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"content": "\u003cp>With San Francisco as its backdrop, Ali Wong and Randall Park’s latest project is so much more than a romantic comedy.\u003c/p>\n\u003cp>\u003cem>Always Be My Maybe \u003c/em>is an enormously refreshing rom-com in a couple of ways that people who have covered its release have talked about a lot. Specifically, it’s an American rom-com (released on Netflix) that features two Asian American characters from a Korean American and Vietnamese American families who have sex, fall in love, break up, date other people and then find each other again. It stars Randall Park, who \u003ca href=\"https://www.npr.org/2015/10/14/448278570/actor-randall-park-says-fresh-off-the-boat-is-comedy-without-the-clich\">has spent the last several years\u003c/a> on ABC’s \u003cem>Fresh Off the Boat \u003c/em>but has had a long and varied career in comedy, and Ali Wong, \u003ca href=\"https://www.npr.org/2016/08/02/484163577/marriage-and-motherhood-are-a-source-of-power-says-comic-ali-wong\">whose career boomed after\u003c/a> the release of her comedy specials \u003cem>Baby Cobra \u003c/em>and then \u003cem>Hard Knock Wife\u003c/em>. Park and Wong have known each other a long time, and they have eager fan excitement to thank (at least in part) for the fact that they decided to actually go ahead with the project.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Always Be My Maybe | Trailer | Netflix\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/iHBcWHY9lN4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>As romantic comedies have contracted after their post-’90s boom, those featuring leads of color have been, regrettably but predictably, hit especially hard. And while \u003cem>Crazy Rich Asians \u003c/em>in 2018 \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/08/14/637168347/opinion-dont-sweat-the-repsweats-and-let-crazy-rich-asians-be-what-it-is\">brought welcome representation\u003c/a> for Asian American actors in both romance and comedy, it was not really quite a romantic comedy in the traditional sense.\u003c/p>\n\u003cp>This is one. Straight-up, down-the-middle, glorious romantic comedy for people who really and truly love and miss that kind of movie — and the fact that both leads are Asian American isn’t the only way in which it’s fresh-faced. It’s also noteworthy that Park is 45 and Wong is 37, making them significantly older than rom-com leads often are. (When Billy Crystal and Meg Ryan appeared in \u003cem>When Harry Met Sally…,\u003c/em> also a long-relationship film and the one Wong and Park have often cited as inspiration, Crystal was just over 40 and Ryan was in her late 20s.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The two play Marcus and Sasha, who become best pals as kids in San Francisco’s Richmond district. They share one awkward sexual experience and then go their separate ways. Years later, when he’s still working with his father and she’s a celebrity chef, they meet up again. But he has a new and unusual girlfriend (a very funny Vivian Bang), and she’s dating a fancypants rich guy played by the always welcome Daniel Dae Kim.\u003c/p>\n\u003cp>I love what Wong is doing here with the idea of the very driven and successful romantic comedy heroine. Sasha is unapologetic about being ambitious, with the only conflict about her work coming from what feel like very fresh conversations with Marcus about whom she’s trying to please with “elevated Asian cuisine.” While discussing the menu with a consultant, she opts for rice paper because “white people eat it up.” There’s no sense that she needs to give up her job, and it’s clear that she’s probably going to remain famous while he remains not famous, no matter what else happens. Marcus is in a band, but while it would be easy to wrap this up by making his band a big hit, it would … not be particularly believable. (His band is called Hello Peril, which is just \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/09/27/647989652/if-we-called-ourselves-yellow\">a great, great joke\u003c/a>.) For those who grew up in the Bay Area, the bonus nod to DJ star Lyrics Born and a nearly-miss-it cameo with DJ Q-bert add to that San Francisco pride.\u003c/p>\n\u003cp>[aside postID='arts_13812554' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2017/10/ARTS_FILIPINODJS_1.jpg' target='_blank']\u003c/p>\n\u003cp>Sasha’s best friend, Veronica (Michelle Buteau, because the great comedy people just keep on coming), is super-pregnant for most of the film (perhaps significantly, the same way Wong was when she shot both her comedy specials), and she’s spared just about every bad best-friend cliché. In fact, Veronica’s pregnancy almost operates like a subtle assurance that although she loves her friend, this love story is not the most important thing going on in her life at the moment.\u003c/p>\n\u003cp>Park, too, is just marvelously appealing, supportive and still sometimes kind of foolish in the way you have to be for a rom-com not to end until it’s time for it to end. His dad is played by the marvelous James Saito, and the two of them have an easy and funny chemistry. Both Marcus’ and Sasha’s parents certainly have some culturally specific touchstones, but it’s embarrassing how unusual it is to see Asian American characters with parents firmly outside any super-driven or super-silly stereotypes. (This was also a marvelous aspect of \u003ca href=\"https://www.npr.org/2019/03/13/703140118/cringing-through-hulus-pen15-in-a-good-way\">Hulu’s coming-of-age series\u003c/a> \u003cem>PEN15\u003c/em> and its portrayal of Maya’s mom.)\u003c/p>\n\u003cp>We have to talk about Keanu Reeves, though, because Keanu Reeves is in the marketing.\u003c/p>\n\u003cp>One of the tricks with a film like this is that the middle often drags. After you get through the first part, in which you meet the characters and set up their lives and their love story (SPOILER ALERT), and before you get to the end, as they begin to approach a happy ending (SPOILER ALERT!!), there’s a section in the middle where it can feel like you’re just … waiting. You’re waiting for the people to figure out that they love each other or that their current partners are wrong for them. You’re waiting for obstacles to clear. And that section often needs something. The people who made \u003cem>Always Be My Maybe\u003c/em> very wisely concluded that what it needed was Keanu Reeves.\u003c/p>\n\u003cp>Without saying too much about his role, let’s say that Reeves here is riffing on what you might call the Keanu Reeves Cultural Ideal — this notion that he’s a fighter and a poet and a paragon of decency who probably meditates in the shower. And of all the times I’ve seen an actor goof around with his own image, this just might be my very favorite — even above the Neil Patrick Harris appearance in \u003cem>Harold & Kumar Go to White Castle\u003c/em>. Reeves is a tremendously good sport and a fabulous comic actor, and every tiny decision he makes in these scenes is exactly right. It would be unfair to say he steals the film, because he doesn’t. But what you can say is that his appearance helps enormously in kicking the middle of the film in the pants to keep it from sagging.\u003c/p>\n\u003cp>It’s a film that delivers on all its promises, gives a lot of funny people a chance to shine and — yes indeed — provides some much-needed representation to a lot of potential love-story leads who don’t see themselves in Hollywood nearly often enough.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And let me add: If you don’t stick around at least through the part of the credits with … the surprise audio, you may be sad later. Because later, someone will show you what you missed, and you will say, “I should have listened to that NPR critic.” Stay at least through the childhood photos. They’re pretty fun anyway.\u003c/p>\n\u003chr>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Love+Finds+Ali+Wong+And+Randall+Park+In+%27Always+Be+My+Maybe%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sasha’s best friend, Veronica (Michelle Buteau, because the great comedy people just keep on coming), is super-pregnant for most of the film (perhaps significantly, the same way Wong was when she shot both her comedy specials), and she’s spared just about every bad best-friend cliché. In fact, Veronica’s pregnancy almost operates like a subtle assurance that although she loves her friend, this love story is not the most important thing going on in her life at the moment.\u003c/p>\n\u003cp>Park, too, is just marvelously appealing, supportive and still sometimes kind of foolish in the way you have to be for a rom-com not to end until it’s time for it to end. His dad is played by the marvelous James Saito, and the two of them have an easy and funny chemistry. Both Marcus’ and Sasha’s parents certainly have some culturally specific touchstones, but it’s embarrassing how unusual it is to see Asian American characters with parents firmly outside any super-driven or super-silly stereotypes. (This was also a marvelous aspect of \u003ca href=\"https://www.npr.org/2019/03/13/703140118/cringing-through-hulus-pen15-in-a-good-way\">Hulu’s coming-of-age series\u003c/a> \u003cem>PEN15\u003c/em> and its portrayal of Maya’s mom.)\u003c/p>\n\u003cp>We have to talk about Keanu Reeves, though, because Keanu Reeves is in the marketing.\u003c/p>\n\u003cp>One of the tricks with a film like this is that the middle often drags. After you get through the first part, in which you meet the characters and set up their lives and their love story (SPOILER ALERT), and before you get to the end, as they begin to approach a happy ending (SPOILER ALERT!!), there’s a section in the middle where it can feel like you’re just … waiting. You’re waiting for the people to figure out that they love each other or that their current partners are wrong for them. You’re waiting for obstacles to clear. And that section often needs something. The people who made \u003cem>Always Be My Maybe\u003c/em> very wisely concluded that what it needed was Keanu Reeves.\u003c/p>\n\u003cp>Without saying too much about his role, let’s say that Reeves here is riffing on what you might call the Keanu Reeves Cultural Ideal — this notion that he’s a fighter and a poet and a paragon of decency who probably meditates in the shower. And of all the times I’ve seen an actor goof around with his own image, this just might be my very favorite — even above the Neil Patrick Harris appearance in \u003cem>Harold & Kumar Go to White Castle\u003c/em>. Reeves is a tremendously good sport and a fabulous comic actor, and every tiny decision he makes in these scenes is exactly right. It would be unfair to say he steals the film, because he doesn’t. But what you can say is that his appearance helps enormously in kicking the middle of the film in the pants to keep it from sagging.\u003c/p>\n\u003cp>It’s a film that delivers on all its promises, gives a lot of funny people a chance to shine and — yes indeed — provides some much-needed representation to a lot of potential love-story leads who don’t see themselves in Hollywood nearly often enough.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And let me add: If you don’t stick around at least through the part of the credits with … the surprise audio, you may be sad later. Because later, someone will show you what you missed, and you will say, “I should have listened to that NPR critic.” Stay at least through the childhood photos. They’re pretty fun anyway.\u003c/p>\n\u003chr>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Love+Finds+Ali+Wong+And+Randall+Park+In+%27Always+Be+My+Maybe%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Because entertainment outlets are now infinite and every utterly ridiculous idea conceived by a celebrity can find a massive budget, Andy Samberg and his comedy group the Lonely Island have surprise-released \u003cem>The Unauthorized Bash Brothers Experience\u003c/em>, a half-hour special that answers a question nobody was really asking: what if the steroid-addled, home-run hitting duo of Mark McGwire and Jose Canseco had a late-1980s rap career?\u003c/p>\n\u003cp>You can watch the whole thing \u003ca href=\"https://www.netflix.com/title/81036190\" rel=\"noopener\" target=\"_blank\">here\u003c/a> if you have Netflix, and below is lead single “Oakland Nights,” featuring Jenny Slate, Hannah Simone and Sterling K. Brown as a silk-shirt loverman voiced by Sia:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LD4ryByjVyo\u003c/p>\n\u003cp>The rest of the project includes songs like “Focused AF,” “Bikini Babe Workout,” and “IHOP Parking Lot” (featuring HAIM and Maya Rudolph), plus about a zillion different lyrics about women, drugs, and the effect of steroids on one’s genitalia that I probably shouldn’t quote on a website owned by the station that brings you \u003cem>Sesame Street\u003c/em> each morning.\u003c/p>\n\u003cp>I dunno, guys. Andy Samberg was 11 when the A’s beat the Giants to win the World Series, he grew up in the Bay Area—maybe we should just let him have this juvenile, bonkers moment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Thus, if you’re not in a meeting with your boss right now, here’s the \u003ca href=\"https://www.youtube.com/watch?v=VfKJxowxBb4\" rel=\"noopener\" target=\"_blank\">Oakland-themed video for “Uniform On”\u003c/a> (BART cameo!), and the whole soundtrack can be heard below. And of course, I am obligated to remind you to \u003ca href=\"https://www.youtube.com/watch?v=QixQMUu4CKI\" rel=\"noopener\" target=\"_blank\">re-watch one of the greatest Jose Canseco moments in baseball history\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed?uri=spotify%3Aalbum%3A6wWBAQlfQ4AXClTAgsJStH\" width=\"800\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\">\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Because entertainment outlets are now infinite and every utterly ridiculous idea conceived by a celebrity can find a massive budget, Andy Samberg and his comedy group the Lonely Island have surprise-released \u003cem>The Unauthorized Bash Brothers Experience\u003c/em>, a half-hour special that answers a question nobody was really asking: what if the steroid-addled, home-run hitting duo of Mark McGwire and Jose Canseco had a late-1980s rap career?\u003c/p>\n\u003cp>You can watch the whole thing \u003ca href=\"https://www.netflix.com/title/81036190\" rel=\"noopener\" target=\"_blank\">here\u003c/a> if you have Netflix, and below is lead single “Oakland Nights,” featuring Jenny Slate, Hannah Simone and Sterling K. Brown as a silk-shirt loverman voiced by Sia:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/LD4ryByjVyo'\n title='//www.youtube.com/embed/LD4ryByjVyo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The rest of the project includes songs like “Focused AF,” “Bikini Babe Workout,” and “IHOP Parking Lot” (featuring HAIM and Maya Rudolph), plus about a zillion different lyrics about women, drugs, and the effect of steroids on one’s genitalia that I probably shouldn’t quote on a website owned by the station that brings you \u003cem>Sesame Street\u003c/em> each morning.\u003c/p>\n\u003cp>I dunno, guys. Andy Samberg was 11 when the A’s beat the Giants to win the World Series, he grew up in the Bay Area—maybe we should just let him have this juvenile, bonkers moment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thus, if you’re not in a meeting with your boss right now, here’s the \u003ca href=\"https://www.youtube.com/watch?v=VfKJxowxBb4\" rel=\"noopener\" target=\"_blank\">Oakland-themed video for “Uniform On”\u003c/a> (BART cameo!), and the whole soundtrack can be heard below. And of course, I am obligated to remind you to \u003ca href=\"https://www.youtube.com/watch?v=QixQMUu4CKI\" rel=\"noopener\" target=\"_blank\">re-watch one of the greatest Jose Canseco moments in baseball history\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed?uri=spotify%3Aalbum%3A6wWBAQlfQ4AXClTAgsJStH\" width=\"800\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\">\u003c/iframe>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Comedian Dave Chappelle will be awarded the Mark Twain Prize for American Humor this year, the John F. Kennedy Center for the Performing Arts has announced.\u003c/p>\n\u003cp>The stand-up comic, actor, producer and director joins a prestigious group of comedians to receive the award. Among them are Carol Burnett, Whoopi Goldberg, Bob Newhart and Richard Pryor — who won the very first Twain Prize in 1998.\u003c/p>\n\u003cp>“Dave is one of the truly original voices in comedy — the definition of a creative artist,” Matthew Winer, director of comedy and special programming at the Kennedy Center, said to NPR. “He’s a modern day sociologist, skewering stereotypes, defying boundaries and showing us that laughter can be a way to contextualize issues that we struggle to understand.”\u003c/p>\n\u003cp>“Dave is the embodiment of Mark Twain’s observation that ‘against the assault of humor, nothing can stand,’ ” Deborah F. Rutter, president of the Kennedy Center, said in a prepared statement. “For three decades, Dave has challenged us to see hot-button issues from his entirely original yet relatable perspective.”\u003c/p>\n\u003cp>The prize will be awarded at a Kennedy Center gala on Oct. 27, 2019, and a TV special of the evening will be broadcast on PBS stations Jan. 6, 2020.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Edgy, politically incorrect and occasionally scatological, Chappelle’s career skyrocketed with three seasons of \u003cem>Chappelle’s Show\u003c/em> (2003-2006), one of the most popular comedy shows on TV. Co-created \u003ca href=\"https://www.npr.org/2017/02/23/516739139/chappelles-show-co-creator-moves-into-the-limelight-with-3-mics\">with Neal Brennan\u003c/a>, the sketches on Comedy Central spared no one.\u003c/p>\n\u003cp>Chappelle’s impersonations of \u003ca href=\"http://www.cc.com/video-clips/e748yj/chappelle-s-show-charlie-murphy-s-true-hollywood-stories---prince---uncensored\">Prince\u003c/a>, \u003ca href=\"http://www.cc.com/video-clips/iuegla/chappelle-s-show-charlie-murphy-s-true-hollywood-stories---rick-james-pt--1---uncensored\">Rick James\u003c/a> and \u003ca href=\"http://www.cc.com/video-clips/m7u3o1/chappelle-s-show-a-moment-in-the-life-of-lil-jon---injury\">Lil Jon\u003c/a> are now legendary. In a sketch that stretched the imagination and boundaries of racial satire, Chappelle \u003ca href=\"https://www.youtube.com/watch?v=JBC-9k3y1ew\">played Clayton Bigsby\u003c/a>, a blind white supremacist who doesn’t know he’s black.\u003c/p>\n\u003cp>It was “revolutionary,” must-see TV, \u003ca href=\"http://grantland.com/features/a-battle-best-chappelle-show-sketch-ever/\">wrote Rembert Browne\u003c/a>, who was a teenager when \u003cem>Chappelle’s Show\u003c/em> aired: “It was unacceptable to show up to high school the next day without knowing all the material from the previous night’s episode.”\u003c/p>\n\u003cp>\u003cem>Chappelle’s Show\u003c/em> earned three Emmy nominations and became a bestseller on DVD. But after signing a reported $50 million deal for Seasons 3 and 4, Chappelle famously and abruptly disappeared from entertainment altogether. He spent two weeks in South Africa and then moved to Yellow Springs, Ohio, with his family.\u003c/p>\n\u003cp>“I felt in a lot of instances I was deliberately being put through stress because when you’re a guy who generates money, people have a vested interest in controlling you,” \u003ca href=\"https://www.today.com/popculture/chappelle-tells-oprah-i-wasn-t-crazy-wbna11163322\">he told Oprah Winfrey\u003c/a>.\u003c/p>\n\u003cp>Chappelle eventually returned to stand-up. He signed a multimillion-dollar deal with Netflix. Last year, two of his Netflix comedy specials — \u003cem>Equanimity\u003c/em> and \u003cem>The Bird Revelation\u003c/em> — won a Grammy Award (packaged together) for best comedy album. \u003cem>Equanimity \u003c/em>also won an Emmy for outstanding variety special.\u003c/p>\n\u003cp>His latest specials address hot-button issues such as race, class, gender, President Trump and the #MeToo movement. Chappelle compared the current women’s movement to African Americans’ long struggle for equal rights, and even suggests South Africa’s Truth and Reconciliation Commission as a model for inspiration.\u003c/p>\n\u003cp>Not all of the jokes in his recent specials have landed well with all audiences. Critics have repeatedly objected to his \u003ca href=\"https://medium.com/@tylergfoster/i-wrote-dave-chappelle-a-letter-about-his-terrible-transgender-jokes-55478970b9f\">jokes about people who are transgender\u003c/a> and the \u003ca href=\"https://www.nytimes.com/2018/01/02/arts/television/dave-chappelle-netflix-special.html\">#MeToo movement\u003c/a>.\u003c/p>\n\u003cp>Setting aside his fondness for dirty and transgressive material, Chappelle is socially conscious to his core. His father was a professor at Antioch College. His mother taught at Howard University. For high school, Chappelle attended the Duke Ellington School of the Arts in Washington.\u003c/p>\n\u003cp>“Dave is a hometown hero here in Washington, D.C., where he grew up,” Rutter also said. “We’re so looking forward to welcoming him back home [at the Kennedy Center].”\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/11/13/501883403/snl-reflects-a-nations-emotional-tone-in-post-election-episode\">His appearance on\u003c/a> \u003cem>Saturday Night Live\u003c/em>, days after Donald Trump won the 2016 presidential election, also received an Emmy. His opening monologue took jabs at the president-elect, and skewered black and white stereotypes, before turning more serious at the end, as he reflected on a BET party he’d attended at the White House during the Obama administration.\u003c/p>\n\u003cp>“So, in that spirit, I’m wishing Donald Trump luck,” Chappelle said. “And I’m going to give him a chance, and we, the historically disenfranchised, demand that he give us one too.” He has, however, \u003ca href=\"https://thegrapevine.theroot.com/dave-chappelle-apologizes-for-snl-monologue-saying-to-1795253351\">since apologized for that remark.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/–IS0XiNdpk\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dave+Chappelle+To+Be+Awarded+Mark+Twain+Prize+For+American+Humor&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Comedian Dave Chappelle will be awarded the Mark Twain Prize for American Humor this year, the John F. Kennedy Center for the Performing Arts has announced.\u003c/p>\n\u003cp>The stand-up comic, actor, producer and director joins a prestigious group of comedians to receive the award. Among them are Carol Burnett, Whoopi Goldberg, Bob Newhart and Richard Pryor — who won the very first Twain Prize in 1998.\u003c/p>\n\u003cp>“Dave is one of the truly original voices in comedy — the definition of a creative artist,” Matthew Winer, director of comedy and special programming at the Kennedy Center, said to NPR. “He’s a modern day sociologist, skewering stereotypes, defying boundaries and showing us that laughter can be a way to contextualize issues that we struggle to understand.”\u003c/p>\n\u003cp>“Dave is the embodiment of Mark Twain’s observation that ‘against the assault of humor, nothing can stand,’ ” Deborah F. Rutter, president of the Kennedy Center, said in a prepared statement. “For three decades, Dave has challenged us to see hot-button issues from his entirely original yet relatable perspective.”\u003c/p>\n\u003cp>The prize will be awarded at a Kennedy Center gala on Oct. 27, 2019, and a TV special of the evening will be broadcast on PBS stations Jan. 6, 2020.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Edgy, politically incorrect and occasionally scatological, Chappelle’s career skyrocketed with three seasons of \u003cem>Chappelle’s Show\u003c/em> (2003-2006), one of the most popular comedy shows on TV. Co-created \u003ca href=\"https://www.npr.org/2017/02/23/516739139/chappelles-show-co-creator-moves-into-the-limelight-with-3-mics\">with Neal Brennan\u003c/a>, the sketches on Comedy Central spared no one.\u003c/p>\n\u003cp>Chappelle’s impersonations of \u003ca href=\"http://www.cc.com/video-clips/e748yj/chappelle-s-show-charlie-murphy-s-true-hollywood-stories---prince---uncensored\">Prince\u003c/a>, \u003ca href=\"http://www.cc.com/video-clips/iuegla/chappelle-s-show-charlie-murphy-s-true-hollywood-stories---rick-james-pt--1---uncensored\">Rick James\u003c/a> and \u003ca href=\"http://www.cc.com/video-clips/m7u3o1/chappelle-s-show-a-moment-in-the-life-of-lil-jon---injury\">Lil Jon\u003c/a> are now legendary. In a sketch that stretched the imagination and boundaries of racial satire, Chappelle \u003ca href=\"https://www.youtube.com/watch?v=JBC-9k3y1ew\">played Clayton Bigsby\u003c/a>, a blind white supremacist who doesn’t know he’s black.\u003c/p>\n\u003cp>It was “revolutionary,” must-see TV, \u003ca href=\"http://grantland.com/features/a-battle-best-chappelle-show-sketch-ever/\">wrote Rembert Browne\u003c/a>, who was a teenager when \u003cem>Chappelle’s Show\u003c/em> aired: “It was unacceptable to show up to high school the next day without knowing all the material from the previous night’s episode.”\u003c/p>\n\u003cp>\u003cem>Chappelle’s Show\u003c/em> earned three Emmy nominations and became a bestseller on DVD. But after signing a reported $50 million deal for Seasons 3 and 4, Chappelle famously and abruptly disappeared from entertainment altogether. He spent two weeks in South Africa and then moved to Yellow Springs, Ohio, with his family.\u003c/p>\n\u003cp>“I felt in a lot of instances I was deliberately being put through stress because when you’re a guy who generates money, people have a vested interest in controlling you,” \u003ca href=\"https://www.today.com/popculture/chappelle-tells-oprah-i-wasn-t-crazy-wbna11163322\">he told Oprah Winfrey\u003c/a>.\u003c/p>\n\u003cp>Chappelle eventually returned to stand-up. He signed a multimillion-dollar deal with Netflix. Last year, two of his Netflix comedy specials — \u003cem>Equanimity\u003c/em> and \u003cem>The Bird Revelation\u003c/em> — won a Grammy Award (packaged together) for best comedy album. \u003cem>Equanimity \u003c/em>also won an Emmy for outstanding variety special.\u003c/p>\n\u003cp>His latest specials address hot-button issues such as race, class, gender, President Trump and the #MeToo movement. Chappelle compared the current women’s movement to African Americans’ long struggle for equal rights, and even suggests South Africa’s Truth and Reconciliation Commission as a model for inspiration.\u003c/p>\n\u003cp>Not all of the jokes in his recent specials have landed well with all audiences. Critics have repeatedly objected to his \u003ca href=\"https://medium.com/@tylergfoster/i-wrote-dave-chappelle-a-letter-about-his-terrible-transgender-jokes-55478970b9f\">jokes about people who are transgender\u003c/a> and the \u003ca href=\"https://www.nytimes.com/2018/01/02/arts/television/dave-chappelle-netflix-special.html\">#MeToo movement\u003c/a>.\u003c/p>\n\u003cp>Setting aside his fondness for dirty and transgressive material, Chappelle is socially conscious to his core. His father was a professor at Antioch College. His mother taught at Howard University. For high school, Chappelle attended the Duke Ellington School of the Arts in Washington.\u003c/p>\n\u003cp>“Dave is a hometown hero here in Washington, D.C., where he grew up,” Rutter also said. “We’re so looking forward to welcoming him back home [at the Kennedy Center].”\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/11/13/501883403/snl-reflects-a-nations-emotional-tone-in-post-election-episode\">His appearance on\u003c/a> \u003cem>Saturday Night Live\u003c/em>, days after Donald Trump won the 2016 presidential election, also received an Emmy. His opening monologue took jabs at the president-elect, and skewered black and white stereotypes, before turning more serious at the end, as he reflected on a BET party he’d attended at the White House during the Obama administration.\u003c/p>\n\u003cp>“So, in that spirit, I’m wishing Donald Trump luck,” Chappelle said. “And I’m going to give him a chance, and we, the historically disenfranchised, demand that he give us one too.” He has, however, \u003ca href=\"https://thegrapevine.theroot.com/dave-chappelle-apologizes-for-snl-monologue-saying-to-1795253351\">since apologized for that remark.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>null\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dave+Chappelle+To+Be+Awarded+Mark+Twain+Prize+For+American+Humor&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>May is Asian and Pacific American Heritage Month, and San Francisco’s Asian Pacific Islander Cultural Center is celebrating with its 22nd annual \u003ca href=\"https://www.apiculturalcenter.org/usaaf2019_calendar\" target=\"_blank\" rel=\"noopener\">United States of Asian America Festival\u003c/a>, two months of interdisciplinary programming spread over 19 events by 25 artists of diverse cultures and identities.\u003c/p>\n\u003cp>This year’s featured performer is comedian \u003ca href=\"https://www.apiculturalcenter.org/ripirene\" target=\"_blank\" rel=\"noopener\">Irene Tu\u003c/a>, whose storytelling and stand-up show \u003cem>\u003ca href=\"https://www.apiculturalcenter.org/ripirene\" target=\"_blank\" rel=\"noopener\">Rest in Peace Irene\u003c/a> \u003c/em>parses through family relationships and death through humor. That event takes place May 17 and 18 at Bindlestiff Studios. \u003cem>Rest in Peace Irene\u003c/em> is a fitting centerpiece for the festival’s 2019 theme, “Collective // Memory,” which bears witness to tragic losses and honors the Bay Area’s API artist community.\u003c/p>\n\u003cp>Dinner becomes an interactive storytelling project about culture and heritage at June 9’s \u003ca href=\"https://www.apiculturalcenter.org/rrp_cm\" target=\"_blank\" rel=\"noopener\">Rooted Recipes Project\u003c/a> event at Hummingbird Farm. Nancy Wang’s \u003ca href=\"https://www.apiculturalcenter.org/shadowsandsecrets\" target=\"_blank\" rel=\"noopener\">\u003cem>Shadows and Secrets\u003c/em>\u003c/a> attempts to solve a 95-year-old mystery through multimedia theater on May 26 at Southside Theater. And the \u003ca href=\"https://www.apiculturalcenter.org/queerasfuckiii\" target=\"_blank\" rel=\"noopener\">\u003cem>Queer as F-ck III\u003c/em>\u003c/a> sketch comedy show takes on queer dating May 30–June 8 at Bindestiff Studios.\u003c/p>\n\u003cp>Other highlights include poet \u003ca href=\"https://www.apiculturalcenter.org/_locusbookrelease\" target=\"_blank\" rel=\"noopener\">Jason Bayani\u003c/a>‘s reading and book release on May 3 at the Bindery; a \u003ca href=\"https://www.apiculturalcenter.org/invocation\" target=\"_blank\" rel=\"noopener\">Friscopinx\u003c/a> spoken-word poetry and hip-hop cypher on May 24 Acción Latina’s Juan R. Fuentes Gallery; and \u003ca href=\"https://www.apiculturalcenter.org/visibleresilience\" target=\"_blank\" rel=\"noopener\">Resilience Archives\u003c/a>‘ LGBTQ storytelling showcase on May 31 at the California Institute of Integral Studies.\u003c/p>\n\u003cp>The full schedule of programming for United States of Asian America can be found \u003ca href=\"https://www.apiculturalcenter.org/usaaf2019_calendar\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>May is Asian and Pacific American Heritage Month, and San Francisco’s Asian Pacific Islander Cultural Center is celebrating with its 22nd annual \u003ca href=\"https://www.apiculturalcenter.org/usaaf2019_calendar\" target=\"_blank\" rel=\"noopener\">United States of Asian America Festival\u003c/a>, two months of interdisciplinary programming spread over 19 events by 25 artists of diverse cultures and identities.\u003c/p>\n\u003cp>This year’s featured performer is comedian \u003ca href=\"https://www.apiculturalcenter.org/ripirene\" target=\"_blank\" rel=\"noopener\">Irene Tu\u003c/a>, whose storytelling and stand-up show \u003cem>\u003ca href=\"https://www.apiculturalcenter.org/ripirene\" target=\"_blank\" rel=\"noopener\">Rest in Peace Irene\u003c/a> \u003c/em>parses through family relationships and death through humor. That event takes place May 17 and 18 at Bindlestiff Studios. \u003cem>Rest in Peace Irene\u003c/em> is a fitting centerpiece for the festival’s 2019 theme, “Collective // Memory,” which bears witness to tragic losses and honors the Bay Area’s API artist community.\u003c/p>\n\u003cp>Dinner becomes an interactive storytelling project about culture and heritage at June 9’s \u003ca href=\"https://www.apiculturalcenter.org/rrp_cm\" target=\"_blank\" rel=\"noopener\">Rooted Recipes Project\u003c/a> event at Hummingbird Farm. Nancy Wang’s \u003ca href=\"https://www.apiculturalcenter.org/shadowsandsecrets\" target=\"_blank\" rel=\"noopener\">\u003cem>Shadows and Secrets\u003c/em>\u003c/a> attempts to solve a 95-year-old mystery through multimedia theater on May 26 at Southside Theater. And the \u003ca href=\"https://www.apiculturalcenter.org/queerasfuckiii\" target=\"_blank\" rel=\"noopener\">\u003cem>Queer as F-ck III\u003c/em>\u003c/a> sketch comedy show takes on queer dating May 30–June 8 at Bindestiff Studios.\u003c/p>\n\u003cp>Other highlights include poet \u003ca href=\"https://www.apiculturalcenter.org/_locusbookrelease\" target=\"_blank\" rel=\"noopener\">Jason Bayani\u003c/a>‘s reading and book release on May 3 at the Bindery; a \u003ca href=\"https://www.apiculturalcenter.org/invocation\" target=\"_blank\" rel=\"noopener\">Friscopinx\u003c/a> spoken-word poetry and hip-hop cypher on May 24 Acción Latina’s Juan R. Fuentes Gallery; and \u003ca href=\"https://www.apiculturalcenter.org/visibleresilience\" target=\"_blank\" rel=\"noopener\">Resilience Archives\u003c/a>‘ LGBTQ storytelling showcase on May 31 at the California Institute of Integral Studies.\u003c/p>\n\u003cp>The full schedule of programming for United States of Asian America can be found \u003ca href=\"https://www.apiculturalcenter.org/usaaf2019_calendar\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Capitol Steps Find the Musical Comedy in American Politics",
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"content": "\u003cp>The \u003ca href=\"http://www.capsteps.com\" target=\"_blank\" rel=\"noopener\">Capitol Steps\u003c/a> began almost 40 years ago as a Christmas party stunt by U.S. Senate staffers in Washington, D.C. The apocryphal story: their first idea was to stage a nativity play, but in the whole of Congress, they couldn’t find three wise men or a virgin.\u003c/p>\n\u003cp>If that made you groan, you can stop reading here. Or maybe that’s your thing. If so, prepare for a night of jokes musical and otherwise that make you groan and guffaw in equal measure. Hey, when was the last time you found yourself laughing at politics? I’m not laughing watching John Oliver. I’m crying. You?\u003c/p>\n\u003cp>The troop (some of them actual veterans of politics) tours with a set list of 30 or so familiar songs set to fresh lyrics ripped from the headlines. Word is there’s a new one about Congresswoman Alexandria Ocasio-Cortez, which has to make you curious about the rhyming, just to start.\u003c/p>\n\u003cp>Mark Eaton, who manages as well as writes and performs for the Capitol Steps, says the Trump Era has been exhausting.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=NYFVqqgONv4]\u003c/p>\n\u003cp>“It is the best of times. It is the worst of times. There’s almost a story daily. Then the next day, people have already forgotten about it and moved on to something else,” said Eaton.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13854680,pop_109574,forum_2010101870525' label='Related Coverage']\u003c/p>\n\u003cp>There’s a fair bit of truth in that. Who’s still talking about Paul Ryan? Or Hillary Clinton? Well, President Donald Trump is, suggesting some of these songs can become relevant again if you wait just a minute or two.\u003c/p>\n\u003cp>Have Americans become too politically polarized to appreciate the way the Steps lampoon everyone on the national stage? People with no sense of humor about politics tend to steer clear of their shows. “People who see our show, they know what we’re doing,” said Eaton. But they still get complaints, mostly about their costumes.\u003c/p>\n\u003cp>“We had a bit where a person comes through in a shark outfit, and somebody said ‘Oh, it’s not cool, because they’re endangered.’ So typically, it’s not the abuse of politicians that people complain about. It’s something bizarre.”\u003c/p>\n\u003cp>Humans, on the other hand, are fair game. Take the aging liberals on the U.S. Supreme Court bench.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=PwU_r7q9nTQ]\u003c/p>\n\u003cp>Since they began, the satirical comedy troupe has recorded more than 30 albums, including \u003cem>Campaign and Suffering\u003c/em>, \u003cem>Take the Money and Run for President\u003c/em>, and \u003cem>I’m So Indicted\u003c/em>. They’ve been featured on public radio stations nationwide during their \u003ca href=\"http://www.capsteps.com/radio/\" target=\"_blank\" rel=\"noopener\">Politics Takes a Holiday\u003c/a> radio specials. But most of their live performances take place in (where else?) Washington, D.C. Thankfully, they do travel beyond the Beltway on occasion. So take advantage.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003cstrong>Capitol Steps\u003c/strong> perform ‘Make America Grin Again’ at the \u003ca href=\"http://montalvoarts.org\" target=\"_blank\" rel=\"noopener\">Montalvo Arts Center\u003c/a> on Sunday, April 14, 2019. For more information, click \u003ca href=\"http://montalvoarts.org/events/capitolsteps_2019/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://www.capsteps.com\" target=\"_blank\" rel=\"noopener\">Capitol Steps\u003c/a> began almost 40 years ago as a Christmas party stunt by U.S. Senate staffers in Washington, D.C. The apocryphal story: their first idea was to stage a nativity play, but in the whole of Congress, they couldn’t find three wise men or a virgin.\u003c/p>\n\u003cp>If that made you groan, you can stop reading here. Or maybe that’s your thing. If so, prepare for a night of jokes musical and otherwise that make you groan and guffaw in equal measure. Hey, when was the last time you found yourself laughing at politics? I’m not laughing watching John Oliver. I’m crying. You?\u003c/p>\n\u003cp>The troop (some of them actual veterans of politics) tours with a set list of 30 or so familiar songs set to fresh lyrics ripped from the headlines. Word is there’s a new one about Congresswoman Alexandria Ocasio-Cortez, which has to make you curious about the rhyming, just to start.\u003c/p>\n\u003cp>Mark Eaton, who manages as well as writes and performs for the Capitol Steps, says the Trump Era has been exhausting.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/NYFVqqgONv4'\n title='//www.youtube.com/embed/NYFVqqgONv4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“It is the best of times. It is the worst of times. There’s almost a story daily. Then the next day, people have already forgotten about it and moved on to something else,” said Eaton.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s a fair bit of truth in that. Who’s still talking about Paul Ryan? Or Hillary Clinton? Well, President Donald Trump is, suggesting some of these songs can become relevant again if you wait just a minute or two.\u003c/p>\n\u003cp>Have Americans become too politically polarized to appreciate the way the Steps lampoon everyone on the national stage? People with no sense of humor about politics tend to steer clear of their shows. “People who see our show, they know what we’re doing,” said Eaton. But they still get complaints, mostly about their costumes.\u003c/p>\n\u003cp>“We had a bit where a person comes through in a shark outfit, and somebody said ‘Oh, it’s not cool, because they’re endangered.’ So typically, it’s not the abuse of politicians that people complain about. It’s something bizarre.”\u003c/p>\n\u003cp>Humans, on the other hand, are fair game. Take the aging liberals on the U.S. Supreme Court bench.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/PwU_r7q9nTQ'\n title='//www.youtube.com/embed/PwU_r7q9nTQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Since they began, the satirical comedy troupe has recorded more than 30 albums, including \u003cem>Campaign and Suffering\u003c/em>, \u003cem>Take the Money and Run for President\u003c/em>, and \u003cem>I’m So Indicted\u003c/em>. They’ve been featured on public radio stations nationwide during their \u003ca href=\"http://www.capsteps.com/radio/\" target=\"_blank\" rel=\"noopener\">Politics Takes a Holiday\u003c/a> radio specials. But most of their live performances take place in (where else?) Washington, D.C. Thankfully, they do travel beyond the Beltway on occasion. So take advantage.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003cstrong>Capitol Steps\u003c/strong> perform ‘Make America Grin Again’ at the \u003ca href=\"http://montalvoarts.org\" target=\"_blank\" rel=\"noopener\">Montalvo Arts Center\u003c/a> on Sunday, April 14, 2019. For more information, click \u003ca href=\"http://montalvoarts.org/events/capitolsteps_2019/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Comedian Lewis Belt and the Oakland Culture Diaspora",
"headTitle": "Comedian Lewis Belt and the Oakland Culture Diaspora | KQED",
"content": "\u003cp>This Thursday, April 11, the Paramount Theatre in Oakland hosts the Golden State Warriors’ big man DeMarcus Cousins and his “\u003ca href=\"https://www1.ticketmaster.com/event/1C00565BBEF15C4C\">Boogie’s Comedy Slam\u003c/a>.” The lineup includes some heavy names in the comedy world, including Red Gant, Karlous Miller and Mike Epps. But another name on the bill caught my eye, one that’s gaining weight in the comedy world: Oakland’s own Lewis Belt.\u003c/p>\n\u003cp>Ahead of the show, I had a quick convo with Belt about a couple of things—including his mentorship by Mike Epps, if Los Angeles is stealing Bay Area culture and how his experience in Antioch led to the development of his popular character \u003ca href=\"https://www.youtube.com/watch?v=0p6VhmErME0\" target=\"_blank\" rel=\"noopener\">SonnieBo\u003c/a>—who, by all metrics, is an amalgamation of a post-hyphy Bay Area archetype. Or to put it in laymen’s terms: He’s basically a \u003ca href=\"https://www.youtube.com/watch?v=LrjNdFiL0hU\" target=\"_blank\" rel=\"noopener\">bootsy-ass dude from the Town\u003c/a>.\u003c/p>\n\u003cp>I first heard of Belt when one of his videos was shared with me in a group chat. I laughed, hit the follow button and I’ve been seeing videos of his skits, and bits from appearances on MTV, ever sense. He’s got a large following, too—one of his most popular videos, “\u003ca href=\"https://www.youtube.com/watch?v=0p6VhmErME0\">Tip Toe\u003c/a>,” has half a million views.\u003c/p>\n\u003cp>But to understand the comedy behind SonnieBo, you’ve got to understand Belt’s upbringing.\u003c/p>\n\u003cfigure id=\"attachment_13854798\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854798\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/LewisBelt.laughing-800x450.jpg\" alt=\"Lewis Belt, out of his SonnieBo character and still cracking up a crowd.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LewisBelt.laughing-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LewisBelt.laughing-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LewisBelt.laughing-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LewisBelt.laughing-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LewisBelt.laughing.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lewis Belt, center, out of his SonnieBo character and still cracking up a crowd. \u003ccite>(via Lewis Belt/YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m originally from North Oakland,” Belt tells me over the phone. “Then I grew up in Antioch… By the time I was in Antioch, Antioch was kind of damn near like a hood. People came from Richmond, Oakland, San Francisco, everybody in one city.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now 24, Belt came of age during a major shift in the demographics of Antioch. In the first decade of the millennium, the African American population in the small suburban town by the Delta went from 8,551 (9.7%) to 17,045 (17.3%), according to the \u003ca href=\"http://www.bayareacensus.ca.gov/cities/Antioch.htm\">Bay Area Census\u003c/a>. In 2016, \u003ca href=\"http://www.city-data.com/city/Antioch-California.html\">city data\u003c/a> showed that African American residents accounted for 28,050 (25%) of the total population, and that’s increased since.\u003c/p>\n\u003cp>To put it in perspective, 60 years ago there were only 17,000 people in Antioch; and not too may of them looked like SonnieBo. But by the time Belt was in high school, the demographics in Antioch provided a chance to absorb aspects of all flavors from around the Bay.\u003c/p>\n\u003cp>“I kind of start taking pieces of everybody who I grew up with, and put it into one person. It ended being Sonnie, you know what I’m saying?” Belt says.\u003c/p>\n\u003cfigure id=\"attachment_13854800\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854800\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/LewisBelt.ShoppingCart-800x450.jpg\" alt='Lewis Belt as SonnieBo in the video for \"She Look She Took.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LewisBelt.ShoppingCart-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LewisBelt.ShoppingCart-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LewisBelt.ShoppingCart-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LewisBelt.ShoppingCart-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LewisBelt.ShoppingCart.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lewis Belt as SonnieBo in the video for “She Look She Took.” \u003ccite>(via Lewis Belt/YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SonnieBo is a live wire: a fake-dreadlocs-shaking, loud-talking, white-T-shirt-wearing, foul-mouthed dude. I find it comedic because I know \u003cem>exactly\u003c/em> the type of person Belt’s modeling the persona after.\u003c/p>\n\u003cp>“I was just always a class clown. I’d joke everywhere,” Belt explains, adding that he’d even crack jokes on the football field in high school. “That’s just who I really was. I never tried to be funny.”\u003c/p>\n\u003cp>He got his feet wet on stage first in Antioch, then in Oakland. He had a few experiences that weren’t satisfactory—par for the course of learning the trade. “It’s hard to become a comedian, it’s like you gotta turn your funny on and off,” says Belt. As a way to navigate that, he says he’d basically just “go on stage and start talking shit. Like, ‘Boy, you hella ugly. Boy, you’re hella big.’”\u003c/p>\n\u003cp>But there was one problem with that: not everyone in the crowd likes being laughed at.\u003c/p>\n\u003cfigure id=\"attachment_13854797\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854797\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/LewisBelt.SonnieBoMistahFAB-800x488.jpg\" alt=\"Lewis Belt as SonnieBo, facing off in a freestyle battle with Mistah FAB.\" width=\"800\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LewisBelt.SonnieBoMistahFAB-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LewisBelt.SonnieBoMistahFAB-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LewisBelt.SonnieBoMistahFAB-768x468.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LewisBelt.SonnieBoMistahFAB-1020x622.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LewisBelt.SonnieBoMistahFAB.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lewis Belt as SonnieBo, facing off in a freestyle battle with Mistah FAB. \u003ccite>(via Lewis Belt/YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s one of the lessons he’s learned on his path—a path that’s led him down to Los Angeles for what’s going on four years now. Now living down there, Belt visits the East Bay often enough to film videos with other entertainers and athletes with Oakland roots, like \u003ca href=\"https://www.youtube.com/watch?v=-wU-0Larmm8\" target=\"_blank\" rel=\"noopener\">Marshawn Lynch\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=s4YG2GIHs4A\" target=\"_blank\" rel=\"noopener\">Mistah FAB\u003c/a>.\u003c/p>\n\u003cp>Belt is in the same quandary as so many other Bay Area artists right now. He loves the Bay, but after driving to L.A. and back every two weeks he had to move south to pursue his career seriously. And he’s also noticed another thing: the industry in L.A. eats up Oakland and Bay Area culture.\u003c/p>\n\u003cp>When I ask him about a recent debate about whether or not L.A. musicians, specifically rising rap artist Blueface, are capitalizing off of Bay Area culture, Belt says, “Yeah. I think Bay Area culture, people like it, but you know, when the Bay Area be doing it, there’s no structure behind it.” He names a few record companies that are based in L.A. as examples of platforms that support artists, and adds, “Blueface, he’s doing what he’s supposed to be doing. And then the OGs, the people in position that can help him, they’re helping him. Shit. I can’t get mad at him.”\u003c/p>\n\u003cp>He concludes by saying, “I’m just like… the smartest thing for a Bay Area artist, instead of trying to beef with everybody from L.A., is probably try to get along with some of these guys.”\u003c/p>\n\u003cfigure id=\"attachment_13854799\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854799\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/LewisBelt.Sweettalk-800x449.jpg\" alt='Lewis Belt as SonnieBo in the video for \"She Look She Took.\"' width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LewisBelt.Sweettalk-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LewisBelt.Sweettalk-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LewisBelt.Sweettalk-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LewisBelt.Sweettalk-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LewisBelt.Sweettalk-1200x673.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LewisBelt.Sweettalk.jpg 1274w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lewis Belt as SonnieBo in the video for “She Look She Took.” \u003ccite>(via Lewis Belt/YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He’s practicing his philosophy. One of his mentors, a major name in Hollywood and a legend in the comedy game who Belt met on a movie set, is Mike Epps. “Mike always brings you along,” says Belt. “Mike will tell me like, ‘Alright, I’m gonna give you some space. I’m gonna hook you up.’”\u003c/p>\n\u003cp>But over the past year or so, Belt has grown in the game. “I’ve done worked myself up to the pole to where Mike ain’t gotta look out for me on that level. He’s just like, ‘Lew already on the show?!’” he says, laughing. “Now we’re on the same shows. It’s like a big stepping stone for me.”\u003c/p>\n\u003cp>And that’s part of what makes L.A. attractive: along with Jamie Foxx, Richard Pryor, Eddie Murphy and Corey Holcomb, Mike Epps is one of Belt’s favorite comedians of all time.\u003c/p>\n\u003cp>It’s a list he wants to see himself on one day. “My goal,” he says, “is to be one of the greatest comedians of all time.”\u003c/p>\n\u003cp>“Yeah?” I replied—almost in the same way I replied when he named Corey Holcomb as a Top 5.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Just \u003cem>one\u003c/em> of them,” Belt says. “I don’t think I’m the greatest or no shit like that. Just seeing what’s possible. Just to be mentioned as one of the best comedians of all time. One of the best of my generations. That’s my goal. I just want to be respected. I don’t care about being the most famous, but you know, if I’m one of the most respected ones in the game, I’m gonna be happy.”\u003c/p>\n\n",
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"excerpt": "With his character SonnieBo, Lewis Belt made a splash collaborating with Marshawn Lynch and Mistah FAB—and now, L.A. gets a dose of his comedy.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This Thursday, April 11, the Paramount Theatre in Oakland hosts the Golden State Warriors’ big man DeMarcus Cousins and his “\u003ca href=\"https://www1.ticketmaster.com/event/1C00565BBEF15C4C\">Boogie’s Comedy Slam\u003c/a>.” The lineup includes some heavy names in the comedy world, including Red Gant, Karlous Miller and Mike Epps. But another name on the bill caught my eye, one that’s gaining weight in the comedy world: Oakland’s own Lewis Belt.\u003c/p>\n\u003cp>Ahead of the show, I had a quick convo with Belt about a couple of things—including his mentorship by Mike Epps, if Los Angeles is stealing Bay Area culture and how his experience in Antioch led to the development of his popular character \u003ca href=\"https://www.youtube.com/watch?v=0p6VhmErME0\" target=\"_blank\" rel=\"noopener\">SonnieBo\u003c/a>—who, by all metrics, is an amalgamation of a post-hyphy Bay Area archetype. Or to put it in laymen’s terms: He’s basically a \u003ca href=\"https://www.youtube.com/watch?v=LrjNdFiL0hU\" target=\"_blank\" rel=\"noopener\">bootsy-ass dude from the Town\u003c/a>.\u003c/p>\n\u003cp>I first heard of Belt when one of his videos was shared with me in a group chat. I laughed, hit the follow button and I’ve been seeing videos of his skits, and bits from appearances on MTV, ever sense. He’s got a large following, too—one of his most popular videos, “\u003ca href=\"https://www.youtube.com/watch?v=0p6VhmErME0\">Tip Toe\u003c/a>,” has half a million views.\u003c/p>\n\u003cp>But to understand the comedy behind SonnieBo, you’ve got to understand Belt’s upbringing.\u003c/p>\n\u003cfigure id=\"attachment_13854798\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854798\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/LewisBelt.laughing-800x450.jpg\" alt=\"Lewis Belt, out of his SonnieBo character and still cracking up a crowd.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LewisBelt.laughing-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LewisBelt.laughing-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LewisBelt.laughing-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LewisBelt.laughing-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LewisBelt.laughing.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lewis Belt, center, out of his SonnieBo character and still cracking up a crowd. \u003ccite>(via Lewis Belt/YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m originally from North Oakland,” Belt tells me over the phone. “Then I grew up in Antioch… By the time I was in Antioch, Antioch was kind of damn near like a hood. People came from Richmond, Oakland, San Francisco, everybody in one city.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now 24, Belt came of age during a major shift in the demographics of Antioch. In the first decade of the millennium, the African American population in the small suburban town by the Delta went from 8,551 (9.7%) to 17,045 (17.3%), according to the \u003ca href=\"http://www.bayareacensus.ca.gov/cities/Antioch.htm\">Bay Area Census\u003c/a>. In 2016, \u003ca href=\"http://www.city-data.com/city/Antioch-California.html\">city data\u003c/a> showed that African American residents accounted for 28,050 (25%) of the total population, and that’s increased since.\u003c/p>\n\u003cp>To put it in perspective, 60 years ago there were only 17,000 people in Antioch; and not too may of them looked like SonnieBo. But by the time Belt was in high school, the demographics in Antioch provided a chance to absorb aspects of all flavors from around the Bay.\u003c/p>\n\u003cp>“I kind of start taking pieces of everybody who I grew up with, and put it into one person. It ended being Sonnie, you know what I’m saying?” Belt says.\u003c/p>\n\u003cfigure id=\"attachment_13854800\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854800\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/LewisBelt.ShoppingCart-800x450.jpg\" alt='Lewis Belt as SonnieBo in the video for \"She Look She Took.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LewisBelt.ShoppingCart-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LewisBelt.ShoppingCart-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LewisBelt.ShoppingCart-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LewisBelt.ShoppingCart-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LewisBelt.ShoppingCart.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lewis Belt as SonnieBo in the video for “She Look She Took.” \u003ccite>(via Lewis Belt/YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SonnieBo is a live wire: a fake-dreadlocs-shaking, loud-talking, white-T-shirt-wearing, foul-mouthed dude. I find it comedic because I know \u003cem>exactly\u003c/em> the type of person Belt’s modeling the persona after.\u003c/p>\n\u003cp>“I was just always a class clown. I’d joke everywhere,” Belt explains, adding that he’d even crack jokes on the football field in high school. “That’s just who I really was. I never tried to be funny.”\u003c/p>\n\u003cp>He got his feet wet on stage first in Antioch, then in Oakland. He had a few experiences that weren’t satisfactory—par for the course of learning the trade. “It’s hard to become a comedian, it’s like you gotta turn your funny on and off,” says Belt. As a way to navigate that, he says he’d basically just “go on stage and start talking shit. Like, ‘Boy, you hella ugly. Boy, you’re hella big.’”\u003c/p>\n\u003cp>But there was one problem with that: not everyone in the crowd likes being laughed at.\u003c/p>\n\u003cfigure id=\"attachment_13854797\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854797\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/LewisBelt.SonnieBoMistahFAB-800x488.jpg\" alt=\"Lewis Belt as SonnieBo, facing off in a freestyle battle with Mistah FAB.\" width=\"800\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LewisBelt.SonnieBoMistahFAB-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LewisBelt.SonnieBoMistahFAB-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LewisBelt.SonnieBoMistahFAB-768x468.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LewisBelt.SonnieBoMistahFAB-1020x622.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LewisBelt.SonnieBoMistahFAB.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lewis Belt as SonnieBo, facing off in a freestyle battle with Mistah FAB. \u003ccite>(via Lewis Belt/YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s one of the lessons he’s learned on his path—a path that’s led him down to Los Angeles for what’s going on four years now. Now living down there, Belt visits the East Bay often enough to film videos with other entertainers and athletes with Oakland roots, like \u003ca href=\"https://www.youtube.com/watch?v=-wU-0Larmm8\" target=\"_blank\" rel=\"noopener\">Marshawn Lynch\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=s4YG2GIHs4A\" target=\"_blank\" rel=\"noopener\">Mistah FAB\u003c/a>.\u003c/p>\n\u003cp>Belt is in the same quandary as so many other Bay Area artists right now. He loves the Bay, but after driving to L.A. and back every two weeks he had to move south to pursue his career seriously. And he’s also noticed another thing: the industry in L.A. eats up Oakland and Bay Area culture.\u003c/p>\n\u003cp>When I ask him about a recent debate about whether or not L.A. musicians, specifically rising rap artist Blueface, are capitalizing off of Bay Area culture, Belt says, “Yeah. I think Bay Area culture, people like it, but you know, when the Bay Area be doing it, there’s no structure behind it.” He names a few record companies that are based in L.A. as examples of platforms that support artists, and adds, “Blueface, he’s doing what he’s supposed to be doing. And then the OGs, the people in position that can help him, they’re helping him. Shit. I can’t get mad at him.”\u003c/p>\n\u003cp>He concludes by saying, “I’m just like… the smartest thing for a Bay Area artist, instead of trying to beef with everybody from L.A., is probably try to get along with some of these guys.”\u003c/p>\n\u003cfigure id=\"attachment_13854799\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854799\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/LewisBelt.Sweettalk-800x449.jpg\" alt='Lewis Belt as SonnieBo in the video for \"She Look She Took.\"' width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LewisBelt.Sweettalk-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LewisBelt.Sweettalk-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LewisBelt.Sweettalk-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LewisBelt.Sweettalk-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LewisBelt.Sweettalk-1200x673.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LewisBelt.Sweettalk.jpg 1274w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lewis Belt as SonnieBo in the video for “She Look She Took.” \u003ccite>(via Lewis Belt/YouTube)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He’s practicing his philosophy. One of his mentors, a major name in Hollywood and a legend in the comedy game who Belt met on a movie set, is Mike Epps. “Mike always brings you along,” says Belt. “Mike will tell me like, ‘Alright, I’m gonna give you some space. I’m gonna hook you up.’”\u003c/p>\n\u003cp>But over the past year or so, Belt has grown in the game. “I’ve done worked myself up to the pole to where Mike ain’t gotta look out for me on that level. He’s just like, ‘Lew already on the show?!’” he says, laughing. “Now we’re on the same shows. It’s like a big stepping stone for me.”\u003c/p>\n\u003cp>And that’s part of what makes L.A. attractive: along with Jamie Foxx, Richard Pryor, Eddie Murphy and Corey Holcomb, Mike Epps is one of Belt’s favorite comedians of all time.\u003c/p>\n\u003cp>It’s a list he wants to see himself on one day. “My goal,” he says, “is to be one of the greatest comedians of all time.”\u003c/p>\n\u003cp>“Yeah?” I replied—almost in the same way I replied when he named Corey Holcomb as a Top 5.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Just \u003cem>one\u003c/em> of them,” Belt says. “I don’t think I’m the greatest or no shit like that. Just seeing what’s possible. Just to be mentioned as one of the best comedians of all time. One of the best of my generations. That’s my goal. I just want to be respected. I don’t care about being the most famous, but you know, if I’m one of the most respected ones in the game, I’m gonna be happy.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003ca href=\"https://ocweekly.com\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>OC Weekly\u003c/i>\u003c/a> column \u003ca href=\"https://www.amazon.com/Ask-Mexican-Gustavo-Arellano/dp/1416540032\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ask a Mexican\u003c/em>\u003c/a> started out as a joke in 2004, but within a couple of years, \u003ca href=\"https://tinyletter.com/gustavoarellanosweekly\" target=\"_blank\" rel=\"noopener noreferrer\">Gustavo Arellano\u003c/a> became a nationally syndicated spokesman for Orange County: the good, the bad and the very, very racist. This weekend, you can see his sense of humor interpreted for the stage in San Jose with \u003cem>\u003ca href=\"https://www.eventbrite.com/e/interview-with-a-mexican-tickets-50795561893\" target=\"_blank\" rel=\"noopener noreferrer\">¡Interview with a Mexican!\u003c/a>\u003c/em> at Movimiento de Arte y Cultura Latino Americana, or \u003ca href=\"https://maclaarte.org\" target=\"_blank\" rel=\"noopener noreferrer\">MACLA\u003c/a> for short.\u003c/p>\n\u003cp>The 39 year-old Mexican-American born and raised in Anaheim has covered many topics over the course of his journalistic career: “Tacos, pedophile priests, Mexicans and neo-Nazis. Hey, it’s a living right?” Love his pointed sense of humor or hate it, you’d be hard-pressed to find anyone else who does such a wickedly funny job documenting Orange County’s historically uber-right politics, and politically incorrect attitudes.\u003c/p>\n\u003cp>In \u003cem>Ask a Mexican\u003c/em>, which ended in 2017, Arellano blended a genuine desire to educate with a sarcastic edge that makes the lesson amusing to readers — whether they know the answer already or find themselves quietly taking notes. Here is but one example:\u003c/p>\n\u003cblockquote>\n\u003cp id=\"p_1_1\" class=\"container\">\u003cstrong>Dear Mexican: Believe I’ve heard from you, in an interview, that “gringo” is either out-of-date or inappropriate and that \u003cem>gabacho\u003c/em> is the better choice. I’ve checked online and most sources say that \u003cem>gabacho\u003c/em> is a pejorative and/or generally refers to Europeans. Is this the case, or is \u003cem>gabacho\u003c/em> just a better word than “gringo”? Also, as a native SoCal cracker, is it acceptable for me to use \u003cem>gabacho\u003c/em> or to refer to myself as such? What is the proper etiquette and usage so I don’t offend anyone or embarrass myself? I’ve also asked friends, but the vote seems to be split. \u003c/strong>\u003c/p>\n\u003cp id=\"p_1_2\" class=\"container\">\u003cstrong>Gringo-Gabacho Greg\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp id=\"p_1_3\" class=\"container\">Dear Gabacho: As I’ve explained in this \u003cem>columna\u003c/em> before, \u003cem>gabacho\u003c/em> and gringo are synonyms for the same thing—\u003cem>gabachos\u003c/em>, with the key differences being certainty in their respective etymology (\u003cem>gabacho\u003c/em> comes from Provencal, while no one has ever put forth a definite origin story for “gringo”), and the important fact that \u003cem>gabachos\u003c/em> long ago appropriated “gringo” into a harmless term that has absolutely no sting, while \u003cem>gabacho\u003c/em> maintains its sting. And now you want to proudly refer to yourself as a \u003cem>gabacho\u003c/em>, \u003cem>gabacho\u003c/em>? No. Content yourself with the theft of half of Mexico back in the day, and leave our treasures alone once and for all.\u003c/p>\n\u003c/blockquote>\n\u003cfigure id=\"attachment_13844650\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844650\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-800x450.jpg\" alt=\"The Mexican “Goldhat,” played by actor Lorenzo Gonzalez, plays off of Gustavo Arellano's stereotype-busting column, "Ask a Mexican."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Mexican “Goldhat,” played by actor Lorenzo Gonzalez, plays off of Gustavo Arellano’s stereotype-busting column, “Ask a Mexican.” \u003ccite>(Photo: Courtesy of Steven Abeyta)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp class=\"css-1xl4flh e2kc3sl0\">You can see why Arellano has taken heat from readers on the political left as well as right. He takes pride in the criticism, calling himself a Jeremiah, the Old Testament prophet whose complaints about the Jews were not greeted with enthusiasm or warmth by the Chosen People. “I say how it is, whether people like it or not. Most of the time, people don’t like it, but that’s OK,” Arellano says.\u003c/p>\n\u003cp>Arellano \u003ca class=\"css-1g7m0tk\" title=\"\" href=\"https://www.ocregister.com/2017/10/13/gustavo-arellano-editor-in-chief-of-oc-weekly-says-he-quit-instead-of-laying-off-staffers/\" target=\"_blank\" rel=\"noopener noreferrer\">resigned\u003c/a> as editor in chief of the \u003cem>OC Weekly\u003c/em> in 2017, rather than capitulate to a demand by the publication’s owners to lay off most of his staff. Soon after, he began writing a weekly column for the opinion section of \u003cem>\u003ca href=\"http://www.latimes.com/opinion/op-ed/la-oe-arellano-california-20170103-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Los Angeles Times\u003c/a>,\u003c/em> and he delivers regular commentary in a series called\u003cem> \u003ca href=\"https://www.kcrw.com/people/gustavo-arellano\" target=\"_blank\" rel=\"noopener noreferrer\">Orange County Line\u003c/a>\u003c/em> for the Santa Monica public radio station KCRW. But the copyright for the \u003cem>Ask A Mexican\u003c/em> column remains the property of the \u003cem>OC Weekly\u003c/em>, even if it has no value without Arellano’s trademark wit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I would have never imagined that the column would even run that long,” he says. “There was a proposed television show. That flamed out. \u003cem>Ask a Mexican: The Movie.\u003c/em> Yeah, that wasn’t going to happen.”\u003c/p>\n\u003cp>There was even a play, but that died after one reading. But Arellano knew playwright Anthony Garcia, executive artistic director of the Denver theatre company\u003ca href=\"http://suteatro.org\" target=\"_blank\" rel=\"noopener noreferrer\"> Su Teatro\u003c/a>. So when Garcia pitched his concept for another play, “I trusted him,” Arellano says. “And he came up with a great piece of theatre.”\u003c/p>\n\u003cfigure id=\"attachment_13844651\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844651\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-800x450.jpg\" alt=\"Ramon (Miguel Martimen) and Andrea (Paola Miranda) eat tamales in ¡Interview with a Mexican! at Movimiento de Arte y Cultura Latino Americana in San Jose.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ramon (Miguel Martimen) and Andrea (Paola Miranda) eat tamales in ¡Interview with a Mexican! at Movimiento de Arte y Cultura Latino Americana in San Jose. \u003ccite>(Photo: Courtesy of Steven Abeyta)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2 class=\"css-1xl4flh e2kc3sl0\">So how does this become a play?\u003c/h2>\n\u003cp>To make it work for the stage, Garcia married bits from Arellano’s columns and books with music, dance, and back-and-forth with the audience. “The whole piece really is about asking questions. We say, “Ask, so you don’t look like a \u003ci>pendejo\u003c/i>.” I.e. stupid. “You can get educated and insulted at the same time.”\u003c/p>\n\u003cp>In the last year since the first staged reading at MACLA, \u003cem>¡Interview with a Mexican!\u003c/em> played in Denver and Albuquerque before returning to the Bay Area.\u003c/p>\n\u003cp>Garcia says he’s been surprised at how warmly audiences accept the edgy humor. “There is a conversation about how we can’t talk about race anymore without understanding everybody’s personal vibe. Clearly, I know enough to know when to keep my mouth shut, but on stage, I don’t think we have those same restrictions.”\u003c/p>\n\u003cp>Garcia has led Su Teatro for half a century, and says Arellano’s humor plays well in Denver. “There are Chicanos who’ve been there for a very long time. There’s recent immigrants. There’s second and third-generation Mexican-Americans kids who call themselves Mexicanos but don’t know shit about the Virgen de Guadalupe. And these are my students!” says Garcia, who’s also an adjunct professor at Metro State College in Denver.\u003c/p>\n\u003cp>Garcia adds he hopes this play can serve as a tool to help younger generations understand more about themselves in a palatable fashion. “We love to laugh at ourselves.”\u003c/p>\n\u003cp>Is there one question Arellano gets all the time: “If you hate Orange County so much, why do you live here?”\u003c/p>\n\u003cp>His answer: “You can only truly love Orange County if you despise it. Cause there’s a lot of horrible things with Orange County, but those things are slowly going away.”\u003c/p>\n\u003cp>Does that make Gustavo Arellano an optimist or a pessimist? Well, he’s still living there.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>\u003ca href=\"https://www.eventbrite.com/e/interview-with-a-mexican-tickets-50795561893\" target=\"_blank\" rel=\"noopener noreferrer\">¡Interview with a Mexican!\u003c/a> \u003c/strong>runs through November 11, 2018 at Movimiento de Arte y Cultura Latino Americana in San Jose. For more information, click \u003cstrong>\u003ca href=\"https://maclaarte.org\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://ocweekly.com\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>OC Weekly\u003c/i>\u003c/a> column \u003ca href=\"https://www.amazon.com/Ask-Mexican-Gustavo-Arellano/dp/1416540032\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ask a Mexican\u003c/em>\u003c/a> started out as a joke in 2004, but within a couple of years, \u003ca href=\"https://tinyletter.com/gustavoarellanosweekly\" target=\"_blank\" rel=\"noopener noreferrer\">Gustavo Arellano\u003c/a> became a nationally syndicated spokesman for Orange County: the good, the bad and the very, very racist. This weekend, you can see his sense of humor interpreted for the stage in San Jose with \u003cem>\u003ca href=\"https://www.eventbrite.com/e/interview-with-a-mexican-tickets-50795561893\" target=\"_blank\" rel=\"noopener noreferrer\">¡Interview with a Mexican!\u003c/a>\u003c/em> at Movimiento de Arte y Cultura Latino Americana, or \u003ca href=\"https://maclaarte.org\" target=\"_blank\" rel=\"noopener noreferrer\">MACLA\u003c/a> for short.\u003c/p>\n\u003cp>The 39 year-old Mexican-American born and raised in Anaheim has covered many topics over the course of his journalistic career: “Tacos, pedophile priests, Mexicans and neo-Nazis. Hey, it’s a living right?” Love his pointed sense of humor or hate it, you’d be hard-pressed to find anyone else who does such a wickedly funny job documenting Orange County’s historically uber-right politics, and politically incorrect attitudes.\u003c/p>\n\u003cp>In \u003cem>Ask a Mexican\u003c/em>, which ended in 2017, Arellano blended a genuine desire to educate with a sarcastic edge that makes the lesson amusing to readers — whether they know the answer already or find themselves quietly taking notes. Here is but one example:\u003c/p>\n\u003cblockquote>\n\u003cp id=\"p_1_1\" class=\"container\">\u003cstrong>Dear Mexican: Believe I’ve heard from you, in an interview, that “gringo” is either out-of-date or inappropriate and that \u003cem>gabacho\u003c/em> is the better choice. I’ve checked online and most sources say that \u003cem>gabacho\u003c/em> is a pejorative and/or generally refers to Europeans. Is this the case, or is \u003cem>gabacho\u003c/em> just a better word than “gringo”? Also, as a native SoCal cracker, is it acceptable for me to use \u003cem>gabacho\u003c/em> or to refer to myself as such? What is the proper etiquette and usage so I don’t offend anyone or embarrass myself? I’ve also asked friends, but the vote seems to be split. \u003c/strong>\u003c/p>\n\u003cp id=\"p_1_2\" class=\"container\">\u003cstrong>Gringo-Gabacho Greg\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp id=\"p_1_3\" class=\"container\">Dear Gabacho: As I’ve explained in this \u003cem>columna\u003c/em> before, \u003cem>gabacho\u003c/em> and gringo are synonyms for the same thing—\u003cem>gabachos\u003c/em>, with the key differences being certainty in their respective etymology (\u003cem>gabacho\u003c/em> comes from Provencal, while no one has ever put forth a definite origin story for “gringo”), and the important fact that \u003cem>gabachos\u003c/em> long ago appropriated “gringo” into a harmless term that has absolutely no sting, while \u003cem>gabacho\u003c/em> maintains its sting. And now you want to proudly refer to yourself as a \u003cem>gabacho\u003c/em>, \u003cem>gabacho\u003c/em>? No. Content yourself with the theft of half of Mexico back in the day, and leave our treasures alone once and for all.\u003c/p>\n\u003c/blockquote>\n\u003cfigure id=\"attachment_13844650\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844650\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-800x450.jpg\" alt=\"The Mexican “Goldhat,” played by actor Lorenzo Gonzalez, plays off of Gustavo Arellano's stereotype-busting column, "Ask a Mexican."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33830_IMG_0959-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Mexican “Goldhat,” played by actor Lorenzo Gonzalez, plays off of Gustavo Arellano’s stereotype-busting column, “Ask a Mexican.” \u003ccite>(Photo: Courtesy of Steven Abeyta)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp class=\"css-1xl4flh e2kc3sl0\">You can see why Arellano has taken heat from readers on the political left as well as right. He takes pride in the criticism, calling himself a Jeremiah, the Old Testament prophet whose complaints about the Jews were not greeted with enthusiasm or warmth by the Chosen People. “I say how it is, whether people like it or not. Most of the time, people don’t like it, but that’s OK,” Arellano says.\u003c/p>\n\u003cp>Arellano \u003ca class=\"css-1g7m0tk\" title=\"\" href=\"https://www.ocregister.com/2017/10/13/gustavo-arellano-editor-in-chief-of-oc-weekly-says-he-quit-instead-of-laying-off-staffers/\" target=\"_blank\" rel=\"noopener noreferrer\">resigned\u003c/a> as editor in chief of the \u003cem>OC Weekly\u003c/em> in 2017, rather than capitulate to a demand by the publication’s owners to lay off most of his staff. Soon after, he began writing a weekly column for the opinion section of \u003cem>\u003ca href=\"http://www.latimes.com/opinion/op-ed/la-oe-arellano-california-20170103-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Los Angeles Times\u003c/a>,\u003c/em> and he delivers regular commentary in a series called\u003cem> \u003ca href=\"https://www.kcrw.com/people/gustavo-arellano\" target=\"_blank\" rel=\"noopener noreferrer\">Orange County Line\u003c/a>\u003c/em> for the Santa Monica public radio station KCRW. But the copyright for the \u003cem>Ask A Mexican\u003c/em> column remains the property of the \u003cem>OC Weekly\u003c/em>, even if it has no value without Arellano’s trademark wit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I would have never imagined that the column would even run that long,” he says. “There was a proposed television show. That flamed out. \u003cem>Ask a Mexican: The Movie.\u003c/em> Yeah, that wasn’t going to happen.”\u003c/p>\n\u003cp>There was even a play, but that died after one reading. But Arellano knew playwright Anthony Garcia, executive artistic director of the Denver theatre company\u003ca href=\"http://suteatro.org\" target=\"_blank\" rel=\"noopener noreferrer\"> Su Teatro\u003c/a>. So when Garcia pitched his concept for another play, “I trusted him,” Arellano says. “And he came up with a great piece of theatre.”\u003c/p>\n\u003cfigure id=\"attachment_13844651\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844651\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-800x450.jpg\" alt=\"Ramon (Miguel Martimen) and Andrea (Paola Miranda) eat tamales in ¡Interview with a Mexican! at Movimiento de Arte y Cultura Latino Americana in San Jose.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/RS33829_IMG_0942-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ramon (Miguel Martimen) and Andrea (Paola Miranda) eat tamales in ¡Interview with a Mexican! at Movimiento de Arte y Cultura Latino Americana in San Jose. \u003ccite>(Photo: Courtesy of Steven Abeyta)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2 class=\"css-1xl4flh e2kc3sl0\">So how does this become a play?\u003c/h2>\n\u003cp>To make it work for the stage, Garcia married bits from Arellano’s columns and books with music, dance, and back-and-forth with the audience. “The whole piece really is about asking questions. We say, “Ask, so you don’t look like a \u003ci>pendejo\u003c/i>.” I.e. stupid. “You can get educated and insulted at the same time.”\u003c/p>\n\u003cp>In the last year since the first staged reading at MACLA, \u003cem>¡Interview with a Mexican!\u003c/em> played in Denver and Albuquerque before returning to the Bay Area.\u003c/p>\n\u003cp>Garcia says he’s been surprised at how warmly audiences accept the edgy humor. “There is a conversation about how we can’t talk about race anymore without understanding everybody’s personal vibe. Clearly, I know enough to know when to keep my mouth shut, but on stage, I don’t think we have those same restrictions.”\u003c/p>\n\u003cp>Garcia has led Su Teatro for half a century, and says Arellano’s humor plays well in Denver. “There are Chicanos who’ve been there for a very long time. There’s recent immigrants. There’s second and third-generation Mexican-Americans kids who call themselves Mexicanos but don’t know shit about the Virgen de Guadalupe. And these are my students!” says Garcia, who’s also an adjunct professor at Metro State College in Denver.\u003c/p>\n\u003cp>Garcia adds he hopes this play can serve as a tool to help younger generations understand more about themselves in a palatable fashion. “We love to laugh at ourselves.”\u003c/p>\n\u003cp>Is there one question Arellano gets all the time: “If you hate Orange County so much, why do you live here?”\u003c/p>\n\u003cp>His answer: “You can only truly love Orange County if you despise it. Cause there’s a lot of horrible things with Orange County, but those things are slowly going away.”\u003c/p>\n\u003cp>Does that make Gustavo Arellano an optimist or a pessimist? Well, he’s still living there.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>\u003ca href=\"https://www.eventbrite.com/e/interview-with-a-mexican-tickets-50795561893\" target=\"_blank\" rel=\"noopener noreferrer\">¡Interview with a Mexican!\u003c/a> \u003c/strong>runs through November 11, 2018 at Movimiento de Arte y Cultura Latino Americana in San Jose. For more information, click \u003cstrong>\u003ca href=\"https://maclaarte.org\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>\u003c/strong>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What if, instead of \u003ca href=\"https://www.kqed.org/news/11685634/in-oakland-more-data-hasnt-meant-less-racial-disparity-during-police-stops\" target=\"_blank\" rel=\"noopener\">arresting disproportionate numbers of people of color\u003c/a>, police handed out compliments and trophies?\u003c/p>\n\u003cp>Enter the Fashion Force, the brainchild of Oakland creative collective \u003ca href=\"http://levanguard.org/\" target=\"_blank\" rel=\"noopener\">Le Vanguard\u003c/a>. The crew of party promoters, visual artists, writers, musicians and skateboarders recently wrapped up filming for the their forthcoming sketch comedy show, \u003cem>Variety Planet\u003c/em>. Today, Le Vanguard shared a hilarious teaser for their “Fashion Force” sketch from the series pilot, where Commander-in-Chic (played by executive producer and Le Vanguard leader Vanessa “Besame” Nguyen) and Sargeant Style (writer-director Xiomara Blanco) ambush random passersby with positive feedback on their outfits.\u003c/p>\n\u003cp>https://youtu.be/LJIxCxHD-UQ\u003c/p>\n\u003cp>Those complimented by the Fashion Force don’t necessarily look like runway models or fashion bloggers with a million Instagram followers. They’re regular people who simply took the time to add a personal element or creative twist to their look.\u003c/p>\n\u003cp>“We just want to say we like your outfit, we like what you’re doing with your life right now,” Blanco says to a guy in camouflage pants and matching hat with Warriors pins, before handing him an award. “Thank you for being alive, you’re doing a great job.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I caught up with Blanco and Nguyen over the phone to get more info on the Fashion Force’s philosophy. “As two women of color, we’re all about about uplifting each other and redefining beauty standards,” Blanco told me. “That’s what I love about the Bay—people aren’t afraid to stand out, be a little weird, be a little bold.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Nguyen and Blanco are currently shopping \u003cem>Variety Planet\u003c/em> to networks, and have a public screening in the works.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What if, instead of \u003ca href=\"https://www.kqed.org/news/11685634/in-oakland-more-data-hasnt-meant-less-racial-disparity-during-police-stops\" target=\"_blank\" rel=\"noopener\">arresting disproportionate numbers of people of color\u003c/a>, police handed out compliments and trophies?\u003c/p>\n\u003cp>Enter the Fashion Force, the brainchild of Oakland creative collective \u003ca href=\"http://levanguard.org/\" target=\"_blank\" rel=\"noopener\">Le Vanguard\u003c/a>. The crew of party promoters, visual artists, writers, musicians and skateboarders recently wrapped up filming for the their forthcoming sketch comedy show, \u003cem>Variety Planet\u003c/em>. Today, Le Vanguard shared a hilarious teaser for their “Fashion Force” sketch from the series pilot, where Commander-in-Chic (played by executive producer and Le Vanguard leader Vanessa “Besame” Nguyen) and Sargeant Style (writer-director Xiomara Blanco) ambush random passersby with positive feedback on their outfits.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/LJIxCxHD-UQ'\n title='//www.youtube.com/embed/LJIxCxHD-UQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Those complimented by the Fashion Force don’t necessarily look like runway models or fashion bloggers with a million Instagram followers. They’re regular people who simply took the time to add a personal element or creative twist to their look.\u003c/p>\n\u003cp>“We just want to say we like your outfit, we like what you’re doing with your life right now,” Blanco says to a guy in camouflage pants and matching hat with Warriors pins, before handing him an award. “Thank you for being alive, you’re doing a great job.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I caught up with Blanco and Nguyen over the phone to get more info on the Fashion Force’s philosophy. “As two women of color, we’re all about about uplifting each other and redefining beauty standards,” Blanco told me. “That’s what I love about the Bay—people aren’t afraid to stand out, be a little weird, be a little bold.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Nguyen and Blanco are currently shopping \u003cem>Variety Planet\u003c/em> to networks, and have a public screening in the works.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">D\u003c/span>o you have a foolproof video that always makes you laugh? A TV or movie clip that, no matter what particular brand of despair filled your day—the fear and anxiety of daily headlines, work frustrations or relationship troubles—can at the very least get you to smile?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13839927\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap-160x193.jpg\" alt=\"\" width=\"160\" height=\"193\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap.jpg 180w\" sizes=\"auto, (max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>There’s a handful of media that I regularly employ in such a medicinal fashion, but my No. 1 has held steady for years now. It’s \u003ca href=\"https://www.nbc.com/saturday-night-live/video/extremely-stupid/n8642\" target=\"_blank\" rel=\"noopener noreferrer\">a skit that ran on \u003cem>Saturday Night Live\u003c/em> in December 1976\u003c/a>, during the 10th episode of the second season. Candice Bergen hosted; Frank Zappa was the musical guest.\u003c/p>\n\u003cp>The sketch is a fake commercial, a public service announcement for the stupidity-rights movement, featuring Bergen and Gilda Radner. The premise is, appropriately, extremely stupid, and would likely have only been moderately funny if things had gone according to script. But then magic happens: Bergen flubs a line, and Radner runs with it in such a simple yet hilarious way that the studio audience erupts with laughter and, simultaneously, Bergen breaks. Straight-up loses it. I’m talking slumber party, wipe-your-eyes, pee-your-pants style giggle fit, which the viewer gets to watch over Radner’s right shoulder for the duration of the sketch.\u003c/p>\n\u003cp>This sketch is \u003cem>so dumb\u003c/em>, but I love it. I love the face Radner makes as she’s deciding to deliver the ad-libbed line that sends the thing over the top; I love seeing a seasoned actress rendered helpless by laughter. But there’s also something that’s just perfectly-distilled \u003cem>Gilda\u003c/em> here: open, silly, contagious joy. It feels like an old friend making you laugh, finding your weak spot and doubling down on it, trying to make milk shoot out of your nose. I wish this skit lasted 10 minutes longer.\u003c/p>\n\u003cp>I wish we got even 10 more minutes of Gilda in general.\u003c/p>\n\u003cfigure id=\"attachment_13840709\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840709\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/5-800x803.jpg\" alt=\"Gilda Radner in 'Love, Gilda.'\" width=\"800\" height=\"803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-800x803.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-768x771.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-1020x1024.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-1195x1200.jpg 1195w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-1180x1185.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-960x964.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-375x377.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-520x522.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-150x150.jpg 150w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gilda Radner in ‘Love, Gilda.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“T\u003c/span>here’s truly a timeless, universal quality to what she did. Amy Poehler said she thinks of Gilda as a red-blue state: loved by all,” says Lisa D’Apolito, the director of \u003cem>Love, Gilda\u003c/em>, a new documentary about the late comedian that hits theaters Sept. 21. (It had its world premiere as the opening film at New York’s Tribeca Film Festival in April, with an emotional introduction from Tina Fey.)\u003c/p>\n\u003cp>“She just enjoyed performing \u003cem>so much\u003c/em>,” says D’Apolito of Radner. “And she obviously had an acute sense of character, but physical comedy was always part of it. The way she uses her body—even if you didn’t understand the language she was speaking, I think you could just watch Gilda and laugh.”\u003c/p>\n\u003cp>“Just watch Gilda and laugh” is, fittingly, what most \u003cem>Love, Gilda\u003c/em> viewers will leave the theater wanting to do, so prepare to lose at least an hour or two afterward in a YouTube rabbit hole, revisiting beloved characters like Emily Litella, Roseanne Roseannadanna and Lisa Loopner. But casual fans of the comedian—who died tragically at 42, of ovarian cancer—will also gain insight on lesser-known aspects of her life; the documentary isn’t shy about her demons.\u003c/p>\n\u003cfigure id=\"attachment_13840744\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840744\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-800x808.jpg\" alt=\"Tom Schiller, Gilda Radner, John Belushi, Dan Akroyd and Jane Curtin in 'Love, Gilda.'\" width=\"800\" height=\"808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-800x808.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-768x776.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-1020x1031.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-1188x1200.jpg 1188w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-1180x1192.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-960x970.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-240x242.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-375x379.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-520x525.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup.jpg 1544w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom Schiller, Gilda Radner, John Belushi, Dan Akroyd and Jane Curtin in ‘Love, Gilda.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born into an upper-middle-class Jewish family in Detroit, Radner was a happy but chubby kid; her parents put her on diet pills while she was still in elementary school. Meanwhile, she honed a self-deprecating sense of humor as a way to debarb insults from other children, and grew to crave the feeling of love that came with making people laugh. Then Radner’s father, her most enthusiastic audience, died when she was 14. In context, her deep insecurities (even at the height of her fame) and her ongoing battle with bulimia as an adult (diary entries from her stay at an eating disorder clinic are particularly tough to hear) snap into painfully sharp focus.\u003c/p>\n\u003cp>D’Apolito earned the trust of Radner’s brother, as well as ex-husband Gene Wilder and other close friends over the course of the four-year filmmaking process, gaining access to previously unreleased material, and the film feels both intimate and protective of Radner’s legacy as a result. To be sure, it’s fun to see Amy Poehler, Melissa McCarthy, Bill Hader and other current comics voice their awe about Radner, while onetime colleagues like Lorne Michaels and Martin Short get the chance to reminisce. The doc touches on the comedian’s romantic relationships, including marriages to \u003cem>SNL\u003c/em> bandleader G.E. Smith and, of course, to Wilder. (Bill Murray, who had a two-year, deep but reportedly tumultuous relationship with Radner, didn’t respond to the filmmaker’s requests for an interview.)\u003c/p>\n\u003cp>But it’s the primary sources that make \u003cem>Love, Gilda\u003c/em> hit you in the chest. Using home movies, diaries, and a series of audiotapes the comedian recorded in the process of writing her memoir \u003cem>It’s Always Something\u003c/em>, the film smartly allows Radner to narrate her own story, in her own voice, wherever possible.\u003c/p>\n\u003cfigure id=\"attachment_13840708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840708\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/3-800x254.jpg\" alt=\"Gilda Radner in 'Love, Gilda.'\" width=\"800\" height=\"254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-800x254.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-160x51.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-768x244.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-1020x324.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-1200x381.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-1180x375.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-960x305.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-240x76.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-375x119.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-520x165.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gilda Radner in ‘Love, Gilda.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s in these journals that we get closest to understanding a central tension for Radner: that of a natural star who got blindsided by the realities of actual stardom. The first person cast in the “Not Ready For Primetime Players”—the freshman group of comedians on \u003cem>SNL\u003c/em> in 1975 that included Chevy Chase, John Belushi and Dan Aykroyd—Radner was in many ways an archetypal \u003ca href=\"https://www.buzzfeed.com/annehelenpetersen/jennifer-lawrence-and-the-history-of-cool-girls\" target=\"_blank\" rel=\"noopener noreferrer\">Cool Girl\u003c/a>. She could hold her own with literally the best of them; there was an innocence about her, but she also loved to get gross, tell fart jokes; she could play kids or old ladies and anything in between. She was always having fun—explosive, fully committed fun—and she didn’t mind \u003ca href=\"http://fuckyeahgildaradner.tumblr.com/post/67929609392/jagweedish-deactivated20140427-gilda-radner\" target=\"_blank\" rel=\"noopener noreferrer\">if it came with a few bruised ribs\u003c/a>.\u003c/p>\n\u003cp>By the end of the show’s first season, viewers across America had fallen in love with her. And just like that, she could barely leave the house without a disguise.\u003c/p>\n\u003cp>“I think she saw life as a playground, and she loved to go out and play,” says D’Apolito. “But once she started to become famous she couldn’t go out, and I think that’s when the eating disorder got worse … her friends told me she liked getting her makeup done for magazines, but she definitely wasn’t after fame.”\u003c/p>\n\u003cp>What does it mean, exactly, to love an audience but dislike being famous? What do you owe your fans, if anything? And how much heavier are those questions when you’re a young woman whom nearly everyone, myself included, has subconsciously come to think of as a friend?\u003c/p>\n\u003cfigure id=\"attachment_13840712\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840712\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/12-800x543.jpg\" alt=\"Gilda Radner with Gene Wilder and dog Sparkle in 'Love, Gilda.'\" width=\"800\" height=\"543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-1020x692.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-1200x814.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-1180x801.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-960x652.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-240x163.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-375x254.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-520x353.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gilda Radner with Gene Wilder and dog Sparkle in ‘Love, Gilda.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>t’d be ridiculous to attempt to list the performers, male and female, who owe Gilda Radner a debt in some way. Mike Myers has said she’s the reason he wanted to be on \u003cem>SNL\u003c/em>. Personally, I can’t watch Maya Rudolph, Kate McKinnon, \u003cem>Broad City\u003c/em>, Ali Wong, Jenny Slate—the list goes on—without seeing sparks of Gilda’s electricity.\u003c/p>\n\u003cp>With the whole doc clocking in at just 86 minutes, \u003cem>Love, Gilda\u003c/em> doesn’t have time to fully map that lineage either. The final half-hour feels a bit rushed, covering Radner’s life in Los Angeles, grief over a miscarriage, diagnosis with ovarian cancer, and discovery of the Wellness Community, a cancer support organization that later inspired Wilder to found Gilda’s Club in his wife’s honor. (The two organizations have since merged.)\u003c/p>\n\u003cp>But for those of us who are still in love with her, it might also be true that even a five-hour film wouldn’t feel sufficient.\u003c/p>\n\u003cp>“When I first started trying to drum up support for the film, I was hearing concern about whether there would be enough interest in her—I think especially among younger viewers, who might not know who she is,” says D’Apolito. But D’Apolito had worked with Gilda’s Club; she knew exactly how much Radner meant to clients there. And since the film first premiered she’s held screenings in select cities—when we talk, she’s just hosted San Diego’s the night before—and “every time, there are 20 or 25 people who wait to just tell me ‘thank you’ after. They’re \u003cem>grateful\u003c/em> for her.”\u003c/p>\n\u003cfigure id=\"attachment_13840742\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840742\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/GildaWriting-800x537.jpg\" alt=\"Gilda Radner in 'Love, Gilda.'\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-1020x684.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-1200x805.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-1180x792.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-960x644.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-520x349.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gilda Radner in ‘Love, Gilda.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gilda Radner died on the afternoon of May 20, 1989, which also happened to be a Saturday, a few hours before the finale of \u003cem>SNL\u003c/em>’s 14th season. The news broke as host Steve Martin was rehearsing; the cast and crew were understandably devastated—apparently few of them were aware of how ill she’d been—and the decision was made to scrap the intro monologue.\u003c/p>\n\u003cp>Instead, visibly choked up, Martin introduces a \u003ca href=\"http://classicajays.tumblr.com/post/7734859743/so-here-it-is-everyone-the-steve-martin-monologue\" target=\"_blank\" rel=\"noopener noreferrer\">clip of a sketch he performed with her on the show in 1978\u003c/a>. It’s entirely wordless: a musical number in which the pair, dressed in white, both obviously masters of physical comedy, swerve between attempts at sensual ballroom dancing and goofy, hysterical, limb-swinging freakouts—all culminating in Radner climbing back into her chair at a dinner table in, and I don’t know how else to phrase this, the funniest way anyone has ever tried to segue from dancing into sitting back down at a dinner table in the history of time.\u003c/p>\n\u003cp>The sketch was apparently parodying a well-known routine from a Fred Astaire movie, but I didn’t know that the first few times I saw it. All I knew was that it made me laugh like crazy, and that it, too, was top-shelf, quadruple-distilled Gilda. Which is to say, joyful. Game for anything. Sweet beyond belief, but cut with the signs of an absolute maniac. And perfectly, imperfectly human.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Love, Gilda’ opens nationally Sept. 21.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Emma Silvers is a writer living in San Francisco. Find her on Twitter \u003ca href=\"https://twitter.com/emmaruthless\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">D\u003c/span>o you have a foolproof video that always makes you laugh? A TV or movie clip that, no matter what particular brand of despair filled your day—the fear and anxiety of daily headlines, work frustrations or relationship troubles—can at the very least get you to smile?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13839927\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap-160x193.jpg\" alt=\"\" width=\"160\" height=\"193\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap.jpg 180w\" sizes=\"auto, (max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>There’s a handful of media that I regularly employ in such a medicinal fashion, but my No. 1 has held steady for years now. It’s \u003ca href=\"https://www.nbc.com/saturday-night-live/video/extremely-stupid/n8642\" target=\"_blank\" rel=\"noopener noreferrer\">a skit that ran on \u003cem>Saturday Night Live\u003c/em> in December 1976\u003c/a>, during the 10th episode of the second season. Candice Bergen hosted; Frank Zappa was the musical guest.\u003c/p>\n\u003cp>The sketch is a fake commercial, a public service announcement for the stupidity-rights movement, featuring Bergen and Gilda Radner. The premise is, appropriately, extremely stupid, and would likely have only been moderately funny if things had gone according to script. But then magic happens: Bergen flubs a line, and Radner runs with it in such a simple yet hilarious way that the studio audience erupts with laughter and, simultaneously, Bergen breaks. Straight-up loses it. I’m talking slumber party, wipe-your-eyes, pee-your-pants style giggle fit, which the viewer gets to watch over Radner’s right shoulder for the duration of the sketch.\u003c/p>\n\u003cp>This sketch is \u003cem>so dumb\u003c/em>, but I love it. I love the face Radner makes as she’s deciding to deliver the ad-libbed line that sends the thing over the top; I love seeing a seasoned actress rendered helpless by laughter. But there’s also something that’s just perfectly-distilled \u003cem>Gilda\u003c/em> here: open, silly, contagious joy. It feels like an old friend making you laugh, finding your weak spot and doubling down on it, trying to make milk shoot out of your nose. I wish this skit lasted 10 minutes longer.\u003c/p>\n\u003cp>I wish we got even 10 more minutes of Gilda in general.\u003c/p>\n\u003cfigure id=\"attachment_13840709\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840709\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/5-800x803.jpg\" alt=\"Gilda Radner in 'Love, Gilda.'\" width=\"800\" height=\"803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-800x803.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-768x771.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-1020x1024.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-1195x1200.jpg 1195w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-1180x1185.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-960x964.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-375x377.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-520x522.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/5-150x150.jpg 150w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gilda Radner in ‘Love, Gilda.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“T\u003c/span>here’s truly a timeless, universal quality to what she did. Amy Poehler said she thinks of Gilda as a red-blue state: loved by all,” says Lisa D’Apolito, the director of \u003cem>Love, Gilda\u003c/em>, a new documentary about the late comedian that hits theaters Sept. 21. (It had its world premiere as the opening film at New York’s Tribeca Film Festival in April, with an emotional introduction from Tina Fey.)\u003c/p>\n\u003cp>“She just enjoyed performing \u003cem>so much\u003c/em>,” says D’Apolito of Radner. “And she obviously had an acute sense of character, but physical comedy was always part of it. The way she uses her body—even if you didn’t understand the language she was speaking, I think you could just watch Gilda and laugh.”\u003c/p>\n\u003cp>“Just watch Gilda and laugh” is, fittingly, what most \u003cem>Love, Gilda\u003c/em> viewers will leave the theater wanting to do, so prepare to lose at least an hour or two afterward in a YouTube rabbit hole, revisiting beloved characters like Emily Litella, Roseanne Roseannadanna and Lisa Loopner. But casual fans of the comedian—who died tragically at 42, of ovarian cancer—will also gain insight on lesser-known aspects of her life; the documentary isn’t shy about her demons.\u003c/p>\n\u003cfigure id=\"attachment_13840744\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840744\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-800x808.jpg\" alt=\"Tom Schiller, Gilda Radner, John Belushi, Dan Akroyd and Jane Curtin in 'Love, Gilda.'\" width=\"800\" height=\"808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-800x808.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-768x776.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-1020x1031.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-1188x1200.jpg 1188w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-1180x1192.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-960x970.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-240x242.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-375x379.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-520x525.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/gildaSNLgroup.jpg 1544w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom Schiller, Gilda Radner, John Belushi, Dan Akroyd and Jane Curtin in ‘Love, Gilda.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Born into an upper-middle-class Jewish family in Detroit, Radner was a happy but chubby kid; her parents put her on diet pills while she was still in elementary school. Meanwhile, she honed a self-deprecating sense of humor as a way to debarb insults from other children, and grew to crave the feeling of love that came with making people laugh. Then Radner’s father, her most enthusiastic audience, died when she was 14. In context, her deep insecurities (even at the height of her fame) and her ongoing battle with bulimia as an adult (diary entries from her stay at an eating disorder clinic are particularly tough to hear) snap into painfully sharp focus.\u003c/p>\n\u003cp>D’Apolito earned the trust of Radner’s brother, as well as ex-husband Gene Wilder and other close friends over the course of the four-year filmmaking process, gaining access to previously unreleased material, and the film feels both intimate and protective of Radner’s legacy as a result. To be sure, it’s fun to see Amy Poehler, Melissa McCarthy, Bill Hader and other current comics voice their awe about Radner, while onetime colleagues like Lorne Michaels and Martin Short get the chance to reminisce. The doc touches on the comedian’s romantic relationships, including marriages to \u003cem>SNL\u003c/em> bandleader G.E. Smith and, of course, to Wilder. (Bill Murray, who had a two-year, deep but reportedly tumultuous relationship with Radner, didn’t respond to the filmmaker’s requests for an interview.)\u003c/p>\n\u003cp>But it’s the primary sources that make \u003cem>Love, Gilda\u003c/em> hit you in the chest. Using home movies, diaries, and a series of audiotapes the comedian recorded in the process of writing her memoir \u003cem>It’s Always Something\u003c/em>, the film smartly allows Radner to narrate her own story, in her own voice, wherever possible.\u003c/p>\n\u003cfigure id=\"attachment_13840708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840708\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/3-800x254.jpg\" alt=\"Gilda Radner in 'Love, Gilda.'\" width=\"800\" height=\"254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-800x254.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-160x51.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-768x244.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-1020x324.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-1200x381.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-1180x375.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-960x305.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-240x76.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-375x119.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/3-520x165.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gilda Radner in ‘Love, Gilda.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s in these journals that we get closest to understanding a central tension for Radner: that of a natural star who got blindsided by the realities of actual stardom. The first person cast in the “Not Ready For Primetime Players”—the freshman group of comedians on \u003cem>SNL\u003c/em> in 1975 that included Chevy Chase, John Belushi and Dan Aykroyd—Radner was in many ways an archetypal \u003ca href=\"https://www.buzzfeed.com/annehelenpetersen/jennifer-lawrence-and-the-history-of-cool-girls\" target=\"_blank\" rel=\"noopener noreferrer\">Cool Girl\u003c/a>. She could hold her own with literally the best of them; there was an innocence about her, but she also loved to get gross, tell fart jokes; she could play kids or old ladies and anything in between. She was always having fun—explosive, fully committed fun—and she didn’t mind \u003ca href=\"http://fuckyeahgildaradner.tumblr.com/post/67929609392/jagweedish-deactivated20140427-gilda-radner\" target=\"_blank\" rel=\"noopener noreferrer\">if it came with a few bruised ribs\u003c/a>.\u003c/p>\n\u003cp>By the end of the show’s first season, viewers across America had fallen in love with her. And just like that, she could barely leave the house without a disguise.\u003c/p>\n\u003cp>“I think she saw life as a playground, and she loved to go out and play,” says D’Apolito. “But once she started to become famous she couldn’t go out, and I think that’s when the eating disorder got worse … her friends told me she liked getting her makeup done for magazines, but she definitely wasn’t after fame.”\u003c/p>\n\u003cp>What does it mean, exactly, to love an audience but dislike being famous? What do you owe your fans, if anything? And how much heavier are those questions when you’re a young woman whom nearly everyone, myself included, has subconsciously come to think of as a friend?\u003c/p>\n\u003cfigure id=\"attachment_13840712\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840712\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/12-800x543.jpg\" alt=\"Gilda Radner with Gene Wilder and dog Sparkle in 'Love, Gilda.'\" width=\"800\" height=\"543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-1020x692.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-1200x814.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-1180x801.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-960x652.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-240x163.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-375x254.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/12-520x353.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gilda Radner with Gene Wilder and dog Sparkle in ‘Love, Gilda.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>t’d be ridiculous to attempt to list the performers, male and female, who owe Gilda Radner a debt in some way. Mike Myers has said she’s the reason he wanted to be on \u003cem>SNL\u003c/em>. Personally, I can’t watch Maya Rudolph, Kate McKinnon, \u003cem>Broad City\u003c/em>, Ali Wong, Jenny Slate—the list goes on—without seeing sparks of Gilda’s electricity.\u003c/p>\n\u003cp>With the whole doc clocking in at just 86 minutes, \u003cem>Love, Gilda\u003c/em> doesn’t have time to fully map that lineage either. The final half-hour feels a bit rushed, covering Radner’s life in Los Angeles, grief over a miscarriage, diagnosis with ovarian cancer, and discovery of the Wellness Community, a cancer support organization that later inspired Wilder to found Gilda’s Club in his wife’s honor. (The two organizations have since merged.)\u003c/p>\n\u003cp>But for those of us who are still in love with her, it might also be true that even a five-hour film wouldn’t feel sufficient.\u003c/p>\n\u003cp>“When I first started trying to drum up support for the film, I was hearing concern about whether there would be enough interest in her—I think especially among younger viewers, who might not know who she is,” says D’Apolito. But D’Apolito had worked with Gilda’s Club; she knew exactly how much Radner meant to clients there. And since the film first premiered she’s held screenings in select cities—when we talk, she’s just hosted San Diego’s the night before—and “every time, there are 20 or 25 people who wait to just tell me ‘thank you’ after. They’re \u003cem>grateful\u003c/em> for her.”\u003c/p>\n\u003cfigure id=\"attachment_13840742\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840742\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/GildaWriting-800x537.jpg\" alt=\"Gilda Radner in 'Love, Gilda.'\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-1020x684.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-1200x805.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-1180x792.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-960x644.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/GildaWriting-520x349.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gilda Radner in ‘Love, Gilda.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gilda Radner died on the afternoon of May 20, 1989, which also happened to be a Saturday, a few hours before the finale of \u003cem>SNL\u003c/em>’s 14th season. The news broke as host Steve Martin was rehearsing; the cast and crew were understandably devastated—apparently few of them were aware of how ill she’d been—and the decision was made to scrap the intro monologue.\u003c/p>\n\u003cp>Instead, visibly choked up, Martin introduces a \u003ca href=\"http://classicajays.tumblr.com/post/7734859743/so-here-it-is-everyone-the-steve-martin-monologue\" target=\"_blank\" rel=\"noopener noreferrer\">clip of a sketch he performed with her on the show in 1978\u003c/a>. It’s entirely wordless: a musical number in which the pair, dressed in white, both obviously masters of physical comedy, swerve between attempts at sensual ballroom dancing and goofy, hysterical, limb-swinging freakouts—all culminating in Radner climbing back into her chair at a dinner table in, and I don’t know how else to phrase this, the funniest way anyone has ever tried to segue from dancing into sitting back down at a dinner table in the history of time.\u003c/p>\n\u003cp>The sketch was apparently parodying a well-known routine from a Fred Astaire movie, but I didn’t know that the first few times I saw it. All I knew was that it made me laugh like crazy, and that it, too, was top-shelf, quadruple-distilled Gilda. Which is to say, joyful. Game for anything. Sweet beyond belief, but cut with the signs of an absolute maniac. And perfectly, imperfectly human.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Love, Gilda’ opens nationally Sept. 21.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Emma Silvers is a writer living in San Francisco. Find her on Twitter \u003ca href=\"https://twitter.com/emmaruthless\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Native Gardens' Shows What 'Nice' People Look Like When They Dig in Their Heels",
"headTitle": "‘Native Gardens’ Shows What ‘Nice’ People Look Like When They Dig in Their Heels | KQED",
"content": "\u003cp>Ever fight with your neighbors? Maybe she steals your paper. Or he parks that clunker in front of your house. Or maybe I’m describing \u003cem>you\u003c/em>.\u003c/p>\n\u003cp>Playwright \u003ca href=\"http://www.karenzacarias.com\" target=\"_blank\" rel=\"noopener\">Karen Zacarías\u003c/a> says she was inspired to write \u003cem>Native Gardens \u003c/em>after a dinner party in which a number of her friends related problems with their neighbors. “We all talked about how terrible it is to be in a fight with your neighbor, because it’s where you live, you know. But also, I noticed what all the stories had in common: there was something primal and poetic and absurd.”\u003c/p>\n\u003cp>That got Zacarías thinking, “What if every fight in the world can be narrowed down to four people in a backyard? And what can I learn about myself and my community by looking at it like that?”\u003c/p>\n\u003cp>Zacarías lives in Washington, D.C., but a story about neighbors new and old struggling to find common ground with each other resonates nationwide. In fact, \u003ca href=\"https://theatreworks.org/201819-season/201819-season/native-gardens/\" target=\"_blank\" rel=\"noopener\">TheatreWorks Silicon Valley\u003c/a> is one of six companies to perform it this year alone. Others include the \u003ca href=\"https://www.pasadenaplayhouse.org/event/native-gardens/\" target=\"_blank\" rel=\"noopener\">Pasadena Playhouse\u003c/a>, where \u003cem>Seinfeld\u003c/em> star Jason Alexander is directing, the \u003ca href=\"https://www.theoldglobe.org/pdp/17-18-season/native-gardens/#?startDate=2018-08-01&?endDate=2018-08-31\" target=\"_blank\" rel=\"noopener\">Old Globe\u003c/a> in San Diego and \u003ca href=\"http://www.intiman.org/nativegardens/#showinfo\" target=\"_blank\" rel=\"noopener\">Intiman Theatre\u003c/a> in Seattle.\u003c/p>\n\u003cfigure id=\"attachment_13840151\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840151\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut-800x534.jpg\" alt=\"It's all smiles and laughter before two couples get to know each other, really, in “Native Gardens” by Karen Zacarías presented by TheatreWorks Silicon Valley.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It’s all smiles and laughter before two couples get to know each other, really, in “Native Gardens” by Karen Zacarías presented by TheatreWorks Silicon Valley. \u003ccite>(Photo: Courtesy of Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cspan style=\"font-weight: 400\">The plot (pun intended)\u003c/span>\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">A young Latino couple, \u003c/span>Pablo (Michael Evans Lopez) and Tania (Marlene Martinez),\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003cspan style=\"font-weight: 400\">moves into a nice suburb in Washington, D.C.. They form a fast friendship with the older white couple next door, \u003c/span>Frank (Jackson Davis) and Virginia (Amy Resnick)\u003cspan style=\"font-weight: 400\">. Both couples listen to NPR. Both couples have strong, if conflicting, philosophies about gardening. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But then it turns out the fence between them is located two feet onto the young couple’s property. What’s going to happen to \u003c/span>Frank’s potentially prize-winning purple iris and hydrangea?\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>Awkward.\u003c/p>\n\u003cp>Add a dash of racial tension — it is a border dispute after all — and you have instant comedy. Yes, says Zacarías, who adds she \u003ci>judges\u003c/i> everyone in the play, including herself.\u003cspan class=\"Apple-converted-space\"> Thinking back to a small neighborly dispute she survived, she says “\u003c/span>You know, I wanted it to be right more than I wanted it to be over.”\u003c/p>\n\u003cfigure id=\"attachment_13840153\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840153\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut-800x534.jpg\" alt=\"A simple property line dispute becomes a proxy for issues neighbors find harder to talk about, like racism, sexism, ageism, culture, class, privilege and immigration in “Native Gardens” by Karen Zacarías presented by TheatreWorks Silicon Valley.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A simple property line dispute becomes a proxy for issues neighbors find harder to talk about, like racism, sexism, ageism, culture, class, privilege and immigration in “Native Gardens” by Karen Zacarías presented by TheatreWorks Silicon Valley. \u003ccite>(Photo: Courtesy of Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp class=\"story_text\">She also wants the audience to change their alliances over the course of the play. Zacarías studied international relations at Stanford, which proved good preparation for this play.\u003cspan class=\"Apple-converted-space\"> She says, \u003c/span>“I think comedy is one of the best ways to talk about things that are thorny.”\u003c/p>\n\u003cp class=\"story_text\">Everybody’s earnest, self-pitying, self-righteous and patronizing. It’s impossible to see the play without thinking of the national border dispute directed by the Trump Administration, but this story could take place in almost any town in Silicon Valley. We can all irritate each other very, very easily, even without the help of politics.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Native Gardens\u003c/strong>, put on by TheatreWorks Silicon Valley, runs through September 16th at the Mountain View Center \u003c/em>\u003cbr>\n\u003cem>for the Performing Arts. For more info, click \u003ca href=\"https://theatreworks.org/201819-season/201819-season/native-gardens/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ever fight with your neighbors? Maybe she steals your paper. Or he parks that clunker in front of your house. Or maybe I’m describing \u003cem>you\u003c/em>.\u003c/p>\n\u003cp>Playwright \u003ca href=\"http://www.karenzacarias.com\" target=\"_blank\" rel=\"noopener\">Karen Zacarías\u003c/a> says she was inspired to write \u003cem>Native Gardens \u003c/em>after a dinner party in which a number of her friends related problems with their neighbors. “We all talked about how terrible it is to be in a fight with your neighbor, because it’s where you live, you know. But also, I noticed what all the stories had in common: there was something primal and poetic and absurd.”\u003c/p>\n\u003cp>That got Zacarías thinking, “What if every fight in the world can be narrowed down to four people in a backyard? And what can I learn about myself and my community by looking at it like that?”\u003c/p>\n\u003cp>Zacarías lives in Washington, D.C., but a story about neighbors new and old struggling to find common ground with each other resonates nationwide. In fact, \u003ca href=\"https://theatreworks.org/201819-season/201819-season/native-gardens/\" target=\"_blank\" rel=\"noopener\">TheatreWorks Silicon Valley\u003c/a> is one of six companies to perform it this year alone. Others include the \u003ca href=\"https://www.pasadenaplayhouse.org/event/native-gardens/\" target=\"_blank\" rel=\"noopener\">Pasadena Playhouse\u003c/a>, where \u003cem>Seinfeld\u003c/em> star Jason Alexander is directing, the \u003ca href=\"https://www.theoldglobe.org/pdp/17-18-season/native-gardens/#?startDate=2018-08-01&?endDate=2018-08-31\" target=\"_blank\" rel=\"noopener\">Old Globe\u003c/a> in San Diego and \u003ca href=\"http://www.intiman.org/nativegardens/#showinfo\" target=\"_blank\" rel=\"noopener\">Intiman Theatre\u003c/a> in Seattle.\u003c/p>\n\u003cfigure id=\"attachment_13840151\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840151\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut-800x534.jpg\" alt=\"It's all smiles and laughter before two couples get to know each other, really, in “Native Gardens” by Karen Zacarías presented by TheatreWorks Silicon Valley.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32661_TheatreWorks_NativeGardens_KevinBerne1-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It’s all smiles and laughter before two couples get to know each other, really, in “Native Gardens” by Karen Zacarías presented by TheatreWorks Silicon Valley. \u003ccite>(Photo: Courtesy of Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cspan style=\"font-weight: 400\">The plot (pun intended)\u003c/span>\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">A young Latino couple, \u003c/span>Pablo (Michael Evans Lopez) and Tania (Marlene Martinez),\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003cspan style=\"font-weight: 400\">moves into a nice suburb in Washington, D.C.. They form a fast friendship with the older white couple next door, \u003c/span>Frank (Jackson Davis) and Virginia (Amy Resnick)\u003cspan style=\"font-weight: 400\">. Both couples listen to NPR. Both couples have strong, if conflicting, philosophies about gardening. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But then it turns out the fence between them is located two feet onto the young couple’s property. What’s going to happen to \u003c/span>Frank’s potentially prize-winning purple iris and hydrangea?\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>Awkward.\u003c/p>\n\u003cp>Add a dash of racial tension — it is a border dispute after all — and you have instant comedy. Yes, says Zacarías, who adds she \u003ci>judges\u003c/i> everyone in the play, including herself.\u003cspan class=\"Apple-converted-space\"> Thinking back to a small neighborly dispute she survived, she says “\u003c/span>You know, I wanted it to be right more than I wanted it to be over.”\u003c/p>\n\u003cfigure id=\"attachment_13840153\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840153\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut-800x534.jpg\" alt=\"A simple property line dispute becomes a proxy for issues neighbors find harder to talk about, like racism, sexism, ageism, culture, class, privilege and immigration in “Native Gardens” by Karen Zacarías presented by TheatreWorks Silicon Valley.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/RS32663_TheatreWorks_NativeGardens_KevinBerne3-qut-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A simple property line dispute becomes a proxy for issues neighbors find harder to talk about, like racism, sexism, ageism, culture, class, privilege and immigration in “Native Gardens” by Karen Zacarías presented by TheatreWorks Silicon Valley. \u003ccite>(Photo: Courtesy of Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp class=\"story_text\">She also wants the audience to change their alliances over the course of the play. Zacarías studied international relations at Stanford, which proved good preparation for this play.\u003cspan class=\"Apple-converted-space\"> She says, \u003c/span>“I think comedy is one of the best ways to talk about things that are thorny.”\u003c/p>\n\u003cp class=\"story_text\">Everybody’s earnest, self-pitying, self-righteous and patronizing. It’s impossible to see the play without thinking of the national border dispute directed by the Trump Administration, but this story could take place in almost any town in Silicon Valley. We can all irritate each other very, very easily, even without the help of politics.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Native Gardens\u003c/strong>, put on by TheatreWorks Silicon Valley, runs through September 16th at the Mountain View Center \u003c/em>\u003cbr>\n\u003cem>for the Performing Arts. For more info, click \u003ca href=\"https://theatreworks.org/201819-season/201819-season/native-gardens/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bay Brilliant: Peacock Rebellion",
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"content": "\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://www.kqed.org/arts/tag/bay-brilliant\" target=\"_blank\" rel=\"noopener\">Bay Brilliant\u003c/a>, a series celebrating 10 local artists, creatives and makers who are pushing boundaries in 2018. Driven by passion for their own disciplines—music, dance, theater, visual art, performance, writing, illustration and more—these artists are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>Using humor and imagination as survival tools is a guiding principle for Peacock Rebellion, an East Oakland-based art and activism collective composed of queer and trans people of color. Led by Devi Peacock, Lexi Adsit, Q Quintero, Kathrin Cantin and Luna Merbruja, the group leverages its many creative talents to engage their communities in social justice causes.\u003c/p>\n\u003cp>Peacock Rebellion may be primarily known for \u003ca href=\"http://www.peacockrebellion.org/shows/\" target=\"_blank\" rel=\"noopener\">Brouhaha\u003c/a>, a hilarious and moving comedic storytelling showcase with a cast of trans women of color. But the group also offers services to the community: They banded together with several other activist-minded collectives to \u003ca href=\"https://www.kqed.org/arts/13003192/oakland-grassroots-groups-unite-to-purchase-23rd-avenue-building\" target=\"_blank\" rel=\"noopener\">purchase a mixed-use building\u003c/a> on 23rd Avenue in Oakland through a land trust deal, securing affordable housing and commercial rent for activist groups and low-income residents. In their new headquarters, they lead performance workshops, offer access to technologies like 3D printers and industrial sewing machines, provide a low-cost event space and host events to activate their community in local politics.\u003c/p>\n\u003cp>The artist-activists in Peacock Rebellion reject the notion that big, bureaucratic nonprofits hold the keys to a more equitable future; instead, their focus is on people power. (They have a board of elders instead of a board of directors, consisting of Cherry Galette of Mangos with Chili, writer-activist Jen-Mei Wu, game developer and author Micha Cárdenas, Kebo Drew of Queer Women of Color Media Arts Project, Pam Peniston of the Queer Cultural Center and musician and filmmaker StormMiguel Florez.)\u003c/p>\n\u003cp>Despite the many institutional barriers and -isms faced by queer and trans people of color, Peacock Rebellion fights for change through their artistry, always keeping their vision for a better world front of mind.\u003c/p>\n\u003cfigure id=\"attachment_13839240\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839240\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-800x571.jpg\" alt=\"Peacock Rebellion activates their community of queer and trans people of color with politically-inspired art projects and workshops. \" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-520x371.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Peacock Rebellion activates their community of queer and trans people of color with politically-inspired art projects and workshops. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How would you sum up the mission of Peacock Rebellion? \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Devi:\u003c/strong> How do we sum up the mission? Oh, my gosh. First, it came out of a lot of stuff I was doing with [the queer and trans people of color (QTPOC) performance collective] Mangos With Chili, and then I was performing in Queer Rebels and a bunch of these QTPOC groups in the Bay. I was also in art school at Goddard, and I dropped out of art school because I was spending more time organizing students and faculty of color dealing with institutionalized racism than I was working on my art.\u003c/p>\n\u003cp>That’s the one part, and then the other part was I was burning out as an organizer. I was way more effective with a microphone than a megaphone. I was able to move people on stage with social justice messages through my comedy, but in my organizing I wasn’t necessarily reaching the people who weren’t already coming to a march or a protest.\u003c/p>\n\u003cp>\u003cstrong>Lexi:\u003c/strong> I guess I would also just add that in recent years we’ve really centered the organization around trans women of color and trans femmes of color. When I entered the organization in 2012, I was a part of the stand-up cohort. There was a transphobia that came up in that cohort, and me and a number of other trans women of color at the time were really noticing a lack of visible trans women of color artists and art shows. I think Devi did a really amazing job in giving Peacock the space and platform where trans women of color and trans femmes of color can access free, quality arts training and support in that way.\u003c/p>\n\u003cfigure id=\"attachment_13839239\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839239\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-800x571.jpg\" alt=\"Lexi Adsit of Peacock Rebellion.\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-520x371.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lexi Adsit of Peacock Rebellion. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>It seems like the power of the collective is very important to your vision. You guys have a core leadership group of five people, right? Could you talk about the importance of collaboration in making your projects possible? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Lexi:\u003c/strong> Yeah, I think Devi and I both have a lot of experience navigating the nonprofit industrial complex. There’s such a hierarchy [within nonprofits] that repeats very problematic power dynamics. For us, we’re really unique in the sense that we also have a board of elders that don’t really get seen as much but they’re super amazing and provide us a lot of really wonderful feedback and insights.\u003c/p>\n\u003cp>Our structure is really set up in a way where it’s not just one person making the decisions. There’s the core group of five of us, but we’re all still receiving feedback from our artists all the time, or the board of elders all the time, or our community partners and other organizations that we work closely with all the time. We use all that information to really inform our politics and the things that we promote in terms of our newsletter or calls to action.\u003c/p>\n\u003cp>\u003cstrong>Devi:\u003c/strong> Yeah, for me, the idea that somehow the success of an organization is dependent on one person is just such bullsh-t. Everybody’s brilliance actually creates the whole.\u003c/p>\n\u003cp>We need to center femme leadership. That’s why actually almost all of what we do is, I would say, femme emotional labor. The last Brouhaha, we turned it into a festival and 800 people came. Then within a matter of days, all these people showed up for court support [for someone in our community], and to donate directly to trans women of color, and call the DA to drop charges against a trans woman of color who was defending herself against an abuser.\u003c/p>\n\u003cp>All of that stuff is ultimately about the power of the collective. For us, it’s very low infrastructure on purpose, so that we can move very quickly.\u003c/p>\n\u003cfigure id=\"attachment_13839242\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839242\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/DPeacock_vert-800x1120.jpg\" alt=\"The power of the collective is a guiding principle for the Peacock Rebellion crew.\" width=\"800\" height=\"1120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-857x1200.jpg 857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The power of the collective is a guiding principle for the Peacock Rebellion crew. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>It’s been over six months now since you guys officially bought your building on 23rd Avenue in Oakland. What have been some of the biggest challenges of that and the biggest rewards since buying it?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Lexi:\u003c/strong> I think we’re just really fortunate in the situation that we’re in with the work that we do—with the cost of rent, the cost of living—we’re just truly really blessed to have this amazing space on this amazing block, and to have such awesome community partners like Eastside Arts Alliance, \u003ca href=\"http://oaklandsol.weebly.com/\" target=\"_blank\" rel=\"noopener\">Sustaining Ourselves Locally\u003c/a> (SOL), \u003ca href=\"https://www.cyclesofchange.org/bike_shop_the_bikery\" target=\"_blank\" rel=\"noopener\">The Bikery\u003c/a>—all these places that are just right next door to us that are kinship partners.\u003c/p>\n\u003cp>\u003cstrong>Devi:\u003c/strong> For me, I think similarly the blessings around it are because of the collective power. For example, the day that we got that email from our landlord being like, “Hey, I’m going to sell the building in 90 days,” I absolutely cried. And then very quickly we rolled up our sleeves and were like, “All right, well, I guess we’re buying a building.”\u003c/p>\n\u003cp>Our reality as mostly marginalized people is that we’re struggling just to survive day-to-day on top of everything else. The Bikery got robbed a couple days ago. Yesterday there was a fire at The Village, which is just down the block, and we have a close relationship with them as well.\u003c/p>\n\u003cp>How do we, as a collective of collectives, shape something, go out of crisis mode? How do we dream futures where we’re at the center and we can actually thrive?\u003c/p>\n\u003cfigure id=\"attachment_13839241\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839241\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-800x1120.jpg\" alt=\"Katherin Canton of Peacock Rebellion. \" width=\"800\" height=\"1120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-857x1200.jpg 857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Katherin Canton of Peacock Rebellion. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cbr>\nWhat programs are you currently running out of your space in addition to Brouhaha?\u003c/strong>\u003cbr>\n\u003cstrong>\u003cbr>\nLexi:\u003c/strong> Currently, our office is closed for renovations, but when we are not closed for renovations we run a monthly maker day. We have this industrial sewing machine, we have 3D printers, we have a strong base of coders and folks involved in tech.\u003c/p>\n\u003cp>We’re currently in talks with an organization to do a writing group. Then we’re preparing for a big spring show, and that’s going to be more of a cabaret-style show, and it’s going to be on mental health.\u003c/p>\n\u003cp>\u003cstrong>Devi:\u003c/strong> Yeah. The spring show is called Magic Mirrors. Luna Merbruja is artistic-directing it. As it’s scheduled, it’s all trans people of color and looking at mental illness as a kind of brilliance.\u003c/p>\n\u003cp>Then we just had a call yesterday to firm up the writing series. It’s a month-long series that’s all trans femmes. That is in collaboration with \u003ca href=\"https://www.heartsparkpress.com/\" target=\"_blank\" rel=\"noopener\">Heartspark Press\u003c/a>, which is an amazing trans press. Luna is actually also teaching that workshop series.\u003c/p>\n\u003cp>The maker days are all focused around social justice. One recent maker day was called We Are Gems. Nastia, brace yourself, because it is all on \u003cem>Steven Universe\u003c/em>. You’ve seen \u003cem>Steven Universe\u003c/em>, yeah?\u003c/p>\n\u003cp>\u003cstrong>Oh, I actually haven’t.\u003c/strong>\u003cbr>\n\u003cstrong>\u003cbr>\nDevi:\u003c/strong> I just watched all five seasons in like two weeks. That’s like a couple hundred episodes. It’s because I cannot believe that that show is on TV, that the government has not shut it down, because I’m like, “This is f-cking incredible.” There’s a lot of queer and trans visibility in the characters, and it’s all about social justice.\u003c/p>\n\u003cfigure id=\"attachment_13839244\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839244\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-800x1120.jpg\" alt=\"Q Quintero of Peacock Rebellion.\" width=\"800\" height=\"1120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-857x1200.jpg 857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Q Quintero of Peacock Rebellion. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cbr>\nI had no idea! \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Devi:\u003c/strong> Yeah, like all around empire, capitalism, PTSD, police brutality. There’s all this stuff they cover somehow on this children’s cartoon. So we had this maker day called We Are Gems. Each character [in the show] is a gem, like an amethyst, a rose quartz or that kind of thing. People would actually have to design their gem and then identify their own personal traits in their relationship to social justice.\u003c/p>\n\u003cp>Then we encouraged them to think about what are your core values, and how do you see them in terms of shaping the cultural practices in Oakland? The \u003ca href=\"http://www2.oaklandnet.com/government/o/CityAdministration/d/economic-workforce-development/o/cultural-affairs/cultural-plan/index.htm\" target=\"_blank\" rel=\"noopener\">City of Oakland’s Cultural Plan\u003c/a> is being rewritten for the first time in 30 years, and the last version of the cultural plan is not even a little about equity.\u003c/p>\n\u003cp>We had copies of the City of Oakland’s Cultural Plan, and people, together as a collective of people who had never met before, [used the gem project] to shape their own talking points. We took those talking points, and then we had stations set up for people to call and email the City of Oakland with their ideas about what they want to see in the Cultural Plan. Then we sent the collectively written talking points to our email list with a call-to-action button.\u003c/p>\n\u003cp>\u003cstrong>What would be your wildest dreams of what you can do with your new space? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Lexi:\u003c/strong> Something we are dreaming about and thinking about how to make happen is we want to turn one of the back rooms into a sound studio. People would be able to do podcasts, or record music or audio, or we would be able to run programs out of there.\u003c/p>\n\u003cp>\u003cstrong>Devi:\u003c/strong> I’m also interested in shifting the maker days into an \u003ca href=\"https://www.akpress.org/emergentstrategy.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Emergent Strategy\u003c/em>\u003c/a> training series [based on Adrienne Maree Brown’s radical self-help book]. We’d be taking people through a yearlong study of the \u003cem>Emergent Strategy\u003c/em> framework and book. One example is that a couple months ago someone lit a blanket on fire and threw it over the fence and half of the yard next to us burned. The fire department never came.\u003c/p>\n\u003cp>\u003cstrong>Oh my god, that’s terrible.\u003c/strong>\u003cbr>\n\u003cstrong>\u003cbr>\nDevi:\u003c/strong> We had gone through training on how to use fire extinguishers and stuff, so people from The Bikery ran over and put out the fire. We need to be able to be ready to provide our own solutions, and this is something a lot of people in the building are talking about. So, how do we build out safety teams? We had a skinhead come to the door a couple weeks after the election. I was the only one there, and the person held up this sharpened object to my neck. Spoiler alert, I’m still here. I’m alive.\u003c/p>\n\u003cp>\u003cstrong>That sounds terrifying!\u003c/strong>\u003cbr>\n\u003cstrong>\u003cbr>\nDevi:\u003c/strong> Yeah, it was not the highlight of my day, I will say that. The thing about that, this sh-t is real and I never thought that that would happen in East Oakland, like ever. But, yeah, this sh-t is everywhere.\u003c/p>\n\u003cp>Yeah, so being like what does that look like, what does that look like if there were a giant earthquake or whatever it is, something happens and you lose your communication channels, what do you do? What skills do you have, what can you contribute to the thing, how do you communicate to your crew, who is your crew, what are your plans that are in place.\u003c/p>\n\u003cp>And then also I just want to write some f-cking jokes. You know how there’s \u003cem>Saturday Night Live\u003c/em>? I want to do a thing that’s called \u003cem>Sunday Night Dead\u003c/em>, and do kind of a weekly in-person show where we actually talk about the news, but we talk about it in a way that’s not just trauma-informed but healing-centered with our people, but all comedy.\u003c/p>\n\u003cp>\u003cstrong>What does your ideal future look like for artists in the Bay Area?\u003c/strong>\u003cbr>\n\u003cstrong>\u003cbr>\nLexi:\u003c/strong> That is super easy to answer. I guess starting with the basics, I would love artists to have the ability to live in the Bay Area, survive in the Bay Area.\u003c/p>\n\u003cp>\u003cstrong>Devi:\u003c/strong> Instantly when you said that, I was just like, “Artists need to get paid!” You know? But the truth is, we also need an end to capitalism.\u003c/p>\n\u003cp>What’s true is that our people’s survival always depends on creativity. We have to be able to imagine worlds with ourselves going beyond survival. What I’m hoping for and I think what we’re trying to plant seeds for is that everyone actually sees themselves as an artist and as a creative person, and that we can through that collective creativity imagine worlds together and build worlds together where everyone is held, and cherished, and valued, everybody has dignity, everybody has love, everybody has access. Frankly, around the basics also, everyone should have free, clean access to water and clean air.\u003c/p>\n\u003cp>Also, b-tches need to get paid.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Learn more about Peacock Rebellion \u003ca href=\"http://www.peacockrebellion.org/\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://www.kqed.org/arts/tag/bay-brilliant\" target=\"_blank\" rel=\"noopener\">Bay Brilliant\u003c/a>, a series celebrating 10 local artists, creatives and makers who are pushing boundaries in 2018. Driven by passion for their own disciplines—music, dance, theater, visual art, performance, writing, illustration and more—these artists are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>Using humor and imagination as survival tools is a guiding principle for Peacock Rebellion, an East Oakland-based art and activism collective composed of queer and trans people of color. Led by Devi Peacock, Lexi Adsit, Q Quintero, Kathrin Cantin and Luna Merbruja, the group leverages its many creative talents to engage their communities in social justice causes.\u003c/p>\n\u003cp>Peacock Rebellion may be primarily known for \u003ca href=\"http://www.peacockrebellion.org/shows/\" target=\"_blank\" rel=\"noopener\">Brouhaha\u003c/a>, a hilarious and moving comedic storytelling showcase with a cast of trans women of color. But the group also offers services to the community: They banded together with several other activist-minded collectives to \u003ca href=\"https://www.kqed.org/arts/13003192/oakland-grassroots-groups-unite-to-purchase-23rd-avenue-building\" target=\"_blank\" rel=\"noopener\">purchase a mixed-use building\u003c/a> on 23rd Avenue in Oakland through a land trust deal, securing affordable housing and commercial rent for activist groups and low-income residents. In their new headquarters, they lead performance workshops, offer access to technologies like 3D printers and industrial sewing machines, provide a low-cost event space and host events to activate their community in local politics.\u003c/p>\n\u003cp>The artist-activists in Peacock Rebellion reject the notion that big, bureaucratic nonprofits hold the keys to a more equitable future; instead, their focus is on people power. (They have a board of elders instead of a board of directors, consisting of Cherry Galette of Mangos with Chili, writer-activist Jen-Mei Wu, game developer and author Micha Cárdenas, Kebo Drew of Queer Women of Color Media Arts Project, Pam Peniston of the Queer Cultural Center and musician and filmmaker StormMiguel Florez.)\u003c/p>\n\u003cp>Despite the many institutional barriers and -isms faced by queer and trans people of color, Peacock Rebellion fights for change through their artistry, always keeping their vision for a better world front of mind.\u003c/p>\n\u003cfigure id=\"attachment_13839240\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839240\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-800x571.jpg\" alt=\"Peacock Rebellion activates their community of queer and trans people of color with politically-inspired art projects and workshops. \" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3-520x371.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz3.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Peacock Rebellion activates their community of queer and trans people of color with politically-inspired art projects and workshops. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How would you sum up the mission of Peacock Rebellion? \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Devi:\u003c/strong> How do we sum up the mission? Oh, my gosh. First, it came out of a lot of stuff I was doing with [the queer and trans people of color (QTPOC) performance collective] Mangos With Chili, and then I was performing in Queer Rebels and a bunch of these QTPOC groups in the Bay. I was also in art school at Goddard, and I dropped out of art school because I was spending more time organizing students and faculty of color dealing with institutionalized racism than I was working on my art.\u003c/p>\n\u003cp>That’s the one part, and then the other part was I was burning out as an organizer. I was way more effective with a microphone than a megaphone. I was able to move people on stage with social justice messages through my comedy, but in my organizing I wasn’t necessarily reaching the people who weren’t already coming to a march or a protest.\u003c/p>\n\u003cp>\u003cstrong>Lexi:\u003c/strong> I guess I would also just add that in recent years we’ve really centered the organization around trans women of color and trans femmes of color. When I entered the organization in 2012, I was a part of the stand-up cohort. There was a transphobia that came up in that cohort, and me and a number of other trans women of color at the time were really noticing a lack of visible trans women of color artists and art shows. I think Devi did a really amazing job in giving Peacock the space and platform where trans women of color and trans femmes of color can access free, quality arts training and support in that way.\u003c/p>\n\u003cfigure id=\"attachment_13839239\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839239\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-800x571.jpg\" alt=\"Lexi Adsit of Peacock Rebellion.\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2-520x371.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_horiz2.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lexi Adsit of Peacock Rebellion. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>It seems like the power of the collective is very important to your vision. You guys have a core leadership group of five people, right? Could you talk about the importance of collaboration in making your projects possible? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Lexi:\u003c/strong> Yeah, I think Devi and I both have a lot of experience navigating the nonprofit industrial complex. There’s such a hierarchy [within nonprofits] that repeats very problematic power dynamics. For us, we’re really unique in the sense that we also have a board of elders that don’t really get seen as much but they’re super amazing and provide us a lot of really wonderful feedback and insights.\u003c/p>\n\u003cp>Our structure is really set up in a way where it’s not just one person making the decisions. There’s the core group of five of us, but we’re all still receiving feedback from our artists all the time, or the board of elders all the time, or our community partners and other organizations that we work closely with all the time. We use all that information to really inform our politics and the things that we promote in terms of our newsletter or calls to action.\u003c/p>\n\u003cp>\u003cstrong>Devi:\u003c/strong> Yeah, for me, the idea that somehow the success of an organization is dependent on one person is just such bullsh-t. Everybody’s brilliance actually creates the whole.\u003c/p>\n\u003cp>We need to center femme leadership. That’s why actually almost all of what we do is, I would say, femme emotional labor. The last Brouhaha, we turned it into a festival and 800 people came. Then within a matter of days, all these people showed up for court support [for someone in our community], and to donate directly to trans women of color, and call the DA to drop charges against a trans woman of color who was defending herself against an abuser.\u003c/p>\n\u003cp>All of that stuff is ultimately about the power of the collective. For us, it’s very low infrastructure on purpose, so that we can move very quickly.\u003c/p>\n\u003cfigure id=\"attachment_13839242\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839242\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/DPeacock_vert-800x1120.jpg\" alt=\"The power of the collective is a guiding principle for the Peacock Rebellion crew.\" width=\"800\" height=\"1120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-857x1200.jpg 857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The power of the collective is a guiding principle for the Peacock Rebellion crew. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>It’s been over six months now since you guys officially bought your building on 23rd Avenue in Oakland. What have been some of the biggest challenges of that and the biggest rewards since buying it?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Lexi:\u003c/strong> I think we’re just really fortunate in the situation that we’re in with the work that we do—with the cost of rent, the cost of living—we’re just truly really blessed to have this amazing space on this amazing block, and to have such awesome community partners like Eastside Arts Alliance, \u003ca href=\"http://oaklandsol.weebly.com/\" target=\"_blank\" rel=\"noopener\">Sustaining Ourselves Locally\u003c/a> (SOL), \u003ca href=\"https://www.cyclesofchange.org/bike_shop_the_bikery\" target=\"_blank\" rel=\"noopener\">The Bikery\u003c/a>—all these places that are just right next door to us that are kinship partners.\u003c/p>\n\u003cp>\u003cstrong>Devi:\u003c/strong> For me, I think similarly the blessings around it are because of the collective power. For example, the day that we got that email from our landlord being like, “Hey, I’m going to sell the building in 90 days,” I absolutely cried. And then very quickly we rolled up our sleeves and were like, “All right, well, I guess we’re buying a building.”\u003c/p>\n\u003cp>Our reality as mostly marginalized people is that we’re struggling just to survive day-to-day on top of everything else. The Bikery got robbed a couple days ago. Yesterday there was a fire at The Village, which is just down the block, and we have a close relationship with them as well.\u003c/p>\n\u003cp>How do we, as a collective of collectives, shape something, go out of crisis mode? How do we dream futures where we’re at the center and we can actually thrive?\u003c/p>\n\u003cfigure id=\"attachment_13839241\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839241\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-800x1120.jpg\" alt=\"Katherin Canton of Peacock Rebellion. \" width=\"800\" height=\"1120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-857x1200.jpg 857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_Vert_4.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Katherin Canton of Peacock Rebellion. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cbr>\nWhat programs are you currently running out of your space in addition to Brouhaha?\u003c/strong>\u003cbr>\n\u003cstrong>\u003cbr>\nLexi:\u003c/strong> Currently, our office is closed for renovations, but when we are not closed for renovations we run a monthly maker day. We have this industrial sewing machine, we have 3D printers, we have a strong base of coders and folks involved in tech.\u003c/p>\n\u003cp>We’re currently in talks with an organization to do a writing group. Then we’re preparing for a big spring show, and that’s going to be more of a cabaret-style show, and it’s going to be on mental health.\u003c/p>\n\u003cp>\u003cstrong>Devi:\u003c/strong> Yeah. The spring show is called Magic Mirrors. Luna Merbruja is artistic-directing it. As it’s scheduled, it’s all trans people of color and looking at mental illness as a kind of brilliance.\u003c/p>\n\u003cp>Then we just had a call yesterday to firm up the writing series. It’s a month-long series that’s all trans femmes. That is in collaboration with \u003ca href=\"https://www.heartsparkpress.com/\" target=\"_blank\" rel=\"noopener\">Heartspark Press\u003c/a>, which is an amazing trans press. Luna is actually also teaching that workshop series.\u003c/p>\n\u003cp>The maker days are all focused around social justice. One recent maker day was called We Are Gems. Nastia, brace yourself, because it is all on \u003cem>Steven Universe\u003c/em>. You’ve seen \u003cem>Steven Universe\u003c/em>, yeah?\u003c/p>\n\u003cp>\u003cstrong>Oh, I actually haven’t.\u003c/strong>\u003cbr>\n\u003cstrong>\u003cbr>\nDevi:\u003c/strong> I just watched all five seasons in like two weeks. That’s like a couple hundred episodes. It’s because I cannot believe that that show is on TV, that the government has not shut it down, because I’m like, “This is f-cking incredible.” There’s a lot of queer and trans visibility in the characters, and it’s all about social justice.\u003c/p>\n\u003cfigure id=\"attachment_13839244\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839244\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-800x1120.jpg\" alt=\"Q Quintero of Peacock Rebellion.\" width=\"800\" height=\"1120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-857x1200.jpg 857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/DPeacock_vert3.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Q Quintero of Peacock Rebellion. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>\u003cbr>\nI had no idea! \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Devi:\u003c/strong> Yeah, like all around empire, capitalism, PTSD, police brutality. There’s all this stuff they cover somehow on this children’s cartoon. So we had this maker day called We Are Gems. Each character [in the show] is a gem, like an amethyst, a rose quartz or that kind of thing. People would actually have to design their gem and then identify their own personal traits in their relationship to social justice.\u003c/p>\n\u003cp>Then we encouraged them to think about what are your core values, and how do you see them in terms of shaping the cultural practices in Oakland? The \u003ca href=\"http://www2.oaklandnet.com/government/o/CityAdministration/d/economic-workforce-development/o/cultural-affairs/cultural-plan/index.htm\" target=\"_blank\" rel=\"noopener\">City of Oakland’s Cultural Plan\u003c/a> is being rewritten for the first time in 30 years, and the last version of the cultural plan is not even a little about equity.\u003c/p>\n\u003cp>We had copies of the City of Oakland’s Cultural Plan, and people, together as a collective of people who had never met before, [used the gem project] to shape their own talking points. We took those talking points, and then we had stations set up for people to call and email the City of Oakland with their ideas about what they want to see in the Cultural Plan. Then we sent the collectively written talking points to our email list with a call-to-action button.\u003c/p>\n\u003cp>\u003cstrong>What would be your wildest dreams of what you can do with your new space? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Lexi:\u003c/strong> Something we are dreaming about and thinking about how to make happen is we want to turn one of the back rooms into a sound studio. People would be able to do podcasts, or record music or audio, or we would be able to run programs out of there.\u003c/p>\n\u003cp>\u003cstrong>Devi:\u003c/strong> I’m also interested in shifting the maker days into an \u003ca href=\"https://www.akpress.org/emergentstrategy.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Emergent Strategy\u003c/em>\u003c/a> training series [based on Adrienne Maree Brown’s radical self-help book]. We’d be taking people through a yearlong study of the \u003cem>Emergent Strategy\u003c/em> framework and book. One example is that a couple months ago someone lit a blanket on fire and threw it over the fence and half of the yard next to us burned. The fire department never came.\u003c/p>\n\u003cp>\u003cstrong>Oh my god, that’s terrible.\u003c/strong>\u003cbr>\n\u003cstrong>\u003cbr>\nDevi:\u003c/strong> We had gone through training on how to use fire extinguishers and stuff, so people from The Bikery ran over and put out the fire. We need to be able to be ready to provide our own solutions, and this is something a lot of people in the building are talking about. So, how do we build out safety teams? We had a skinhead come to the door a couple weeks after the election. I was the only one there, and the person held up this sharpened object to my neck. Spoiler alert, I’m still here. I’m alive.\u003c/p>\n\u003cp>\u003cstrong>That sounds terrifying!\u003c/strong>\u003cbr>\n\u003cstrong>\u003cbr>\nDevi:\u003c/strong> Yeah, it was not the highlight of my day, I will say that. The thing about that, this sh-t is real and I never thought that that would happen in East Oakland, like ever. But, yeah, this sh-t is everywhere.\u003c/p>\n\u003cp>Yeah, so being like what does that look like, what does that look like if there were a giant earthquake or whatever it is, something happens and you lose your communication channels, what do you do? What skills do you have, what can you contribute to the thing, how do you communicate to your crew, who is your crew, what are your plans that are in place.\u003c/p>\n\u003cp>And then also I just want to write some f-cking jokes. You know how there’s \u003cem>Saturday Night Live\u003c/em>? I want to do a thing that’s called \u003cem>Sunday Night Dead\u003c/em>, and do kind of a weekly in-person show where we actually talk about the news, but we talk about it in a way that’s not just trauma-informed but healing-centered with our people, but all comedy.\u003c/p>\n\u003cp>\u003cstrong>What does your ideal future look like for artists in the Bay Area?\u003c/strong>\u003cbr>\n\u003cstrong>\u003cbr>\nLexi:\u003c/strong> That is super easy to answer. I guess starting with the basics, I would love artists to have the ability to live in the Bay Area, survive in the Bay Area.\u003c/p>\n\u003cp>\u003cstrong>Devi:\u003c/strong> Instantly when you said that, I was just like, “Artists need to get paid!” You know? But the truth is, we also need an end to capitalism.\u003c/p>\n\u003cp>What’s true is that our people’s survival always depends on creativity. We have to be able to imagine worlds with ourselves going beyond survival. What I’m hoping for and I think what we’re trying to plant seeds for is that everyone actually sees themselves as an artist and as a creative person, and that we can through that collective creativity imagine worlds together and build worlds together where everyone is held, and cherished, and valued, everybody has dignity, everybody has love, everybody has access. Frankly, around the basics also, everyone should have free, clean access to water and clean air.\u003c/p>\n\u003cp>Also, b-tches need to get paid.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Learn more about Peacock Rebellion \u003ca href=\"http://www.peacockrebellion.org/\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003ca href=\"http://www.desicomedyfest.com\" target=\"_blank\" rel=\"noopener noreferrer\">Desi Comedy Fest\u003c/a> has grown in recent years to become one of the biggest annual comedy events in the San Francisco Bay Area, featuring 32 comics in 11 shows region-wide.\u003c/p>\n\u003cp>Desi Comedy Fest co-founder \u003ca href=\"http://www.mahatma-moses.com\" target=\"_blank\" rel=\"noopener noreferrer\">Samson Koletkar\u003c/a> says this all started nearly ten years ago in the aftermath of “26/11,” a coordinated series of terrorist attacks across Mumbai in 2008.\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"Apple-converted-space\">Koletkar grew up in \u003c/span>Mumbai, and although he long ago moved to the Bay Area, he kept asking himself what he could do to make the world a better place. “What am I going to do as a comedian? The least I can do is get Indians and Pakistanis in the same room and make them laugh.”\u003cspan class=\"Apple-converted-space\"> He staged a couple of shows here that did just that.\u003c/span>\u003c/p>\n\u003cp>Thus began his third career, after comedy and computer software, staging live entertainment. Then in 2014, along with fellow Indian-born comic \u003ca href=\"http://www.desicomedyfest.com/abhay-nadkarni/\" target=\"_blank\" rel=\"noopener noreferrer\">Abhay Nadkarni\u003c/a>, Koletkar launched the Desi Comedy Fest to create a showcase for South Asian talent.\u003c/p>\n\u003cp>It started small: four shows and a handful of comedians he knew, including a KQED Art’s \u003ca href=\"https://www.kqed.org/arts/11484833/women-to-watch-dhaya-lakshminarayanan\" target=\"_blank\" rel=\"noopener noreferrer\">Woman to Watch\u003c/a> and self-described nerd, \u003ca href=\"http://dhayacomedy.com\" target=\"_blank\" rel=\"noopener noreferrer\">Dhaya Lakshminarayanan\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=rKKXfrH_6pU]\u003c/p>\n\u003cp>Over the past five years, the Desi Comedy Fest has grown in terms of audience size and the roster of talent onstage. In 2014, roughly 700 people attended. This year, Koletkar and Nadkarni are expecting something more like 4,000, in variety of venues from Mill Valley south to Santa Cruz.\u003c/p>\n\u003cp>There have been as many as 54 comedians featured, but the festival has downsized to 32, finding that the magic number to allow each enough time onstage and reduce the number of logistical nightmares required every year.\u003c/p>\n\u003cp>Koletkar, who bills himself as “the world’s only Indian Jewish stand up comedian,” thrills at the diversity of South Asian talent he’s able to book, in terms of geography, religion, language and personal experience.\u003c/p>\n\u003cp>He adds that he sees a sea change away from thickly accented impressions of family members, essentially getting a laugh at their expense. That’s grown stale for many first-generation fans, a large part of any Bay Area audience, especially in Silicon Valley. “They’ll come up to me and go, ‘You don’t do the same old stereotypically stupid jokes. So refreshing,'” Koletkar says.\u003c/p>\n\u003cp>The festival also pulls in talent now from across North America, like \u003ca href=\"http://azhar.com\" target=\"_blank\" rel=\"noopener noreferrer\">Azhar Usman\u003c/a>, a burly, bearded Muslim Indian-American from Chicago who uses all of that in his act.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=gz4WrCQuNVI]\u003c/p>\n\u003cp>Given the Trump Administration’s travel ban, you won’t be surprised to hear the majority of comics are American-born, and all reside in the United States. But increasingly, the Desi Comedy Fest is not limiting itself to South Asian performers. This year’s program also includes Filipino, Iranian, Japanese, Libyan and Syrian-Mexican stand-up artists.\u003c/p>\n\u003cp>Nadkarni, “the only Konkani [from the Indian region of Goa] comedian in this festival,” adds there’s similar diversity in the audiences as well, and he’s not just talking about heavy South Asian representation in the South Bay. “In San Francisco, I’ve met white people with Indian names. It’s the funniest thing!” He’s referring to the children of hippies who converted to Hinduism.\u003c/p>\n\u003cp>What’s on tap for the future? The co-founders say they’d be game to expand to the point where they invite white comedians, perhaps even John Stewart and Stephen Colbert. Already, Nadkarni has joined LA-based comedian \u003ca href=\"http://www.rsarvate.com\" target=\"_blank\" rel=\"noopener noreferrer\">Richard Sarvate\u003c/a> to spoof Jerry Seinfeld’s series, \u003cem>\u003ca href=\"http://comediansincarsgettingcoffee.com\" target=\"_blank\" rel=\"noopener noreferrer\">Comedians in Cars Getting Coffee\u003c/a>. \u003c/em>The spoof is called \u003cem>\u003ca href=\"https://youtu.be/l8YQWmY3r7U\">Comedians in Rickshaws Getting Chai\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>The first episode was shot in India, but Nadkarni would like to try filming the second in the US. “If anyone has a rickshaw and they want to show it off, that’d be great.”\u003c/p>\n\u003cfigure id=\"attachment_13838647\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838647\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/AbhayNadkarni-crowd-DCF202017_MtnView-hi-res-800x494.jpg\" alt=\"Abhay Nadkarni entertains a crowd in Mountain View during Desi Comedy Fest 2017.\" width=\"800\" height=\"494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AbhayNadkarni-crowd-DCF202017_MtnView-hi-res-800x494.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AbhayNadkarni-crowd-DCF202017_MtnView-hi-res-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AbhayNadkarni-crowd-DCF202017_MtnView-hi-res-768x474.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AbhayNadkarni-crowd-DCF202017_MtnView-hi-res-1020x629.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AbhayNadkarni-crowd-DCF202017_MtnView-hi-res-1200x741.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AbhayNadkarni-crowd-DCF202017_MtnView-hi-res-1920x1185.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AbhayNadkarni-crowd-DCF202017_MtnView-hi-res-1180x728.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AbhayNadkarni-crowd-DCF202017_MtnView-hi-res-960x592.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AbhayNadkarni-crowd-DCF202017_MtnView-hi-res-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AbhayNadkarni-crowd-DCF202017_MtnView-hi-res-375x231.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AbhayNadkarni-crowd-DCF202017_MtnView-hi-res-520x321.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AbhayNadkarni-crowd-DCF202017_MtnView-hi-res.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Abhay Nadkarni entertains a crowd in Mountain View during Desi Comedy Fest 2017. \u003ccite>(Photo: Courtesy of Desi Comedy Fest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Desi Comedy Fest 2018 continues through August 19 at multiple venues. For more information, click \u003ca href=\"http://www.desicomedyfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://www.desicomedyfest.com\" target=\"_blank\" rel=\"noopener noreferrer\">Desi Comedy Fest\u003c/a> has grown in recent years to become one of the biggest annual comedy events in the San Francisco Bay Area, featuring 32 comics in 11 shows region-wide.\u003c/p>\n\u003cp>Desi Comedy Fest co-founder \u003ca href=\"http://www.mahatma-moses.com\" target=\"_blank\" rel=\"noopener noreferrer\">Samson Koletkar\u003c/a> says this all started nearly ten years ago in the aftermath of “26/11,” a coordinated series of terrorist attacks across Mumbai in 2008.\u003cspan class=\"Apple-converted-space\"> \u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"Apple-converted-space\">Koletkar grew up in \u003c/span>Mumbai, and although he long ago moved to the Bay Area, he kept asking himself what he could do to make the world a better place. “What am I going to do as a comedian? The least I can do is get Indians and Pakistanis in the same room and make them laugh.”\u003cspan class=\"Apple-converted-space\"> He staged a couple of shows here that did just that.\u003c/span>\u003c/p>\n\u003cp>Thus began his third career, after comedy and computer software, staging live entertainment. Then in 2014, along with fellow Indian-born comic \u003ca href=\"http://www.desicomedyfest.com/abhay-nadkarni/\" target=\"_blank\" rel=\"noopener noreferrer\">Abhay Nadkarni\u003c/a>, Koletkar launched the Desi Comedy Fest to create a showcase for South Asian talent.\u003c/p>\n\u003cp>It started small: four shows and a handful of comedians he knew, including a KQED Art’s \u003ca href=\"https://www.kqed.org/arts/11484833/women-to-watch-dhaya-lakshminarayanan\" target=\"_blank\" rel=\"noopener noreferrer\">Woman to Watch\u003c/a> and self-described nerd, \u003ca href=\"http://dhayacomedy.com\" target=\"_blank\" rel=\"noopener noreferrer\">Dhaya Lakshminarayanan\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rKKXfrH_6pU'\n title='//www.youtube.com/embed/rKKXfrH_6pU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Over the past five years, the Desi Comedy Fest has grown in terms of audience size and the roster of talent onstage. In 2014, roughly 700 people attended. This year, Koletkar and Nadkarni are expecting something more like 4,000, in variety of venues from Mill Valley south to Santa Cruz.\u003c/p>\n\u003cp>There have been as many as 54 comedians featured, but the festival has downsized to 32, finding that the magic number to allow each enough time onstage and reduce the number of logistical nightmares required every year.\u003c/p>\n\u003cp>Koletkar, who bills himself as “the world’s only Indian Jewish stand up comedian,” thrills at the diversity of South Asian talent he’s able to book, in terms of geography, religion, language and personal experience.\u003c/p>\n\u003cp>He adds that he sees a sea change away from thickly accented impressions of family members, essentially getting a laugh at their expense. That’s grown stale for many first-generation fans, a large part of any Bay Area audience, especially in Silicon Valley. “They’ll come up to me and go, ‘You don’t do the same old stereotypically stupid jokes. So refreshing,'” Koletkar says.\u003c/p>\n\u003cp>The festival also pulls in talent now from across North America, like \u003ca href=\"http://azhar.com\" target=\"_blank\" rel=\"noopener noreferrer\">Azhar Usman\u003c/a>, a burly, bearded Muslim Indian-American from Chicago who uses all of that in his act.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/gz4WrCQuNVI'\n title='//www.youtube.com/embed/gz4WrCQuNVI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Given the Trump Administration’s travel ban, you won’t be surprised to hear the majority of comics are American-born, and all reside in the United States. But increasingly, the Desi Comedy Fest is not limiting itself to South Asian performers. This year’s program also includes Filipino, Iranian, Japanese, Libyan and Syrian-Mexican stand-up artists.\u003c/p>\n\u003cp>Nadkarni, “the only Konkani [from the Indian region of Goa] comedian in this festival,” adds there’s similar diversity in the audiences as well, and he’s not just talking about heavy South Asian representation in the South Bay. “In San Francisco, I’ve met white people with Indian names. It’s the funniest thing!” He’s referring to the children of hippies who converted to Hinduism.\u003c/p>\n\u003cp>What’s on tap for the future? The co-founders say they’d be game to expand to the point where they invite white comedians, perhaps even John Stewart and Stephen Colbert. Already, Nadkarni has joined LA-based comedian \u003ca href=\"http://www.rsarvate.com\" target=\"_blank\" rel=\"noopener noreferrer\">Richard Sarvate\u003c/a> to spoof Jerry Seinfeld’s series, \u003cem>\u003ca href=\"http://comediansincarsgettingcoffee.com\" target=\"_blank\" rel=\"noopener noreferrer\">Comedians in Cars Getting Coffee\u003c/a>. \u003c/em>The spoof is called \u003cem>\u003ca href=\"https://youtu.be/l8YQWmY3r7U\">Comedians in Rickshaws Getting Chai\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>The first episode was shot in India, but Nadkarni would like to try filming the second in the US. “If anyone has a rickshaw and they want to show it off, that’d be great.”\u003c/p>\n\u003cfigure id=\"attachment_13838647\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838647\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/AbhayNadkarni-crowd-DCF202017_MtnView-hi-res-800x494.jpg\" alt=\"Abhay Nadkarni entertains a crowd in Mountain View during Desi Comedy Fest 2017.\" width=\"800\" height=\"494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AbhayNadkarni-crowd-DCF202017_MtnView-hi-res-800x494.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AbhayNadkarni-crowd-DCF202017_MtnView-hi-res-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AbhayNadkarni-crowd-DCF202017_MtnView-hi-res-768x474.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AbhayNadkarni-crowd-DCF202017_MtnView-hi-res-1020x629.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AbhayNadkarni-crowd-DCF202017_MtnView-hi-res-1200x741.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AbhayNadkarni-crowd-DCF202017_MtnView-hi-res-1920x1185.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AbhayNadkarni-crowd-DCF202017_MtnView-hi-res-1180x728.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AbhayNadkarni-crowd-DCF202017_MtnView-hi-res-960x592.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AbhayNadkarni-crowd-DCF202017_MtnView-hi-res-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AbhayNadkarni-crowd-DCF202017_MtnView-hi-res-375x231.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AbhayNadkarni-crowd-DCF202017_MtnView-hi-res-520x321.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/AbhayNadkarni-crowd-DCF202017_MtnView-hi-res.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Abhay Nadkarni entertains a crowd in Mountain View during Desi Comedy Fest 2017. \u003ccite>(Photo: Courtesy of Desi Comedy Fest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Desi Comedy Fest 2018 continues through August 19 at multiple venues. For more information, click \u003ca href=\"http://www.desicomedyfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
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"order": 18
},
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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