
 
Nov 24, 1999 19:07 from Thufir
Perfect.
[No Shame> msg #8458 (33 remaining)] Read cmd -> Next
 
Nov 24, 1999 19:58 from Ender
 
Okay, so what if a whole lotta new writers showed up one night.  Rare, but
possible, like maybe ISCAnic weekend.  So ten or more people get bumped by
newcomers.  I dunno..  Sometimes the impact of a new performers inexperienced
efforts is happily reduced by the presence of more seasoned efforts in the
order.  Sure, we all know that some people launch on to the stage in fine form
from day one, but an unlimited head-of-the-line pass might be a bit much.
Perhaps 3-5 newbie spots at the head of the line?  And when does newbie status
expire?  After submitting one piece?  two?  three?  If someone performs once a
night for a year, but never writes, and then wants to submit at the head of the
line as a newbie writer, can they?  As an idea, it has merit--but some bugs to
work out.
 
[No Shame> msg #8460 (32 remaining)] Read cmd -> Next
 
Nov 24, 1999 21:47 from Fanky Maloon
 
Hmm.  I say go with the idea.  Bug patches:
Newbies get to the front of the line once.  If you've been up there before, you
wait like the rest.  Make this policy null and void on Iscanic weekends, since
a lot of people may show up who'll never be back or maybe just be back for the
next iscanic at best.  If someone is a first-time writer, even if they've
performed in a gazillion pieces, they still get head start status for the one
time they write for the first time.
Thems is my suggestions, yah.
[No Shame> msg #8461 (31 remaining)] Read cmd -> Next
 
Nov 24, 1999 23:28 from Manual Dexterity
I lik eall the suggestions, all I ask for is a chance to perform, to show
everyone who attends some new people and a lot of people have suggested more
female performers, and I am a female writer/performer. I don't mind fighting
for spots, I'll just come earlier, it was just disappointing because I was
under the impression that there would be enough room, because several nights
there were like 15.5 and 16 pieces and I invited all my friends and even some
members of my family to see me go on, and I had to come back and say not this
week, later. I get over these things, it was just something I wanted to
express.
[No Shame> msg #8462 (30 remaining)] Read cmd -> Next
 
Nov 26, 1999 15:07 from Quicheo
Just my $0.02--love Dan's new performers idea line preference idea, appreciate
Adam's concerns, and support Fanky's resolutions to Adam's concerns.  B-Blam.
So let it be written, so let it be done.  At least on a trial basis.
[No Shame> msg #8463 (29 remaining)] Read cmd -> Next
 
Nov 26, 1999 21:28 from Amaranth
First, sorry for the posting of the number -- thanks for removing it, Adam.
 
Second, it does seem like a lot of skits get to the NS stage because the
performer feels they have to say something rather than they have something to
say. I re-iterate my dislike of the stinky businessman and (especially) the
Teen Wolf skit that Jaymul commented on. My feelings towards Anwar's skit were
that he could have done better on it and that I look forward to future works.
But he did seem to have something to say.
 
Third, even if Al does not want to talk about his skit, I think it needs to be
discussed by the board. If he did actually start a fight onstage, then that
goes against the No Shame rules read every week (harming occupants). If he
staged the whole thing, there is a minor problem with not letting at least the
light booth in on it. I wouldn't want a skit I did to affect anyone else's, and
vice-versa.
 
BTW, isn't Al's using a member of the audience to simulate anal sex without
their prior consent in affect simulating rape onstage? The thing that struck me
about the act when he was trying to perform it is that in the primate kingdom,
faked anal sex is used to establish dominance.
[No Shame> msg #8465 (28 remaining)] Read cmd -> Next
 
Nov 27, 1999 01:59 from Dan
A couple of things:
1) The board talks about damn near everything, so rest assured we've considered
several possible and borderline-possible ramifications of Al's piece.
2) While simulated rape onstage is by no means a pleasant thing, it also
doesn't strike me as grounds for any sort of disciplinary action in and of
itself. Simulated murder, mutilation, sexual assault and all sorts of other
nasty stuff has been the bedrock of western drama for centuries.
[No Shame> msg #8466 (27 remaining)] Read cmd -> Next
 
Nov 29, 1999 06:33 from Trouble
 
  If I may suggest a compromise between Dan's egalitarian "let the newbies go
first" and Adam's quite practical "sometimes the only thing that can make a
show watchable are the regulars"...how about doing something that sort of
encompasses both and is fair and partial as well:
 
 My suggestion is this:  Accept every piece submitted (well, one per author
anyway).  Then assign each piece submitted a number.  Then draw 16 numbers out
of a hat.  Those pieces whose number is drawn get put in the order.  Those
which are not drawn get put in next week's order if the author so requests. The
following week of course, the number of random selections would be 16 minus the
number of leftovers.
 
Bam, everyone has an equal chance to get into the show, no matter who they are
or what time the get there.
 
[No Shame> msg #8467 (26 remaining)] Read cmd -> Next
 
Nov 29, 1999 10:57 from Crotch Monkey
allright, this idea sounds deliciously smart at first...and next semester would
be a good time to implement it, however, i see one problem. i think that people
with shorter pieces (i.e. a page or a paragraph or a sentence long) should be
able to get into a .5 without a second thought.  thirty second sketches seem
incidental to the whole ordering process anyway.  and theres an audience out
there awaiting tiny meaningless sketches with open arms.  they are great t
mixup the action of the longer (though not necessarily worse) pieces.  can
anybody hear me out there?
someone please love me....
*sigh*
*wheeze*
*puke*
*repeat*
-cassady
[No Shame> msg #8468 (25 remaining)] Read cmd -> Next
 
Nov 29, 1999 11:45 from Friskee
*I* LOVE YOU, CASSADY.
[No Shame> msg #8469 (24 remaining)] Read cmd -> Next
 
Nov 29, 1999 11:56 from Carolyn
What about making exceptions to this rule?  I ask this because there are some
pieces that really only can be done on one particular night, given, say,
holiday themes, or visitors from out of town, etc.  (One good situation that
we've been in before at NS--it's the last semester of the year, and there' a
graduating senior who wants to peform for the last time.  Should a returning
sophomore get a slot if it means kicking that graduating senior out of the
line-up?
 
I like the plan in general, but would like there to be some flexibility.
Advance petitioning maybe by people who feel they absolutely positively have to
perform on a given night?
 
(There is some precedent for special arrangements.  For instance, when JC
Luxton and I wrote a 4-scene play, we asked NS to guarantee us the last slot
for four consecutive weeks so we could do the play with some sense of
continuity.  The guarantee was given, and the play performed over 4 weeks.
)
[No Shame> msg #8470 (23 remaining)] Read cmd -> Next
 
Nov 29, 1999 18:21 from Fanky Maloon
 
Or...if it's really that important to get into the order you could...
show up nice and early.  Of course, with the haphazard "oh you mean they've
started taking pieces and I'm at the back of the line even though I got here at
9:00 am this morning?  Bummer" tactic by which the order is initially taken and
scribbled, maybe you're right.
 
[No Shame> msg #8471 (22 remaining)] Read cmd -> Next
 
Nov 30, 1999 02:17 from Prufrock
Okay. So what's been suggested is thus-
1) Newbies go first.
2) Random selection.
3) The status quo first come, first serve.
1) This is nice. However, once word gets out, instead of oldbies getting in
"just because they want to," you will have newbies lining up "just because they
want to." Nothing is wrong with "just because I want to." But remember, if
someone knows they're guaranteed a slot if they show up, they'll write
something just because they can. Which is the problem this suggestion is meant
in part to solve.
2) Random selection. This runs into the problem that Mike brings up (short
pieces getting short shrift). It also means that instead of people lining up,
they will stampede in at 10:30 and create a mob scene in the lobby that makes
even the recent ruckus look like a English pastoral scene. Under the current
system, maybe a piece or two carries over to the next week. I think this
would increase in a system of random selection. Which is generally bad.
3) Problems, but fixing them creates new problems.
 
What's called for is not changing the FCFS system, but rather a degree of
restraint and judgment on the part of the Board and more importantly the
performers. Which is tough to legislate. *shrug*
[No Shame> msg #8472 (21 remaining)] Read cmd -> Next
 
Nov 30, 1999 02:36 from Thufir
I trust my board to make tough decisions.
 
Just make them, as opposed to going on first-come-first-served.  Or just
running over.
[No Shame> msg #8473 (20 remaining)] Read cmd -> Next
 
Nov 30, 1999 05:51 from Bryan
Has anybody thought of asking for volunteers for delaying their performance one
week?  As an added incentive one could provide them with a confirmed slot the
following week.  It may not always work, but it's a good first move on an over
full night.
[No Shame> msg #8474 (19 remaining)] Read cmd -> Next
 
Nov 30, 1999 08:56 from Ender
 
I don't really believe a 10:30 "stampede" would happen as people were in the
habit of filtering in about then before there got to be such a performer glut.
There was no problem with that.  And if there WERE any insanity, it owuld only
affect the lounge, which could hardly get worse in terms of pre-show chaos at
this point.  There are also solutions to the "just 'cuase they can" newbie
writer "problem" (limiting the number to something between 2-5 pieces maybe?)
and the short-piece short-shrift problem (either saying "tough" since fifteen
is a number of pieces built to accommodate short AND long pieces mixed
together, or have a short-piece drawing first, and then throw any that are left
into the main drawing).
 
Obviously there is a real pre-show problem right now in terms of fairness and
equal accessibility (people showing up fairly early and still not getting in
the right place in line), newbie intimidation, etc., etc.  It would be cool to
see some new things tried, if not permanently adopted.
 
[No Shame> msg #8475 (18 remaining)] Read cmd -> Next
 
Nov 30, 1999 10:05 from Kirk
Why don't you just assign numbers to everyone wishing to perform, place those
numbers in a hat and draw randomly.  If you want to give the newbies an "edge"
put there number in the hat more than once.  (Of course if you draw their
number more than once, simply toss the extras and draw again).
 
Btw, people are concerned about people performing just to avoid the $1 charge.
While I'm surprised anyone is that cheap, why not simply charge everyone
including those that perform?
 
It's just a $1 and helps support No Shame after all...
[No Shame> msg #8476 (17 remaining)] Read cmd -> Next
 
Nov 30, 1999 12:17 from Stubble
i think the point was more that regulars were performing simply because they
felt like they should, or had to because the audience expected it of them, not
because they wanted to avoid the dollar charge.
[No Shame> msg #8477 (16 remaining)] Read cmd -> Next
 
Nov 30, 1999 14:06 from Manual Dexterity
I've never heard of anyone trying to avoid the dollar charge, no one's that
cheap, especially since we all enjoy watching/performing and aprecaite the use
of the space.
[No Shame> msg #8478 (15 remaining)] Read cmd -> Next
 
Nov 30, 1999 14:53 from Crotch Monkey
okay...so maybe try a few strategies at the top of the semester, and perhaps
find a happy hybrid of the suggested plans?...as for the dollar charge...i
think i speak for all the writers and performers when i say that i would gladly
pay thedamn dollar if that was the problem, but i highly doubt that it is.  if
people are writing for no shame to aviod paying 100 pennies for high-quality,
no holds barred entertainment, with a near gaurantee for nudity and/or
violence live in front of your face nearly every week of the semester,
these people have a twisted perspective on what the world is all about.
 
unlike me.
 
i am perfect.
 
try to debate that isca.
 
i dare you.
[No Shame> msg #8479 (14 remaining)] Read cmd -> Next
 
Nov 30, 1999 14:58 from Friskee
mike is right.
he is perfect.
$1.
[No Shame> msg #8480 (13 remaining)] Read cmd -> Next
 
Nov 30, 1999 15:01 from Crotch Monkey
somehow i knew friskee would support me...
??
[No Shame> msg #8481 (12 remaining)] Read cmd -> Next
 
Nov 30, 1999 15:50 from Whitewolf
 
People have, in the past, on more than one occasion, stated baldly from the
stage that they whipped their piece up at the last minute because they didn't
have, or didn't want to pay, the buck charge. People have also said the same
thing in private to me. In some cases, people are that cheap. In some cases,
people are that poor. In more cases, I'd say, people would rather scam the
admission than pay it. It's not that they'll die of starvation without that
dollar, it's that they see it as unnecessary.
 
I agree that this is not a crisis of No-Shame-shattering proportions, or even
one so massive that it requires action on the part of the board. It's mostly
annoying when people brag about it. Much like when someone starts off their
poetry reading with "I wrote this back in high school and it's not very good,
but I'm going to do it anyway, so here goes," which we used to get a lot of.
 
I'd think people performing because they feel they're expected to perform is a
more common problem, but again, perhaps not one of No-Shame-shattering
proportions. Why not try some of the ideas proposed here, and if they work out
better, keep using them, and if not, drop them like Stenegele's warm hairy
nads? No Shame's a protean, flexible thing, and it hardly hurts to experiment.
 
It's a tad late in the semester for any massive change, tho.
[No Shame> msg #8482 (11 remaining)] Read cmd -> Next
 
Nov 30, 1999 16:17 from Ender
 
 
I actually mentioned the dollar thing in my first post on this whole issue
because over the years "well at least I didn't have to pay a dollar" has
frequently been the gist of the punchline of half-assed couldn't-come-up-with-
anything-better pieces, even when the dollar had nothing to do with it really
other than serving as a meager excuse for a bit of non-writing.  However, this
kind of piece is not a huge problem, just a little questionable in an era
where there are generally a limited supply of spots in the order and so many
people trying to fill them.
 
The shortage of spots in relation to number of people submitting (and fairness
in the allocation of these spots) is the much more pressing issue people are
trying to address with the solutions that have been suggested here recently.
 
[No Shame> msg #8483 (10 remaining)] Read cmd -> Next
 
Nov 30, 1999 16:19 from Kirk
Then why not give weighted chances to those people you want to encourage, e.g.
newbies.  Put their name in the hat more than once, or do it in a manner
similar to this;
5 chances if you've never performed before
4 chances if you haven't performed for three weeks
3 chances if you haven't performed for two week
2 chances if you haven't performed for one week
1 chances if you performed last week.
 
This ensures no individual coudl be favored, while giving weight to encourage
new people to give a try.
 
you could also give "bonuses" to those that submit peices the week before that
weren't selected.  All sorts of variations.
[No Shame> msg #8484 (9 remaining)] Read cmd -> Next
 
Nov 30, 1999 16:45 from Trouble
   Man, that is overly complicated.
 
  I don't see how the selection of pieces at random would cause a stampede.  In
fact, it should do the opposite.  People will think "Hey, I can submit my piece
at 10, or at 10:58, and still have the same chance of performing.  No need to
rush I guess."
 
  Secondly, I was not advocating the abolishment of common sense.  If there is
a 30 second piece, or a one-night-only performance....well DUH.  It doesn't
take a genius to figure out that a rule which was enacted arbitrarily can in
fact be arbitrarily suspended as well.  Sheesh.
 
[No Shame> msg #8485 (8 remaining)] Read cmd -> Next
 
Nov 30, 1999 17:04 from Dan
A coupla things:
1) When people can't get into the order one week, they are guaranteed a spot in
the order next week.
2) The whole random drawing thing does seem like a _lot_ of work. And I say
this because a) I'm lazy and b) there really is a lot of stuff to get done
before the show.
The thing is, there's no real solution to the "not everybody gets in every
week." Right now, we get more pieces per night than will fit into one show.
That's just all there is to it. What we can do, as writers, is try to be a
little more civil with our fellow writers before the show and *gasp* only write
pieces that really should be performed. (Or rather, write a whole bunch of
stuff, some of which is good and some of which is terrible, and only bring the
stuff that's good.)
But I'm kind of a hands-off populist that way.
[No Shame> msg #8486 (7 remaining)] Read cmd -> Next
 
Nov 30, 1999 18:41 from Garbage
What I think the most practical problem to deal with in terms of the
order is (crap, I ended with a preposition and I can't edit SHIT on ISCA.) is
that there is frequently no delineated line.  I think that it would be much
more fair to everybody if whoever came first really did get first choice order
spot.  If newbies wanna put their stuff on stage, all they have to do is get
there earlier than oldbies.  My proposition is that a board member, or even
just the first person to arrive with a script just tape a little sign on the
wall with an arrow pointing down saying "This is the place where the order
taker will sit" and a for real line can form from that place.  Also, have a
week where you don't take any scripts from people who have penises.  That's
completely unrelated and unrealistic, but I thought I'd say it because I really
begin to feel like no shame is either a cub scout meeting or, as Dan said, a
prep school where there are no women to play women's roles.  Also I think  that
Greer, the one and only female board member set a rotten example by only doing
one piece this semester.  I'm sure she had valid reasons for doing so, and I'm
not casting blame, but I started writing this really long fucking post and how
the hell can I stop.
[No Shame> msg #8487 (6 remaining)] Read cmd -> Next
 
Nov 30, 1999 19:03 from Skweetis
i agree with that Garbage.  it would be real neat-o if those who came first got
in first.  specially since i've been there a half hour early before and then
not got in, when some who showed at 10:29ish did.  poo on that.  and
furthermore, if we really want new peoples on that stage, we says to the new
people, "hey, you're new, aren't you?  i've never seen you before.  you, come
up here to the front of the line, because we likes new people and we are not
elitist poopyheads."
 
and we could give out pez.
 
it would be cool.
 
that said, i will be in the lobby at 10:12 PM or so.
 
on thursday.
[No Shame> msg #8488 (5 remaining)] Read cmd -> Next
 
Dec 1, 1999 09:38 from Carolyn
Just to give some perspective, I think it's great that this is the problem that
NS is facing at the moment.  Much better than the problem of only having an
average of 5 pieces submitted per week, and having the board trying to decide
whether to have a show or not.  (At those points, the "get in free if you
perform" selling point has been made much of, although I'm not sure to what
effect.)
 
I like the idea of a clear-cut line for piece submission.
[No Shame> msg #8489 (4 remaining)] Read cmd -> Next
 
Dec 2, 1999 01:25 from Blarp
a veiw point from a person who was at the last NS, and that was the first ever
seen, who also would like to perform, (female blood), but only has crapy
poems that I wrote in highschool but never got to perform, instead they ended
up in some book that nobody ever read anyway.  I would love to perform in NS,
however, I know that even though I don't usually get stage fright, I might be
intimidated by standing in a line with people who perform often, and from the
way it seems all know each other.  I would definetely feel as if I were an
outsider, and might have second thoughts of waiting in a line.  Is there a way
to have the scripts sent by e-mail, by friday at say, 8 PM?  Then if you want
to have a drawing, you have time to set it up, and there would not be a mad
rush at that point.  Then people who did send in a script where required to be
there at 10:30 for the drawing, if not there, your not in the drawing.
Again, this is coming from someone who has been to one NS, and only knows NS by
what has been posted since the last NS night right before Break.  Maybe this is
against a regulation of some sort, but thought it might give a new view point.
[No Shame> msg #8490 (3 remaining)] Read cmd -> Next
 
Dec 2, 1999 15:14 from Quicheo
Lovely ideas all around which are all being considered.  That said, I think a
little too much is being made of the intimidation factor.  The vast majority of
contributors and attendees at No Shame, while occasionally odd, are quite
friendly, or at least keep their rage repressed in public.  Introducing one's
self, explaining that one is new/nervous, and asking for advice on manuvering
the line are all tactics pretty much garunteed to melt a fellow performer's
heart.
 
In return, more regular folk need to continue to be vigilant to new faces,
welcoming them and overcoming our inherent shyness and self-counsious bravado.
Yes, new people can be quite intimidating, but I think were up to the
challenge.  No Shame, in my mind, must remain true to it's rustic, simplistic
roots.
[No Shame> msg #8491 (2 remaining)] Read cmd -> Next
 
Dec 3, 1999 09:06 from Whitewolf
 
At the same time, I can't find a great deal of sympathy in my shriveled little
heart for people who find the whole getting-a-slot experience too scary. I'm
inherently shy about new situations, although no one who knows me believes that
because I tend to overcompensate by bulling my way into places. Yeah, walking
into a group of people who seem to all know each other, and then demanding they
pay attention to you, is kind of scary. But so is getting up to perform in
front of a big crowd of energetic people who are demanding entertainment. IMHO,
if you're not up to facing Dan and a clipboard, you're not up to performing at
No Shame. Timidity does not make for good theater.
 
If there's an actual bias towards oldbies in the skit-taking process, then
that's a problem that should be addressed. But I don't think the board needs to
change their procedures just to accomodate the faint of heart or spleen.
Someone annouces at EVERY NO SHAME that new performers are welcome, and tells
them how to jump in ... that should be a clear enough message that No Shame
wants fresh young virginal bodies. Uh, I mean blood. Ih, I mean, theatrical
material. Yeah.
[No Shame> msg #8492 (1 remaining)] Read cmd -> Next
 
Dec 4, 1999 02:31 from Crotch Monkey
yeah dan!! yeah stangl!!!  wheeeeeee!!!!!!  im having a virtual orgasm!!!!
[No Shame> msg #8493 (0 remaining)] Read cmd -> Next
 
Dec 4, 1999 02:31 from Crotch Monkey
yeah dan!! yeah stangl!!!  wheeeeeee!!!!!!  im having a virtual orgasm!!!!
[No Shame> msg #8493 (8 remaining)] Read cmd -> Next
 
Dec 4, 1999 10:40 from Online
Okay, at the end of last night's show (after we were told to go to the lobby) I
would normally have stayed to see if (1) it was a joke or (2) everyone was
okay, but my friend was sick, so we had to leave right away.
So what happened??
[No Shame> msg #8494 (7 remaining)] Read cmd -> Next
 
Dec 4, 1999 11:41 from Ender
 
Posted by Chris Okiishi on the web board:
 
Here we go!  The best of order!!!  Congrats to all!!!!!
 
      Best Of No Shame  Fall 1999
      1.  A Butter Beetle Battle by Mike Cassady and Aaron Galbraith
      or Aaron Galbraith or Mike Cassady
      2.  Over the River and Through the Woods by Christopher Okiishi
      2.5 Donkypunch by Mike Rothschild
      3.  Six Angry Sketches by Mark Hansen
      4.  The American Dream in One Calorie by Kyle Lange
      4.5 A Song by Ben Schmidt
      5.  Fose Fatfard vs. A Dead Bee by Brad Smith
      6.  Get Down on Your Fucking Knees, You Miserable Wrenches, For
      I Bring You Theatre by James Erwin
      7.  The Kiss by Willie Barbour
      8.  A Friendship So Deep by Balls Campbell
      9.  According to David Harman, This Monologue is All About Sex
      by Adam Hahn
      9.5 Mimicry Is the Most Sincere Form of Parody (part 3 of pi):
      it was the best of times, it was the bratwurst of times by
      Heyzeus Cantalopay Horak del Cantabria
      10. Dental Dam Over Good Taste by Chris Stangl
      10.5 No-Shame Coup D'etat, or, A Victory Clutched in the Snatch
      of Defeat by Nick Clark
      11. Whip It Good.  Well?  Good.  Well, Good. By Aprille Clarke
      12. It's Raining Patti LuPone or Three Odes by Mike Rothschild
      13. The Greatest Collaboration Since Van Gogh and Insanity by
      Mike "Cock" Cassady and Neil "Balls" Campbell
      14. Mose Hayward Loves to Laugh by Jamal River
      14.5 Foonca Feteria, Forest Firebest Friend by Arlen Lawson
      15. Brett Deckers:  Highly Excellent by Dan Brooks
 
      Authors:  Please remember to bring a LIGHT BOOTH COPY of your
      piece to Best Of, in the which you carefully and BOLDLY declare
      your lighting cues.  This avoids any potential confusion with
      order and exact directions (the light booth opperator may NOT be
      the one who worked the night of your piece, and many of the
      above are heavy light-utilizers.)
 
      EVERYONE:  Thank you all for a great semester.  If last night
      was any indication, we have some interesting directions to go in
      the future.  Order from last night will be posted once a couple
      of details get worked out.  Thank you in advance for your
      patience.
 
[No Shame> msg #8495 (6 remaining)] Read cmd -> Next
 
Dec 4, 1999 16:11 from BothHandz
I wasn't at no shame last night..can someone tell me what went on??
[No Shame> msg #8496 (5 remaining)] Read cmd -> Next
 
Dec 4, 1999 16:51 from Mindcrime
Lemme see... People, like, went on stage, and, like, did stuff, right?
[No Shame> msg #8497 (4 remaining)] Read cmd -> Next
 
Dec 4, 1999 16:51 from Skweetis
how come the only skitches i get into best of with are really short ones that
involve me sodomizing a friend of mine?
[No Shame> msg #8498 (3 remaining)] Read cmd -> Next
 
Dec 4, 1999 20:17 from Garbage
More Singing, More Happiness didn't make it?  They can have my spot in the BONS
order if I can hear that song againe.  Mike, Mario, James?  How about it?  Can
I...   Hey board members, can I do that?
[No Shame> msg #8499 (2 remaining)] Read cmd -> Next