His television specials and series have been the highest rated programming in Comedy Central history, his DVD sales have reached six million units, his videos have received a half a billion views on You Tube, and his live concerts have become mega-events played in front of sold-out arenas worldwide.

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No wonder Time Magazine wrote that he is “the most popular comedian in the United States” and Forbes named him to its Celebrity 100 list of most powerful entertainers two years running.

Today, Jeff Dunham is a phenomenally successful global entertainment brand.

Dunham has, of course, plenty of help on-stage: his entourage of signature characters who are there to challenge and chastise his every sentence. There’s Walter, the grumpy retiree; the beer-swilling, NASCAR-loving and resolutely red neck Bubba J; the furry and manic Peanut; José Jalapeño, the spicy pepper from South of the border; and the bumbling skeletal Achmed the Dead Terrorist. They may have all been conceived and hand crafted by Dunham, but his characters, who are anything but dummies, have now taken on a life of their own, each with their own legion of fans.

Dunham’s fascination with ventriloquism began at age eight. It was his parents who gave their son a toy Mortimer Snerd dummy and an accompanying instructional record album.

By the time he was ten, Jeff was performing anywhere he could find an audience. After graduating from Baylor University, he moved to Los Angeles and soon became a sensation on the national comedy club circuit. Multiple performances on just about every stand-up comedy show known to man followed, as well as frequent guest appearances on The Tonight Show and Late Night with David Letterman.

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In 2006, Jeff’s self-produced Arguing With Myself, his first one-hour prime time special, premiered on Comedy Central. The audience reaction was explosive. Almost immediately, fans were posting clips across the Web, views rocketed into the tens of millions, and Jeff Dunham became a comedy phenomenon, reviving a lost art with new levels of comedy and a contemporary voice.

In 2007, Dunham’s self-produced “Spark of Insanity,” his second Comedy Central special, again premiered to record ratings and million plus DVD sales. Amazon’s consumers rated “Spark” the best DVD of the year. In 2008, his third television event, “A Very Special Christmas Special,” premiered with 6.6 million viewers to become the cable channel’s most-watched program ever.

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Today, Dunham’s global appeal is undeniable. He was named top-grossing live comedy act in the world in 2009 by Pollstar, the concert industry trade magazine. He has sold-out stadium-sized shows across three continents, from the United Kingdom to Sydney, Toronto to Copenhagen. He sold-out an 8,000 seat hockey arena in Helsinki, Finland on Easter Sunday, and Dunham doesn’t speak a word of Finnish. Or Swedish. Or Norwegian. Or Afrikaan, which are the official languages of some of the countries he has visited. There is universal appeal to Dunham’s relationship with his characters that transcends any small gaps in language translation.

All three Dunham specials have been released on broadcast, DVD, and mobile platforms in Canada, UK, Benelux, Scandinavia, Italy, France, Spain, Australia, New Zealand, and South Africa. The DVD of “A Very Special Christmas Special” topped the Danish entertainment chart and “Spark of Insanity” hit the Top 5 of DVD charts in Holland (#2) and South Africa (#5). “Spark of Insanity” is the most viewed show ever on Comedy Central Holland, and at one time only two American comedian titles had reached the Top 20 on the UK charts. Both were Jeff Dunham specials.

His limited-series commitment, “The Jeff Dunham Show,” premiered as the highest rated series in Comedy Central history with 5.3 million viewers in its initial airing. The DVD was released in May of 2010 and sold more than 100,000 units within the first four months.

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In late 2010, Dunham released his autobiography, “All By My Selves: Walter, Peanut, Achmed and Me,” which immediately landed on the New York Times best-seller list. Dunham’s personal story is often interrupted by his characters who are quick to dispute Dunham’s recollection of their history together.

Dunham has also made many cameo appearances across television and film, from the Emmy-winning comedy series “30 Rock,” to the Jay Roach-directed comedy “Dinner For Schmucks,” starring Steve Carrell and Paul Rudd.

In 2011, he will launch a new world-wide tour (with some surprising additions to his on-stage family) while maintaining his live appearance commitment at Caesar’s Palace in Las Vegas.

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Dunham maintains a unique multi-year, multi-platform distribution arrangement with Comedy Central, content partnerships with YouTube (where his Achmed clip is in the top twenty most all-time viewed and video designated as a favorite), Amazon.com, and iTunes.

Just as Dunham has maintained full control over the world of characters that he has created, he has built an independent company that produces and finances all Dunham projects across all distribution platforms, including live, television, film, merchandise, and home video. He maintains a highly interactive relationship with his fans via JeffDunham.com and many social networking platforms.

As an entertainer, Jeff Dunham has truly impacted popular culture, and his character catchphrases, such as Achmed’s “Silence! I Keel You!” and José Jalapeño’s “On A Steek!’”, are now part of our vernacular, much to the delight of multi-generational audiences worldwide.

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The Giants will be looking to Eli Manning and rookie end Jason Pierre-Paul to help the team reach the postseason in 2010. See if the Giants can dwarf their opponents on the field.

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Angel’s visionary approach to the art of magic has astonished fans in past seasons when he hung suspended by hooks over a desert and split a woman in a public park in two. In the fifth season Angel performed all new mind-bending feats, including walking through a minefield, levitating a crowd of spectators and being buried alive beneath several tons of wet, heavy snow.

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Ivan Nova doesn’t know whether he’ll get another start when the Yankees’ rotation turns over next week, but the rookie certainly did enough Monday night to give manager Joe Girardi something to think about.

Nova allowed two runs on six hits and one walk in 5 1/3 innings, striking out three in his first big-league start.

“He pitched really well,” Girardi said. “We liked what the kid did.”
Nova found himself in a sticky situation right away, giving up two hits on his first three pitches, then issuing a four-pitch walk to Jose Bautista to load the bases. He escaped without allowing a run, getting some help from Brett Gardner, who threw out Fred Lewis at the plate to complete a double play for the first two outs. Nova finished the job by striking out Adam Lind with a 97 mph fastball.
“When you first come to the big leagues, you think it’s going to be something big,” Nova said. “You don’t think it’s the same baseball you play in Triple-A. After that, I thought, ‘It is.’”

Nova allowed a two-run homer by Bautista in the third, but that was all the damage Toronto’s powerful lineup could do against him. Nova threw a high-and-tight pitch to Bautista in his next at-bat, and Bautista walked toward the mound as both benches emptied. No punches were thrown, and both teams were warned.

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Nova isn’t scheduled again as of now, though with Javier Vazquez’s recent ineffectiveness, the rookie could find himself getting another shot soon if Vazquez struggles again Sunday in Chicago.

“He was great,” first baseman Mark Teixeira said. “Other than one pitch (the homer by Bautista), he pitched outstanding. He’s obviously got great stuff, he throws 97 mph — you love to see that.”
BLUE JAYS 3, YANKEES 2: The Yankees lost to the Blue Jays for the sixth time in 10 meetings this season, as RF Jose Bautista homered twice to make him the first player in the majors with 40 homers this season. 2B Robinson Cano drove in one run and scored another, while rookie RHP Ivan Nova allowed two runs over 5 1/3 in his first big-league start. RHP David Robertson gave up the game-winning homer by Bautista in the eighth, the first run allowed by Robertson since July 2.

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SHOULD I SEE IT?
What is Jersey Boys Like?
Upbeat, slickly produced and fast-paced, Jersey Boys appeals to diehard fans of the Four Seasons and audience members less familiar with the group’s extensive catalogue of hits. Unlike most jukebox musicals, the show boasts heavy emphasis on storytelling, which adds to its universal appeal.

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Is Jersey Boys Good for Kids?
Although Jersey Boys snaps along at a pace easy for younger audiences to follow, it is not really a show for young children: they won’t get the heavy nostalgia factor, and parents may find themselves cringing at sexual innuendo (“Oh, What a Night!” indeed), infidelity, the (offstage) death of a child, enough swearing to make a truck driver on the Jersey Turnpike blush and other behavior you might expect from four tough guys touring from sold-out concert to sold-out concert.

When lady gaga was a little girl, she would sing along on her mini plastic tape recorder to michael jackson and cyndi lauper hits and get twirled in the air in daddy’s arms to the sounds of the rolling stones and the beatles. The precocious child would dance around the table at fancy upper west side restaurants using the breadsticks as a baton. And, she would innocently greet a new babysitter in nothing but her birthday suit.

IT’S NO WONDER THAT LITTLE GIRL FROM A GOOD ITALIAN NEW YORK FAMILY, TURNED INTO THE EXHIBITIONIST, MULTI-TALENTED SINGER-SONGWRITER WITH A FLAIR FOR THEATRICS THAT SHE IS TODAY: LADY GAGA.

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“I WAS ALWAYS AN ENTERTAINER. I WAS A HAM AS A LITTLE GIRL AND I’M A HAM TODAY,” SAYS LADY GAGA, 23, WHO MADE A NAME FOR HERSELF ON THE LOWER EAST SIDE CLUB SCENE WITH THE INFECTIOUS DANCE-POP PARTY SONG “BEAUTIFUL DIRTY RICH,” AND WILD, THEATRICAL, AND OFTEN TONGUE-IN-CHEEK “SHOCK ART” PERFORMANCES WHERE GAGA – WHO DESIGNS AND MAKES MANY OF HER STAGE OUTFITS — WOULD STRIP DOWN TO HER HAND-CRAFTED HOT PANTS AND BIKINI TOP, LIGHT CANS OF HAIRSPRAY ON FIRE, AND STRIKE A POSE AS A DISCO BALL LOWERED FROM THE CEILING TO THE ORCHESTRAL SOUNDS OF A CLOCKWORK ORANGE.

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