The stand-up comic Bernie Travis who was SEXUALLY ABUSED as a child chose to DIE offstage on March 10, 1984 by HANGING himself in the shower of his New York apartment. By committing suicide Bernie joined the thousands of adults who had been sexually abused as children and ultimately chose to end their lives.

"I'M KILLIN 'EM... A COMIC'S OPERA defies categories.. did Hoffman write.... a concept album.. an opera... musical theater... performance piece? There are classical harmonies.. rock rhythms... acoustic and digital orchestrations.. the dissonant music and the story(sexual abuse) are perfect parallels to each other... Disturbing piece without a comparison that could work on Broadway.. a large rock or performance space.. or even the Metropolitan Opera."
Will Friedwald

(Music Critic and Grammy-nominated writer... Wall Street Journal... Village voice….. Vanity Fair)



"INCREDIBLY POWERFUL OPERA”
—IndependentArtistBuzz.com
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Every 9 minutes a child is sexually abused


The following is 10 minutes of music and lyrics from the AVANT POP OPERA I'M KILLIN 'EM by the composer/lyricist CARY HOFFMAN
Survivors of childhood sexual abuse are 10 to 13 times more likely to attempt suicide

Cary Hoffman

Composer/lyricist - I'M KILLIN 'EM... A COMIC'S OPERA

Cary Hoffman wrote the opera I'M KILLIN 'EM , the same guy who owned the comedy club Stand Up NY... Wrote and performed the PBS TV Special "My Sinatra"... Co-wrote the hit musical "What's a Nice Country Like You Doing In A State Like This? and a few country hit records... First producer and manager of Luther Vandross... Co-wrote songs in the Woody Allen film "The Front"... Was Exec producer of Ray Romano's television show 'Men Of A Certain Age " and Zach Galifianakis' manager and most importantly was the best friend of the Comedian Bernie Travis.


34 percent of child abuse victims are perpetrated by a family member

Bernie Travis

(1937-1984)

Stand-up comic

1 in 5 Boys are sexually abused before the age of 18

WHY DID CARY WRITE THE OPERA I'M KILLIN 'EM ABOUT BERNIE'S DEMISE?

Bernie Travis was more than a best friend. He was for a time my given savior, a terribly wounded one who through his tortuous existence saw the doubts in me that he knew also resided in him. All he wanted to do was help me, a lost 22 year old immature dreamer who desperately wanted to write and perform. But nobody ever helped him escape from the sexual prison that his father kept him in as a child. He never had a chance from the get-go; the instability, distortions and actions that were planted in his brain made him exquisitely destined to repeat the pain of his childhood into his failed career as a stand-up comic and ultimately taking his own life. I owe this to Bernie. HE WANTED SO MUCH TO CHANGE THE WORLD BUT IN THE END THE WORLD CHANGED HIM.

70 percent of child sexual abuse victims have either thoughts of suicide or actually attempt suicide as adults.

Reviews

"I LOVE IT..! I THINK IT SOUNDS GREAT... THE CONTENT IS MEANINGFUL.. FUN... SERIOUS AND INTERESTING... REMINDS ME OF REVOLVER.. WITHOUT BEING TOO CLICHE... WHAT MORE CAN YOU SQUEEZE OUT OF WHAT YOU HAVE RECORDED..?"
Brandon Bost

(Grammy-nominated Producer who's worked with St.Vincent, Mark Ronson, Lady Gaga, Miley Cyrus, Norah Jones.)

"AMAZING DARK MUSIC AND LYRICS ... A LITTLE MAD... ABOUT THE SECRET CRIME NOBODY TALKS ABOUT.. CHILDHOOD SEXUAL ABUSE."
Zach Galifianakis

(Actor, Comedian, Musician and Writer. Films.. The Hangover Part 1, 2, and 3, Due Date, Birdman. TV.. Between 2 Ferns.)


"BRILLIANT... DISTURBING... CHILLING.... GENIUS"
Michael Mislove

(Producer of Academy Award Nominated Film Finding Neverland and the film Miss Pettigrew Lives for a Day)

"JOLTING... UNIQUE..... TOTALLY ORIGINAL.... COULD BE A GREAT CONCEPT ALBUM"
Neal Israel

(Film and Television writer and director. Writer and Director.. Real Genius... Look Who's Talking Too... TV.. Joan Of Arcadia... Mind of The Married Man.)


"As a film producer I search for material that I've never seen or heard before... something original... one of a kind, and riveting..., which is what I'M KILLIN 'EM.. A COMIC'S OPERA definitely is !"
Nellie Bellflower

(Producer of Academy Award Nominated Film Finding Neverland and the film Miss Pettigrew Lives for a Day)


"Having only been able to hear a sample of I'M KILLIN 'EM... A COMIC'S OPERA by Cary Hoffman, I am struck by how it defies categories (in Duke Ellington’s memorable description of Ella Fitzgerald) on multiple levels. For one thing, there’s the overall form of the work itself - is it musical theater? Opera? A Concept Album? A song cycle? What? The composer handily refers to the work as a “rock opera,” but it occurs to me that this term is now somewhat archaic; just like no one ever says “a gay couple” anymore, there’s no need for the first word - these days an opera can be rock-ish or more traditionally classical, without any other explanation. And while the larger form defies easy categorization, the music itself is even more so: there are clearly what we could call “classical” harmonies, but rock-like beats, and instrumental textures both acoustic and electronic, while the voices don’t necessarily reflect the tradition of Hamilton, Threepenny Opera, Wicked, or Die Zauberflöte. In trying to describe I'M KILLIN 'EM... A COMIC'S OPERA I find it much easier to talk about what it doesn’t sound like, because it’s hard, if not impossible to come up with an actual comparison point - some sort of precedent, something it actually does sound like. Lastly, there’s the disquieting content of the work itself - a dark story of the relatively contemporary age. No, it’s not exactly the “feel good show” of the year, but it’s a work in which the dramatic form, the musical style, and story itself are perfect parallels to each other. In an age when thoroughly disturbing works like American Psycho and Spring Awakening make it to Broadway, I would think that I'M KILLIN 'EM... A COMIC'S OPERA is precisely the kind of “piece” that find favor with a large segment of the post-pandemic theater-going public. That is, of course, if they decided to stage it on Broadway, it would be just as much at home at a rock-pop venue like The Cutting Room or even the Metropolitan Opera."
Will Friedwald

(Music Critic and Grammy-nominated writer... Wall Street Journal... Village voice….. Vanity Fair)