Why does gallagher hit watermelons

Thank goodness Mandel doesn't do that with the favorite parts of his act. Yes, if you want to be up front and center at a Gallagher show, bring plenty of plastic wrap, goggles and perhaps some galoshes.

But Gallagher tries to take it a little further than the typical food fight. There is always a topic that runs through his act, be it money, toys, possessions, political leaders or just his lack of hair.

He may be a prop comic but his props are always bigger and often better than anyone else's, be they huge tricycles or boats made into cars land yachts. He started as country singer Jim "Spiders and Snakes" Stafford's road manager in the mids before taking the stage on his own. He also knows how to keep an audience quiet so they pay attention to his quick-fire patter and wordplay.

I must be in total control. It overshadows his other work, including the poetry and videos he posts on his website and Facebook.

My manufacturing has been going on for years and years, and my warehouse is now full. And I cannot get the world to pay attention. Gallagher also gets flak from other stand-up comedians, who show disdain for comics who rely on props such as the Sledge-O-Matic. Have you ever had to babysit? Look at 'em! They'll be here later for the cleanup. Above all, everything is gay, gay, gay to Gallagher.

Gallagher delivers your Bible verse for the day: "Without God, we are nothing but dust. What is butt dust? Is that what you get if your homosexual isn't properly lubricated? And, "There's only one kind of homosexual guy, and that's the pretty ones—why do homosexual men have to be so good-looking? Is there something you want to share with us? Gallagher commands the stage with the weary, sure hand of a touring comic closing out his third decade on the road.

He knows what he's doing, and even I'm not a big enough dick to dispute the "comedy legend" designation on the sign outside.

The people of Bremerton eat it up, and despite the discomfort of sitting in a room full of rabid, frothing conservative dickwads especially when the "comedy" veers creepily close to white-power rhetoric: "We're descended from an Anglo-Saxon Viking tradition! Gallagher needs them, and I need to not witness the complete mental breakdown of Gallagher.

They can tell. I'm an American and I'm gonna speak my mind. The TV talk-show hosts are afraid, the network executives are afraid, the American people are afraid. It's our fault that he's not a superstar—not his—and he needs us to know it. We owe him. Robin Williams ain't comin' out here. Gallagher truly hates his audience. Gallagher hates his audience, he hates a world that has given him so much, and that in turn he has given so little, but perhaps more than anything he hates himself, so he tries to cover up that understandable, eminently justified self-loathing by professing to be better than everyone and everything he comes across.

I suspect part of the reason Gallagher was so indignant was because he realized that Maron did not respect him enough to treat him as anything other than a mild annoyance, a dumb silly joke of a man from the s who had somehow reinvented himself from a harmless dumb joke to a harmful, spiteful, and hateful mean joke.

I know who he is. I know what he does. I do not have any particular problem with him. In that respect, Gallagher comes off a little like Bill Cosby in that it is difficult to reconcile the lovable clown children adored and thought was one of them with the awful, hateful, grotesquely entitled and bitter men they eventually became.

Gallagher rages against the ghost of Johnny Carson for the unforgivable crime of not liking prop comics despite Carson being a magician! As long as Gallagher is in the world of old school comedy gossip, things are relatively civil.