LIVE WIRE FAVORITE MOMENTS FROM 2015 | Live Wire Radio

Take a look at some of our favorite Live Wire moments of 2015 hand-picked by the Live Wire Team.

 

Jason Rouse, Performer / Writer:

FIGHT CLUB: THE MUSICAL

I’d wanted to write a musical sketch for sometime, so naturally when faced with writing something on the occasion of Chuck Palahniuk’s visit to talk about the Fight Club graphic novel, I put two and two together and came up with Fight Club: The Musical, as one does. The real key to this sketch working so well is our House Band. They’re amazing. You don’t hit comedy paydirt like that all time, but when you do it’s nice to know you have a recording of it. And video. And we do. We have both. Because we’re a radio show and also we have people who film the shows. I felt like you should know both of those things.

 

LAURA GIBSON RAP

What can I say about Laura Gibson. I can say a lot, actually. Like, I know she knows the rap to TLC’s No Scrubs. You heard me. For fun we wanted to hear her sing Metallica and some god awful country song about butts and whatever, and she did. She didn’t blink. She’s a badass. I wonder what we’ll ask her to do next time, whatever it is, it will be awesome.

 

Laura Hadden, Marketing Manager:


NEKO CASE

I am a huge fan of Neko Case in general (I am still searching for a "Don't Peggy Olson Me, Motherfuckers" bumpersticker), but the fact that we share a hometown makes me particularly devoted. When she came on our show at Bumbershoot and discussed the unique petri dish and cultural underdog status of Tacoma, WA and its influence on her creative trajectory, I almost passed out from excitement and recognition ("we had to love ourselves because we had no choice."). She also discusses her conception of her gender and how that empowers her (along with "Toxic" by Britney Spears) to be such a badass. All hail Neko. The entire episode is fantastic and, in my opinion, among our best – from Luke's monologue about being a teen father and the always hilarious Ophira Eisenberg reflects on the anxiety surrounding the upcoming birth of her first child – and a night I'll never forget.

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AN OPEN LETTER TO WOMEN GETTING BRAZILIANS

Once again, Courtenay Hameister fearlessly and hilariously skewers the ridiculousness of being a woman with a body in this culture. It's a call to arms – really hairy ones – to embrace a culture of happy, furry people. You win, Hameister. Just tell me where to sign.

 

Courtenay Hameister, Head Writer:

36 QUESTIONS

Last year, a woman named Mandy Lynn Catron wrote a column for the New York Times called "To Fall in Love With Anyone, Do This."

It was about a list of 36 Questions a psychologist had come up with for strangers to ask each other that ramped up the intimacy to a point that made them more likely to fall in love.

Because we recorded on Valentine's Day, I had the idea for us to have a couple take the test during the one-hour show, and the result couldn't have been more charming or sweet. After working through the test, Jed Arkley and Katie Watkins stood in front of a sold-out crowd at Rev Hall a little love-drunk. Some audience members thought we staged it. We didn't.

Jed and Katie had fallen in deep like backstage, and later fell in real-live love. Almost a year later, they're still together, and have been one of the most adorably, sickeningly cute couples in my social circle.

As a lifelong pessimistic romantic (you try to live with that combo), I couldn't be more shocked and pleased by this outcome. We bizarrely brought actual love into two people's lives, and not many people can say that about a day at work.

 

HAMLET WITH SEAN MCGRATH

The theme for episode 283 was "Playing the Part." Writer Alex Falcone had the idea to utilize the badassness of cast member and writer Sean McGrath by having him read Shakespeare's "To Be Or Not To Be" soliloquy with a twist: while he read it, Luke would randomly choose impersonations he's done during his ten years on the show for him to switch into on a dime.

Sean never missed a beat. The first switch was from Ira Glass to Arnold Schwartzenegger. Later, he moves mid-sentence from Casey Kasem to Pacino. I loved this piece because of how simple the idea was, how difficult it must've been to do, and how effortless Sean made it seem. I also loved the interplay between high and low brow entertainment, a balance we've always played with on the show. Additionally, it was the perfect way to highlight Sean's incredible talent and how he always made the show better and funnier.