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"content": "\u003cp>As the week’s Do List co-host Jamedra says, we could all use a laugh these days. So we’re lucky that \u003ca href=\"https://www.facebook.com/John-Witherspoon-110749719255/\" target=\"_blank\" rel=\"noopener noreferrer\">John Witherspoon\u003c/a>, the grumpy foul-mouthed father from the \u003ca href=\"http://www.xxlmag.com/news/2017/07/ice-cube-hints-last-friday-movie-coming-soon/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Friday\u003c/em>\u003c/a> movie franchise, is coming to San Jose. Witherspoon was a regular for years on \u003cem>The Richard Pryor Show\u003c/em> and \u003cem>The Wayans Bros.\u003c/em>, and more recently he’s appeared on \u003cem>Black-ish. \u003c/em>Think of him, at least in standup, as the Redd Foxx of modern comedy: rude, silly and very funny. He’s playing San Jose Improv on Aug. 25–27, and you can find \u003ca href=\"http://sanjose.improv.com/comedian/tw-eventinfo/John+Witherspoon/7422395/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SYOtK-MrexU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the week’s Do List co-host Jamedra says, we could all use a laugh these days. So we’re lucky that \u003ca href=\"https://www.facebook.com/John-Witherspoon-110749719255/\" target=\"_blank\" rel=\"noopener noreferrer\">John Witherspoon\u003c/a>, the grumpy foul-mouthed father from the \u003ca href=\"http://www.xxlmag.com/news/2017/07/ice-cube-hints-last-friday-movie-coming-soon/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Friday\u003c/em>\u003c/a> movie franchise, is coming to San Jose. Witherspoon was a regular for years on \u003cem>The Richard Pryor Show\u003c/em> and \u003cem>The Wayans Bros.\u003c/em>, and more recently he’s appeared on \u003cem>Black-ish. \u003c/em>Think of him, at least in standup, as the Redd Foxx of modern comedy: rude, silly and very funny. He’s playing San Jose Improv on Aug. 25–27, and you can find \u003ca href=\"http://sanjose.improv.com/comedian/tw-eventinfo/John+Witherspoon/7422395/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\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/SYOtK-MrexU'\n title='//www.youtube.com/embed/SYOtK-MrexU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Actress Pamela Adlon has grown a successful TV career over decades, without ever becoming the stereotype of a tabloid starlet hounded by paparazzi. She starred in \u003cem>Californication,\u003c/em> co-created \u003cem>Louie\u003c/em> with comedian Louis C.K., and won an Emmy for her voice-over work as 12-year-old Bobby Hill on the animated show \u003cem>King of the Hill.\u003c/em> Now she’s doing the most personal work of her life, with the comedy, \u003cem>Better Things.\u003c/em>\u003c/p>\n\u003cp>On the show, Adlon plays Sam, a single mom raising three daughters, with a mother who lives across the street. In real life, Adlon has raised three daughters on her own, and her mother lives across the street. In the credits of \u003cem>Better Things,\u003c/em> Adlon has four titles: actress, writer, director, producer.\u003c/p>\n\u003cp>While some TV programs seem created by committee with a team of network executives, \u003cem>Better Things\u003c/em> is 100 percent Adlon. “This show came out of my vagina!” she shouts in her familiar raspy voice.\u003c/p>\n\u003cp>When we meet Adlon, she is dressed exactly like her character on the show. Her team is doing the final touch-ups on season two, which airs on FX in mid-September. The first season won a Peabody, and Adlon just received an Emmy nomination for Outstanding Leading Actress in a Comedy Series. Her post-production offices are in a nondescript, brutalist concrete building that looks like it was suddenly abandoned 20 years ago. On the floor where Adlon works, there are half-dismantled cubicles and floppy disks scattered on the stained carpet.\u003c/p>\n\u003cp>“I’ve done photo shoots in here. I take people over and I threw the disks at the photographer,” she says. But it’s not as lowbrow as it looks. “Seth Rogen’s right down the hall!”\u003c/p>\n\u003cfigure id=\"attachment_13806149\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/betterthings_pilot_1030_f_enl-8fb36d80505f1ebb17775b2920f6dcb1f3760cd2-800x534.jpg\" alt=\"Some of the scenes in 'Better Things' were inspired by experiences Adlon had with her own daughters. Adlon is pictured above with Olivia Edward, who plays Duke.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13806149\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/betterthings_pilot_1030_f_enl-8fb36d80505f1ebb17775b2920f6dcb1f3760cd2-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/betterthings_pilot_1030_f_enl-8fb36d80505f1ebb17775b2920f6dcb1f3760cd2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/betterthings_pilot_1030_f_enl-8fb36d80505f1ebb17775b2920f6dcb1f3760cd2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/betterthings_pilot_1030_f_enl-8fb36d80505f1ebb17775b2920f6dcb1f3760cd2-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/betterthings_pilot_1030_f_enl-8fb36d80505f1ebb17775b2920f6dcb1f3760cd2-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/betterthings_pilot_1030_f_enl-8fb36d80505f1ebb17775b2920f6dcb1f3760cd2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/betterthings_pilot_1030_f_enl-8fb36d80505f1ebb17775b2920f6dcb1f3760cd2-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/betterthings_pilot_1030_f_enl-8fb36d80505f1ebb17775b2920f6dcb1f3760cd2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/betterthings_pilot_1030_f_enl-8fb36d80505f1ebb17775b2920f6dcb1f3760cd2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/betterthings_pilot_1030_f_enl-8fb36d80505f1ebb17775b2920f6dcb1f3760cd2-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Some of the scenes in ‘Better Things’ were inspired by experiences Adlon had with her own daughters. Adlon is pictured above with Olivia Edward, who plays Duke. \u003ccite>(Colleen Hayes/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She leads us into the room where she’s reviewing the season two premiere. As the episode begins, she explains the personal significance of each camera shot. Some reflect memories of her own daughters, scenes that she recreated with the actresses playing her TV daughters. Even the opening credits are in her own handwriting. “That’s my favorite color, green,” she says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If the show feels authentic, that’s because even the set decorations come from Adlon’s real life. She points out art on the walls painted by her real-life handy man. Characters hold vintage glasses that Adlon collected over the years. After a line of dialogue from Adlon’s TV mother gets a laugh, Adlon says, “That’s what my mother says about my dad … I’m really a fraud, because all I do is just document what my mother says.”\u003c/p>\n\u003cp>Scene by scene, Adlon notes where the sound of a party should be louder, or when the music in a scene hits the wrong emotional note. She also provides a running commentary on the characters’ inner lives. “There should be drinking games for my show that every time Sam takes a deep breath, when she gets a foot to her stomach, take a shot!”\u003c/p>\n\u003cp>When bagels arrive, Adlon insists that everybody stop and eat. Most of the people on her team are women. So are all of the leading actors on \u003cem>Better Things.\u003c/em> That’s still unusual in Hollywood. “I’m the boss of everything on my show and I still feel that weird woman thing,” she says.\u003c/p>\n\u003cp>“Patty Scanlon who plays one of my friends in the show gave me a T-shirt last year that says ‘CEO’ and I was wearing it one day,” says Adlon, “And some guy came up and was like are you the CEO? And I was like, ‘Yes! What are you talking about?’ ”\u003c/p>\n\u003cp>Adlon is defying Hollywood expectations in other ways, too. “Why am I not on the scrap heap, why did everything start happening for me at 50?” she asks. “Isn’t that crazy? You have to work very, very hard. I’ve been working since I’m 9 years old.”\u003c/p>\n\u003cp>\u003cem>Better Things\u003c/em> deals with the realities of aging, and motherhood, and friendship, in a subtle way. There are no cliffhangers, and few dramatic plot twists.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I want to elevate the mundane,” Adlon says. “That’s what you’re seeing. This is the way I live my life.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Pamela+Adlon+Started+Working+At+Age+9%2C+But+%27Better+Things%27+Happened+At+50&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If the show feels authentic, that’s because even the set decorations come from Adlon’s real life. She points out art on the walls painted by her real-life handy man. Characters hold vintage glasses that Adlon collected over the years. After a line of dialogue from Adlon’s TV mother gets a laugh, Adlon says, “That’s what my mother says about my dad … I’m really a fraud, because all I do is just document what my mother says.”\u003c/p>\n\u003cp>Scene by scene, Adlon notes where the sound of a party should be louder, or when the music in a scene hits the wrong emotional note. She also provides a running commentary on the characters’ inner lives. “There should be drinking games for my show that every time Sam takes a deep breath, when she gets a foot to her stomach, take a shot!”\u003c/p>\n\u003cp>When bagels arrive, Adlon insists that everybody stop and eat. Most of the people on her team are women. So are all of the leading actors on \u003cem>Better Things.\u003c/em> That’s still unusual in Hollywood. “I’m the boss of everything on my show and I still feel that weird woman thing,” she says.\u003c/p>\n\u003cp>“Patty Scanlon who plays one of my friends in the show gave me a T-shirt last year that says ‘CEO’ and I was wearing it one day,” says Adlon, “And some guy came up and was like are you the CEO? And I was like, ‘Yes! What are you talking about?’ ”\u003c/p>\n\u003cp>Adlon is defying Hollywood expectations in other ways, too. “Why am I not on the scrap heap, why did everything start happening for me at 50?” she asks. “Isn’t that crazy? You have to work very, very hard. I’ve been working since I’m 9 years old.”\u003c/p>\n\u003cp>\u003cem>Better Things\u003c/em> deals with the realities of aging, and motherhood, and friendship, in a subtle way. There are no cliffhangers, and few dramatic plot twists.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I want to elevate the mundane,” Adlon says. “That’s what you’re seeing. This is the way I live my life.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Pamela+Adlon+Started+Working+At+Age+9%2C+But+%27Better+Things%27+Happened+At+50&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Jerry Lewis, Comic Icon and Titan of Telethons, Dies at 91",
"headTitle": "Jerry Lewis, Comic Icon and Titan of Telethons, Dies at 91 | KQED",
"content": "\u003cp>Jerry Lewis, a comedic fixture on big screens and charity telethons for decades, has died at the age of 91.\u003c/p>\n\u003cp>His death was first reported by the Las Vegas Review-Journal and confirmed by NPR with his publicist and spokeswoman.\u003c/p>\n\u003cp>Cazau provided the following statement:\u003c/p>\n\u003cblockquote>\n\u003cp>“Famed comedian, actor, and legendary entertainer Jerry Lewis passed away peacefully today of natural causes at 91 at his home in Las Vegas with his family by his side.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The son of small-time entertainers who were always on the road, Lewis spent a lot of time with a rotating cast of relatives. As he told TV interviewer David Susskind in 1965: “I was a rent-a kid-a-day club, you know? Who wants Jerry this week?”\u003c/p>\n\u003cfigure id=\"attachment_13806073\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/gettyimages-2641468_wide-2b7e7b929e2dee313b974819db177c978a95b6a8-800x450.jpg\" alt=\"Dean Martin and Jerry Lewis in 1953.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13806073\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-2641468_wide-2b7e7b929e2dee313b974819db177c978a95b6a8-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-2641468_wide-2b7e7b929e2dee313b974819db177c978a95b6a8-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-2641468_wide-2b7e7b929e2dee313b974819db177c978a95b6a8-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-2641468_wide-2b7e7b929e2dee313b974819db177c978a95b6a8-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-2641468_wide-2b7e7b929e2dee313b974819db177c978a95b6a8-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-2641468_wide-2b7e7b929e2dee313b974819db177c978a95b6a8-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-2641468_wide-2b7e7b929e2dee313b974819db177c978a95b6a8-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-2641468_wide-2b7e7b929e2dee313b974819db177c978a95b6a8-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-2641468_wide-2b7e7b929e2dee313b974819db177c978a95b6a8-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-2641468_wide-2b7e7b929e2dee313b974819db177c978a95b6a8-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dean Martin and Jerry Lewis in 1953. \u003ccite>(Express Newspapers/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When he got a bit older, he stepped on stage himself and gradually developed his own act — but it was not until 1945, when he met the suave singer Dean Martin, that he found broad stardom. Lewis was just 19; Martin was 28. Together as an odd-couple team over the next decade, Martin and Lewis went on to become the highest-paid comedy act in the U.S., earn their own radio and TV shows, and delight audiences with 16 films.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“They were paying for two men to let an audience see how much fun they were having, and the love that went on between the older guy and the younger guy,” Lewis \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=4973590\" target->told Fresh Air’s Terry Gross\u003c/a> in 2005. “When we were able to project that to an audience, we had them in our pockets from Day 1.”\u003c/p>\n\u003cp>The partnership fell apart in 1956, and Martin and Lewis hardly spoke to each other for decades after — but, Lewis said, “we never, ever fell out of love.”\u003c/p>\n\u003cfigure id=\"attachment_13806065\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/3289613_slide-176113832262db438bc6985e54b056d10c423640-800x533.jpg\" alt=\"Dean Martin (center) sits with Lewis in 1953 at a boxing match.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13806065\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3289613_slide-176113832262db438bc6985e54b056d10c423640-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3289613_slide-176113832262db438bc6985e54b056d10c423640-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3289613_slide-176113832262db438bc6985e54b056d10c423640-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3289613_slide-176113832262db438bc6985e54b056d10c423640-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3289613_slide-176113832262db438bc6985e54b056d10c423640-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3289613_slide-176113832262db438bc6985e54b056d10c423640-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3289613_slide-176113832262db438bc6985e54b056d10c423640-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3289613_slide-176113832262db438bc6985e54b056d10c423640-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3289613_slide-176113832262db438bc6985e54b056d10c423640-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3289613_slide-176113832262db438bc6985e54b056d10c423640-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dean Martin (center) sits with Lewis in 1953 at a boxing match. \u003ccite>(Topical Press Agency/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Going solo freed Lewis to write, direct and star in his own movies. An early adopter of new film and video technology, he pioneered the now-standard practice of placing a video monitor on the film camera to provide immediate feedback to the director on how a scene looks. He used the technique for all of the films he directed — including his biggest hit, \u003cem>The Nutty Professor\u003c/em>.\u003c/p>\n\u003cp>In that comedic spin on \u003cem>The Strange Case Of Dr Jekyll And Mr Hyde\u003c/em>, Lewis plays both the eponymous academic and chemically liberated id, the smug hipster Buddy Love. Co-star Stella Stevens says that when it came time for Lewis to revert from irresistible bully to shy professor Julius Kelp, he could hardly bear to do it.\u003c/p>\n\u003cp>“Jerry Lewis was as much a chick magnet as Dean Martin was at all times. He did have all those qualities. He didn’t add something in that was not him,” she recalls of Love, Lewis’ twist on Hyde. “Those are probably his fondest wishes of how he could be bad … and that was the baddest he could think of.”\u003c/p>\n\u003cp>https://twitter.com/BBCArchive/status/842288088021852160\u003c/p>\n\u003cp>Biographer Shawn Levy said Lewis’ struggle was not surprising, given the almost confessional air about the film.\u003c/p>\n\u003cp>“There’s something very, very personal about that film, very revelatory,” he says.\u003c/p>\n\u003cp>“Jerry as a solo director and performer made a lot of films about multiple personalities,” Levy continues, “there’s two Jerry Lewises in \u003cem>The Bellboy\u003c/em>, there’s five or six in \u003cem>The Family Jewels\u003c/em>, there’s three in \u003cem>Three On A Couch\u003c/em> … but in \u003cem>The Nutty Professor,\u003c/em> I think it’s the only one where you have a contrast between the nebbish Professor Kelp, who invents something, and then this guy who kind of destroys it, who much more resembled the off-camera Jerry Lewis than any other character he ever played.”\u003c/p>\n\u003cp>Levy says that Lewis could be brusque and self-confident. Martin Scorsese, who directed Lewis in \u003cem>The King of Comedy\u003c/em>, says Lewis could be intimidating, too.\u003c/p>\n\u003cp>“Could be gracious, could be difficult, and is the kind of person who walks into his office or an area and people just move aside,” Scorsese says, adding that Lewis was also a great filmmaker — “very precise, very brilliant,” right up there with Buster Keaton and Charlie Chaplin.\u003c/p>\n\u003cp>A notoriously prickly personality, Lewis also had a nagging habit of stirring controversy — especially “with insensitive remarks about women, gays and people with disabilities,” as \u003ca href=\"http://www.npr.org/2011/09/02/140095847/end-of-an-era-a-telethon-without-jerry-lewis\" target->NPR’s Pam Fessler reported in 2011\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13806067\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/96142260_slide-1c2e1030c6d8ea14136e8cc0b96067a74a0dd5a5-800x533.jpg\" alt=\"Lewis makes a face in 1981 as President Reagan and his wife, Nancy, receive Christi Bartlett, a child who was suffering from muscular dystrophy.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13806067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/96142260_slide-1c2e1030c6d8ea14136e8cc0b96067a74a0dd5a5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/96142260_slide-1c2e1030c6d8ea14136e8cc0b96067a74a0dd5a5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/96142260_slide-1c2e1030c6d8ea14136e8cc0b96067a74a0dd5a5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/96142260_slide-1c2e1030c6d8ea14136e8cc0b96067a74a0dd5a5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/96142260_slide-1c2e1030c6d8ea14136e8cc0b96067a74a0dd5a5-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/96142260_slide-1c2e1030c6d8ea14136e8cc0b96067a74a0dd5a5-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/96142260_slide-1c2e1030c6d8ea14136e8cc0b96067a74a0dd5a5-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/96142260_slide-1c2e1030c6d8ea14136e8cc0b96067a74a0dd5a5-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/96142260_slide-1c2e1030c6d8ea14136e8cc0b96067a74a0dd5a5-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/96142260_slide-1c2e1030c6d8ea14136e8cc0b96067a74a0dd5a5-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lewis makes a face in 1981 as President Reagan and his wife, Nancy, receive Christi Bartlett, a child who was suffering from muscular dystrophy. \u003ccite>(Don Rypka/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time Scorsese directed him in 1983, Lewis’ own filmmaking career had largely stalled — but Lewis had found another spotlight in 1966, leading live telethons on behalf of the \u003ca href=\"https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&ved=0ahUKEwiF7q260q7UAhUFxYMKHUA3DCwQFgg6MAA&url=https%3A%2F%2Fwww.mda.org%2F&usg=AFQjCNHNaCq9SbN39Qw8n10NQV3NwYujnQ&sig2=o66I6-h3p2btxfPJvvfH2A\" target->Muscular Dystrophy Association\u003c/a>. In nearly half a century of hosting the telethon, he helped raise more than $2 billion to combat the disease and aid its youngest victims, dubbed “Jerry’s Kids.”\u003c/p>\n\u003cp>And Lewis was such an entertainment powerhouse early in his career that he’d acquired the rights to his films, which allowed him to cash in on Eddie Murphy’s 1996 \u003cem>Nutty Professor\u003c/em> remake and its 2000 sequel. In 2012 Lewis turned \u003cem>The Nutty Professor\u003c/em> into a stage musical, which he directed himself, at the age of 86.\u003c/p>\n\u003cp>For all his success, innovation and popularity — \u003ca href=\"http://www.vanityfair.com/culture/2013/07/french-love-jerry-lewis-paris\" target->notably in France\u003c/a>, where the government gave him the Legion of Honor, the country’s highest civilian award — Lewis was never much of a hit with the critics. He received few honors for his acting or directing before his lifetime achievement awards, such as the Oscars’ Jean Hersholt humanitarian award, began rolling in.\u003c/p>\n\u003cp>Still, he never retired, starring as recently as 2016 in the film \u003cem>Max Rose\u003c/em>. When asked by the \u003cem>Hollywood Reporter\u003c/em> — in a \u003ca href=\"http://www.hollywoodreporter.com/news/jerry-lewis-interview-painful-awkward-awful-7-minutes-watch-957115\" target->remarkable case study\u003c/a> of Lewis’ often abrasive manner — why he and other older comedians kept actively working, Lewis answered simply: “Because we do it well.”\u003c/p>\n\u003cp>And “I would do it again in a heartbeat,” Lewis told Gross in 2005.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“To hear an audience laugh — you go to any extreme, because that’s your lot in life.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jerry+Lewis%2C+Comic+Icon+And+Titan+Of+Telethons%2C+Dies+At+91&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Lewis, whose comedic duo with Dean Martin launched him to the peak of showbiz, starred and directed in dozens of films. He was perhaps just as famous for his charity work fighting muscular dystrophy.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jerry Lewis, a comedic fixture on big screens and charity telethons for decades, has died at the age of 91.\u003c/p>\n\u003cp>His death was first reported by the Las Vegas Review-Journal and confirmed by NPR with his publicist and spokeswoman.\u003c/p>\n\u003cp>Cazau provided the following statement:\u003c/p>\n\u003cblockquote>\n\u003cp>“Famed comedian, actor, and legendary entertainer Jerry Lewis passed away peacefully today of natural causes at 91 at his home in Las Vegas with his family by his side.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The son of small-time entertainers who were always on the road, Lewis spent a lot of time with a rotating cast of relatives. As he told TV interviewer David Susskind in 1965: “I was a rent-a kid-a-day club, you know? Who wants Jerry this week?”\u003c/p>\n\u003cfigure id=\"attachment_13806073\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/gettyimages-2641468_wide-2b7e7b929e2dee313b974819db177c978a95b6a8-800x450.jpg\" alt=\"Dean Martin and Jerry Lewis in 1953.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13806073\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-2641468_wide-2b7e7b929e2dee313b974819db177c978a95b6a8-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-2641468_wide-2b7e7b929e2dee313b974819db177c978a95b6a8-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-2641468_wide-2b7e7b929e2dee313b974819db177c978a95b6a8-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-2641468_wide-2b7e7b929e2dee313b974819db177c978a95b6a8-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-2641468_wide-2b7e7b929e2dee313b974819db177c978a95b6a8-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-2641468_wide-2b7e7b929e2dee313b974819db177c978a95b6a8-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-2641468_wide-2b7e7b929e2dee313b974819db177c978a95b6a8-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-2641468_wide-2b7e7b929e2dee313b974819db177c978a95b6a8-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-2641468_wide-2b7e7b929e2dee313b974819db177c978a95b6a8-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-2641468_wide-2b7e7b929e2dee313b974819db177c978a95b6a8-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dean Martin and Jerry Lewis in 1953. \u003ccite>(Express Newspapers/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When he got a bit older, he stepped on stage himself and gradually developed his own act — but it was not until 1945, when he met the suave singer Dean Martin, that he found broad stardom. Lewis was just 19; Martin was 28. Together as an odd-couple team over the next decade, Martin and Lewis went on to become the highest-paid comedy act in the U.S., earn their own radio and TV shows, and delight audiences with 16 films.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“They were paying for two men to let an audience see how much fun they were having, and the love that went on between the older guy and the younger guy,” Lewis \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=4973590\" target->told Fresh Air’s Terry Gross\u003c/a> in 2005. “When we were able to project that to an audience, we had them in our pockets from Day 1.”\u003c/p>\n\u003cp>The partnership fell apart in 1956, and Martin and Lewis hardly spoke to each other for decades after — but, Lewis said, “we never, ever fell out of love.”\u003c/p>\n\u003cfigure id=\"attachment_13806065\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/3289613_slide-176113832262db438bc6985e54b056d10c423640-800x533.jpg\" alt=\"Dean Martin (center) sits with Lewis in 1953 at a boxing match.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13806065\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3289613_slide-176113832262db438bc6985e54b056d10c423640-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3289613_slide-176113832262db438bc6985e54b056d10c423640-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3289613_slide-176113832262db438bc6985e54b056d10c423640-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3289613_slide-176113832262db438bc6985e54b056d10c423640-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3289613_slide-176113832262db438bc6985e54b056d10c423640-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3289613_slide-176113832262db438bc6985e54b056d10c423640-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3289613_slide-176113832262db438bc6985e54b056d10c423640-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3289613_slide-176113832262db438bc6985e54b056d10c423640-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3289613_slide-176113832262db438bc6985e54b056d10c423640-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/3289613_slide-176113832262db438bc6985e54b056d10c423640-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dean Martin (center) sits with Lewis in 1953 at a boxing match. \u003ccite>(Topical Press Agency/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Going solo freed Lewis to write, direct and star in his own movies. An early adopter of new film and video technology, he pioneered the now-standard practice of placing a video monitor on the film camera to provide immediate feedback to the director on how a scene looks. He used the technique for all of the films he directed — including his biggest hit, \u003cem>The Nutty Professor\u003c/em>.\u003c/p>\n\u003cp>In that comedic spin on \u003cem>The Strange Case Of Dr Jekyll And Mr Hyde\u003c/em>, Lewis plays both the eponymous academic and chemically liberated id, the smug hipster Buddy Love. Co-star Stella Stevens says that when it came time for Lewis to revert from irresistible bully to shy professor Julius Kelp, he could hardly bear to do it.\u003c/p>\n\u003cp>“Jerry Lewis was as much a chick magnet as Dean Martin was at all times. He did have all those qualities. He didn’t add something in that was not him,” she recalls of Love, Lewis’ twist on Hyde. “Those are probably his fondest wishes of how he could be bad … and that was the baddest he could think of.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Biographer Shawn Levy said Lewis’ struggle was not surprising, given the almost confessional air about the film.\u003c/p>\n\u003cp>“There’s something very, very personal about that film, very revelatory,” he says.\u003c/p>\n\u003cp>“Jerry as a solo director and performer made a lot of films about multiple personalities,” Levy continues, “there’s two Jerry Lewises in \u003cem>The Bellboy\u003c/em>, there’s five or six in \u003cem>The Family Jewels\u003c/em>, there’s three in \u003cem>Three On A Couch\u003c/em> … but in \u003cem>The Nutty Professor,\u003c/em> I think it’s the only one where you have a contrast between the nebbish Professor Kelp, who invents something, and then this guy who kind of destroys it, who much more resembled the off-camera Jerry Lewis than any other character he ever played.”\u003c/p>\n\u003cp>Levy says that Lewis could be brusque and self-confident. Martin Scorsese, who directed Lewis in \u003cem>The King of Comedy\u003c/em>, says Lewis could be intimidating, too.\u003c/p>\n\u003cp>“Could be gracious, could be difficult, and is the kind of person who walks into his office or an area and people just move aside,” Scorsese says, adding that Lewis was also a great filmmaker — “very precise, very brilliant,” right up there with Buster Keaton and Charlie Chaplin.\u003c/p>\n\u003cp>A notoriously prickly personality, Lewis also had a nagging habit of stirring controversy — especially “with insensitive remarks about women, gays and people with disabilities,” as \u003ca href=\"http://www.npr.org/2011/09/02/140095847/end-of-an-era-a-telethon-without-jerry-lewis\" target->NPR’s Pam Fessler reported in 2011\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13806067\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/96142260_slide-1c2e1030c6d8ea14136e8cc0b96067a74a0dd5a5-800x533.jpg\" alt=\"Lewis makes a face in 1981 as President Reagan and his wife, Nancy, receive Christi Bartlett, a child who was suffering from muscular dystrophy.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13806067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/96142260_slide-1c2e1030c6d8ea14136e8cc0b96067a74a0dd5a5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/96142260_slide-1c2e1030c6d8ea14136e8cc0b96067a74a0dd5a5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/96142260_slide-1c2e1030c6d8ea14136e8cc0b96067a74a0dd5a5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/96142260_slide-1c2e1030c6d8ea14136e8cc0b96067a74a0dd5a5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/96142260_slide-1c2e1030c6d8ea14136e8cc0b96067a74a0dd5a5-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/96142260_slide-1c2e1030c6d8ea14136e8cc0b96067a74a0dd5a5-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/96142260_slide-1c2e1030c6d8ea14136e8cc0b96067a74a0dd5a5-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/96142260_slide-1c2e1030c6d8ea14136e8cc0b96067a74a0dd5a5-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/96142260_slide-1c2e1030c6d8ea14136e8cc0b96067a74a0dd5a5-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/96142260_slide-1c2e1030c6d8ea14136e8cc0b96067a74a0dd5a5-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lewis makes a face in 1981 as President Reagan and his wife, Nancy, receive Christi Bartlett, a child who was suffering from muscular dystrophy. \u003ccite>(Don Rypka/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time Scorsese directed him in 1983, Lewis’ own filmmaking career had largely stalled — but Lewis had found another spotlight in 1966, leading live telethons on behalf of the \u003ca href=\"https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&ved=0ahUKEwiF7q260q7UAhUFxYMKHUA3DCwQFgg6MAA&url=https%3A%2F%2Fwww.mda.org%2F&usg=AFQjCNHNaCq9SbN39Qw8n10NQV3NwYujnQ&sig2=o66I6-h3p2btxfPJvvfH2A\" target->Muscular Dystrophy Association\u003c/a>. In nearly half a century of hosting the telethon, he helped raise more than $2 billion to combat the disease and aid its youngest victims, dubbed “Jerry’s Kids.”\u003c/p>\n\u003cp>And Lewis was such an entertainment powerhouse early in his career that he’d acquired the rights to his films, which allowed him to cash in on Eddie Murphy’s 1996 \u003cem>Nutty Professor\u003c/em> remake and its 2000 sequel. In 2012 Lewis turned \u003cem>The Nutty Professor\u003c/em> into a stage musical, which he directed himself, at the age of 86.\u003c/p>\n\u003cp>For all his success, innovation and popularity — \u003ca href=\"http://www.vanityfair.com/culture/2013/07/french-love-jerry-lewis-paris\" target->notably in France\u003c/a>, where the government gave him the Legion of Honor, the country’s highest civilian award — Lewis was never much of a hit with the critics. He received few honors for his acting or directing before his lifetime achievement awards, such as the Oscars’ Jean Hersholt humanitarian award, began rolling in.\u003c/p>\n\u003cp>Still, he never retired, starring as recently as 2016 in the film \u003cem>Max Rose\u003c/em>. When asked by the \u003cem>Hollywood Reporter\u003c/em> — in a \u003ca href=\"http://www.hollywoodreporter.com/news/jerry-lewis-interview-painful-awkward-awful-7-minutes-watch-957115\" target->remarkable case study\u003c/a> of Lewis’ often abrasive manner — why he and other older comedians kept actively working, Lewis answered simply: “Because we do it well.”\u003c/p>\n\u003cp>And “I would do it again in a heartbeat,” Lewis told Gross in 2005.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Dick Gregory, the comedian and civil rights crusader, died Saturday. He was 84.\u003c/p>\n\u003cp>His family announced the news on his public Facebook page.\u003c/p>\n\u003cp>“It is with enormous sadness that the Gregory family confirms that their father, comedic legend and civil rights activist Mr. Dick Gregory departed this earth tonight in Washington, DC,” his son Christian Gregory said \u003ca href=\"https://www.facebook.com/photo.php?fbid=1434025330008029&set=a.115692181841357.20207.100002017283937&type=3&theater\">in the post\u003c/a>. “The family appreciates the outpouring of support and love and respectfully asks for their privacy as they grieve during this very difficult time. More details will be released over the next few days.”\u003c/p>\n\u003cp>According to The Associated Press, Gregory, who was recently in and out of the hospital, died following a severe bacterial infection. NPR has not independently confirmed the cause of death.\u003c/p>\n\u003cp>After falling ill earlier this month, he was readmitted to the hospital last Saturday, his son says in a Thursday \u003ca href=\"https://www.facebook.com/photo.php?fbid=1431897746887454&set=a.115692181841357.20207.100002017283937&type=3&theater\">Facebook post\u003c/a>: He “remains hospitalized with a serious but stable medical condition. His prognosis is excellent and he should be released within the next few days.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As \u003cem>News\u003c/em> & \u003cem>Notes\u003c/em> host Ed Gordon noted in a \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=4749316\">2005 interview\u003c/a> with the comedian, he’s also an inspired health guru, who doled out advice to many for better living, including celebrities like Michael Jackson, who he advised during the singer’s trial. The musician Questlove \u003ca href=\"https://www.instagram.com/p/BYALMNCnVSO/\">paid tribute\u003c/a> to Gregory’s healthful influence on Instagram, as “one of the first major black figures I saw advocating for a healthier lifestyle for black folks that were caught on unhealthy choices we’ve made in the name of cheaper survival options,” he wrote. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dick+Gregory%2C+Comedian+And+Civil+Rights+Activist%2C+Dies+At+84&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dick Gregory, the comedian and civil rights crusader, died Saturday. He was 84.\u003c/p>\n\u003cp>His family announced the news on his public Facebook page.\u003c/p>\n\u003cp>“It is with enormous sadness that the Gregory family confirms that their father, comedic legend and civil rights activist Mr. Dick Gregory departed this earth tonight in Washington, DC,” his son Christian Gregory said \u003ca href=\"https://www.facebook.com/photo.php?fbid=1434025330008029&set=a.115692181841357.20207.100002017283937&type=3&theater\">in the post\u003c/a>. “The family appreciates the outpouring of support and love and respectfully asks for their privacy as they grieve during this very difficult time. More details will be released over the next few days.”\u003c/p>\n\u003cp>According to The Associated Press, Gregory, who was recently in and out of the hospital, died following a severe bacterial infection. NPR has not independently confirmed the cause of death.\u003c/p>\n\u003cp>After falling ill earlier this month, he was readmitted to the hospital last Saturday, his son says in a Thursday \u003ca href=\"https://www.facebook.com/photo.php?fbid=1431897746887454&set=a.115692181841357.20207.100002017283937&type=3&theater\">Facebook post\u003c/a>: He “remains hospitalized with a serious but stable medical condition. His prognosis is excellent and he should be released within the next few days.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>We’re welcoming back as co-host this week comedian, co-host of the \u003cem>Good Muslim, Bad Muslim\u003c/em> podcast, and \u003ca href=\"https://ww2.kqed.org/arts/women-to-watch2016/\" target=\"_blank\" rel=\"noopener noreferrer\">KQED Women to Watch\u003c/a> honoree \u003ca href=\"http://www.zahracomedy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Zahra Noorbaksh\u003c/a>. Somehow she and I couldn’t fit in the \u003ca href=\"http://petalumamusicfestival.org/our_mission/\" target=\"_blank\" rel=\"noopener noreferrer\">Petaluma Music Festival\u003c/a>, a terrific concert featuring the Chris Robinson Brotherhood, Poor Man’s Whiskey and other American roots bands Aug. 5 at the Sonoma-Marin Fairgrounds, which benefits music programs in Petaluma schools. \u003ca href=\"http://petalumamusicfestival.org/our_mission/\" target=\"_blank\" rel=\"noopener noreferrer\">Details are here\u003c/a>. Now on with the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0e5jPX3ysY8\u003c/p>\n\u003cp>\u003cstrong>Aug. 3–6\u003c/strong>: We start with the cosmic jazz of the\u003ca href=\"http://www.sunraarkestra.com/\" target=\"_blank\" rel=\"noopener noreferrer\"> Sun Ra Arkestra, \u003c/a>which carries on the Afrofuturist ideas of founder Sun Ra — born Herman Blount, who claimed to be from the planet Saturn. Sun Ra died in 1993, but the band continues under the direction of longtime member Marshall Allen, who maintains Sun Ra’s artistic vision for the band, including on-stage costumes that look like Egyptian spacesuits. Years after Sun Ra’s seminal recordings, the music is still mind-blowing; a cacophony of free jazz resolves into a hard bop solo, chased with a chant about space travel. Zahra ran into a number of artists at the recent \u003ca href=\"https://opportunityagenda.org/connect/creative-change/2017-creative-change-retreat\" target=\"_blank\" rel=\"noopener noreferrer\">Sundance Creative Change Retreat\u003c/a> who were deeply influenced by Sun Ra’s Afrocentrism and surrealist approach to his art; even stars in the pop realm \u003ca href=\"http://saintheron.com/featured/happy-birthday-sun-ra/\" target=\"_blank\" rel=\"noopener\">like Solange Knowles\u003c/a> hail his influence. This series of concerts at SFJAZZ is as big a deal as the solar eclipse happening this month, and just as rare. \u003ca href=\"https://sfjazz.org/events/sessions/2017/0804/sun-ra-arkestra\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nfUkLAvU4t4&t=203s\u003c/p>\n\u003cp>\u003cstrong>Aug. 5–Sept. 10\u003c/strong>: There are a handful of great storytellers in the Bay Area — people like Brian Copeland, Dan Hoyle and Al Letson — who can hold the attention of a roomful of people with the detail, warmth and humor of their tale-spinning. Don Reed belongs in that lofty company, and he’s bringing back one of his classic one-man shows, \u003cem>The Kipling Hotel\u003c/em>. It’s about his experience as a student at UCLA on a bare-bones scholarship that left him too broke for a dorm room or apartment. Zahra notes he brings the same level of energy and presence every night, something she strives for herself, and the shows reward repeat viewings. \u003cem>The Kipling Hotel\u003c/em> returns to the Marsh in Berkeley starting Aug. 5; \u003ca href=\"https://themarsh.org/kipling_hotel/don-reed-2/\" target=\"_blank\" rel=\"noopener noreferrer\"> details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13795971\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13795971\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-800x468.jpg\" alt=\"West Edge Opera presents Libby Larsen's opera 'Frankenstein'\" width=\"800\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-768x449.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-1020x597.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-1920x1123.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-1180x690.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-960x561.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-375x219.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-520x304.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">West Edge Opera presents Libby Larsen’s opera ‘Frankenstein.’ \u003ccite>(Photo: Courtesy of West Edge Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 5–20\u003c/strong>: \u003ca href=\"http://www.westedgeopera.org/\" target=\"_blank\" rel=\"noopener noreferrer\">West Edge Opera \u003c/a>is a scrappy little Bay Area company with big ambitions, and they’re experts at discovering little-known but deserving work. This year they’re producing new versions of \u003cem>Frankenstein, The Modern Prometheus\u003c/em> by \u003ca href=\"https://libbylarsen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Libby Larsen\u003c/a>, a rare opera by a (living) woman composer; \u003cem>The Chastity Tree, \u003c/em>by Vicente Martín y Soler (the Valencian Mozart); and \u003cem>Hamlet\u003c/em>, by the French composer Amboise Thomas, featuring some beautiful arias. Listen to the show (above) to hear former Adler fellow Edward Nelson nail the “To be or not to be…” monologue during a piano rehearsal. West Edge got kicked out of its former home at the old Oakland train station, but they landed safely at Pacific Pipe, an old factory and warehouse in West Oakland. There will be shuttles from the \u003ca href=\"https://www.bart.gov/stations/woak\" target=\"_blank\" rel=\"noopener noreferrer\">West Oakland BART station\u003c/a> — a good thing, because we hear parking is limited. \u003ca href=\"http://www.westedgeopera.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qjCTIq6JVgU\u003c/p>\n\u003cp>\u003cstrong>Aug. 10–20\u003c/strong>: Here’s a new tradition in the making: the 4th annual Desi Comedy Fest, featuring comedians like Reyhaneh Rajabzadeh, a Muslim Iranian-American comedian, and Ahmed Bharoocha, who is Irish Catholic, Pakistani-Muslim, Indian, and Burmese. (“Desi” is a way that people of the South Asian Diaspora self-identify.) The festival celebrates the great melting pot of American standup comedy (think the Borscht Belt), and you don’t have to travel far. There are shows in San Francisco at Cobb’s Comedy Club, in Alameda at the Rhythmix Cultural Center, in Berkeley at Freight and Salvage, and at the Santa Clara Convention Center, The Mountain View Center for the Performing Arts, and more. Find all the \u003ca href=\"http://www.desicomedyfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13796542\" class=\"wp-caption aligncenter\" style=\"max-width: 550px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13796542\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles.jpg\" alt=\"LA's Biltmore Hotel, the setting for Cherrie Moraga's new play\" width=\"550\" height=\"366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles.jpg 550w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles-520x346.jpg 520w\" sizes=\"(max-width: 550px) 100vw, 550px\">\u003cfigcaption class=\"wp-caption-text\">L.A.’s Biltmore Hotel, the setting for Cherrie Moraga’s new play. \u003ccite>(Photo: Courtesy of Biltmore Hotel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 10–27\u003c/strong>: Playwright and Stanford scholar \u003ca href=\"http://cherriemoraga.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cherríe Moraga\u003c/a> has a brand new play called \u003cem>The Mathematics of Change\u003c/em> opening soon at Brava for Women in the Arts (which she co-founded). Zahra says that when she was an English major at UC Berkeley, she came across a Moraga play, an adaptation of \u003cem>Medea\u003c/em>, called \u003cem>\u003ca href=\"https://www.amazon.com/hungry-woman-Mexican-Medea/dp/097053440X\" target=\"_blank\" rel=\"noopener noreferrer\">The Hungry Woman\u003c/a>. \u003c/em>Zahra was so impressed at how Moraga took the canon of dead white males and \u003ca href=\"https://www.amazon.com/hungry-woman-Mexican-Medea/dp/097053440X\" target=\"_blank\" rel=\"noopener\">adapted it to focus on a queer Mexican woman\u003c/a> that she changed her major to theater, believing that was where she’d have more power to change the culture herself. The new play is set in L.A.’s Biltmore Hotel, with a Mexican-Indian woman based on Moraga’s own mother succumbing to the early stages of Alzheimer’s and traveling through time. \u003ca href=\"https://www.brava.org/all-events/2017/5/10/the-mathematics-of-love\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13796253\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13796253\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-800x320.jpg\" alt=\"Sedef Ecer, one of the playwrights whose work is getting a staged reading at Goldenthread Productions staged reading series\" width=\"800\" height=\"320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-800x320.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-768x307.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-960x384.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-240x96.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-375x150.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-520x208.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sedef Ecer, one of the playwrights whose work is featured at Goldenthread Productions’ staged reading series. \u003ccite>(Photo: Courtesy of Goldenthread Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 8 & 15:\u003c/strong> Zahra also wanted to highlight Goldenthread Productions’ new play reading series, in which audiences can help shape the stories they end up seeing on stage. “New Threads” offers staged readings of brand new plays, including \u003cem>When Farah Cries\u003c/em> by Mudar Alhaggi, set in Syria a year after the start of the Syrian civil war, and \u003cem>At The Periphery\u003c/em> by Sedef Ecer, about migrants in Istanbul’s slums. \u003ca href=\"http://www.goldenthread.org/programs/new-threads-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">Details for the shows at the Portrero Theater and at Brava are here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AxqYr-9G21o&t=1127s\u003c/p>\n\u003cp>\u003cstrong>Aug. 3–6\u003c/strong>: Like Sun Ra, Rahsaan Roland Kirk was a jazz master — little remembered today, but a powerhouse in his time. He was blind, outspoken on racial politics of the ’60s and ’70s, and could play a flute with his nose, while harmonizing on two saxophones at the same time. Kirk’s been gone since 1977, but every year Cafe Stritch in San Jose (named for a saxophone Kirk himself designed) presents a Rahsaanathon: four days in Kirk’s honor, with a terrific band led by Steve Turre, a former Kirk sideman, with James Carter on sax. The shows have been some of the best jazz I’ve ever seen. \u003ca href=\"https://www.facebook.com/events/498120750520924/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13796531\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13796531 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-800x468.jpg\" alt=\"Zahra Noorbaksh and Cy Musiker after recording the Do List.\" width=\"800\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-768x449.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-1020x596.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-1920x1123.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-1180x690.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-960x561.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-375x219.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-520x304.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zahra Noorbaksh and Cy Musiker after recording the Do List. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 12:\u003c/strong> One more item — a Noorbaksh performance. Berkeley’s EastWind Books specializes in books on Asian-American culture and ethnic studies, and they’re throwing the third annual \u003cem>Stand Up for Books\u003c/em> fundraiser with some high powered comedic talent: W. Kamau Bell, Irene Tu, and, of course, Zahra Noorbakhsh. \u003ca href=\"http://www.asiabookcenter.com/author--book-events.html\" target=\"_blank\" rel=\"noopener noreferrer\">Details for the fundraiser at Alameda’s Rhythmix Cultural Center are here\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\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\n",
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"excerpt": "The Do List this week features music from Sun Ra and Rahsaan Roland Kirk, singing from Hamlet, standup comedy and new plays.",
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"title": "Cy and Zahra's Picks: Hamlet Sings, Standing Up for Books, and a Desi Comedy Fest | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’re welcoming back as co-host this week comedian, co-host of the \u003cem>Good Muslim, Bad Muslim\u003c/em> podcast, and \u003ca href=\"https://ww2.kqed.org/arts/women-to-watch2016/\" target=\"_blank\" rel=\"noopener noreferrer\">KQED Women to Watch\u003c/a> honoree \u003ca href=\"http://www.zahracomedy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Zahra Noorbaksh\u003c/a>. Somehow she and I couldn’t fit in the \u003ca href=\"http://petalumamusicfestival.org/our_mission/\" target=\"_blank\" rel=\"noopener noreferrer\">Petaluma Music Festival\u003c/a>, a terrific concert featuring the Chris Robinson Brotherhood, Poor Man’s Whiskey and other American roots bands Aug. 5 at the Sonoma-Marin Fairgrounds, which benefits music programs in Petaluma schools. \u003ca href=\"http://petalumamusicfestival.org/our_mission/\" target=\"_blank\" rel=\"noopener noreferrer\">Details are here\u003c/a>. Now on with the show.\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/0e5jPX3ysY8'\n title='//www.youtube.com/embed/0e5jPX3ysY8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 3–6\u003c/strong>: We start with the cosmic jazz of the\u003ca href=\"http://www.sunraarkestra.com/\" target=\"_blank\" rel=\"noopener noreferrer\"> Sun Ra Arkestra, \u003c/a>which carries on the Afrofuturist ideas of founder Sun Ra — born Herman Blount, who claimed to be from the planet Saturn. Sun Ra died in 1993, but the band continues under the direction of longtime member Marshall Allen, who maintains Sun Ra’s artistic vision for the band, including on-stage costumes that look like Egyptian spacesuits. Years after Sun Ra’s seminal recordings, the music is still mind-blowing; a cacophony of free jazz resolves into a hard bop solo, chased with a chant about space travel. Zahra ran into a number of artists at the recent \u003ca href=\"https://opportunityagenda.org/connect/creative-change/2017-creative-change-retreat\" target=\"_blank\" rel=\"noopener noreferrer\">Sundance Creative Change Retreat\u003c/a> who were deeply influenced by Sun Ra’s Afrocentrism and surrealist approach to his art; even stars in the pop realm \u003ca href=\"http://saintheron.com/featured/happy-birthday-sun-ra/\" target=\"_blank\" rel=\"noopener\">like Solange Knowles\u003c/a> hail his influence. This series of concerts at SFJAZZ is as big a deal as the solar eclipse happening this month, and just as rare. \u003ca href=\"https://sfjazz.org/events/sessions/2017/0804/sun-ra-arkestra\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\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/nfUkLAvU4t4'\n title='//www.youtube.com/embed/nfUkLAvU4t4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 5–Sept. 10\u003c/strong>: There are a handful of great storytellers in the Bay Area — people like Brian Copeland, Dan Hoyle and Al Letson — who can hold the attention of a roomful of people with the detail, warmth and humor of their tale-spinning. Don Reed belongs in that lofty company, and he’s bringing back one of his classic one-man shows, \u003cem>The Kipling Hotel\u003c/em>. It’s about his experience as a student at UCLA on a bare-bones scholarship that left him too broke for a dorm room or apartment. Zahra notes he brings the same level of energy and presence every night, something she strives for herself, and the shows reward repeat viewings. \u003cem>The Kipling Hotel\u003c/em> returns to the Marsh in Berkeley starting Aug. 5; \u003ca href=\"https://themarsh.org/kipling_hotel/don-reed-2/\" target=\"_blank\" rel=\"noopener noreferrer\"> details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13795971\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13795971\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-800x468.jpg\" alt=\"West Edge Opera presents Libby Larsen's opera 'Frankenstein'\" width=\"800\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-768x449.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-1020x597.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-1920x1123.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-1180x690.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-960x561.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-375x219.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Frankenstein-e1501702319709-520x304.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">West Edge Opera presents Libby Larsen’s opera ‘Frankenstein.’ \u003ccite>(Photo: Courtesy of West Edge Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 5–20\u003c/strong>: \u003ca href=\"http://www.westedgeopera.org/\" target=\"_blank\" rel=\"noopener noreferrer\">West Edge Opera \u003c/a>is a scrappy little Bay Area company with big ambitions, and they’re experts at discovering little-known but deserving work. This year they’re producing new versions of \u003cem>Frankenstein, The Modern Prometheus\u003c/em> by \u003ca href=\"https://libbylarsen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Libby Larsen\u003c/a>, a rare opera by a (living) woman composer; \u003cem>The Chastity Tree, \u003c/em>by Vicente Martín y Soler (the Valencian Mozart); and \u003cem>Hamlet\u003c/em>, by the French composer Amboise Thomas, featuring some beautiful arias. Listen to the show (above) to hear former Adler fellow Edward Nelson nail the “To be or not to be…” monologue during a piano rehearsal. West Edge got kicked out of its former home at the old Oakland train station, but they landed safely at Pacific Pipe, an old factory and warehouse in West Oakland. There will be shuttles from the \u003ca href=\"https://www.bart.gov/stations/woak\" target=\"_blank\" rel=\"noopener noreferrer\">West Oakland BART station\u003c/a> — a good thing, because we hear parking is limited. \u003ca href=\"http://www.westedgeopera.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/qjCTIq6JVgU'\n title='//www.youtube.com/embed/qjCTIq6JVgU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 10–20\u003c/strong>: Here’s a new tradition in the making: the 4th annual Desi Comedy Fest, featuring comedians like Reyhaneh Rajabzadeh, a Muslim Iranian-American comedian, and Ahmed Bharoocha, who is Irish Catholic, Pakistani-Muslim, Indian, and Burmese. (“Desi” is a way that people of the South Asian Diaspora self-identify.) The festival celebrates the great melting pot of American standup comedy (think the Borscht Belt), and you don’t have to travel far. There are shows in San Francisco at Cobb’s Comedy Club, in Alameda at the Rhythmix Cultural Center, in Berkeley at Freight and Salvage, and at the Santa Clara Convention Center, The Mountain View Center for the Performing Arts, and more. Find all the \u003ca href=\"http://www.desicomedyfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13796542\" class=\"wp-caption aligncenter\" style=\"max-width: 550px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13796542\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles.jpg\" alt=\"LA's Biltmore Hotel, the setting for Cherrie Moraga's new play\" width=\"550\" height=\"366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles.jpg 550w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Biltmore-Hotel-in-Los-Angeles-520x346.jpg 520w\" sizes=\"(max-width: 550px) 100vw, 550px\">\u003cfigcaption class=\"wp-caption-text\">L.A.’s Biltmore Hotel, the setting for Cherrie Moraga’s new play. \u003ccite>(Photo: Courtesy of Biltmore Hotel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 10–27\u003c/strong>: Playwright and Stanford scholar \u003ca href=\"http://cherriemoraga.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Cherríe Moraga\u003c/a> has a brand new play called \u003cem>The Mathematics of Change\u003c/em> opening soon at Brava for Women in the Arts (which she co-founded). Zahra says that when she was an English major at UC Berkeley, she came across a Moraga play, an adaptation of \u003cem>Medea\u003c/em>, called \u003cem>\u003ca href=\"https://www.amazon.com/hungry-woman-Mexican-Medea/dp/097053440X\" target=\"_blank\" rel=\"noopener noreferrer\">The Hungry Woman\u003c/a>. \u003c/em>Zahra was so impressed at how Moraga took the canon of dead white males and \u003ca href=\"https://www.amazon.com/hungry-woman-Mexican-Medea/dp/097053440X\" target=\"_blank\" rel=\"noopener\">adapted it to focus on a queer Mexican woman\u003c/a> that she changed her major to theater, believing that was where she’d have more power to change the culture herself. The new play is set in L.A.’s Biltmore Hotel, with a Mexican-Indian woman based on Moraga’s own mother succumbing to the early stages of Alzheimer’s and traveling through time. \u003ca href=\"https://www.brava.org/all-events/2017/5/10/the-mathematics-of-love\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13796253\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13796253\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-800x320.jpg\" alt=\"Sedef Ecer, one of the playwrights whose work is getting a staged reading at Goldenthread Productions staged reading series\" width=\"800\" height=\"320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-800x320.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-768x307.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-960x384.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-240x96.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-375x150.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o-520x208.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/19620953_10155362170475120_6089559118716135375_o.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sedef Ecer, one of the playwrights whose work is featured at Goldenthread Productions’ staged reading series. \u003ccite>(Photo: Courtesy of Goldenthread Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 8 & 15:\u003c/strong> Zahra also wanted to highlight Goldenthread Productions’ new play reading series, in which audiences can help shape the stories they end up seeing on stage. “New Threads” offers staged readings of brand new plays, including \u003cem>When Farah Cries\u003c/em> by Mudar Alhaggi, set in Syria a year after the start of the Syrian civil war, and \u003cem>At The Periphery\u003c/em> by Sedef Ecer, about migrants in Istanbul’s slums. \u003ca href=\"http://www.goldenthread.org/programs/new-threads-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">Details for the shows at the Portrero Theater and at Brava are here\u003c/a>.\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/AxqYr-9G21o'\n title='//www.youtube.com/embed/AxqYr-9G21o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 3–6\u003c/strong>: Like Sun Ra, Rahsaan Roland Kirk was a jazz master — little remembered today, but a powerhouse in his time. He was blind, outspoken on racial politics of the ’60s and ’70s, and could play a flute with his nose, while harmonizing on two saxophones at the same time. Kirk’s been gone since 1977, but every year Cafe Stritch in San Jose (named for a saxophone Kirk himself designed) presents a Rahsaanathon: four days in Kirk’s honor, with a terrific band led by Steve Turre, a former Kirk sideman, with James Carter on sax. The shows have been some of the best jazz I’ve ever seen. \u003ca href=\"https://www.facebook.com/events/498120750520924/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13796531\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13796531 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-800x468.jpg\" alt=\"Zahra Noorbaksh and Cy Musiker after recording the Do List.\" width=\"800\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-768x449.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-1020x596.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-1920x1123.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-1180x690.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-960x561.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-375x219.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/cy-and-zahra-1-e1501709463683-520x304.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zahra Noorbaksh and Cy Musiker after recording the Do List. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 12:\u003c/strong> One more item — a Noorbaksh performance. Berkeley’s EastWind Books specializes in books on Asian-American culture and ethnic studies, and they’re throwing the third annual \u003cem>Stand Up for Books\u003c/em> fundraiser with some high powered comedic talent: W. Kamau Bell, Irene Tu, and, of course, Zahra Noorbakhsh. \u003ca href=\"http://www.asiabookcenter.com/author--book-events.html\" target=\"_blank\" rel=\"noopener noreferrer\">Details for the fundraiser at Alameda’s Rhythmix Cultural Center are here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Why This L.A. Comic No Longer Avoids Trump Territory on the Road",
"title": "Why This L.A. Comic No Longer Avoids Trump Territory on the Road",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>\u003cem>This story is part of “\u003ca href=\"http://annenberg.usc.edu/news/students/usc-annenberg-student-journalists-kqeds-california-report-publish-joint-investigation\">At Risk in the Trump Era\u003c/a>,” a four-month investigation by advanced radio students at the USC Annenberg School for Communication and Journalism, exploring how vulnerable communities across Southern California have reacted to the first months of Donald Trump’s presidency. The series profiles individuals burdened by new worries — looking for work, registering for school, or even deciding whether to publicly express their sexual orientation or religious affiliation.\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.linkedin.com/in/joannaclay/.\">Joanna Clay \u003c/a>brings us the story of Sara Schaefer. She's a comedian who had always tried to avoid jokes about politics. That is, until the 2016 presidential election. \u003c/em>\u003c/p>\n\u003cp>Sara Schaefer stands in the back of an East Hollywood pizza parlor, test-driving her material before she takes it out on the road.\u003c/p>\n\u003cp>\"I legitimately saw my therapist do a little victory dance during therapy recently,\" she tells the crowd. \"I was like, 'I think people are having total mental breakdowns right now. They're so anxious about all the news.' And she was like 'great for business!' And she did a little dance.\"\u003c/p>\n\u003cp>Politics have long been fodder for comics: take \u003ca href=\"http://www.nbc.com/saturday-night-live/video/george-w-bush-cold-open/2953423?snl=1\">Will Ferrell’s President George W. Bush impersonation\u003c/a> or \u003ca href=\"https://www.youtube.com/watch?v=UWuc18xISwI\">Melissa McCarthy’s portrayal of White House spokesman Sean Spicer on SNL\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For others, like Schaefer, politics might not be a big part of their comedic repertoire. But the current political climate is pushing comics to step into new territory: Trump territory.\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/333938277\" params=\"auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true\" width=\"100%\" height=\"500\" iframe=\"true\" /]\u003c/p>\n\u003cp>Schaefer is a stand-up comedian and writer for Comedy Central’s \"\u003ca href=\"http://www.cc.com/shows/problematic-with-moshe-kasher\" target=\"_blank\" rel=\"noopener noreferrer\">Problematic\u003c/a>.\" Prior to the election, she’d touch on politics lightly, like encouraging people to vote. But it wasn’t heavy-handed.\u003c/p>\n\u003cp>But come January, that shifted. She wanted to make an impact with her work. Get people to wake up a bit.\u003c/p>\n\u003cp>“Politics are just dominating everything,” she says. “It’s hard not to write about Donald Trump and what’s happening. It's my only option. It's all I think about.”\u003c/p>\n\u003cp>Schaefer, based in Los Angeles, is known for observational comedy. She talks about personal experience, embarrassing moments, what she sees on TV. But now she’s also pondering alternative facts and the “post-truth” world.\u003c/p>\n\u003cp>“Sean Spicer apparently has had this long-waged war with Dippin' Dots,” she said. “These are the people in charge. How can you not make fun of this stuff?”\u003c/p>\n\u003cp>[contextly_sidebar id=\"ucXDOA9UrHXX4cCziiC5V02r0XK96TIx\"]\u003c/p>\n\u003cp>But that doesn’t come without trepidation. Schaefer calls herself a liberal feminist. She knows she may not always share the same views as her audience, especially while touring small towns in the Midwest. And entertaining that audience is priority number one.\u003c/p>\n\u003cp>“I want to find a way to talk about that stuff that doesn’t make people stop listening or think that I’m getting up there wagging my finger at them,” she says. “I think that doesn’t really work.”\u003c/p>\n\u003cp>She’s trying out her new material with a very specific audience, one she thinks is really pivotal in this moment in time: college students.\u003c/p>\n\u003cp>\"They're going to be a big, powerful block of change,\" says Schaefer. \"If they equip themselves, they can potentially save us from some of this craziness that we're in.\"\u003c/p>\n\u003cp>For the first few months of Trump’s presidency, she left her safe liberal haven of Los Angeles for universities big and small in Wisconsin, Maine and Minnesota, to name a few.\u003c/p>\n\u003cp>It was a chance to feel out this new material and find a way to get people to listen -- regardless of their politics -- and not be turned off.\u003c/p>\n\u003cp>At a performance earlier this year in Minneapolis, Schaefer tested out a new joke.\u003c/p>\n\u003cp>“One thing I’ve also noticed is that there’s been a plethora of articles about Trump voters,” she started out. “We need to understand their feelings, their hopes, their special, special needs.”\u003c/p>\n\u003cp>[contextly_sidebar id=\"PssluSyBNsi9BXh9NjxR9UgfCGledWQr\"]\u003c/p>\n\u003cp>And then, a moment later, the punch line.\u003c/p>\n\u003cp>“I 100 percent think, like face-to-face contact, like kissing and licking and things like that, empathy are all the ways that we're going to get through this mess. The polarized sides need to come together. We need to talk. We need to have real conversations. I am all for that. These articles are all about that,” she said, as the crowd laughed. “And I agree. Just because you voted for Trump doesn’t mean you’re a racist, You might also be a sexist.”\u003c/p>\n\u003cp>Abigail Mills, a student in the audience, often feels the political divide in her own family. They're conservative and she’s a liberal lesbian.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You know, joking about those issues, it helps cut the tension for me,” she said, with a laugh.\u003c/p>\n\n",
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"excerpt": "Sara Schaefer is tackling political comedy for the first time, with some trepidation. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of “\u003ca href=\"http://annenberg.usc.edu/news/students/usc-annenberg-student-journalists-kqeds-california-report-publish-joint-investigation\">At Risk in the Trump Era\u003c/a>,” a four-month investigation by advanced radio students at the USC Annenberg School for Communication and Journalism, exploring how vulnerable communities across Southern California have reacted to the first months of Donald Trump’s presidency. The series profiles individuals burdened by new worries — looking for work, registering for school, or even deciding whether to publicly express their sexual orientation or religious affiliation.\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.linkedin.com/in/joannaclay/.\">Joanna Clay \u003c/a>brings us the story of Sara Schaefer. She's a comedian who had always tried to avoid jokes about politics. That is, until the 2016 presidential election. \u003c/em>\u003c/p>\n\u003cp>Sara Schaefer stands in the back of an East Hollywood pizza parlor, test-driving her material before she takes it out on the road.\u003c/p>\n\u003cp>\"I legitimately saw my therapist do a little victory dance during therapy recently,\" she tells the crowd. \"I was like, 'I think people are having total mental breakdowns right now. They're so anxious about all the news.' And she was like 'great for business!' And she did a little dance.\"\u003c/p>\n\u003cp>Politics have long been fodder for comics: take \u003ca href=\"http://www.nbc.com/saturday-night-live/video/george-w-bush-cold-open/2953423?snl=1\">Will Ferrell’s President George W. Bush impersonation\u003c/a> or \u003ca href=\"https://www.youtube.com/watch?v=UWuc18xISwI\">Melissa McCarthy’s portrayal of White House spokesman Sean Spicer on SNL\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For others, like Schaefer, politics might not be a big part of their comedic repertoire. But the current political climate is pushing comics to step into new territory: Trump territory.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='500'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/333938277&visual=true&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true'\n title='https://api.soundcloud.com/tracks/333938277'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Schaefer is a stand-up comedian and writer for Comedy Central’s \"\u003ca href=\"http://www.cc.com/shows/problematic-with-moshe-kasher\" target=\"_blank\" rel=\"noopener noreferrer\">Problematic\u003c/a>.\" Prior to the election, she’d touch on politics lightly, like encouraging people to vote. But it wasn’t heavy-handed.\u003c/p>\n\u003cp>But come January, that shifted. She wanted to make an impact with her work. Get people to wake up a bit.\u003c/p>\n\u003cp>“Politics are just dominating everything,” she says. “It’s hard not to write about Donald Trump and what’s happening. It's my only option. It's all I think about.”\u003c/p>\n\u003cp>Schaefer, based in Los Angeles, is known for observational comedy. She talks about personal experience, embarrassing moments, what she sees on TV. But now she’s also pondering alternative facts and the “post-truth” world.\u003c/p>\n\u003cp>“Sean Spicer apparently has had this long-waged war with Dippin' Dots,” she said. “These are the people in charge. How can you not make fun of this stuff?”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>But that doesn’t come without trepidation. Schaefer calls herself a liberal feminist. She knows she may not always share the same views as her audience, especially while touring small towns in the Midwest. And entertaining that audience is priority number one.\u003c/p>\n\u003cp>“I want to find a way to talk about that stuff that doesn’t make people stop listening or think that I’m getting up there wagging my finger at them,” she says. “I think that doesn’t really work.”\u003c/p>\n\u003cp>She’s trying out her new material with a very specific audience, one she thinks is really pivotal in this moment in time: college students.\u003c/p>\n\u003cp>\"They're going to be a big, powerful block of change,\" says Schaefer. \"If they equip themselves, they can potentially save us from some of this craziness that we're in.\"\u003c/p>\n\u003cp>For the first few months of Trump’s presidency, she left her safe liberal haven of Los Angeles for universities big and small in Wisconsin, Maine and Minnesota, to name a few.\u003c/p>\n\u003cp>It was a chance to feel out this new material and find a way to get people to listen -- regardless of their politics -- and not be turned off.\u003c/p>\n\u003cp>At a performance earlier this year in Minneapolis, Schaefer tested out a new joke.\u003c/p>\n\u003cp>“One thing I’ve also noticed is that there’s been a plethora of articles about Trump voters,” she started out. “We need to understand their feelings, their hopes, their special, special needs.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And then, a moment later, the punch line.\u003c/p>\n\u003cp>“I 100 percent think, like face-to-face contact, like kissing and licking and things like that, empathy are all the ways that we're going to get through this mess. The polarized sides need to come together. We need to talk. We need to have real conversations. I am all for that. These articles are all about that,” she said, as the crowd laughed. “And I agree. Just because you voted for Trump doesn’t mean you’re a racist, You might also be a sexist.”\u003c/p>\n\u003cp>Abigail Mills, a student in the audience, often feels the political divide in her own family. They're conservative and she’s a liberal lesbian.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You know, joking about those issues, it helps cut the tension for me,” she said, with a laugh.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>American culture has a very narrow view of Muslim women. Zahra Noorbakhsh, the self-described pork-eating, alcohol-drinking, premarital-sex-having Muslim comedian behind such shows as \u003cem>\u003ca href=\"http://www.zahracomedy.com/shows/2015/5/14/all-atheists-are-muslim\" target=\"_blank\" rel=\"noopener noreferrer\">All Atheists Are Muslim\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"http://www.zahracomedy.com/shows/2015/5/14/hijab-and-hammerpants\" target=\"_blank\" rel=\"noopener noreferrer\">Hijab and Hammer Pants\u003c/a>\u003c/em>, is here to crowbar that view wide open with a mix of hard-hitting truth and side-splitting wit.\u003c/p>\n\u003cp>We caught up with Zahra to chat about rediscovering prayer, the good Muslim/bad Muslim dichotomy, the state of comedy post-Trump, \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Little_Mosque_on_the_Prairie\" target=\"_blank\" rel=\"noopener noreferrer\">Little Mosque on the Prairie\u003c/a>\u003c/em>, and more.\u003c/p>\n\u003cp>https://youtu.be/-pcRpjnVpzI\u003c/p>\n\u003cp>\u003cstrong>You wrote a piece for NPR called “\u003ca href=\"http://www.npr.org/2017/01/18/510346895/after-trumps-election-a-non-practicing-muslim-returns-to-prayer\" target=\"_blank\" rel=\"noopener noreferrer\">After Trump’s Election, A Nonpracticing Muslim Returns to Prayer\u003c/a>,” in which you talked about how the election of Donald Trump prompted you to revisit many of the religious practices you learned as a child. Can you talk a bit about how that happened?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When he won, I reached for these verses of comfort that I had learned as a child, and I couldn’t find them. I kept going back into the attic of my mind, hoping they would be embedded in my childhood memories somehow, that I would remember practicing to pray with my father, and I couldn’t. The words weren’t there. I felt so unmoored in that moment.\u003c/p>\n\u003cp>Violence is so present right now. There is a lot that I understand differently. I have realized what praying is really for, and how much religion has developed as a source and tool of survival. I had taken it for granted in a way.\u003c/p>\n\u003cp>Religion has been usurped by people with political agendas, so I am finding my way back, and that’s what that piece was about, the experience of understanding how these verses developed for a people under attack, and here they are for us to help us survive and reconnect with our cultural roots.\u003c/p>\n\u003cfigure id=\"attachment_13682645\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Zahra-Headshot-by-Andria-Lo_Brick-Wall.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13682645\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Zahra-Headshot-by-Andria-Lo_Brick-Wall-1020x622.jpg\" alt=\"\" width=\"640\" height=\"390\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Zahra-Headshot-by-Andria-Lo_Brick-Wall-1020x622.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Zahra-Headshot-by-Andria-Lo_Brick-Wall-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Zahra-Headshot-by-Andria-Lo_Brick-Wall-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Zahra-Headshot-by-Andria-Lo_Brick-Wall-768x468.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Zahra-Headshot-by-Andria-Lo_Brick-Wall-1180x719.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Zahra-Headshot-by-Andria-Lo_Brick-Wall-960x585.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Zahra-Headshot-by-Andria-Lo_Brick-Wall-240x146.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Zahra-Headshot-by-Andria-Lo_Brick-Wall-375x229.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Zahra-Headshot-by-Andria-Lo_Brick-Wall-520x317.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Zahra-Headshot-by-Andria-Lo_Brick-Wall.jpg 1642w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Andria Lo\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Since Trump took office, white comedians have been getting a lot of material (John Oliver and Stephen Colbert) and work (Melissa McCarthy and Alec Baldwin) poking fun at the administration. But comedians of color have to be more careful. Can you talk a little about your experience of this? \u003c/strong>\u003c/p>\n\u003cp>I have to use my grant money to pay for security. That’s how it is. People are like, “Look at you! This is a great year for Muslim comedians! Oh my god, you’re going to do so well!” Actually, no. I’ve been doing this for 12 years. I’m not on SNL. Where are the comedians of color doing impressions on SNL? They’re not safe!\u003c/p>\n\u003cp>I really appreciated it when Samantha Bee said that, when Trump won, her entire staff was terrified. They were being harassed. That’s a circumstance. In order to make the space available to comedians of color to explore the irreverent comedy that exposes white supremacy for what it is, we need to know that we’re safe, that we’re being taken care of physically. I don’t mean safe like in a healthy debate in your university classroom safe. I’m talking there’s-a-guy-with-a-gun-on-my-side safe, log cabin safe, Brawny safe, THINX underwear safe.\u003c/p>\n\u003cp>\u003cstrong>Your podcast is called \u003ca href=\"http://www.goodmuslimbadmuslim.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Good Muslim Bad Muslim\u003c/i>\u003c/a>, which is a nod to a contradiction many Muslims in this country face: The more you assimilate, the more likely American culture will consider you “good.” And the opposite can be true from the Muslim perspective. What’s been your experience navigating the blurry line between “good” and “bad”?\u003c/strong>\u003c/p>\n\u003cp>More and more, I see it now less so as a contradiction and more so as the phenomenon of oversimplification that has taken over this planet. The most terrifying thing has become the oversimplification of very complex ideas and circumstances and identities for the benefit of murder, destruction, and arms-dealing. To oversimplify…[laughs]\u003c/p>\n\u003cfigure id=\"attachment_13682644\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Zahra-laughing-with-mic-credit-Harsh-Mall.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13682644 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Zahra-laughing-with-mic-credit-Harsh-Mall.jpg\" alt=\"\" width=\"960\" height=\"572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Zahra-laughing-with-mic-credit-Harsh-Mall.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Zahra-laughing-with-mic-credit-Harsh-Mall-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Zahra-laughing-with-mic-credit-Harsh-Mall-800x477.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Zahra-laughing-with-mic-credit-Harsh-Mall-768x458.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Zahra-laughing-with-mic-credit-Harsh-Mall-240x143.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Zahra-laughing-with-mic-credit-Harsh-Mall-375x223.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Zahra-laughing-with-mic-credit-Harsh-Mall-520x310.jpg 520w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Harsh Mall\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You’ve spoken about how the Joe Rogans of the world get to make dick jokes, while a responsibility is placed on you to say smart subversive things about the gender binary and global politics. How do you embrace or resist that?\u003c/strong>\u003c/p>\n\u003cp>I’m having a lot of fun embracing my inner Joe Rogan, but the feminist Muslim Iranian-American bisexual Joe Rogan. I’m trying to find my space amongst the white male-dominated bros of comedy. As I embrace this character more, I get a lot of audience members later telling me, “You have such great stage presence!” which cracks me up because would you ever say that to Joe Rogan? Of course I have stage presence. This is my vocation, this is my job, this is what you bought tickets for. As Hermione once said, “\u003ca href=\"https://www.youtube.com/watch?v=5yYDkcxvKxI\" target=\"_blank\" rel=\"noopener noreferrer\">Always the tone of surprise\u003c/a>.”\u003c/p>\n\u003cp>\u003cstrong>So much of Muslim representation in popular culture is so serious. Do you have a favorite depiction that feels light-hearted and more realistic to you?\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Little Mosque on the Prairie\u003c/em>. It’s basically like a Muslim \u003cem>Gilmore Girls\u003c/em> in Canada. Every episode involves conflicts about family and friends in a mosque, and then they get resolved! It’s lovely and soothing.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ed01j-Z3DyY\u003c/p>\n\u003cp>\u003cstrong>What does your ideal future look like for women artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>Stomping all over the men. [laughs]\u003c/p>\n\u003cp>But my serious answer is: This year, I have definitely pulled back in the number of performances that I do and how much I put myself out there. I’m generally intimidated by the current administration and by the fear-mongering. It’s effective on my end. I notice I’m less trusting. I require security at the spaces where I perform. I check the RSVP list. There are states that I won’t go to. I’m more reluctant to do video. I’m more reluctant to post.\u003c/p>\n\u003cp>There’s always this expectation that because I say I’m a feminist Muslim Iranian-American comedian that I’ve got elbows out and that I’m super brave and like “Out of my way!” But really I’m just trying to carve a space out for myself. So I just hope for more awareness of the safety challenges that women artists face being in the public sphere, and for more support there.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Want more Zahra? Listen to her appearance on KQED’s weekly pop culture podcast, \u003ca href=\"http://www.npr.org/podcasts/448115865/the-cooler\">The Cooler\u003c/a>!\u003c/em>\u003c/p>\n\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2017/02/Zahra.mp3\" title=\"Zahra Noorbakhsh Speaks on Behalf of All Muslims\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/clo.jpg\"]\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg decoding=\"async\" class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg decoding=\"async\" class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\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=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"https://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener noreferrer\">We want to hear from you!\u003c/a> Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener noreferrer\">#BayBrilliant\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://ww2.kqed.org/arts/series/women-to-watch/\" target=\"_blank\" rel=\"noopener noreferrer\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2017. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>American culture has a very narrow view of Muslim women. Zahra Noorbakhsh, the self-described pork-eating, alcohol-drinking, premarital-sex-having Muslim comedian behind such shows as \u003cem>\u003ca href=\"http://www.zahracomedy.com/shows/2015/5/14/all-atheists-are-muslim\" target=\"_blank\" rel=\"noopener noreferrer\">All Atheists Are Muslim\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"http://www.zahracomedy.com/shows/2015/5/14/hijab-and-hammerpants\" target=\"_blank\" rel=\"noopener noreferrer\">Hijab and Hammer Pants\u003c/a>\u003c/em>, is here to crowbar that view wide open with a mix of hard-hitting truth and side-splitting wit.\u003c/p>\n\u003cp>We caught up with Zahra to chat about rediscovering prayer, the good Muslim/bad Muslim dichotomy, the state of comedy post-Trump, \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Little_Mosque_on_the_Prairie\" target=\"_blank\" rel=\"noopener noreferrer\">Little Mosque on the Prairie\u003c/a>\u003c/em>, and more.\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/-pcRpjnVpzI'\n title='//www.youtube.com/embed/-pcRpjnVpzI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>You wrote a piece for NPR called “\u003ca href=\"http://www.npr.org/2017/01/18/510346895/after-trumps-election-a-non-practicing-muslim-returns-to-prayer\" target=\"_blank\" rel=\"noopener noreferrer\">After Trump’s Election, A Nonpracticing Muslim Returns to Prayer\u003c/a>,” in which you talked about how the election of Donald Trump prompted you to revisit many of the religious practices you learned as a child. Can you talk a bit about how that happened?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When he won, I reached for these verses of comfort that I had learned as a child, and I couldn’t find them. I kept going back into the attic of my mind, hoping they would be embedded in my childhood memories somehow, that I would remember practicing to pray with my father, and I couldn’t. The words weren’t there. I felt so unmoored in that moment.\u003c/p>\n\u003cp>Violence is so present right now. There is a lot that I understand differently. I have realized what praying is really for, and how much religion has developed as a source and tool of survival. I had taken it for granted in a way.\u003c/p>\n\u003cp>Religion has been usurped by people with political agendas, so I am finding my way back, and that’s what that piece was about, the experience of understanding how these verses developed for a people under attack, and here they are for us to help us survive and reconnect with our cultural roots.\u003c/p>\n\u003cfigure id=\"attachment_13682645\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Zahra-Headshot-by-Andria-Lo_Brick-Wall.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13682645\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Zahra-Headshot-by-Andria-Lo_Brick-Wall-1020x622.jpg\" alt=\"\" width=\"640\" height=\"390\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Zahra-Headshot-by-Andria-Lo_Brick-Wall-1020x622.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Zahra-Headshot-by-Andria-Lo_Brick-Wall-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Zahra-Headshot-by-Andria-Lo_Brick-Wall-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Zahra-Headshot-by-Andria-Lo_Brick-Wall-768x468.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Zahra-Headshot-by-Andria-Lo_Brick-Wall-1180x719.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Zahra-Headshot-by-Andria-Lo_Brick-Wall-960x585.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Zahra-Headshot-by-Andria-Lo_Brick-Wall-240x146.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Zahra-Headshot-by-Andria-Lo_Brick-Wall-375x229.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Zahra-Headshot-by-Andria-Lo_Brick-Wall-520x317.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Zahra-Headshot-by-Andria-Lo_Brick-Wall.jpg 1642w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Andria Lo\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Since Trump took office, white comedians have been getting a lot of material (John Oliver and Stephen Colbert) and work (Melissa McCarthy and Alec Baldwin) poking fun at the administration. But comedians of color have to be more careful. Can you talk a little about your experience of this? \u003c/strong>\u003c/p>\n\u003cp>I have to use my grant money to pay for security. That’s how it is. People are like, “Look at you! This is a great year for Muslim comedians! Oh my god, you’re going to do so well!” Actually, no. I’ve been doing this for 12 years. I’m not on SNL. Where are the comedians of color doing impressions on SNL? They’re not safe!\u003c/p>\n\u003cp>I really appreciated it when Samantha Bee said that, when Trump won, her entire staff was terrified. They were being harassed. That’s a circumstance. In order to make the space available to comedians of color to explore the irreverent comedy that exposes white supremacy for what it is, we need to know that we’re safe, that we’re being taken care of physically. I don’t mean safe like in a healthy debate in your university classroom safe. I’m talking there’s-a-guy-with-a-gun-on-my-side safe, log cabin safe, Brawny safe, THINX underwear safe.\u003c/p>\n\u003cp>\u003cstrong>Your podcast is called \u003ca href=\"http://www.goodmuslimbadmuslim.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Good Muslim Bad Muslim\u003c/i>\u003c/a>, which is a nod to a contradiction many Muslims in this country face: The more you assimilate, the more likely American culture will consider you “good.” And the opposite can be true from the Muslim perspective. What’s been your experience navigating the blurry line between “good” and “bad”?\u003c/strong>\u003c/p>\n\u003cp>More and more, I see it now less so as a contradiction and more so as the phenomenon of oversimplification that has taken over this planet. The most terrifying thing has become the oversimplification of very complex ideas and circumstances and identities for the benefit of murder, destruction, and arms-dealing. To oversimplify…[laughs]\u003c/p>\n\u003cfigure id=\"attachment_13682644\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Zahra-laughing-with-mic-credit-Harsh-Mall.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13682644 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Zahra-laughing-with-mic-credit-Harsh-Mall.jpg\" alt=\"\" width=\"960\" height=\"572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Zahra-laughing-with-mic-credit-Harsh-Mall.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Zahra-laughing-with-mic-credit-Harsh-Mall-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Zahra-laughing-with-mic-credit-Harsh-Mall-800x477.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Zahra-laughing-with-mic-credit-Harsh-Mall-768x458.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Zahra-laughing-with-mic-credit-Harsh-Mall-240x143.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Zahra-laughing-with-mic-credit-Harsh-Mall-375x223.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Zahra-laughing-with-mic-credit-Harsh-Mall-520x310.jpg 520w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Harsh Mall\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You’ve spoken about how the Joe Rogans of the world get to make dick jokes, while a responsibility is placed on you to say smart subversive things about the gender binary and global politics. How do you embrace or resist that?\u003c/strong>\u003c/p>\n\u003cp>I’m having a lot of fun embracing my inner Joe Rogan, but the feminist Muslim Iranian-American bisexual Joe Rogan. I’m trying to find my space amongst the white male-dominated bros of comedy. As I embrace this character more, I get a lot of audience members later telling me, “You have such great stage presence!” which cracks me up because would you ever say that to Joe Rogan? Of course I have stage presence. This is my vocation, this is my job, this is what you bought tickets for. As Hermione once said, “\u003ca href=\"https://www.youtube.com/watch?v=5yYDkcxvKxI\" target=\"_blank\" rel=\"noopener noreferrer\">Always the tone of surprise\u003c/a>.”\u003c/p>\n\u003cp>\u003cstrong>So much of Muslim representation in popular culture is so serious. Do you have a favorite depiction that feels light-hearted and more realistic to you?\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Little Mosque on the Prairie\u003c/em>. It’s basically like a Muslim \u003cem>Gilmore Girls\u003c/em> in Canada. Every episode involves conflicts about family and friends in a mosque, and then they get resolved! It’s lovely and soothing.\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/Ed01j-Z3DyY'\n title='//www.youtube.com/embed/Ed01j-Z3DyY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>What does your ideal future look like for women artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>Stomping all over the men. [laughs]\u003c/p>\n\u003cp>But my serious answer is: This year, I have definitely pulled back in the number of performances that I do and how much I put myself out there. I’m generally intimidated by the current administration and by the fear-mongering. It’s effective on my end. I notice I’m less trusting. I require security at the spaces where I perform. I check the RSVP list. There are states that I won’t go to. I’m more reluctant to do video. I’m more reluctant to post.\u003c/p>\n\u003cp>There’s always this expectation that because I say I’m a feminist Muslim Iranian-American comedian that I’ve got elbows out and that I’m super brave and like “Out of my way!” But really I’m just trying to carve a space out for myself. So I just hope for more awareness of the safety challenges that women artists face being in the public sphere, and for more support there.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Want more Zahra? Listen to her appearance on KQED’s weekly pop culture podcast, \u003ca href=\"http://www.npr.org/podcasts/448115865/the-cooler\">The Cooler\u003c/a>!\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Television’s most famous amphibian is set to get a new voice.\u003c/p>\n\u003cp>Steve Whitmire, the puppeteer who for 27 years has performed as Kermit the Frog, is no longer voicing the green lead of the various Muppets TV programs and films, a spokesperson for The Muppets Studio confirmed to NPR. He will be replaced by longtime show veteran Matt Vogel.\u003c/p>\n\u003cp>The spokesperson did not immediately comment on the reason for the switch.\u003c/p>\n\u003cp>Whitmire, who first joined the Muppets in 1978, had served as the man behind the frog since the death of show creator Jim Henson in 1990. And as NPR’s Rose Friedman notes, Whitmire wasn’t just a one-Muppet man: He has also played Bert’s best pal Ernie, Rizzo the Rat and Beaker, among other characters.\u003c/p>\n\u003cp>That said, Vogel has plenty of experience as well. He has voiced Sergeant Floyd Pepper, and \u003ca href=\"https://www.washingtonpost.com/national/kermit-the-frog-finding-a-new-voice-after-actor-switch/2017/07/11/feb28732-6627-11e7-94ab-5b1f0ff459df_story.html\" target=\"_blank\" rel=\"noopener\">The Associated Press notes\u003c/a> that during his career he has also stepped into the roles of Big Bird and Count von Count. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=After+27+Years%2C+Kermit+The+Frog+Is+Getting+A+New+Voice&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Last July, in a move that can only be described as “typical,” musician, comedian and all-around local treasure George Chen said goodbye to the Bay Area and moved to Los Angeles.\u003c/p>\n\u003cp>What \u003cem>wasn’t\u003c/em> typical is that Chen bid farewell to San Francisco by doing standup comedy in the basement of a San Francisco video store. On the last night of Cynic Cave — the monthly comedy show that he promoted for four years — Chen recorded his set in the basement of \u003ca href=\"http://www.lostweekendvideo.com/\" target=\"_blank\" rel=\"noopener\">Lost Weekend Video\u003c/a>, which he releases this week as his first official comedy album. \u003c/p>\n\u003cp>In his time here, Chen was a beloved, ubiquitous figure in the Bay Area underground scene who embodied its DIY attitude. He seemed to be everywhere at once — his booking collective Club Sandwich promoted hundreds of shows, his record label Zum released dozens of records, and he played in just as many bands, including Kit and Chen Santa Maria. \u003c/p>\n\u003cp>Six years ago, Chen started hitting open mics and putting his perpetual energy into the local comedy scene. By the time he ended Cynic Cave and moved to Los Angeles, he’d developed a unique style of comedy that mixed silly, slow-burning punchlines with biting takes on modern politics. After hearing his well-crafted set on his debut release \u003ci>Word Origami\u003c/i>, I talked with him about his newfound comedy career and how his move to sunny L.A. is working out. \u003c/p>\n\u003cp>\u003cstrong>You recorded \u003ci>Word Origami\u003c/i> before you left San Francisco. Why did you leave?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I’d been contemplating a move for a long time, but the immediate factors were my girlfriend getting a job in L.A., my job allowing me to work remotely, and a series of problems with my very cheap apartment in Oakland (which I describe in this \u003ca href=\"https://zumaudio.bandcamp.com/track/bug-life\" target=\"_blank\" rel=\"noopener\">storytelling bit\u003c/a>). \u003c/p>\n\u003cp>I grew up in San Jose and had lived most of my adult life in the East Bay, so I was worried about general stagnation. I also learned that Lost Weekend was going to be moving off Valencia Street around the same time my girlfriend got her job offer, so all signs were pointing towards leaving.\u003c/p>\n\u003cfigure id=\"attachment_13608699\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/zum034fullsize-800x800.jpg\" alt=\"George Chen's 'Word Origami' on Zum Records\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13608699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/zum034fullsize-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/zum034fullsize-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/zum034fullsize-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/zum034fullsize-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/zum034fullsize.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/zum034fullsize-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/zum034fullsize-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/zum034fullsize-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/zum034fullsize-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/zum034fullsize-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/zum034fullsize-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/zum034fullsize-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/zum034fullsize-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/zum034fullsize-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/zum034fullsize-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/zum034fullsize-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">George Chen’s ‘Word Origami’ on Zum Records.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Has the move led to more comedy work?\u003c/strong> \u003c/p>\n\u003cp>Personally, I’m not doing a greater quantity of comedy work, though the opportunities to do standup are plentiful. I knew this was inevitable whether I was in San Francisco or L.A., just by nature of losing the venue where I had a weekly show. I’ve heard from everyone that the first year or two in L.A. are incredibly difficult, and I’m starting over in a new scene without a lot of credits. That’s partly why I wanted to put this recording out, to establish something for myself without having any guidance or input from the industry. No one invites you to move to L.A., so I’ve found! Quite the opposite.\u003c/p>\n\u003cp>\u003cstrong>What made you want to start doing comedy?\u003c/strong>\u003c/p>\n\u003cp>It was always a great passion growing up. Pre-Comedy Central, we taped all the weird British sketch shows off MTV and then went deep into those early cable comedy clips they ran like music videos. My sister and I also listened to the Alex Bennett morning show on Live 105, so we grew up hearing Greg Proops and Marc Maron and all these local ’90s comics. He also had a KQED standup show filmed at the Great American Music Hall, where I first saw Dana Gould and a bunch of others. Can you guys make that footage available? There was a bald biker character comic named Tree. I wonder what happened to him. \u003c/p>\n\u003cp>I would also say the early days of Twitter were a good transition. My overlapping music and comedy interests had a place to manifest, and I got a little attention for some weird narrative tweets. I also started in the midst of the podcasting boom, so I listened to all of those shows. \u003cem>Doug Loves Movies\u003c/em> and \u003cem>Comedy Bang Bang\u003c/em> gave me the feeling of those Alex Bennett Live 105 shows I heard as a kid, but without the FCC restrictions on swearing.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2243099312/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=4003393840/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>What’s been the harder scene to work in: punk or comedy?\u003c/strong>\u003c/p>\n\u003cp>Both punk and comedy have intense personalities, junk food, and late nights. Open mics always ended within three hours and there was no equipment to load out at the end, so for sheer pragmatic reasons they beat out music (which as a performer is like a six-hour commitment). But I also ended up with a day job at a record label, one of the punk scene’s very few professionalized positions. And being at noise shows with six people in the audience for a decade fortified me to the affront that is the open mic scene. There was an immediate difference transitioning between scenes in that punk, at least Bay Area punk, is far more woke than a comedy club. That’s a conflict but also an interesting dialogue.\u003c/p>\n\u003cp>\u003cstrong>How did Cynic Cave come about?\u003c/strong>\u003c/p>\n\u003cp>I literally lucked into that situation. I had been doing a lot of one-off shows in weird venues, collaborating with John Benson on his bus shows, Lindsey White’s life-drawing comedy shows at Will Brown, and I did a few things at Saturn Café in Berkeley. Hannah Lew knew me from music and asked me if I wanted to put something on at Lost Weekend before the basement venue officially opened. I think that she’d asked Chris Thayer to do it, but he was already planning on moving to L.A. and our first show was kind of like his going-away party. That first show ended up being a perfect storm of a mysterious new venue in the Mission and a mix of L.A. and Bay Area comics, and there were lines out the door. It went from being a monthly showcase to very quickly becoming every Saturday. By the end, we filled the calendar every night of the week with shows put on by different producers. \u003c/p>\n\u003cfigure id=\"attachment_13608698\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/File-Jul-06-7-10-04-AM-800x1067.jpeg\" alt=\"Being George Chen\" width=\"800\" height=\"1067\" class=\"size-medium wp-image-13608698\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/File-Jul-06-7-10-04-AM-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/File-Jul-06-7-10-04-AM-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/File-Jul-06-7-10-04-AM-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/File-Jul-06-7-10-04-AM-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/File-Jul-06-7-10-04-AM.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/File-Jul-06-7-10-04-AM-1180x1573.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/File-Jul-06-7-10-04-AM-960x1280.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/File-Jul-06-7-10-04-AM-240x320.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/File-Jul-06-7-10-04-AM-375x500.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/File-Jul-06-7-10-04-AM-520x693.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Being George Chen. \u003ccite>(Photo: Angi Brzycki)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You ran Cynic Cave for four years, which seems like quite a while for a comedy night. Looking back, what about those four years makes you happy you did it?\u003c/strong>\u003c/p>\n\u003cp>I feel like everything I have in comedy and a lot of my life came out of the Cynic Cave. I got jaded living in the Bay Area, but the comedy scene gave me a sense of purpose after a lot of personal bad times, and introduced me to a whole parallel overlapping society. We have some of the Lost Weekend theater seats at our apartment, and also, I met my girlfriend there. I ran a first Friday show there called Talkies, which still exists to this day but is moving around to some East Bay venues. That was a great place to try things out, I did a lot of PowerPoints and characters specifically for that show, and it started down the street at ATA. Comedy where you still need to do a soundcheck — kind of defeats the purpose!\u003c/p>\n\u003cp>\u003cstrong>Finally, having done it for seven years now, what’s the best part about comedy?\u003c/strong>\u003c/p>\n\u003cp>Well, I started when we thought Mitt Romney was the worst thing that could happen to America. I still love seeing comedy, I am grateful when I get asked to do it, and I put this record out so if I quit and become a chef, at least there’s a document of it. \u003c/p>\n\u003cp>[ad floatright]\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_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full 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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last July, in a move that can only be described as “typical,” musician, comedian and all-around local treasure George Chen said goodbye to the Bay Area and moved to Los Angeles.\u003c/p>\n\u003cp>What \u003cem>wasn’t\u003c/em> typical is that Chen bid farewell to San Francisco by doing standup comedy in the basement of a San Francisco video store. On the last night of Cynic Cave — the monthly comedy show that he promoted for four years — Chen recorded his set in the basement of \u003ca href=\"http://www.lostweekendvideo.com/\" target=\"_blank\" rel=\"noopener\">Lost Weekend Video\u003c/a>, which he releases this week as his first official comedy album. \u003c/p>\n\u003cp>In his time here, Chen was a beloved, ubiquitous figure in the Bay Area underground scene who embodied its DIY attitude. He seemed to be everywhere at once — his booking collective Club Sandwich promoted hundreds of shows, his record label Zum released dozens of records, and he played in just as many bands, including Kit and Chen Santa Maria. \u003c/p>\n\u003cp>Six years ago, Chen started hitting open mics and putting his perpetual energy into the local comedy scene. By the time he ended Cynic Cave and moved to Los Angeles, he’d developed a unique style of comedy that mixed silly, slow-burning punchlines with biting takes on modern politics. After hearing his well-crafted set on his debut release \u003ci>Word Origami\u003c/i>, I talked with him about his newfound comedy career and how his move to sunny L.A. is working out. \u003c/p>\n\u003cp>\u003cstrong>You recorded \u003ci>Word Origami\u003c/i> before you left San Francisco. Why did you leave?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’d been contemplating a move for a long time, but the immediate factors were my girlfriend getting a job in L.A., my job allowing me to work remotely, and a series of problems with my very cheap apartment in Oakland (which I describe in this \u003ca href=\"https://zumaudio.bandcamp.com/track/bug-life\" target=\"_blank\" rel=\"noopener\">storytelling bit\u003c/a>). \u003c/p>\n\u003cp>I grew up in San Jose and had lived most of my adult life in the East Bay, so I was worried about general stagnation. I also learned that Lost Weekend was going to be moving off Valencia Street around the same time my girlfriend got her job offer, so all signs were pointing towards leaving.\u003c/p>\n\u003cfigure id=\"attachment_13608699\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/zum034fullsize-800x800.jpg\" alt=\"George Chen's 'Word Origami' on Zum Records\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13608699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/zum034fullsize-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/zum034fullsize-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/zum034fullsize-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/zum034fullsize-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/zum034fullsize.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/zum034fullsize-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/zum034fullsize-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/zum034fullsize-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/zum034fullsize-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/zum034fullsize-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/zum034fullsize-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/zum034fullsize-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/zum034fullsize-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/zum034fullsize-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/zum034fullsize-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/zum034fullsize-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">George Chen’s ‘Word Origami’ on Zum Records.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Has the move led to more comedy work?\u003c/strong> \u003c/p>\n\u003cp>Personally, I’m not doing a greater quantity of comedy work, though the opportunities to do standup are plentiful. I knew this was inevitable whether I was in San Francisco or L.A., just by nature of losing the venue where I had a weekly show. I’ve heard from everyone that the first year or two in L.A. are incredibly difficult, and I’m starting over in a new scene without a lot of credits. That’s partly why I wanted to put this recording out, to establish something for myself without having any guidance or input from the industry. No one invites you to move to L.A., so I’ve found! Quite the opposite.\u003c/p>\n\u003cp>\u003cstrong>What made you want to start doing comedy?\u003c/strong>\u003c/p>\n\u003cp>It was always a great passion growing up. Pre-Comedy Central, we taped all the weird British sketch shows off MTV and then went deep into those early cable comedy clips they ran like music videos. My sister and I also listened to the Alex Bennett morning show on Live 105, so we grew up hearing Greg Proops and Marc Maron and all these local ’90s comics. He also had a KQED standup show filmed at the Great American Music Hall, where I first saw Dana Gould and a bunch of others. Can you guys make that footage available? There was a bald biker character comic named Tree. I wonder what happened to him. \u003c/p>\n\u003cp>I would also say the early days of Twitter were a good transition. My overlapping music and comedy interests had a place to manifest, and I got a little attention for some weird narrative tweets. I also started in the midst of the podcasting boom, so I listened to all of those shows. \u003cem>Doug Loves Movies\u003c/em> and \u003cem>Comedy Bang Bang\u003c/em> gave me the feeling of those Alex Bennett Live 105 shows I heard as a kid, but without the FCC restrictions on swearing.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2243099312/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=4003393840/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>What’s been the harder scene to work in: punk or comedy?\u003c/strong>\u003c/p>\n\u003cp>Both punk and comedy have intense personalities, junk food, and late nights. Open mics always ended within three hours and there was no equipment to load out at the end, so for sheer pragmatic reasons they beat out music (which as a performer is like a six-hour commitment). But I also ended up with a day job at a record label, one of the punk scene’s very few professionalized positions. And being at noise shows with six people in the audience for a decade fortified me to the affront that is the open mic scene. There was an immediate difference transitioning between scenes in that punk, at least Bay Area punk, is far more woke than a comedy club. That’s a conflict but also an interesting dialogue.\u003c/p>\n\u003cp>\u003cstrong>How did Cynic Cave come about?\u003c/strong>\u003c/p>\n\u003cp>I literally lucked into that situation. I had been doing a lot of one-off shows in weird venues, collaborating with John Benson on his bus shows, Lindsey White’s life-drawing comedy shows at Will Brown, and I did a few things at Saturn Café in Berkeley. Hannah Lew knew me from music and asked me if I wanted to put something on at Lost Weekend before the basement venue officially opened. I think that she’d asked Chris Thayer to do it, but he was already planning on moving to L.A. and our first show was kind of like his going-away party. That first show ended up being a perfect storm of a mysterious new venue in the Mission and a mix of L.A. and Bay Area comics, and there were lines out the door. It went from being a monthly showcase to very quickly becoming every Saturday. By the end, we filled the calendar every night of the week with shows put on by different producers. \u003c/p>\n\u003cfigure id=\"attachment_13608698\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/File-Jul-06-7-10-04-AM-800x1067.jpeg\" alt=\"Being George Chen\" width=\"800\" height=\"1067\" class=\"size-medium wp-image-13608698\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/File-Jul-06-7-10-04-AM-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/File-Jul-06-7-10-04-AM-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/File-Jul-06-7-10-04-AM-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/File-Jul-06-7-10-04-AM-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/File-Jul-06-7-10-04-AM.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/File-Jul-06-7-10-04-AM-1180x1573.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/File-Jul-06-7-10-04-AM-960x1280.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/File-Jul-06-7-10-04-AM-240x320.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/File-Jul-06-7-10-04-AM-375x500.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/File-Jul-06-7-10-04-AM-520x693.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Being George Chen. \u003ccite>(Photo: Angi Brzycki)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You ran Cynic Cave for four years, which seems like quite a while for a comedy night. Looking back, what about those four years makes you happy you did it?\u003c/strong>\u003c/p>\n\u003cp>I feel like everything I have in comedy and a lot of my life came out of the Cynic Cave. I got jaded living in the Bay Area, but the comedy scene gave me a sense of purpose after a lot of personal bad times, and introduced me to a whole parallel overlapping society. We have some of the Lost Weekend theater seats at our apartment, and also, I met my girlfriend there. I ran a first Friday show there called Talkies, which still exists to this day but is moving around to some East Bay venues. That was a great place to try things out, I did a lot of PowerPoints and characters specifically for that show, and it started down the street at ATA. 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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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