“He had the imprint of the monitor on his back.” “I finally found out how far is too far,” she says. Or, as Everett puts it, “less pussy, more voice of an angel.” The performances went well, putting aside the moment Everett accidentally dropped an audience member. Rock Bottom marked a bit of a departure for Everett-it was less a showcase of individual numbers, more a story told through song. (The Tony-winning writing duo Marc Shaiman and Scott Wittman were on the writing team as well.) Horovitz also co-produced Everett’s just-released album, Pound It!, and helped write her last show, Rock Bottom, which premiered in late October. Beastie Boy Adam Horovitz is such a supporter he plays in her backup band (he’s also an occasional member of Catch Club), where he mostly keeps a low profile, at least until he and the drummer perform a synchronized dance to the repeated refrain “What I gotta do to get that dick in my mouth.” The comedienne Amy Schumer brings her on tour (and onto her Comedy Central show), and Justin Vivian Bond cheers from the audience at her monthly Joe’s Pub gig, where special guests have included Flea and Fred Armisen. Over the years she has attracted an all-star team of celebrity fans. It’s still rare that a woman broad-shouldered enough to hoist an audience member, WWE style, and carry her (or him) to the stage, as Everett regularly does, presents her body in all its raw power. This one lands in his glove with a satisfying thwap. “It’s like the beast is unleashed,” Everett says, lobbing another ball over to Hill. But onstage with her backup band, the Tender Moments, she treats performance as a kind of extreme sport, one that involves the telling of very dark stories and demands the frequent ripping off of clothes. In person, Everett, who has been performing for over a decade, is practically demure, still the girl who used to get so nervous before dates she’d show up with a list of things to say. “We’re showbiz types.”Įverett’s particular brand of show business involves a blend of bawdy humor, discomfiting sexual references, and a healthy dollop of self-empowerment. “We’ve never been here on a weekend,” explains Hill. “Who are all these people?” Medlyn keeps asking. Their softball squad, Team Pressure, has been playing in McCarren Park for years, but they don’t quite know what to make of the scrum of humanity they’ve encountered this time-it’s a sunny Saturday in mid-October, and the field is full of so many individuals engaged in so many recreational activities it looks more like an architectural rendering than real life. Today’s session includes Medlyn, a gangly performance artist also known as the rapper Champagne Jerry (sample lyric: “I have a medium-sized dick, my dick is medium sized!”), and Murray Hill, a gender-bending entertainer who frequently opens for Dita von Teese. Everett is at McCarren Park for “Catch Club,” as she and her friends call their weekly softball practice, but so far this Catch Club hasn’t involved all that much actual catch. He looks up just in time for the ball to sail over his head. Watch out!” yells Bridget Everett, the alt-cabaret singer in possession of an extravagantly dirty mouth, an unexpectedly pure voice, and, until a moment ago, a softball she has now lobbed in the direction of her friend Neal Medlyn.
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