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Amy Poehler's Hilarious, Terrible Freestyle Rap About Butter

Amy Poehler's Hilarious, Terrible Freestyle Rap About Butter

Amy Poehler and more do their best to freestyle rap about butter. It's not pretty

Wikimedia/PeabodyAwards/Flickr/tarale

The actress does her best freestyle rap battle about butter.

We always love a good food rap, and the staff's universal love for Amy Poehler is pretty standard. But of course, combine the two together and you get something entirely different.

Vulture tipped us off to Poehler's recent appearance on the "Comedy Bang! Bang!" podcast, where she participated in a rap battle — classic. Tompkins as Alan Thicke, Poehler, and Neil Campbell.

Let's note that all of these aren't necessarily good rap battles, but Poehler's is pretty on-beat. There is definitely some shade-throwing going on (sorry Paula Deen), but Poehler's verse has some political messages that might resonate with the food community, which, as Comedy Bang! Bang! notes, is completely normal for a freestyle rap.

Sample lyrics? "Butter and jam/ Butter pecan/ Butter is off /Butter is on/ Butter is good/ Butter is bad/ Butter be the best motherf*cking thing you've had/ And now I'm going on a diet /I think you should try it/ I'm not gonna lie /It's hard to eat heathy in America/ becuase poor people can't afford/ real food." You'll have to listen to the whole thing below (Poehler starts at 4:45) to get the real deal, but be warned, there's plenty of NSFW material.


What Most People Don't Know About Amy Poehler

One of the busiest moms in Hollywood is also one of the funniest. Amy Poehler hit the big time when she quickly excelled on Saturday Night Live. After signing off "Weekend Update" for the last time, Poehler transitioned into the lead role of Leslie Knope on Parks and Recreation – on top of her acting in movies. Fans will know her as the "cool mom" from Mean Girls. And did you recognize her voice as Joy in Pixar's 2015 film Inside Out? Poehler and Tina Fey's banter is so perfect that the two seemingly host the Emmys every year.

While off the screen, this actor found even more ways to excel, such as publishing her memoir, Yes Please. And in 2021, she released her "second film as a director" called Moxie, per Independent. As far as her personal life, Poehler used to be married to comedian Will Arnett. The couple shares two boys, even though the relationship failed. And this isn't the only hardship that Poehler encountered throughout her career. Plus, you might be surprised to find out what she's really like in real life.

What's your favorite role by the actor? It's time to go behind that charming smile and learn what most people don't know about Amy Poehler.


Review: Amy Poehler memoir ‘Yes Please’ is smart, funny, a little messy

Amy Poehler has written a book. Called “Yes Please,” it is, as Poehler fans might expect, funny, wise, earnest, honest, spiritually ambitious, occasionally self-indulgent and structurally messy.

It also feels a bit overdue. So many of her friends and colleagues — Tina Fey, Mindy Kaling, B.J. Novak — have already written their books heck, Lena Dunham just released hers, and her entire career spans fewer years than “Parks and Recreation.”

But as Poehler explains in her preface, she wasn’t quite sure this was a good time for a book. She has been busy, starring in “Parks and Rec,” hosting the Golden Globes and persuading NBC to air her brother’s lovely new show, even though it is a half-hour comedy with Swedish subtitles. She is also, as she explains, raising two young sons, getting a divorce and falling in love. (Despite many misleading headlines to the contrary, you will not be hearing much about any of this in “Yes Please” because, as she explains in big letters: “Nothing is anybody’s business.”)

More important, she fears she hasn’t “lived a life full enough to look back on, but I’m too old to get by on being pithy and cute.”

Few people would admit to not being the right age to write a book. Way back in the late 1980s, Kenneth Branagh took a lot of flak for writing an autobiography at 28, but nowadays, the midcareer memoir is de rigueur. Increasingly these books are not so much memoirs as musings, collections of essays that could appear in magazines, along with creative lists and random thoughts. Poehler, being a bit more wild-eyed than most comedians, which is to say braver, has made “Yes Please” even more free-form than most. If Fey’s “Bossypants” or Kaling’s “Is Everyone Hanging Out Without Me?” feel like a chatty beach weekend with a friend, “Yes Please” has the more manic air of a snowbound situation. Truths will be told, yes, and anecdotes recounted, but the attic and the cellar will also be raided, for funny hats and canned goods.

There is also something of a point, as Poehler signals with her title. The “yes,” she writes, “comes from my improvisational days and the opportunities that come from youth, and the ‘please’ comes from the wisdom of knowing that agreeing to do something usually means you aren’t doing it alone.”

Like most comedians, Poehler is happy to point out the glaring flaws, contradictions and cruelty of the human condition, but in this book, as with her work elsewhere, you get the sense she does it because she believes everyone capable of change. She is ruthless but in a generous way.

“Yes Please” is a memoir in that it contains some memories, many of which are offered as hard-won — advice seems too preachy, so we’ll go with helpful suggestions. (A chapter called “I’m So Proud of You” should be required reading in high schools.) Also featured are: haiku about plastic surgery, a chapter by Poehler’s mother, a satiric birth plan, a chapter by Seth Meyers, an annotated history of “Parks and Recreation,” a letter from Hillary Rodham Clinton, sex advice, a truly hilarious list of potential books about divorce and a moving account of an apology.

Mercifully, the book does not include: recipes any discussion of Poehler’s marriage to and divorce from Will Arnett a treatise on the frustrations of modern motherhood (Poehler is just grateful for all the help she can afford), or a lot of self-deprecating nonsense about luck.

This last one alone makes “Yes Please” worth reading. Too many women at the top of their careers inevitably discuss their actual job as if it were something anyone with a pair of sweatpants, a childhood and a laptop could do.

Poehler knew early on she wanted to be a performer, and she worked hard to become one. Although she acknowledges the help of others and the good fortune involved in any big career, she resents the overnight-success myth and our dependence on it. A brief description of the rage she feels when some guy drops a script in her lap while she’s asleep on a train is both hilarious and righteous — success is not something that rubs off or can be doled out. It’s not pixie dust.

The day everyone truly understands this, Hollywood as we know it will cease to exist.

Not everything in “Yes Please” works (I love Seth Meyers, just not here), but many things are funny, and as with most of her comedy, Poehler is attempting something that seems simple but is not: to chronicle not so much her success as her maturity. Poehler is no one’s doormat, but she clearly does not want to be a jerk. This is a worthy goal for anyone but particularly difficult to achieve here, given Poehler’s line of business. Entertainment rewards ego, ambition and a desire for attention, and the demands of success, particularly from an audience desiring ever-increasing intimacy with performers, are as constant and absurd as the benefits.

Just look all these midcareer memoirs.

Not that Poehler complains about this on the contrary, she seems eminently clear-eyed about the profession she has chosen. But she’s much more interested in the constant maintenance required to be a strong and decent human being. In the chapter titled “sorry, sorry, sorry” Poehler details a painful episode in which she could not bring herself to admit an error in judgment, until she did. “I made a lot of noise,” she writes, “because I felt bad about hurting someone’s feelings and I didn’t want to get quiet and figure out how I felt.”

It’s a great story, and not because it’s full of famous names (which it is) or that it ends in a highly emotional and effective way (which it does) but because it is self-damning and hopeful at the same time.

“Yes Please” is at times choppy and self-consciously eccentric. It has two introductions, which is at least one introduction too many and why would I need blank pages on which to write a story about the day I was born? But none of that matters much because in between, sorting through all the crazy wigs and canned beets, is a smart and funny woman who isn’t either of those things all the time and doesn’t mind admitting it because she thinks that’s important too.


The Most Important Joke of the Golden Globes

The Golden Globes are the one celebrity clusterfuck&mdashI'm sorry, entertainment awards ceremony&mdashthat we expect not to be terrible. The Oscars are a nightmare that won't seem to end. The Emmys are the definition of meh. But the Golden Globes can sometimes even be memorable. With Tina Fey and Amy Poehler running the show, the Globes have consistently been almost worth watching, and this year, the hosts' last, they had many genuinely funny jokes. "George Clooney married Amal Alamuddin this year," began my favorite. "Amal is a human rights lawyer who worked on the Enron case was an adviser to Kofi Annan regarding Syria and was selected for a three-person UN commission investigating rules of war violations in the Gaza Strip. So tonight her husband is getting a lifetime achievement award." Though their themes were the same as usual&mdashthe difficulties of a woman over 40 getting a role, the whiteness of Hollywood, and the vapidity of television as an industry&mdashthe cracks were good. Except for the most important one, the one that everyone will be talking about this morning: the Cosby Joke. That one fell flat.

For what the writers must have known would be the most discussed joke of the evening, it was surprisingly indifferently made. Poehler opened with a line that wouldn't have been out of place in a touring standup routine from the Borscht Belt of the 1950s: "Sleeping beauty just thought she was getting coffee with Bill Cosby." Then Poehler and Fey did duelling Cosby imitations&mdashCosby imitations being a comedy crutch reached for only in desperate moments of the need to connect. The joke itself was topical and risky, but the treatment was as old-fashioned as it gets.

At least Clooney laughed. But nobody else knew quite how to react. The nervous laughter of the celebrity crowd is more or less meaningless, of course. They are laughing, always, as a pose. And they just weren't sure if they were supposed to laugh at this. Correction: Lena Dunham was sure. She applauded. But the general uncertainty of the crowd mirrored the reaction of audiences at home. It's not at all clear whether the Cosby situation can be funny right now.

It's not a question of the joke coming "too soon." If only it were too soon. The problem is that there has not properly been an event for comedy to follow from. The man is still walking around. He's doing shows. He's making jokes at himself about his alleged history of raping women. "You have to be careful drinking around me," he said to a woman at a show in Canada last week. That joke provoked a huge gasp from the crowd&mdashthese were paying ticket-holders who had just been informed that they were funding a man who was willing to laugh about his own alleged sexual monstrosity. So the first thought on hearing the Golden Globes Bill Cosby joke is not "God, that was awful but now it's funny," it's more "Wait a minute, we actually have to go and do something about this."

The Golden Globes joke isn't just too soon it's also too late. Because it does not possess anymore the thrill of the violation of taboo. When Hannibal Buress joked about it, he was hilarious because he was speaking a truth that nobody was willing to recognize and which revealed the hypocrisy of the whole world. Now we all know, and nothing seems to have changed.

My objection is not moral. It's not that Cosby isn't a fit subject for comedy. He certainly could be. There are funny jokes about the Holocaust and cancer and September 11. It's just that Cosby wasn't a fit subject for comedy last night. The context is horrifying and fraught with powerlessness. It's not a situation anybody deserves relief from, not even the relief of a little laughter.


Redditor question: “I feel stupid writing this, but here we go. I’m at work so I had to sneak into the bathroom to write this. It isn’t really a question, I guess, but I had to reach out someway (and as far as I know you don’t use any social media). I had to say thank you. I was very depressed this past winter. Stuck in a small town full of idiots, no idea where I wanted my life to go and more than anything just feeling alone and like a failure. Then I discovered Parks and Rec. You, the the cast and writers, fully turned my year around–maybe my life. I still live in this crummy town, and I still feel lonely sometimes, but I don’t feel hopeless. I value what I have and have learned to look for opportunity and take chances. The laughs and tears (not just from the laughing, corny enough as that is to admit) have had a profound effect on me and I couldn’t be more thankful. I wish the show could go on for forever, but it can’t so I’ll instead fill that void by introducing friends to what I view as the greatest tv comedy ever. And just since this is an ama, I’ll just ask what your favorite kind of waffles are? :P”

Amy Poehler: “Okay, who cares about waffles?

Thank you for sharing that with me. That was really nice.ਊnd you sound like the kind of person that will find a lot of love and happiness in your life. Because you’re not afraid to be vulnerable, and you’ve gotten stronger in tough times.

I love the image of you huddled in the bathroom. We’ve all been there. I can’t wait to see – I wish I could see what happens in the next 10 years. I can tell you’re a special person with lots of good things ahead.


Amy Poehler imparts life lessons on Harvard graduates

Amy Poehler gave the graduation speech to Harvard students and their families on May 25. What did she have to say?

What happens when you cross Parks and Recreation star Amy Poehler with Harvard?

A hilarious time, that’s what! Poehler was one of the featured speakers at Harvard’s Class Day on May 25 and she pulled out plenty of life wisdom for the graduating class, along with a “you’re welcome” for her presence in the critically-acclaimed classic film Deuce Bigalow: Male Gigolo.

Among her pearls of wisdom?

“Just because you’re wicked smaaaht doesn’t mean you’re better than me,” the SNL alum told the kids. “I graduated from BC: ‘The Harvard of Boston.’ Though we all know, Harvard is the Harvard of Harvard.”

She managed to get in a Social Network reference too, saying that Harvard is “filled with people who get rich by inventing things, and people who get rich suing the people who invented things,” she said, making reference to Facebook’s Mark Zuckerberg and the Winklevoss twins.

But, it was Poehler’s more serious message that really hit home with the grads — and she showed exactly why she’s one of the most sought-after comedians in Hollywood.

She told them not to live their lives like “an action figure that stays in its original packaging to increase its value.”

“Take your risks now. As you grow older you become more fearful and less flexible. And I mean that literally. I hurt my knee on the treadmill this week and it wasn’t even on,” she said.

Pretty good message here — we don’t even remember what was said at our college graduations, probably because someone awesome like Amy Poehler wasn’t there.


Amy Poehler, Tina Fey, and Lindsay Lohan Rap on the ‘Mean Girls’ Set — VIDEO

If we ever needed more proof that Amy Poehler and Tina Fey are the best besties in the whole wide world, we have found it. A video, taken from the set of Mean Girls (which Fey wrote and starred in and Poehler had a role in) of Poehler performing the Kevin G Bad-ass MC Talent Show Rap has hit the Internet — and it’s awesome. Poehler takes the (imaginary) mic to spin the main verse, while Fey and a pre-trainwreck Lindsay Lohan provide hoodie-wearing moral support. “I wish I could beatbox,” Fey bemoans. We wish you could, too.

The video was posted on YouTube with no explanation (not that any is needed, per se), but a commenter suggested to EW that Rajiv Surendra, the actor who played Kevin, may be behind it. At one point, Poehler addresses the camera by saying, “Yo Rajiv,” seemingly outing the man behind the camera.

As hilarious as this video is, Lohan’s brief cameo makes it a little sad. It shows that at one point in time, Lohan was not only poised for teen stardom and beyond, but she had forged friendships with some of Hollywood’s funniest and most empowering women. This could’ve been your future, Lindsay! Why’d you throw it all away?


What's on Amy Poehler's Bookshelf?

When I was growing up, I was a voracious reader I loved sitting in my house and jumping into new worlds. But more important, I loved meeting new people. Reading was a way to make friends or enemies, a way to discover how all these different people exist in the world and to rub shoulders with them. The ability to feel as if you've met someone, as if that person exists in flesh and blood and that you relate to them somehow, makes you feel a lot less lonely. And it also makes you feel very brave. When you read stories about triumph and about struggle and people coming to terms with how scary life is, you begin to think, "What could I take? What could I do? What would I do in that moment?"

Many of the books on my list are about big themes, light and dark, goodness and evil. (Except for Amy Sedaris's, which is more about the theme of cupcakes versus meatballs.) They hinge on the moment when you come to a crossroads and you have to choose who you want to be. Would you make the decision that is filled with honor and truth? Or would you make the easier choice of retreat and deception? Good characters are complex they continue to change. Just when you think you've got them in your hand, they slip away. But they keep you reading, keep books interesting, and, maybe, make you more compassionate.


I Like You
By Amy Sedaris

Full disclosure: Amy is a friend, and I have tasted her cupcakes. They're really, really good. (And that is not a euphemism.) I Like You is a spin on those 1960s cookbooks about how to make a nice home and how to entertain. I picked it because I love the character Amy plays: a hostess from the '60s, in cheap hosiery, wigs, and crazy costumes. But it's also got recipes for a delicious meatloaf and advice on how to deal with drunk guests. My favorite tip is that when you're having a party, you should fill your medicine cabinet with marbles—so that when people are snooping, they get caught. I know that Amy really does like to entertain that way. Sometimes she'll charge people 25 cents to take a picture with a stuffed rabbit. The book is hilarious, beautifully designed, and captures Amy in so many ways.


Traveling Mercies
By Anne Lamott

The autobiographical essays in this collection cover faith and family, booze, men, and self-love. They're full of the small moments in Lamott's life, the observations that make you laugh really hard and make you bawl really fast—two of my favorite activities. She talks about how the most popular prayers are "Help me, help me, help me" and "Thank you, thank you, thank you." I've read all her work, and she continually surprises me and speaks to me. One of the lines from this book that I love is: "All you can do is show up for someone in crisis. Your there-ness. can be life giving, because often everyone else is in hiding." That's just killer.

Lamott is so open and funny and honest about her own shortcomings and insecurities that you feel connected. She takes away the mystery of things like writing or religion or motherhood and makes you feel included in a very human way. I think every good book should make you feel connected to the rest of the world.


A Tale of Two Cities
By Charles Dickens

When stories become iconic, you sometimes forget what made them so special in the first place. They can become the punch line to a joke. But A Tale of Two Cities not only has the best first line ever written—"It was the best of times, it was the worst of times"—it's got everything! The novel has wine, guillotines, revolution! It has the storming of the Bastille! It has Madame Defarge, one of the best villains in any literary novel. At the end, it's got a little romantic switcheroo: One man stands in the place of another and dies for the woman he loves. The first line is fitting right now. It's a very have and have-not time. It's certainly the most hopeful period for our country but also a very bleak one for a lot of people.


Away
By Amy Bloom

This is the story of Lillian Leyb, a Russian immigrant making her way in a new land, traveling through America in the mid-1920s. Her daughter was taken away from her during a pogrom in Russia, and she feels this unbelievable mother's pull to search for her child that keeps her going—literally—through woods and snow and over mountains. From minute one, you root for Lillian's success because she's this plucky heroine. I felt as if I were on the journey with her, so there were a couple of moments when I would just want to throw the book across the room and yell, "Amy Bloom, if you make Lillian suffer anymore, I am going to kill you!" This is a sweeping story of someone new to America who runs into the best and worst of people. The kindness—and the harshness—Lillian finds along the way represents, I think, the real experience of our country.


A Prayer for Owen Meany
By John Irving

This is a strange book, but it's strange because it's packed with so many great characters. It's the story of a little boy, Owen Meany, who has a peculiar voice and believes he is an instrument of God. He and his friend Johnny are on a Little League team when Owen hits a foul ball that kills Johnny's mother. From that moment, the boys' lives are intertwined. I could picture and smell and hear what Owen Meany was like. Irving captures the innocence of youth, of people growing up together and figuring out who they want to be, and discovering the pain of separation—that made the book great for me. It's about faith and fate, and how you don't know who the messenger is going to be.


Seth Meyers calls Amy Poehler's Sarah Palin rap most 'historic' 'SNL' moment

After departing "Saturday Night Live" on Feb. 1 with 12 years on the show behind him, Seth Meyers left a legacy of hilarious bits and terrific one-liners. But as he told "Watch What Happens Live" host Andy Cohen Wednesday night, it's a Weekend Update moment from a former fellow cast member that sticks with him more than any other.

"I would say the most, like, historic moment for me was when the actual Sarah Palin was on the show and Amy Poehler, who was like nine months pregnant, was like hard-core rapping in Sarah Palin's face," Meyers recalled of the 2008 episode.

In the sketch, Poehler performed her Sarah Palin rap alongside the then-VP candidate, who added some of her own dance moves. Prior to that show (and after) Tina Fey appeared several times impersonating Palin, sometimes alongside Poehler as Hillary Clinton.

Meyers continued, "It was the last show (Poehler) did before she had her first son, and I always just remember being like, 'This is just the just this weirdest job. This is very strange. This is a woman who's running to be the vice president of this country and Poehler is just yelling at her.'"

The former "SNL" Weekend Update anchor starts his new gig as the host of NBC's "Late Night" on Feb. 24. His first guests will be Poehler and the successful vice-presidential candidate, Joe Biden.


Moxie review – Amy Poehler's high-school comedy plays it straight

A high-school movie directed by Amy Poehler, the SNL comedy blackbelt who starred in Parks and Recreation? And who is incidentally the longtime performing partner of Tina Fey, who created the high-school classic Mean Girls? Is this going to be hilarious, or what?

Sadly no. Solemnly based on a novel by YA author Jennifer Mathieu, Moxie could be called Nice Girls or Mutually Supportive Girls. Poehler herself has a small role as the single mom of a smart, lonely teenage girl called Vivian (Hadley Robinson) who is best friends with Claudia (Lauren Tsai), but whose intimacy with her is about to be damaged by her admiration for supercool new girl Lucy (Alycia Pascual-Peña), and her growing romantic situation with the impeccably right-on and pro-feminist supportive guy Seth (Nico Hiraga). Enraged by the boorish, sexist behaviour of the obnoxious football star Mitchell (Patrick Schwarzenegger), and the way he is indulged by the school, Vivian gets inspired by her mom’s long-since forgotten protest persona, and she starts a zine called Moxie and triggers a feminist revolution at the school which challenges her friendships and her sense of herself.

The film is intensely, almost radically humourless, which is hard to ignore and in fact hard to bear, because of this film’s obvious resemblance to recent great movies like Booksmart or Lady Bird and particularly at times the hard-edged classic Election. In fact, Moxie feels like someone has put those films through a machine for extracting the comedy and the political satire. The movie tackles diversity, bullying and rape, but does it all very glibly. The target audience will surely be aware of the canon of superior, funny movies – and they will be baffled to see that Poehler doesn’t want to do something similar.


Watch the video: Leslie, The Rapper Opening - Parks and Recreation (October 2021).