The Worst of Bogosian, Volume One

by Eric Bogosian

Meet some of Eric Bogosian's unforgettable characters - the stud, the nostalgic drug dealer, the money-hungry spiritual guru, the molecule-spewing derelict sitting next to you on the train, and more. Bogosian performed these solos as well as some of his favorite riffs from his OBIE-award winning shows, Sex, Drugs, Rock & Roll, Pounding Nails in the Floor with My Forehead, and Wake Up and Smell the Coffee live at Bob Holman's Bowery Poetry Club in NYC on July 28, 2003.
Explicit Language Warning: You Must be 18 years or older to purchase this program.

©1990,1991 Ararat Productions, Inc.; 1994, 2002 Eric Bogosian (P)2003 Eric Bogosian

Audible Audio

Published December 29, 2002

About the author

Eric Bogosian is an American actor, playwright, monologuist, novelist, and historian. Descended from Armenian-American immigrants, he grew up in Watertown and Woburn, Massachusetts, and attended the University of Chicago and Oberlin College. His numerous plays include Talk Radio (1987) and subUrbia (1994), which were adapted to film by Oliver Stone and Richard Linklater, respectively, with Bogosian starring in the former.
Bogosian has appeared in plays, films, and television series throughout his career. His television roles include Captain Danny Ross in Law & Order: Criminal Intent (2006–2010), Lawrence Boyd on Billions (2017–2018), and Gil Eavis on Succession (since 2018). He also starred as Arno in the Safdie brothers' film Uncut Gems (2019). He has also been involved in New York City ballet production, and has written several novels as well as the historical nonfiction Operation Nemesis (2015).

Reviews

[Tom Schulte · Rating 4 out of 5]

I guess this is more like the digital equivalent of a comedy record than an audiobook; about an hour of Bogosian bits. The style reminds me of Bill Hicks - stand-up comedian that is also a social critic, satirist. Bogosian brings a particularly gritty, even crude, downtown NYC vibe to his attack comedy, which can be launched at the audience as well as society and even be self-deprecating in sudden swings of unsettling emotional judo.