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"title": "Colossal Clusterfest Brings Depraved Fun, Exhausting Pace on First Day",
"headTitle": "Colossal Clusterfest Brings Depraved Fun, Exhausting Pace on First Day | KQED",
"content": "\u003cp>Where would today’s stand-up comedy be without San Francisco? Sure, New York and L.A. are where comics go to make it big, but San Francisco is where comedy evolves. In the early ’50s, Mort Sahl walked on the \u003ca href=\"https://en.wikipedia.org/wiki/Hungry_i\" target=\"_blank\" rel=\"noopener\">hungry i\u003c/a>’s stage with a newspaper in hand and proceeded to riff rather than rattle off one-liners, altering completely what it meant to be a stand-up comedian. A few years later, Ann’s 440 on Broadway hired a local strip-club MC named Lenny Bruce to tell jokes, setting the course of political criticism and freedom of obscenity for legends like Richard Pryor, George Carlin and Bill Hicks.\u003c/p>\n\u003cp>The Holy City Zoo spawned Robin Williams. The Other Cafe nurtured Paula Poundstone. The long-running San Francisco Comedy Competition broke comedians like Dana Carvey, Ellen Degeneres and Sinbad. Even today, rising stars like Hasan Minhaj, Ali Wong, Moshe Kasher and W. Kamau Bell claim San Francisco as their comedy home.\u003c/p>\n\u003cfigure id=\"attachment_13361210\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Drunk-History-tank-800x450.jpg\" alt=\"The 'Drunk History' drunk tank. Yes, the man in the Davy Crockett outfit did seem to have a good time\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13361210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Drunk-History-tank-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Drunk-History-tank-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Drunk-History-tank-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Drunk-History-tank-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Drunk-History-tank.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Drunk-History-tank-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Drunk-History-tank-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Drunk-History-tank-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Drunk-History-tank-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Drunk-History-tank-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Drunk History’ drunk tank. Yes, the man in the Davy Crockett outfit did seem to have a good time. \u003ccite>(Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So it makes sense that Comedy Central chose the city to host a first-of-its-kind, three-day comedy festival, aptly named \u003ca href=\"https://www.clusterfest.com/\" target=\"_blank\" rel=\"noopener\">Colossal Clusterfest\u003c/a>. Instead of the Sketchfest model, with shows at different venues around the city, the performances take place at five venues clustered around the Civic Center mall. It’s a comic showcase for the Outside Lands crowd, a chance for the festival-minded to see a bunch of hot acts for a bargain.\u003c/p>\n\u003cp>It was also apparent, walking into the festival for Friday’s opening night, that Clusterfest is big ol’ advertisement for Comedy Central. Comedy is their brand, and they have branded the hell out of San Francisco. Inside the festival grounds, there were logos as far as the eye could see — for Clusterfest itself, for Miller Lite, for Papa John’s and others. For the duration of the festival — it continues through Sunday — Comedy Central gets to paint the town corporate.\u003c/p>\n\u003cp>And sure, Apple routinely \u003ca href=\"http://appleinsider.com/articles/16/09/06/apple-banners-flags-posters-go-up-at-bill-graham-civic-auditorium-ahead-of-sept-7-event\" target=\"_blank\" rel=\"noopener\">takes over the Civic Center\u003c/a> with excessive branding, and most music festivals utilize every possible surface for advertising. That’s just part of modern life. But it doesn’t feel right in the same place where the city came together in a candlelight vigil after the assassination of Harvey Milk, or where Mayor Gavin Newsom married gay couples in defiance of federal law. \u003c/p>\n\u003cfigure id=\"attachment_13361218\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Scrotums-800x533.jpg\" alt=\"People loved the gigantic scrotum display at the South Park village\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13361218\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Scrotums-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Scrotums-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Scrotums-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Scrotums-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Scrotums.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Scrotums-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Scrotums-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Scrotums-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Scrotums-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Scrotums-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">People loved the gigantic scrotum display at the South Park village. \u003ccite>(Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once you get past that aspect, there’s a ton to see at Clusterfest — starting with the \u003cem>South Park\u003c/em> village. Comedy Central is the channel \u003cem>South Park\u003c/em> built, and they went all out in celebrating their long-running animated show. As someone who’s watched the show since the “beefcake” days, I can say that this massive installation had almost everything a real fan could want: you can sit on a throne next to Satan, you can have your picture taken on top of a giant ballsack, and you can even buy food at locations from the show, like the bar Les Bos. (I didn’t see anyone lining up at the booth called “Raisins”; despite what seemed to be tasty schezwan chicken on the menu, people probably didn’t want to be seen at a booth referencing a \u003ca href=\"http://southpark.cc.com/clips/104388/raisins\" target=\"_blank\" rel=\"noopener\">Hooters-style restaurant that employs prepubescent girls\u003c/a>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Not far away from the \u003cem>South Park\u003c/em> village is the re-creation of the \u003cem>Seinfeld\u003c/em> apartment, and a line snaked around its tent for hours. A sign read “Seinfeld Expected Wait Time: 60 minutes,” which is a serious commitment at a festival where comedians’ sets clipped along at 15 minutes each. I didn’t commit, but I did stare at the re-creation of the Soup Nazi’s restaurant, which had the \u003ca href=\"http://www.sfweekly.com/culture/feature-culture/the-soup-nazi-was-once-an-actor-in-sf-who-couldnt-afford-soup/\" target=\"_blank\" rel=\"noopener\">actual actor who played the Soup Nazi\u003c/a> standing nearby. (It also looked like one of the servers had a “fashy,” which is a great update for a joke about a Nazi-run kitchen.)\u003c/p>\n\u003cfigure id=\"attachment_13361219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Seinfeld-Line-800x533.jpg\" alt=\"It seemed to take a lot longer to get into the 'Seinfeld' apartment\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13361219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Seinfeld-Line-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Seinfeld-Line-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Seinfeld-Line-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Seinfeld-Line-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Seinfeld-Line.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Seinfeld-Line-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Seinfeld-Line-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Seinfeld-Line-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Seinfeld-Line-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Seinfeld-Line-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It seemed to take a lot longer to get into the ‘Seinfeld’ apartment. \u003ccite>(Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It took some effort to locate the 415 Comedy Club on the fourth floor of the Bill Graham Civic Center, but once I did, I found a standing-room-only audience watching Beth Stelling. A writer for the HBO series \u003ci>Crashing,\u003c/i> Stelling had the crowd cracking up over her stories about dead guinea pigs and her estranged dad. The most memorable moment of her set came when she described the feeling of having an IUD pulled out of her by a doctor — it elicited the loudest women-only groan of pain I’ve ever heard.\u003c/p>\n\u003cp>The 415 Comedy Club was set up just feet away from the Bill Graham Auditorium, so after Stelling’s set I popped over to the big room to catch a showcase featuring T.J. Miller (from \u003cem>Silicon Valley\u003c/em>) and \u003ca href=\"http://www.npr.org/2016/11/07/501017521/comedian-aparna-nancherla-makes-light-of-the-heavy-stuff\" target=\"_blank\" rel=\"noopener\">Aparna Nancherla\u003c/a>. On the way to the auditorium, I noticed a guy sitting on the ground with blood pouring out of his mouth — a reminder of the potential for disaster at festivals. At Clusterfest, everyone seemed to be drinking; beer could be bought practically everywhere. Drunk people typically don’t make for great comedy audiences, but thankfully the shows I saw weren’t plagued with annoying hecklers or fighting in the crowd. (I did almost step in a pile of vomit on Fulton Street near the Colossal stage, though.)\u003c/p>\n\u003cfigure id=\"attachment_13361208\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Beth-Stelling-800x450.jpg\" alt=\"Beth Stelling on stage at the 415 Comedy Club\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13361208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beth-Stelling-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beth-Stelling-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beth-Stelling-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beth-Stelling-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beth-Stelling.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beth-Stelling-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beth-Stelling-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beth-Stelling-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beth-Stelling-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beth-Stelling-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beth Stelling on stage at the 415 Comedy Club. \u003ccite>(Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Little about Clusterfest’s setup or crowds was ideal for comedy. Because show times overlapped, audiences were constantly shifting in and out of their seats, which must’ve been distracting for the comedians. But newer standup comics like Liza Treyger and Nick Vatterott (who admitted he’d never performed to so many people) still managed to get big laughs.\u003c/p>\n\u003cp>While eating a $10 gyro and trying to find a drink that wasn’t beer or \u003ca href=\"http://mountaindew.wikia.com/wiki/Spiked_(Lemonade)\" target=\"_blank\" rel=\"noopener\">Mountain Dew Spiked\u003c/a>, I listened to Lil Dicky’s set of hardcore comedy rap from a distance. His delicate, spoiled-brat persona seemed a little too true-to-life, but his beats got festival staff dancing all over the mall. And though the sound was decent for an outdoor stage, I avoided music for the rest of the day — while there were definitely acts worth seeing like Ty Segall and Ice Cube, seeing one of their sets meant missing out on some great comedy.\u003c/p>\n\u003cfigure id=\"attachment_13361214\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Problematic2-800x450.jpg\" alt=\"During the taping of 'Problematic'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13361214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Problematic2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Problematic2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Problematic2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Problematic2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Problematic2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Problematic2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Problematic2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Problematic2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Problematic2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Problematic2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">During the taping of ‘Problematic.’ On stage (L-R) are April Glaser, Paul Scheer, Moshe Kasher, Alexander Reben and Beth Stelling. \u003ccite>(Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After finishing my food, it was time to stand in line at the Larkin Comedy Club for a taping of \u003ci>Problematic\u003c/i>, Comedy Central’s new show hosted by Moshe Kasher, an Oakland native. The requirements at the Larkin Comedy Club are stringent and inconvenient. You have to queue up at least 20 minutes before the show, and that’s after getting a required ticket from a nearby box office. As the doors opened and people took their seats, those who’d been standing in line without the required tickets were then sent running to get tickets once they realized their error.\u003c/p>\n\u003cp>But \u003ci>Problematic\u003c/i> was worth it. Kasher is quick-witted and fearless, and his show takes on controversial topics of the day, such as the \u003ca href=\"http://www.cc.com/episodes/q6xqai/problematic-with-moshe-kasher-the-alt-right-season-1-ep-106\" target=\"_blank\" rel=\"noopener\">Alt-Right\u003c/a>, the episode on which Kasher spoke with notorious political trolls like Ann Coulter. Friday’s show was on robotics, which had some definite potential for laughs — we’re talking about sex robots, of course — but ended up feeling a little schizophrenic during discussions about the need for Universal Basic Income and the ethics surrounding the development of weapons. Yet the jokes about sex robots were really funny, and a riff from Paul Scheer about the “famous” Larkin Club’s decor — huge portraits of famous comedians like Robin Williams, Betty White and Miss Piggy — gave the festival the ribbing it deserved.\u003c/p>\n\u003cfigure id=\"attachment_13363221\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Sarah-Silverman.MAIN_.CC_-800x450.jpg\" alt=\"Sarah Silverman on the big screen at the Bill Graham Stage.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13363221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sarah-Silverman.MAIN_.CC_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sarah-Silverman.MAIN_.CC_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sarah-Silverman.MAIN_.CC_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sarah-Silverman.MAIN_.CC_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sarah-Silverman.MAIN_.CC_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sarah-Silverman.MAIN_.CC_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sarah-Silverman.MAIN_.CC_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sarah-Silverman.MAIN_.CC_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sarah-Silverman.MAIN_.CC_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sarah-Silverman.MAIN_.CC_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Silverman on the big screen at the Bill Graham Stage. \u003ccite>(Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time T.J. Miller’s \u003cem>Gorburger\u003c/em> show was up and running at the smaller outdoor stage, it had grown dark and cold. So, so cold. The concept behind \u003cem>The Gorburger Show\u003c/em> centers around Miller dressing up as a scary alien and hosting a talk show that’s also a parody of a Japanese game show, full of weird games like throwing corn cobs at poeple’s butts. Though there were plenty of reasons to laugh, the icy wind had sucked away a lot of the energy from the crowd, and even Gorburger’s guests.\u003c/p>\n\u003cp>Almost an hour before he was expected to take the stage, a giant crowd built up for headliner Kevin Hart. As much as I wanted to see the man who’s become the next Eddie Murphy, the windchill factor made the outside air feel like 20 degrees. So I scrambled back to the Bill Graham stage to catch Sarah Silverman as she MC’ed her own show. Silverman told the crowd she’d be doing all-new material and then called back to the stage Aparna Nancherla, who then performed her third set on that same stage that night. She didn’t have to repeat material, and she consistently killed. One of her first jokes was that she’d been popping up so often on that stage, she might as well be the phantom of the Bill Graham auditorium, which got a good laugh from the large and, by now, exhausted crowd.\u003c/p>\n\u003cp>Comedy is hard to sit through when you’re tired, and the festival had managed to tucker out the thousands congregated in the Bill Graham. While Kasher, an Oakland native, had hilarious riffs on local institutions like the sex-toy store \u003ca href=\"http://www.goodvibes.com/s\" target=\"_blank\" rel=\"noopener\">Good Vibrations\u003c/a>, the monitors on the sides of the stage kept making the mistake of showing shots of a crowd just trying to stay awake.\u003c/p>\n\u003cp>At the end of the night, Clusterfest was best summed up by the hoodie-and-backwards-cap-wearing \u003ca href=\"http://www.urbandictionary.com/define.php?term=broseph\" target=\"_blank\" rel=\"noopener\">broseph\u003c/a> sitting next to me. With empty beer bottles and compostable paper bowls scattered at his feet, he watched Kasher with his arms folded the entire time, a half-smile on his face as he battled to keep his eyes open. Would he be back for two more days of this, I thought? Time will tell.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Comedy Clusterfest continues through Sunday, June 4. \u003ca href=\"https://www.clusterfest.com/\" target=\"_blank\" rel=\"noopener\">More details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "For the 'Outside Lands of comedy,' Comedy Central takes over San Francisco's Civic Center mall for a first-of-its-kind comedy festival—and, in its inaugural year, there are some kinks to work out.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Where would today’s stand-up comedy be without San Francisco? Sure, New York and L.A. are where comics go to make it big, but San Francisco is where comedy evolves. In the early ’50s, Mort Sahl walked on the \u003ca href=\"https://en.wikipedia.org/wiki/Hungry_i\" target=\"_blank\" rel=\"noopener\">hungry i\u003c/a>’s stage with a newspaper in hand and proceeded to riff rather than rattle off one-liners, altering completely what it meant to be a stand-up comedian. A few years later, Ann’s 440 on Broadway hired a local strip-club MC named Lenny Bruce to tell jokes, setting the course of political criticism and freedom of obscenity for legends like Richard Pryor, George Carlin and Bill Hicks.\u003c/p>\n\u003cp>The Holy City Zoo spawned Robin Williams. The Other Cafe nurtured Paula Poundstone. The long-running San Francisco Comedy Competition broke comedians like Dana Carvey, Ellen Degeneres and Sinbad. Even today, rising stars like Hasan Minhaj, Ali Wong, Moshe Kasher and W. Kamau Bell claim San Francisco as their comedy home.\u003c/p>\n\u003cfigure id=\"attachment_13361210\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Drunk-History-tank-800x450.jpg\" alt=\"The 'Drunk History' drunk tank. Yes, the man in the Davy Crockett outfit did seem to have a good time\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13361210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Drunk-History-tank-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Drunk-History-tank-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Drunk-History-tank-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Drunk-History-tank-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Drunk-History-tank.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Drunk-History-tank-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Drunk-History-tank-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Drunk-History-tank-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Drunk-History-tank-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Drunk-History-tank-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Drunk History’ drunk tank. Yes, the man in the Davy Crockett outfit did seem to have a good time. \u003ccite>(Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So it makes sense that Comedy Central chose the city to host a first-of-its-kind, three-day comedy festival, aptly named \u003ca href=\"https://www.clusterfest.com/\" target=\"_blank\" rel=\"noopener\">Colossal Clusterfest\u003c/a>. Instead of the Sketchfest model, with shows at different venues around the city, the performances take place at five venues clustered around the Civic Center mall. It’s a comic showcase for the Outside Lands crowd, a chance for the festival-minded to see a bunch of hot acts for a bargain.\u003c/p>\n\u003cp>It was also apparent, walking into the festival for Friday’s opening night, that Clusterfest is big ol’ advertisement for Comedy Central. Comedy is their brand, and they have branded the hell out of San Francisco. Inside the festival grounds, there were logos as far as the eye could see — for Clusterfest itself, for Miller Lite, for Papa John’s and others. For the duration of the festival — it continues through Sunday — Comedy Central gets to paint the town corporate.\u003c/p>\n\u003cp>And sure, Apple routinely \u003ca href=\"http://appleinsider.com/articles/16/09/06/apple-banners-flags-posters-go-up-at-bill-graham-civic-auditorium-ahead-of-sept-7-event\" target=\"_blank\" rel=\"noopener\">takes over the Civic Center\u003c/a> with excessive branding, and most music festivals utilize every possible surface for advertising. That’s just part of modern life. But it doesn’t feel right in the same place where the city came together in a candlelight vigil after the assassination of Harvey Milk, or where Mayor Gavin Newsom married gay couples in defiance of federal law. \u003c/p>\n\u003cfigure id=\"attachment_13361218\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Scrotums-800x533.jpg\" alt=\"People loved the gigantic scrotum display at the South Park village\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13361218\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Scrotums-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Scrotums-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Scrotums-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Scrotums-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Scrotums.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Scrotums-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Scrotums-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Scrotums-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Scrotums-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Scrotums-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">People loved the gigantic scrotum display at the South Park village. \u003ccite>(Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once you get past that aspect, there’s a ton to see at Clusterfest — starting with the \u003cem>South Park\u003c/em> village. Comedy Central is the channel \u003cem>South Park\u003c/em> built, and they went all out in celebrating their long-running animated show. As someone who’s watched the show since the “beefcake” days, I can say that this massive installation had almost everything a real fan could want: you can sit on a throne next to Satan, you can have your picture taken on top of a giant ballsack, and you can even buy food at locations from the show, like the bar Les Bos. (I didn’t see anyone lining up at the booth called “Raisins”; despite what seemed to be tasty schezwan chicken on the menu, people probably didn’t want to be seen at a booth referencing a \u003ca href=\"http://southpark.cc.com/clips/104388/raisins\" target=\"_blank\" rel=\"noopener\">Hooters-style restaurant that employs prepubescent girls\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Not far away from the \u003cem>South Park\u003c/em> village is the re-creation of the \u003cem>Seinfeld\u003c/em> apartment, and a line snaked around its tent for hours. A sign read “Seinfeld Expected Wait Time: 60 minutes,” which is a serious commitment at a festival where comedians’ sets clipped along at 15 minutes each. I didn’t commit, but I did stare at the re-creation of the Soup Nazi’s restaurant, which had the \u003ca href=\"http://www.sfweekly.com/culture/feature-culture/the-soup-nazi-was-once-an-actor-in-sf-who-couldnt-afford-soup/\" target=\"_blank\" rel=\"noopener\">actual actor who played the Soup Nazi\u003c/a> standing nearby. (It also looked like one of the servers had a “fashy,” which is a great update for a joke about a Nazi-run kitchen.)\u003c/p>\n\u003cfigure id=\"attachment_13361219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Seinfeld-Line-800x533.jpg\" alt=\"It seemed to take a lot longer to get into the 'Seinfeld' apartment\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13361219\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Seinfeld-Line-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Seinfeld-Line-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Seinfeld-Line-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Seinfeld-Line-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Seinfeld-Line.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Seinfeld-Line-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Seinfeld-Line-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Seinfeld-Line-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Seinfeld-Line-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Seinfeld-Line-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It seemed to take a lot longer to get into the ‘Seinfeld’ apartment. \u003ccite>(Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It took some effort to locate the 415 Comedy Club on the fourth floor of the Bill Graham Civic Center, but once I did, I found a standing-room-only audience watching Beth Stelling. A writer for the HBO series \u003ci>Crashing,\u003c/i> Stelling had the crowd cracking up over her stories about dead guinea pigs and her estranged dad. The most memorable moment of her set came when she described the feeling of having an IUD pulled out of her by a doctor — it elicited the loudest women-only groan of pain I’ve ever heard.\u003c/p>\n\u003cp>The 415 Comedy Club was set up just feet away from the Bill Graham Auditorium, so after Stelling’s set I popped over to the big room to catch a showcase featuring T.J. Miller (from \u003cem>Silicon Valley\u003c/em>) and \u003ca href=\"http://www.npr.org/2016/11/07/501017521/comedian-aparna-nancherla-makes-light-of-the-heavy-stuff\" target=\"_blank\" rel=\"noopener\">Aparna Nancherla\u003c/a>. On the way to the auditorium, I noticed a guy sitting on the ground with blood pouring out of his mouth — a reminder of the potential for disaster at festivals. At Clusterfest, everyone seemed to be drinking; beer could be bought practically everywhere. Drunk people typically don’t make for great comedy audiences, but thankfully the shows I saw weren’t plagued with annoying hecklers or fighting in the crowd. (I did almost step in a pile of vomit on Fulton Street near the Colossal stage, though.)\u003c/p>\n\u003cfigure id=\"attachment_13361208\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Beth-Stelling-800x450.jpg\" alt=\"Beth Stelling on stage at the 415 Comedy Club\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13361208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beth-Stelling-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beth-Stelling-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beth-Stelling-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beth-Stelling-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beth-Stelling.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beth-Stelling-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beth-Stelling-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beth-Stelling-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beth-Stelling-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Beth-Stelling-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beth Stelling on stage at the 415 Comedy Club. \u003ccite>(Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Little about Clusterfest’s setup or crowds was ideal for comedy. Because show times overlapped, audiences were constantly shifting in and out of their seats, which must’ve been distracting for the comedians. But newer standup comics like Liza Treyger and Nick Vatterott (who admitted he’d never performed to so many people) still managed to get big laughs.\u003c/p>\n\u003cp>While eating a $10 gyro and trying to find a drink that wasn’t beer or \u003ca href=\"http://mountaindew.wikia.com/wiki/Spiked_(Lemonade)\" target=\"_blank\" rel=\"noopener\">Mountain Dew Spiked\u003c/a>, I listened to Lil Dicky’s set of hardcore comedy rap from a distance. His delicate, spoiled-brat persona seemed a little too true-to-life, but his beats got festival staff dancing all over the mall. And though the sound was decent for an outdoor stage, I avoided music for the rest of the day — while there were definitely acts worth seeing like Ty Segall and Ice Cube, seeing one of their sets meant missing out on some great comedy.\u003c/p>\n\u003cfigure id=\"attachment_13361214\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Problematic2-800x450.jpg\" alt=\"During the taping of 'Problematic'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13361214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Problematic2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Problematic2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Problematic2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Problematic2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Problematic2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Problematic2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Problematic2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Problematic2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Problematic2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Problematic2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">During the taping of ‘Problematic.’ On stage (L-R) are April Glaser, Paul Scheer, Moshe Kasher, Alexander Reben and Beth Stelling. \u003ccite>(Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After finishing my food, it was time to stand in line at the Larkin Comedy Club for a taping of \u003ci>Problematic\u003c/i>, Comedy Central’s new show hosted by Moshe Kasher, an Oakland native. The requirements at the Larkin Comedy Club are stringent and inconvenient. You have to queue up at least 20 minutes before the show, and that’s after getting a required ticket from a nearby box office. As the doors opened and people took their seats, those who’d been standing in line without the required tickets were then sent running to get tickets once they realized their error.\u003c/p>\n\u003cp>But \u003ci>Problematic\u003c/i> was worth it. Kasher is quick-witted and fearless, and his show takes on controversial topics of the day, such as the \u003ca href=\"http://www.cc.com/episodes/q6xqai/problematic-with-moshe-kasher-the-alt-right-season-1-ep-106\" target=\"_blank\" rel=\"noopener\">Alt-Right\u003c/a>, the episode on which Kasher spoke with notorious political trolls like Ann Coulter. Friday’s show was on robotics, which had some definite potential for laughs — we’re talking about sex robots, of course — but ended up feeling a little schizophrenic during discussions about the need for Universal Basic Income and the ethics surrounding the development of weapons. Yet the jokes about sex robots were really funny, and a riff from Paul Scheer about the “famous” Larkin Club’s decor — huge portraits of famous comedians like Robin Williams, Betty White and Miss Piggy — gave the festival the ribbing it deserved.\u003c/p>\n\u003cfigure id=\"attachment_13363221\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Sarah-Silverman.MAIN_.CC_-800x450.jpg\" alt=\"Sarah Silverman on the big screen at the Bill Graham Stage.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13363221\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sarah-Silverman.MAIN_.CC_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sarah-Silverman.MAIN_.CC_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sarah-Silverman.MAIN_.CC_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sarah-Silverman.MAIN_.CC_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sarah-Silverman.MAIN_.CC_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sarah-Silverman.MAIN_.CC_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sarah-Silverman.MAIN_.CC_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sarah-Silverman.MAIN_.CC_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sarah-Silverman.MAIN_.CC_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sarah-Silverman.MAIN_.CC_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Silverman on the big screen at the Bill Graham Stage. \u003ccite>(Kevin L. Jones/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time T.J. Miller’s \u003cem>Gorburger\u003c/em> show was up and running at the smaller outdoor stage, it had grown dark and cold. So, so cold. The concept behind \u003cem>The Gorburger Show\u003c/em> centers around Miller dressing up as a scary alien and hosting a talk show that’s also a parody of a Japanese game show, full of weird games like throwing corn cobs at poeple’s butts. Though there were plenty of reasons to laugh, the icy wind had sucked away a lot of the energy from the crowd, and even Gorburger’s guests.\u003c/p>\n\u003cp>Almost an hour before he was expected to take the stage, a giant crowd built up for headliner Kevin Hart. As much as I wanted to see the man who’s become the next Eddie Murphy, the windchill factor made the outside air feel like 20 degrees. So I scrambled back to the Bill Graham stage to catch Sarah Silverman as she MC’ed her own show. Silverman told the crowd she’d be doing all-new material and then called back to the stage Aparna Nancherla, who then performed her third set on that same stage that night. She didn’t have to repeat material, and she consistently killed. One of her first jokes was that she’d been popping up so often on that stage, she might as well be the phantom of the Bill Graham auditorium, which got a good laugh from the large and, by now, exhausted crowd.\u003c/p>\n\u003cp>Comedy is hard to sit through when you’re tired, and the festival had managed to tucker out the thousands congregated in the Bill Graham. While Kasher, an Oakland native, had hilarious riffs on local institutions like the sex-toy store \u003ca href=\"http://www.goodvibes.com/s\" target=\"_blank\" rel=\"noopener\">Good Vibrations\u003c/a>, the monitors on the sides of the stage kept making the mistake of showing shots of a crowd just trying to stay awake.\u003c/p>\n\u003cp>At the end of the night, Clusterfest was best summed up by the hoodie-and-backwards-cap-wearing \u003ca href=\"http://www.urbandictionary.com/define.php?term=broseph\" target=\"_blank\" rel=\"noopener\">broseph\u003c/a> sitting next to me. With empty beer bottles and compostable paper bowls scattered at his feet, he watched Kasher with his arms folded the entire time, a half-smile on his face as he battled to keep his eyes open. Would he be back for two more days of this, I thought? Time will tell.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Comedy Clusterfest continues through Sunday, June 4. \u003ca href=\"https://www.clusterfest.com/\" target=\"_blank\" rel=\"noopener\">More details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "W. Kamau Bell: 'Everything Gets Better When it Gets Awkward'",
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"content": "\u003cp>Comedian and talk show host \u003ca href=\"http://www.wkamaubell.com/\">W. Kamau Bell\u003c/a> has interviewed fully hooded Klansmen in a dark forest at night. But one of his most vulnerable interviews came when he \u003ca href=\"http://longestshortesttime.com/episode-88-w-kamau-bell-asks-his-mom-about-sex/\">talked with his nearly 80-year- old mother\u003c/a> about her sex life.\u003c/p>\n\u003cp>Bell’s fame has spread from Bay Area comedy clubs to the national stage with his hit CNN show \u003ca href=\"http://www.cnn.com/shows/united-shades-of-america\">\u003cspan style=\"font-weight: 400\">“United Shades of America”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> -- where he takes a road trip across the country to explore themes of race, identity and politics.\u003c/span>\u003c/p>\n\u003cp>His new memoir, which came out this month, is called \u003ci>The Awkward Thoughts of W. Kamau Bell: Tales of a 6’4” African American, Heterosexual, Cisgender, Left-Leaning, Asthmatic, Black and Proud Blerd, Mama’s Boy, Dad, and Stand-Up Comedian\u003c/i>. He sat down with The California Report Magazine’s host, Sasha Khokha.\u003c/p>\n\u003ch3>Interview Highlights:\u003c/h3>\n\u003cp>\u003cb>On being black, 6'4\", and not playing basketball:\u003c/b>\u003c/p>\n\u003cp>\"I tried, but I didn’t play that well. If I had been great at it, it would be a different book. Then it would be an NBA memoir on ‘how I went from poor to now I’m a gillionaire.’ I just met someone who asked, ‘Were you good at basketball, or were you a waste of height?’ ”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>On being hip in his 40s:\u003c/b>\u003c/p>\n\u003cp>“We are the age of the current culture. Every record store you walk into is playing '90s music. The '90s are currently what everybody’s into. Once it becomes like Brittany Spears, that’s when we’re done.”\u003c/p>\n\u003cp>\u003cb>On interviewing his nearly 80-year-old mom about her sex life for the parenting podcast \"\u003ca href=\"https://longestshortesttime.com/\">The Longest Shortest Time\"\u003c/a>\u003c/b>\u003c/p>\n\u003cp>“I mean, it made me blush. There’s a couple points where I was like, that’s enough, where I cut her off. You’re not supposed to do that in an interview. But it was my mom. It’s funny, a lot of the work I do, people sort of talk about it as something I’m doing for the world, or maybe for my community. It’s really all pretty selfish.\u003c/p>\n\u003cp>\"I wanted to have that conversation with my mom for a long time because I didn’t know what was going on. We were really close, and there was this one aspect of her life that we hadn’t talked about, her dating life. I sort of had this narrative in my head that my mom was this lonely person.”\u003c/p>\n\u003cp>\u003cb>On being a dad to two mixed-race daughters with different complexions:\u003c/b>\u003c/p>\n\u003cp>“While they’re clearly sisters, our youngest daughter is much lighter, her hair is much thinner, it’s not as kinky as her sister's. And we’re like, 'Oh, they’re going to have very different experiences.' My wife is #woke. She’s like, ‘Juno’s going to pass.’ And it’s just like wow. There’s two things there. Sami will probably be exotified by some people. And Juno may not be exotified, but she will be able to get into spaces that Sami won’t be able to get into and hear. We’ll have to have two different manuals [for raising our kids.]”\u003c/p>\n\u003cp>[contextly_sidebar id=\"PhtNYitSLR3r9FAsvom3hgtV1zRPH3pv\"]\u003c/p>\n\u003cp>\u003cb>On staying funny when performing for people with post-election political depression:\u003c/b>\u003c/p>\n\u003cp>“I have to make sure that the jokes that I’m telling are taking that perspective in, like I’m not talking at you, I’m like, 'I know, I know where we’re all at.'\u003c/p>\n\u003cp>\"I was also heartbroken by the election, so I wasn’t different from the audience. I was actually right there with them. Laughter can sort of help motivate. I don’t want you to be sad. I also know how serious the consequences are. If you stay sad, then we’re not going to win. So, let’s get happy.”\u003c/p>\n\u003cp>\u003cb>On interviewing a fully hooded member of the Ku Klux Klan in the woods for his show “United Shades of America\" with a mostly white TV crew:\u003c/b>\u003c/p>\n\u003cp>“I kept having to sort of advocate for ‘I need help here,’ that’s a different kind of help than just like, 'What do you need, water?' It’s not that the producers and crew didn’t have my back. They had my physical back but they didn’t have my racial back. Nobody knew how to reach out. Eventually I formed a very deep friendship with them, and now we’re all waking up together. Now they realize, Kamau is actually feeling all this stuff, he’s having a real experience.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wGBooYqU1dg\u003c/p>\n\u003cp>“The guy who runs the show now [in the second season] is a black guy who has a Ph.D. in psychology. And there’s more black and brown faces on the crew. So when we do things that sometimes seem crazy, we have each other’s back physically and emotionally. It’s great to have a crew that you can immediately get into the van when you drive away from the scene and be like, ‘That was crazy!’ ”\u003c/p>\n\u003cp>\u003cb>On making a podcast called \u003ca href=\"https://itunes.apple.com/us/podcast/denzel-washington-is-the-greatest-actor-of-all-time-period/id935756902?mt=2\">\"Denzel Washington is the Greatest Actor of All Time, Period.”\u003c/a> With 118 episodes!\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We didn’t realize how many other people out there felt the same way we did. Fans, other actors, people who auditioned for roles in Denzel Washington movies and didn’t get 'em. There’s a lot of talk in Hollywood, 'Tom Hanks is so great,' 'Will Ferrell is so great.' Why aren’t people doing that for Denzel? How come whenever we have the conversation about who the greatest actors are, it’s always the same white dudes? It’s like De Niro, Pacino, Brando, DiCaprio – all the “o” actors. How come Denzel’s not in that conversation?”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Comedian and talk show host \u003ca href=\"http://www.wkamaubell.com/\">W. Kamau Bell\u003c/a> has interviewed fully hooded Klansmen in a dark forest at night. But one of his most vulnerable interviews came when he \u003ca href=\"http://longestshortesttime.com/episode-88-w-kamau-bell-asks-his-mom-about-sex/\">talked with his nearly 80-year- old mother\u003c/a> about her sex life.\u003c/p>\n\u003cp>Bell’s fame has spread from Bay Area comedy clubs to the national stage with his hit CNN show \u003ca href=\"http://www.cnn.com/shows/united-shades-of-america\">\u003cspan style=\"font-weight: 400\">“United Shades of America”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> -- where he takes a road trip across the country to explore themes of race, identity and politics.\u003c/span>\u003c/p>\n\u003cp>His new memoir, which came out this month, is called \u003ci>The Awkward Thoughts of W. Kamau Bell: Tales of a 6’4” African American, Heterosexual, Cisgender, Left-Leaning, Asthmatic, Black and Proud Blerd, Mama’s Boy, Dad, and Stand-Up Comedian\u003c/i>. He sat down with The California Report Magazine’s host, Sasha Khokha.\u003c/p>\n\u003ch3>Interview Highlights:\u003c/h3>\n\u003cp>\u003cb>On being black, 6'4\", and not playing basketball:\u003c/b>\u003c/p>\n\u003cp>\"I tried, but I didn’t play that well. If I had been great at it, it would be a different book. Then it would be an NBA memoir on ‘how I went from poor to now I’m a gillionaire.’ I just met someone who asked, ‘Were you good at basketball, or were you a waste of height?’ ”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>On being hip in his 40s:\u003c/b>\u003c/p>\n\u003cp>“We are the age of the current culture. Every record store you walk into is playing '90s music. The '90s are currently what everybody’s into. Once it becomes like Brittany Spears, that’s when we’re done.”\u003c/p>\n\u003cp>\u003cb>On interviewing his nearly 80-year-old mom about her sex life for the parenting podcast \"\u003ca href=\"https://longestshortesttime.com/\">The Longest Shortest Time\"\u003c/a>\u003c/b>\u003c/p>\n\u003cp>“I mean, it made me blush. There’s a couple points where I was like, that’s enough, where I cut her off. You’re not supposed to do that in an interview. But it was my mom. It’s funny, a lot of the work I do, people sort of talk about it as something I’m doing for the world, or maybe for my community. It’s really all pretty selfish.\u003c/p>\n\u003cp>\"I wanted to have that conversation with my mom for a long time because I didn’t know what was going on. We were really close, and there was this one aspect of her life that we hadn’t talked about, her dating life. I sort of had this narrative in my head that my mom was this lonely person.”\u003c/p>\n\u003cp>\u003cb>On being a dad to two mixed-race daughters with different complexions:\u003c/b>\u003c/p>\n\u003cp>“While they’re clearly sisters, our youngest daughter is much lighter, her hair is much thinner, it’s not as kinky as her sister's. And we’re like, 'Oh, they’re going to have very different experiences.' My wife is #woke. She’s like, ‘Juno’s going to pass.’ And it’s just like wow. There’s two things there. Sami will probably be exotified by some people. And Juno may not be exotified, but she will be able to get into spaces that Sami won’t be able to get into and hear. We’ll have to have two different manuals [for raising our kids.]”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cb>On staying funny when performing for people with post-election political depression:\u003c/b>\u003c/p>\n\u003cp>“I have to make sure that the jokes that I’m telling are taking that perspective in, like I’m not talking at you, I’m like, 'I know, I know where we’re all at.'\u003c/p>\n\u003cp>\"I was also heartbroken by the election, so I wasn’t different from the audience. I was actually right there with them. Laughter can sort of help motivate. I don’t want you to be sad. I also know how serious the consequences are. If you stay sad, then we’re not going to win. So, let’s get happy.”\u003c/p>\n\u003cp>\u003cb>On interviewing a fully hooded member of the Ku Klux Klan in the woods for his show “United Shades of America\" with a mostly white TV crew:\u003c/b>\u003c/p>\n\u003cp>“I kept having to sort of advocate for ‘I need help here,’ that’s a different kind of help than just like, 'What do you need, water?' It’s not that the producers and crew didn’t have my back. They had my physical back but they didn’t have my racial back. Nobody knew how to reach out. Eventually I formed a very deep friendship with them, and now we’re all waking up together. Now they realize, Kamau is actually feeling all this stuff, he’s having a real experience.”\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/wGBooYqU1dg'\n title='//www.youtube.com/embed/wGBooYqU1dg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“The guy who runs the show now [in the second season] is a black guy who has a Ph.D. in psychology. And there’s more black and brown faces on the crew. So when we do things that sometimes seem crazy, we have each other’s back physically and emotionally. It’s great to have a crew that you can immediately get into the van when you drive away from the scene and be like, ‘That was crazy!’ ”\u003c/p>\n\u003cp>\u003cb>On making a podcast called \u003ca href=\"https://itunes.apple.com/us/podcast/denzel-washington-is-the-greatest-actor-of-all-time-period/id935756902?mt=2\">\"Denzel Washington is the Greatest Actor of All Time, Period.”\u003c/a> With 118 episodes!\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We didn’t realize how many other people out there felt the same way we did. Fans, other actors, people who auditioned for roles in Denzel Washington movies and didn’t get 'em. There’s a lot of talk in Hollywood, 'Tom Hanks is so great,' 'Will Ferrell is so great.' Why aren’t people doing that for Denzel? How come whenever we have the conversation about who the greatest actors are, it’s always the same white dudes? It’s like De Niro, Pacino, Brando, DiCaprio – all the “o” actors. How come Denzel’s not in that conversation?”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Suzie & Gabe’s Picks: A World Series Singer, Mid-Century Design, and 50 Years of 'Sgt. Peppers'",
"headTitle": "Suzie & Gabe’s Picks: A World Series Singer, Mid-Century Design, and 50 Years of ‘Sgt. Peppers’ | KQED",
"content": "\u003cp>\u003cstrong>Correction: The tribute to ‘Sgt. Peppers’ now takes place one night only, on Saturday, June 3. (Not Thursday and Friday as stated.) \u003ca href=\"http://www.undercoverpresents.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>Festival season is heating up, with an upcoming deluge of bands playing in the hot sun for thousands of dehydrated teenagers; Cy gets back next week and he’ll give us the rundown. Meanwhile, we’ve got a couple comedy festivals in this week’s show: \u003ca href=\"https://www.clusterfest.com/?utm_source=ASG-AdWords&utm_medium=Search&utm_term=General&utm_content=Branded&utm_campaign=Clusterfest\" target=\"_blank\" rel=\"noopener\">Comedy Clusterfest\u003c/a>, running June 2–4 at the Civic Center, and Chris Hardwick’s \u003ca href=\"https://www.facebook.com/id10tfest/\" target=\"_blank\" rel=\"noopener\">IdIOtfest\u003c/a> running June 24 and 25 at the Shoreline Amphitheater. Also, a quick mention for an exhibit of work from the late San Francisco artist Rex Ray, which runs through June 30 at Gallery 16; \u003ca href=\"https://www.gallery16.com/rex-ray-we-are-all-made-of-light\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. And now on with the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ux5ogOeD3Uc\u003c/p>\n\u003cp>\u003cstrong>May 28\u003c/strong>: Before he basically won the World Series for the Giants in 2012 and finally earned his obscenely high salary, Barry Zito was used to being booed. Like, for years. Which is why, when the pitcher retired from the game, he said it had helped him “develop the thick skin” he’d need for songwriting, and added: “If you hear a song of mine, I hope you’ll be honest about what you think.” Well, Barry, honestly, it’s not bad at all. The lefty takes the stage with his guitar for his homespun songs — and maybe a few curveballs — on May 28; \u003ca href=\"http://www.slimspresents.com/event/an-evening-with-barry-zito-gamh/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13301142\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-800x500.jpg\" alt=\"Rachel Schutz, who plays Elisabeth in 'Les Enfants Terribles' for Opera Parallele.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-13301142\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-1020x637.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-1180x737.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-520x325.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut.jpg 1391w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Schutz, who plays Elisabeth in ‘Les Enfants Terribles’ for Opera Parallele. \u003ccite>(Opera Parallele)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 26–28\u003c/strong>: Opera Parallele presents a new production of Philip Glass’ \u003cstrong>\u003cem>Les Enfants Terribles\u003c/em>\u003c/strong>, hot on the heels of Glass’ 80th birthday. This is a company that presents contemporary opera that doesn’t often get performed — they brought us Terence Blanchard’s ‘Champion’ last year, and recently Jake Heggie’s ‘Dead Man Walking.’ \u003cem>Les Enfants Terribles\u003c/em> is from 1996, and though this production has a multidimensional film aspect to the set design, it keeps the original accompaniment of just three pianos — ‘cause that’s \u003cem>so\u003c/em> Philip Glass. \u003cem>Les Enfants Terribles\u003c/em> is at the San Francisco Conservatory of Music; \u003ca href=\"https://operaparallele.org/les-enfants-terribles/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13301143\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Mina-800x500.jpg\" alt=\"Mina Momeni.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-13301143\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mina Momeni.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 2–3\u003c/strong>: It was 50 years ago that \u003cem>\u003cstrong>Sgt. Pepper’s Lonely Hearts Club Band\u003c/strong>\u003c/em> was released, and to mark the milestone, Undercover Presents hosts two nights of the entire album played front-to-band, wildly reimagined by 15 different bands. As an example: the vocalist for “When I’m Sixty Four” is Mina Momeni (above), from Tehran — who, since women in Iran are forbidden from pursuing singing careers due to religious restrictions, will be singing through a pre-recorded track accompanied by a string quartet from the Awesöme Orchestra Collective. I spoke with Musical Director Joe Bagale about his drastic reinterpretations — including jazz, hip-hop, Indiana ragas and more — and he told me there was one famous moment on the album he didn’t want to mess with: the long, final piano chord, which lasts for almost 45 seconds. “I tried strings, and I tried a synthesizer treatment,” he told me, “but in the end, I couldn’t do anything better than a bunch of pianos.” \u003ca href=\"http://www.undercoverpresents.com/\" target=\"_blank\" rel=\"noopener\">Details on the shows here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13113829\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Swinger_COVER-800x450.jpg\" alt=\"Henry Dreyfuss and James Conner, 'The Swinger,' Land Camera Model 20 for Polaroid, 1965.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13113829\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Henry Dreyfuss and James Conner, ‘The Swinger,’ Land Camera Model 20 for Polaroid, 1965. \u003ccite>(Courtesy of the Cantor Arts Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Through Aug. 21\u003c/strong>: In the South Bay, there’s an interesting exhibit at the Cantor Arts Center called \u003cem>\u003cstrong>Creativity on the Line: Design for the Corporate World\u003c/strong>\u003c/em>. And if you’re a fan of mid-century modern, it’ll make you look at things like airport seating and classroom furniture in a whole different way. Focusing on products and pamphlets, it includes designers such as Paul Rand, Charles and Ray Eames, and Dieter Rams. As explored in \u003ca href=\"https://ww2.kqed.org/arts/2017/04/26/creativity-on-the-line-mines-the-cracks-in-sleek-mid-century-surfaces/\">KQED Arts’ review by Sarah Hotchkiss\u003c/a>, the show really gets to the tense relationship between corporations and artists, where designers were told to be creative but not \u003cem>too\u003c/em> creative. In Silicon Valley, where we know Apple’s design was heavily influenced by Dieter Rams, it has an extra resonance. \u003ca href=\"http://events.stanford.edu/events/646/64601/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P465Y7M0YjQ\u003c/p>\n\u003cp>\u003cstrong>May 31–June 25\u003c/strong>: A new play premieres this week, centered around a meeting between a young journalist and the brilliant musician Gil Scott-Heron. \u003cem>\u003cstrong>Grandeur\u003c/strong>\u003c/em> is a world premiere from the Magic Theatre, the work of playwright Han Ong. It’s hard to think of Gil Scott Heron without thinking of \u003ca href=\"http://www.newyorker.com/magazine/2010/08/09/new-york-is-killing-me\" target=\"_blank\" rel=\"noopener\">this heartbreaking \u003cem>New Yorker\u003c/em> profile on him in 2010\u003c/a>, so a play about his relationship with journalists has plenty to draw upon. I \u003ca href=\"http://citysound.bohemian.com/2010/03/18/live-review-gil-scott-heron-at-yoshis-2/\" target=\"_blank\" rel=\"noopener\">saw Gil Scott-Heron\u003c/a> at his last appearance in San Francisco, and \u003ca href=\"http://citysound.bohemian.com/2010/03/18/live-review-gil-scott-heron-at-yoshis-2/\" target=\"_blank\" rel=\"noopener\">he was remarkably good\u003c/a> — and with a huge adoring crowd, so there should be plenty of interest in this play. It’s directed by the Magic’s Artistic Director Loretta Greco, and has a cast led by the great Carl Lumbly. \u003ca href=\"http://magictheatre.org/season/season\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/p>\n\u003cp>\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": "This week's picks for The Do List include Barry Zito (singing!), Philip Glass’ 'Les Enfants Terribles,' a Beatles Tribute, a world-premiere play about Gil Scott-Heron and more.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Correction: The tribute to ‘Sgt. Peppers’ now takes place one night only, on Saturday, June 3. (Not Thursday and Friday as stated.) \u003ca href=\"http://www.undercoverpresents.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>Festival season is heating up, with an upcoming deluge of bands playing in the hot sun for thousands of dehydrated teenagers; Cy gets back next week and he’ll give us the rundown. Meanwhile, we’ve got a couple comedy festivals in this week’s show: \u003ca href=\"https://www.clusterfest.com/?utm_source=ASG-AdWords&utm_medium=Search&utm_term=General&utm_content=Branded&utm_campaign=Clusterfest\" target=\"_blank\" rel=\"noopener\">Comedy Clusterfest\u003c/a>, running June 2–4 at the Civic Center, and Chris Hardwick’s \u003ca href=\"https://www.facebook.com/id10tfest/\" target=\"_blank\" rel=\"noopener\">IdIOtfest\u003c/a> running June 24 and 25 at the Shoreline Amphitheater. Also, a quick mention for an exhibit of work from the late San Francisco artist Rex Ray, which runs through June 30 at Gallery 16; \u003ca href=\"https://www.gallery16.com/rex-ray-we-are-all-made-of-light\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. And 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/Ux5ogOeD3Uc'\n title='//www.youtube.com/embed/Ux5ogOeD3Uc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>May 28\u003c/strong>: Before he basically won the World Series for the Giants in 2012 and finally earned his obscenely high salary, Barry Zito was used to being booed. Like, for years. Which is why, when the pitcher retired from the game, he said it had helped him “develop the thick skin” he’d need for songwriting, and added: “If you hear a song of mine, I hope you’ll be honest about what you think.” Well, Barry, honestly, it’s not bad at all. The lefty takes the stage with his guitar for his homespun songs — and maybe a few curveballs — on May 28; \u003ca href=\"http://www.slimspresents.com/event/an-evening-with-barry-zito-gamh/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13301142\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-800x500.jpg\" alt=\"Rachel Schutz, who plays Elisabeth in 'Les Enfants Terribles' for Opera Parallele.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-13301142\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-1020x637.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-1180x737.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut-520x325.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/LET-video-shoot-RachelSchut.jpg 1391w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Schutz, who plays Elisabeth in ‘Les Enfants Terribles’ for Opera Parallele. \u003ccite>(Opera Parallele)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 26–28\u003c/strong>: Opera Parallele presents a new production of Philip Glass’ \u003cstrong>\u003cem>Les Enfants Terribles\u003c/em>\u003c/strong>, hot on the heels of Glass’ 80th birthday. This is a company that presents contemporary opera that doesn’t often get performed — they brought us Terence Blanchard’s ‘Champion’ last year, and recently Jake Heggie’s ‘Dead Man Walking.’ \u003cem>Les Enfants Terribles\u003c/em> is from 1996, and though this production has a multidimensional film aspect to the set design, it keeps the original accompaniment of just three pianos — ‘cause that’s \u003cem>so\u003c/em> Philip Glass. \u003cem>Les Enfants Terribles\u003c/em> is at the San Francisco Conservatory of Music; \u003ca href=\"https://operaparallele.org/les-enfants-terribles/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13301143\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Mina-800x500.jpg\" alt=\"Mina Momeni.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-13301143\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Mina-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mina Momeni.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 2–3\u003c/strong>: It was 50 years ago that \u003cem>\u003cstrong>Sgt. Pepper’s Lonely Hearts Club Band\u003c/strong>\u003c/em> was released, and to mark the milestone, Undercover Presents hosts two nights of the entire album played front-to-band, wildly reimagined by 15 different bands. As an example: the vocalist for “When I’m Sixty Four” is Mina Momeni (above), from Tehran — who, since women in Iran are forbidden from pursuing singing careers due to religious restrictions, will be singing through a pre-recorded track accompanied by a string quartet from the Awesöme Orchestra Collective. I spoke with Musical Director Joe Bagale about his drastic reinterpretations — including jazz, hip-hop, Indiana ragas and more — and he told me there was one famous moment on the album he didn’t want to mess with: the long, final piano chord, which lasts for almost 45 seconds. “I tried strings, and I tried a synthesizer treatment,” he told me, “but in the end, I couldn’t do anything better than a bunch of pianos.” \u003ca href=\"http://www.undercoverpresents.com/\" target=\"_blank\" rel=\"noopener\">Details on the shows here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13113829\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Swinger_COVER-800x450.jpg\" alt=\"Henry Dreyfuss and James Conner, 'The Swinger,' Land Camera Model 20 for Polaroid, 1965.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13113829\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Swinger_COVER-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Henry Dreyfuss and James Conner, ‘The Swinger,’ Land Camera Model 20 for Polaroid, 1965. \u003ccite>(Courtesy of the Cantor Arts Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Through Aug. 21\u003c/strong>: In the South Bay, there’s an interesting exhibit at the Cantor Arts Center called \u003cem>\u003cstrong>Creativity on the Line: Design for the Corporate World\u003c/strong>\u003c/em>. And if you’re a fan of mid-century modern, it’ll make you look at things like airport seating and classroom furniture in a whole different way. Focusing on products and pamphlets, it includes designers such as Paul Rand, Charles and Ray Eames, and Dieter Rams. As explored in \u003ca href=\"https://ww2.kqed.org/arts/2017/04/26/creativity-on-the-line-mines-the-cracks-in-sleek-mid-century-surfaces/\">KQED Arts’ review by Sarah Hotchkiss\u003c/a>, the show really gets to the tense relationship between corporations and artists, where designers were told to be creative but not \u003cem>too\u003c/em> creative. In Silicon Valley, where we know Apple’s design was heavily influenced by Dieter Rams, it has an extra resonance. \u003ca href=\"http://events.stanford.edu/events/646/64601/\" target=\"_blank\" rel=\"noopener\">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/P465Y7M0YjQ'\n title='//www.youtube.com/embed/P465Y7M0YjQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>May 31–June 25\u003c/strong>: A new play premieres this week, centered around a meeting between a young journalist and the brilliant musician Gil Scott-Heron. \u003cem>\u003cstrong>Grandeur\u003c/strong>\u003c/em> is a world premiere from the Magic Theatre, the work of playwright Han Ong. It’s hard to think of Gil Scott Heron without thinking of \u003ca href=\"http://www.newyorker.com/magazine/2010/08/09/new-york-is-killing-me\" target=\"_blank\" rel=\"noopener\">this heartbreaking \u003cem>New Yorker\u003c/em> profile on him in 2010\u003c/a>, so a play about his relationship with journalists has plenty to draw upon. I \u003ca href=\"http://citysound.bohemian.com/2010/03/18/live-review-gil-scott-heron-at-yoshis-2/\" target=\"_blank\" rel=\"noopener\">saw Gil Scott-Heron\u003c/a> at his last appearance in San Francisco, and \u003ca href=\"http://citysound.bohemian.com/2010/03/18/live-review-gil-scott-heron-at-yoshis-2/\" target=\"_blank\" rel=\"noopener\">he was remarkably good\u003c/a> — and with a huge adoring crowd, so there should be plenty of interest in this play. It’s directed by the Magic’s Artistic Director Loretta Greco, and has a cast led by the great Carl Lumbly. \u003ca href=\"http://magictheatre.org/season/season\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/p>\n\u003cp>\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\u003c/div>\u003c/p>",
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"title": "Can You Copyright Your Dumb Joke? And How Can You Prove It's Yours?",
"headTitle": "Can You Copyright Your Dumb Joke? And How Can You Prove It’s Yours? | KQED",
"content": "\u003cp>“Joke theft” sounds funny.\u003c/p>\n\u003cp>Unless you’re a comedy writer and you see a late-night TV host telling a joke you wrote. Five times.\u003c/p>\n\u003cp>That’s what the writer Alex Kaseberg says happened to him in late 2014 and early 2015, a charge disputed by Conan O’Brien and his lawyers.\u003c/p>\n\u003cp>Kaseberg is a comedy writer who has written over a thousand jokes used by Jay Leno over the last 20 years, according to \u003ca href=\"https://www.documentcloud.org/documents/3720894-Conan-Order-512.html\" target=\"_blank\" rel=\"noopener\">court documents\u003c/a>. On his blog, Kaseberg regularly writes \u003ca href=\"http://thordoggie.blogspot.com/2017/05/the-bad-fallkuuune-rides-again-for-only.html\" target=\"_blank\" rel=\"noopener\">posts with a dozen or more jokes\u003c/a> — topical humor styled in two-beat form used by late-night hosts in their monologues.\u003c/p>\n\u003cp>At the heart of the lawsuit are five not-amazing jokes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Dec. 2, 2014, Kaseberg posted this to his blog: “The University of Alabama-Birmingham is shutting down its football program. To which the Oakland Raiders said; ‘Wait, so you can do that?'”\u003c/p>\n\u003cp>In his monologue on \u003cem>Conan\u003c/em> the following day, O’Brien said, “Big news in sports. University of Alabama-Birmingham has decided to discontinue its football team. Yeah. When they heard the news, New York Jets fans said, ‘Wait can you do that? It’s something you can do?’ ”\u003c/p>\n\u003cp>A month later, in January 2015, a similar thing happened. Kaseberg posted a joke about passengers on a Delta flight fighting over the armrest; a few hours later, O’Brien delivered a very similar joke on his show. Kaseberg tweeted a couple days later at Mike Sweeney, the head writer for \u003cem>Conan\u003c/em>, saying he was “95% sure” that he had a joke from his blog used on the show: “I’m not upset, [but] would like the opportunity to contribute jokes.”\u003c/p>\n\u003cp>The next month, Kaseberg saw O’Brien deliver two jokes very similar to ones he had posted on his site.\u003c/p>\n\u003cp>Kaseberg then said he reached Sweeney on the phone, where they had what Kaseberg \u003ca href=\"http://thordoggie.blogspot.com/2015/02/0-0-1-24-108-little-bit-bad-productions.html\" target=\"_blank\" rel=\"noopener\">called\u003c/a> an “agonizing” conversation, in which Sweeney “angrily and loudly denied those were my jokes. He was furious that I was accusing them of stealing jokes, but most of all he was incensed that I would suggest his writers would have anything to do with my pathetic blog and [its] author, me, a no-name failure.”\u003c/p>\n\u003cp>In June 2015, Kaseberg and O’Brien made very similar jokes about Caitlyn Jenner; a month later, Kaseberg filed a lawsuit against O’Brien, his writers, executive producer, production company, TBS and Time Warner.\u003c/p>\n\u003cp>Which brings us to last week, when a U.S. District Judge Janis L. Sammartino \u003ca href=\"https://www.nytimes.com/2017/05/15/arts/television/conan-obrien-joke-theft-allegations.html?_r=0\" target=\"_blank\" rel=\"noopener\">ruled\u003c/a> that the case will head to court. And that means close scrutiny of late-night monologues — which aren’t really designed for close scrutiny.\u003c/p>\n\u003cp>\u003cstrong>How many ways can you write a joke?\u003c/strong>\u003c/p>\n\u003cp>Kaseberg’s case is an interesting one: not only because the judge evaluated the originality of a “shrinkage” joke about the Washington Monument, but because lawsuits of its kind are rare.\u003c/p>\n\u003cp>“The most surprising thing to me about this lawsuit is that it was filed in the first place,” says \u003ca href=\"http://law.case.edu/Our-School/Faculty-Staff/Meet-Our-Faculty/Faculty-Detail/id/1032\" target=\"_blank\" rel=\"noopener\">Aaron Perzanowski\u003c/a>, a professor on intellectual property law at Case Western Reserve University. “When you’re talking about accusations of infringement dealing with fairly low-dollar-value creative work, we don’t see a lot of litigation.”\u003c/p>\n\u003cp>Judge Sammartino threw out the jokes about UAB football and the Delta flight (finding in the latter case that one of O’Brien’s writers had already pitched a similar joke before the one on the blog appeared). That left Kaseberg with the Tom Brady Joke, the Washington Monument Joke, and the Jenner Joke, as the judge labels them.\u003c/p>\n\u003cp>The jokes written by Kaseberg and O’Brien’s staff, the judge ruled, are “sufficiently objectively virtually identical” in those three instances. To win, Kaseberg’s lawyers will need to show that the defendants “willfully infringed Plaintiff’s copyrights.”\u003c/p>\n\u003cp>So how much copyright protection do jokes get?\u003c/p>\n\u003cp>In this case, the judge ruled that the jokes get a “thin” protection. That’s because, the judge writes, the copyrighted work (Kaseberg’s jokes) “is composed largely of ‘unprotectable’ elements. … [S]imilarities derived from the use of common ideas cannot be protected; otherwise, the first to come up with an idea will corner the market.”\u003c/p>\n\u003cp>Let’s take a look at the Jenner Joke.\u003c/p>\n\u003cp>This was Kaseberg’s: “Three towns, two in Texas, one in Tennessee, have streets named after Bruce Jenner and now they have to consider changing them to Caitlyn. And one will have to change from a Cul-De-Sac to a Cul-De-Sackless.”\u003c/p>\n\u003cp>And O’Brien’s: “Some cities that have streets named after Bruce Jenner are trying to change the streets’ names to Caitlyn Jenner. If you live on Bruce Jenner cul-de-sac it will now be cul-de-no-sack.”\u003c/p>\n\u003cp>Very similar? Yes. Kind of a groaner? Also yes.\u003c/p>\n\u003cp>But just because two things are similar doesn’t mean that one is a copy of the other.\u003c/p>\n\u003cp>“If you put a copy of the day’s newspaper in a room with 100 different comedy writers, you’re going to see lots of the same jokes where lots of people are circling the same formulation and often the same punchline independently,” says Perzanowski, the law professor. “That doesn’t mean they’re copying from each other. But people do have a tendency, when they see those similarities, to attribute that to copying rather than independent creation.”\u003c/p>\n\u003cp>“There’s a finite number of formulations of that Caitlyn Jenner cul-de-sac joke,” he adds. “You can tell it three or four different ways but they’re not very different from each other.\u003c/p>\n\u003cp>\u003cstrong>Is a lawsuit the best way to resolve joke theft?\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>In its way, this line from the judge’s opinion is much funnier than any of the jokes Conan delivered: “the common threads between all of the jokes are merely the ideas that (1) the Washington Monument looks like a phallus and (2) the Monument may therefore respond to cold weather by shrinking.”\u003c/p>\n\u003cp>But the cognitive dissonance of a district court judge writing in legalese about this dumb joke evinces a not-dumb point: Maybe judges aren’t the best judges of humor, or courts the best place to resolve ethics of comedy.\u003c/p>\n\u003cp>In 2008, law professors Dotan Oliar and Christopher Sprigman \u003ca href=\"http://www.law.virginia.edu/pdf/faculty/hein/sprigman/94va_l_rev1787_2008.pdf\" target=\"_blank\" rel=\"noopener\">published a paper\u003c/a> that explored the norms comics had established to protect their intellectual property: their jokes.\u003c/p>\n\u003cp>In stand-up comedy, they write, “social norms substitute for intellectual property law. These norms track copyright law at times: for example, the major norm at work is one against publicly performing another stand-up’s joke or bit. More often than not, however, the norms deviate from copyright law’s defaults: for example, whereas copyright protects expression but not ideas, comedians’ norms protect expression as well as ideas.”\u003c/p>\n\u003cp>And those norms aren’t “merely hortatory,” they write. “They are enforced with sanctions that start with simple badmouthing and may escalate from refusals to work with an offending comedian up to threats of, and even actual, physical violence.”\u003c/p>\n\u003cp>But even that system doesn’t keep everyone in line. Many extremely successful comedians are \u003ca href=\"http://mentalfloss.com/article/24305/not-so-funny-look-6-comedians-accused-plagiarism\" target=\"_blank\" rel=\"noopener\">regularly accused of stealing jokes\u003c/a>. Bob Hope \u003ca href=\"http://www.tcm.com/this-month/article/345437%7C0/Always-Leave-Them-Laughing.html\">used to joke\u003c/a> that Milton Berle “never heard a joke he didn’t steal.” And according to \u003ca href=\"https://web.archive.org/web/20070217031356/http:/www.radaronline.com/from-the-magazine/2007/02/take_the_funny_and_run_1.php\" target=\"_blank\" rel=\"noopener\">a 2007 story\u003c/a> in \u003cem>Radar\u003c/em>, comics at the Hollywood Improv in the ’80s would use a light to signal the presence of Robin Williams, “comedy’s most notorious joke rustler”; the comics would wrap up their sets quickly fearing that Williams would make off with their material.\u003c/p>\n\u003cp>Even if the informal system doesn’t nab every thief, it does offer one distinct advantage: a jury of one’s peers.\u003c/p>\n\u003cp>“In the particular instance of standup comedy, courts do not have a great wealth of prior case law or precedent to draw on,” says Perzanowski.\u003c/p>\n\u003cp>“That’s one reason that I think these informal systems tend to have an advantage over the formal judicial process,” he says. “Because no one is in a better position to understand what makes a joke funny, what makes a joke original, what makes a joke commonplace, than a group of comedy writers themselves.”\u003c/p>\n\u003cp>And O’Brien isn’t laughing about being called a joke-stealer. “Accusing a comedian of stealing a joke is the worst thing you can accuse them of, in my opinion, short of murder,” he said in a deposition. “I think it’s absolutely terrible.”\u003c/p>\n\u003cp>“I take it really seriously,” \u003ca href=\"http://www.hollywoodreporter.com/thr-esq/conan-obrien-demands-halt-lawsuit-accusing-him-stealing-five-jokes-972357\" target=\"_blank\" rel=\"noopener\">he said\u003c/a>. “So the notion of stealing someone else’s comedy makes me physically ill.”\u003c/p>\n\u003cp>\u003cem>Kaseberg v. Conaco\u003c/em> may be in court because it doesn’t spring from the world of standup comedy, but from the deeper pockets of television comedy. Kaseberg isn’t suing some small-time comic; he’s suing TBS and Time Warner.\u003c/p>\n\u003cp>And that brings us to this question:\u003c/p>\n\u003cp>\u003cstrong>Can you really copyright a dumb joke?\u003c/strong>\u003c/p>\n\u003cp>“The question really focuses on originality, and there is no freestanding barrier to copyright extending to a joke on any topic … so long as that joke meets the fairly minimal requirements for originality,” says Perzanowski. “That means it has to demonstrate some low level of creativity and importantly that it not be copied from some other source.”\u003c/p>\n\u003cp>“Copyright will give you protection for this specific arrangement of words,” he says, but not for a whole subject matter.\u003c/p>\n\u003cp>When it comes to topical comedy, he says, the question is whether one can separate an idea (which can’t be copyrighted) from its expression (which can).\u003c/p>\n\u003cp>Judge Sammartino agrees. “[T]here is little doubt that the jokes at issue merit copyright protection,” she writes, citing the relevant case law, “noting originality requires only independent creation of a work that ‘possess[es] some creative spark, “no matter how crude, humble or obvious” it might be.'”\u003c/p>\n\u003cp>However, she adds, the jokes here “are similarly constrained by their subject matter and the conventions of the two-line, setup-and-delivery paradigm.”\u003c/p>\n\u003cp>The result is that for O’Brien’s jokes to infringe on Kaseberg’s copyright, they must be “virtually identical,” one step below verbatim.\u003c/p>\n\u003cp>\u003ca href=\"http://www.cbsnews.com/news/conan-obrien-heading-to-trial-over-joke-theft/\" target=\"_blank\" rel=\"noopener\">CBS reports\u003c/a> that unless there’s an out-of-court settlement, the case will go to trial in August. The case may indeed hinge on questions like how many ways there are to make a cul-de-sac joke. Because, as Sammarino notes, a joke’s originality is constrained by its format.\u003c/p>\n\u003cp>“Each joke begins with a factual sentence and then immediately concludes with another sentence providing humorous commentary on the preceding facts,” she writes. “Facts, of course, are not protected by copyright.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Those us who tell dumb jokes may hope that the case doesn’t go to court. After all, many of us are kept in line just by being told our jokes aren’t that funny — no copyright protection needed. \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=Can+You+Copyright+Your+Dumb+Joke%3F+And+How+Can+You+Prove+It%27s+Yours%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "\"Joke theft\" sounds funny, but that claim is at the heart of a lawsuit lodged against Conan O'Brien. The case brings thorny questions of humor to the courtroom, a place not always known for jokes.",
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"description": ""Joke theft" sounds funny, but that claim is at the heart of a lawsuit lodged against Conan O'Brien. The case brings thorny questions of humor to the courtroom, a place not always known for jokes.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Joke theft” sounds funny.\u003c/p>\n\u003cp>Unless you’re a comedy writer and you see a late-night TV host telling a joke you wrote. Five times.\u003c/p>\n\u003cp>That’s what the writer Alex Kaseberg says happened to him in late 2014 and early 2015, a charge disputed by Conan O’Brien and his lawyers.\u003c/p>\n\u003cp>Kaseberg is a comedy writer who has written over a thousand jokes used by Jay Leno over the last 20 years, according to \u003ca href=\"https://www.documentcloud.org/documents/3720894-Conan-Order-512.html\" target=\"_blank\" rel=\"noopener\">court documents\u003c/a>. On his blog, Kaseberg regularly writes \u003ca href=\"http://thordoggie.blogspot.com/2017/05/the-bad-fallkuuune-rides-again-for-only.html\" target=\"_blank\" rel=\"noopener\">posts with a dozen or more jokes\u003c/a> — topical humor styled in two-beat form used by late-night hosts in their monologues.\u003c/p>\n\u003cp>At the heart of the lawsuit are five not-amazing jokes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Dec. 2, 2014, Kaseberg posted this to his blog: “The University of Alabama-Birmingham is shutting down its football program. To which the Oakland Raiders said; ‘Wait, so you can do that?'”\u003c/p>\n\u003cp>In his monologue on \u003cem>Conan\u003c/em> the following day, O’Brien said, “Big news in sports. University of Alabama-Birmingham has decided to discontinue its football team. Yeah. When they heard the news, New York Jets fans said, ‘Wait can you do that? It’s something you can do?’ ”\u003c/p>\n\u003cp>A month later, in January 2015, a similar thing happened. Kaseberg posted a joke about passengers on a Delta flight fighting over the armrest; a few hours later, O’Brien delivered a very similar joke on his show. Kaseberg tweeted a couple days later at Mike Sweeney, the head writer for \u003cem>Conan\u003c/em>, saying he was “95% sure” that he had a joke from his blog used on the show: “I’m not upset, [but] would like the opportunity to contribute jokes.”\u003c/p>\n\u003cp>The next month, Kaseberg saw O’Brien deliver two jokes very similar to ones he had posted on his site.\u003c/p>\n\u003cp>Kaseberg then said he reached Sweeney on the phone, where they had what Kaseberg \u003ca href=\"http://thordoggie.blogspot.com/2015/02/0-0-1-24-108-little-bit-bad-productions.html\" target=\"_blank\" rel=\"noopener\">called\u003c/a> an “agonizing” conversation, in which Sweeney “angrily and loudly denied those were my jokes. He was furious that I was accusing them of stealing jokes, but most of all he was incensed that I would suggest his writers would have anything to do with my pathetic blog and [its] author, me, a no-name failure.”\u003c/p>\n\u003cp>In June 2015, Kaseberg and O’Brien made very similar jokes about Caitlyn Jenner; a month later, Kaseberg filed a lawsuit against O’Brien, his writers, executive producer, production company, TBS and Time Warner.\u003c/p>\n\u003cp>Which brings us to last week, when a U.S. District Judge Janis L. Sammartino \u003ca href=\"https://www.nytimes.com/2017/05/15/arts/television/conan-obrien-joke-theft-allegations.html?_r=0\" target=\"_blank\" rel=\"noopener\">ruled\u003c/a> that the case will head to court. And that means close scrutiny of late-night monologues — which aren’t really designed for close scrutiny.\u003c/p>\n\u003cp>\u003cstrong>How many ways can you write a joke?\u003c/strong>\u003c/p>\n\u003cp>Kaseberg’s case is an interesting one: not only because the judge evaluated the originality of a “shrinkage” joke about the Washington Monument, but because lawsuits of its kind are rare.\u003c/p>\n\u003cp>“The most surprising thing to me about this lawsuit is that it was filed in the first place,” says \u003ca href=\"http://law.case.edu/Our-School/Faculty-Staff/Meet-Our-Faculty/Faculty-Detail/id/1032\" target=\"_blank\" rel=\"noopener\">Aaron Perzanowski\u003c/a>, a professor on intellectual property law at Case Western Reserve University. “When you’re talking about accusations of infringement dealing with fairly low-dollar-value creative work, we don’t see a lot of litigation.”\u003c/p>\n\u003cp>Judge Sammartino threw out the jokes about UAB football and the Delta flight (finding in the latter case that one of O’Brien’s writers had already pitched a similar joke before the one on the blog appeared). That left Kaseberg with the Tom Brady Joke, the Washington Monument Joke, and the Jenner Joke, as the judge labels them.\u003c/p>\n\u003cp>The jokes written by Kaseberg and O’Brien’s staff, the judge ruled, are “sufficiently objectively virtually identical” in those three instances. To win, Kaseberg’s lawyers will need to show that the defendants “willfully infringed Plaintiff’s copyrights.”\u003c/p>\n\u003cp>So how much copyright protection do jokes get?\u003c/p>\n\u003cp>In this case, the judge ruled that the jokes get a “thin” protection. That’s because, the judge writes, the copyrighted work (Kaseberg’s jokes) “is composed largely of ‘unprotectable’ elements. … [S]imilarities derived from the use of common ideas cannot be protected; otherwise, the first to come up with an idea will corner the market.”\u003c/p>\n\u003cp>Let’s take a look at the Jenner Joke.\u003c/p>\n\u003cp>This was Kaseberg’s: “Three towns, two in Texas, one in Tennessee, have streets named after Bruce Jenner and now they have to consider changing them to Caitlyn. And one will have to change from a Cul-De-Sac to a Cul-De-Sackless.”\u003c/p>\n\u003cp>And O’Brien’s: “Some cities that have streets named after Bruce Jenner are trying to change the streets’ names to Caitlyn Jenner. If you live on Bruce Jenner cul-de-sac it will now be cul-de-no-sack.”\u003c/p>\n\u003cp>Very similar? Yes. Kind of a groaner? Also yes.\u003c/p>\n\u003cp>But just because two things are similar doesn’t mean that one is a copy of the other.\u003c/p>\n\u003cp>“If you put a copy of the day’s newspaper in a room with 100 different comedy writers, you’re going to see lots of the same jokes where lots of people are circling the same formulation and often the same punchline independently,” says Perzanowski, the law professor. “That doesn’t mean they’re copying from each other. But people do have a tendency, when they see those similarities, to attribute that to copying rather than independent creation.”\u003c/p>\n\u003cp>“There’s a finite number of formulations of that Caitlyn Jenner cul-de-sac joke,” he adds. “You can tell it three or four different ways but they’re not very different from each other.\u003c/p>\n\u003cp>\u003cstrong>Is a lawsuit the best way to resolve joke theft?\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>In its way, this line from the judge’s opinion is much funnier than any of the jokes Conan delivered: “the common threads between all of the jokes are merely the ideas that (1) the Washington Monument looks like a phallus and (2) the Monument may therefore respond to cold weather by shrinking.”\u003c/p>\n\u003cp>But the cognitive dissonance of a district court judge writing in legalese about this dumb joke evinces a not-dumb point: Maybe judges aren’t the best judges of humor, or courts the best place to resolve ethics of comedy.\u003c/p>\n\u003cp>In 2008, law professors Dotan Oliar and Christopher Sprigman \u003ca href=\"http://www.law.virginia.edu/pdf/faculty/hein/sprigman/94va_l_rev1787_2008.pdf\" target=\"_blank\" rel=\"noopener\">published a paper\u003c/a> that explored the norms comics had established to protect their intellectual property: their jokes.\u003c/p>\n\u003cp>In stand-up comedy, they write, “social norms substitute for intellectual property law. These norms track copyright law at times: for example, the major norm at work is one against publicly performing another stand-up’s joke or bit. More often than not, however, the norms deviate from copyright law’s defaults: for example, whereas copyright protects expression but not ideas, comedians’ norms protect expression as well as ideas.”\u003c/p>\n\u003cp>And those norms aren’t “merely hortatory,” they write. “They are enforced with sanctions that start with simple badmouthing and may escalate from refusals to work with an offending comedian up to threats of, and even actual, physical violence.”\u003c/p>\n\u003cp>But even that system doesn’t keep everyone in line. Many extremely successful comedians are \u003ca href=\"http://mentalfloss.com/article/24305/not-so-funny-look-6-comedians-accused-plagiarism\" target=\"_blank\" rel=\"noopener\">regularly accused of stealing jokes\u003c/a>. Bob Hope \u003ca href=\"http://www.tcm.com/this-month/article/345437%7C0/Always-Leave-Them-Laughing.html\">used to joke\u003c/a> that Milton Berle “never heard a joke he didn’t steal.” And according to \u003ca href=\"https://web.archive.org/web/20070217031356/http:/www.radaronline.com/from-the-magazine/2007/02/take_the_funny_and_run_1.php\" target=\"_blank\" rel=\"noopener\">a 2007 story\u003c/a> in \u003cem>Radar\u003c/em>, comics at the Hollywood Improv in the ’80s would use a light to signal the presence of Robin Williams, “comedy’s most notorious joke rustler”; the comics would wrap up their sets quickly fearing that Williams would make off with their material.\u003c/p>\n\u003cp>Even if the informal system doesn’t nab every thief, it does offer one distinct advantage: a jury of one’s peers.\u003c/p>\n\u003cp>“In the particular instance of standup comedy, courts do not have a great wealth of prior case law or precedent to draw on,” says Perzanowski.\u003c/p>\n\u003cp>“That’s one reason that I think these informal systems tend to have an advantage over the formal judicial process,” he says. “Because no one is in a better position to understand what makes a joke funny, what makes a joke original, what makes a joke commonplace, than a group of comedy writers themselves.”\u003c/p>\n\u003cp>And O’Brien isn’t laughing about being called a joke-stealer. “Accusing a comedian of stealing a joke is the worst thing you can accuse them of, in my opinion, short of murder,” he said in a deposition. “I think it’s absolutely terrible.”\u003c/p>\n\u003cp>“I take it really seriously,” \u003ca href=\"http://www.hollywoodreporter.com/thr-esq/conan-obrien-demands-halt-lawsuit-accusing-him-stealing-five-jokes-972357\" target=\"_blank\" rel=\"noopener\">he said\u003c/a>. “So the notion of stealing someone else’s comedy makes me physically ill.”\u003c/p>\n\u003cp>\u003cem>Kaseberg v. Conaco\u003c/em> may be in court because it doesn’t spring from the world of standup comedy, but from the deeper pockets of television comedy. Kaseberg isn’t suing some small-time comic; he’s suing TBS and Time Warner.\u003c/p>\n\u003cp>And that brings us to this question:\u003c/p>\n\u003cp>\u003cstrong>Can you really copyright a dumb joke?\u003c/strong>\u003c/p>\n\u003cp>“The question really focuses on originality, and there is no freestanding barrier to copyright extending to a joke on any topic … so long as that joke meets the fairly minimal requirements for originality,” says Perzanowski. “That means it has to demonstrate some low level of creativity and importantly that it not be copied from some other source.”\u003c/p>\n\u003cp>“Copyright will give you protection for this specific arrangement of words,” he says, but not for a whole subject matter.\u003c/p>\n\u003cp>When it comes to topical comedy, he says, the question is whether one can separate an idea (which can’t be copyrighted) from its expression (which can).\u003c/p>\n\u003cp>Judge Sammartino agrees. “[T]here is little doubt that the jokes at issue merit copyright protection,” she writes, citing the relevant case law, “noting originality requires only independent creation of a work that ‘possess[es] some creative spark, “no matter how crude, humble or obvious” it might be.'”\u003c/p>\n\u003cp>However, she adds, the jokes here “are similarly constrained by their subject matter and the conventions of the two-line, setup-and-delivery paradigm.”\u003c/p>\n\u003cp>The result is that for O’Brien’s jokes to infringe on Kaseberg’s copyright, they must be “virtually identical,” one step below verbatim.\u003c/p>\n\u003cp>\u003ca href=\"http://www.cbsnews.com/news/conan-obrien-heading-to-trial-over-joke-theft/\" target=\"_blank\" rel=\"noopener\">CBS reports\u003c/a> that unless there’s an out-of-court settlement, the case will go to trial in August. The case may indeed hinge on questions like how many ways there are to make a cul-de-sac joke. Because, as Sammarino notes, a joke’s originality is constrained by its format.\u003c/p>\n\u003cp>“Each joke begins with a factual sentence and then immediately concludes with another sentence providing humorous commentary on the preceding facts,” she writes. “Facts, of course, are not protected by copyright.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Those us who tell dumb jokes may hope that the case doesn’t go to court. After all, many of us are kept in line just by being told our jokes aren’t that funny — no copyright protection needed. \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=Can+You+Copyright+Your+Dumb+Joke%3F+And+How+Can+You+Prove+It%27s+Yours%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "twitter-shuts-down-writer-turned-militia-fighters-account",
"title": "Twitter Shuts Down Writer-Turned-Militia Fighter's Account",
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"headTitle": "Twitter Shuts Down Writer-Turned-Militia Fighter’s Account | KQED",
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"content": "\u003cp>Without warning, Twitter recently shut down the account of Brace Belden, a local writer and punk singer who made headlines after he went to Syria to fight ISIS with a Kurdish Militia.\u003c/p>\n\u003cfigure id=\"attachment_13110040\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Brace-Wild-thing-800x532.jpg\" alt=\"Belden playing in his former band Wild Thing\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13110040\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Brace-Wild-thing-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Brace-Wild-thing-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Brace-Wild-thing-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Brace-Wild-thing-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Brace-Wild-thing-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Brace-Wild-thing-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Brace-Wild-thing.jpg 893w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Belden playing in his former band Wild Thing \u003ccite>(Mark Murrman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Social media served as Belden’s lifeline to the west during his six-month stint battling the Islamic State, and because of his crass-yet-witty take on the chaos he faced, his Twitter account @PissPigGranddad* garnered global attention. Stories about his tour of duty ran in \u003ca href=\"http://www.rollingstone.com/politics/features/american-anarchists-ypg-kurdish-militia-syria-isis-islamic-state-w466069\" target=\"_blank\" rel=\"noopener\">\u003cem>Rolling Stone\u003c/em>\u003c/a>, the \u003ca href=\"https://www.washingtonpost.com/world/middle_east/how-two-us-marxists-wound-up-on-the-front-lines-against-isis/2017/03/30/3c722344-c79e-11e6-acda-59924caa2450_story.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Washington Post\u003c/em>\u003c/a>, \u003ca href=\"http://nymag.com/daily/intelligencer/2017/04/brace-belden-pisspiggranddad-syria-isis.html\" target=\"_blank\" rel=\"noopener\">\u003cem>New York Magazine\u003c/em>\u003c/a> and others, and there was even talk of a \u003ca href=\"http://www.spin.com/2017/03/rolling-stone-article-about-american-radicals-fighting-isis-to-become-jake-gyllenhaal-movie/\" target=\"_blank\" rel=\"noopener\">movie being made\u003c/a> about his experiences.\u003c/p>\n\u003cp>But early last week, Belden logged on to Twitter and found that his \u003ca href=\"https://twitter.com/account/suspended\" target=\"_blank\" rel=\"noopener\">account was suspended\u003c/a>. \u003c/p>\n\u003cp>“I don’t know if it’s suspended or deleted,” Belden said Monday. “I either got suspended by horny racists or (Turkish Prime Minister Recep Tayyip) Erdoğan’s dogs.” \u003c/p>\n\u003cp>Before leaving for Syria last fall, Belden managed a local boxing gym and freelanced for publications like \u003cem>Willamette Week\u003c/em> and \u003ca href=\"https://ww2.kqed.org/arts/2016/08/25/400-issues-life-at-maximum-rocknroll-after-tim-yohannan/\" target=\"_blank\" rel=\"noopener\">\u003cem>Maximum Rocknroll\u003c/em>\u003c/a>. He also was a member in the bands Wild Thing and Warkrime. A dedicated Marxist, he signed up to help the Kurdish militia People’s Protection Units (YPG) establish secular democracy in the war-torn country, despite having no military experience. He also brought his phone with him so he could stay in contact with the western world.\u003c/p>\n\u003cfigure id=\"attachment_13109592\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Belden-Meme-800x800.jpg\" alt=\"A meme featuring Belden\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13109592\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A meme featuring Belden \u003ccite>(via Twitter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The attention that came from his tweets, which consisted of politically-themed one-liners and pictures of him holding homeless puppies or machine guns, was both positive and negative. The news coverage brought attention to the militias fighting in Syria; Belden, who saw his follower count jump to over 30,000 during that time, became a left-wing hero of sorts. He was a featured guest on the popular \u003ca href=\"http://www.newyorker.com/culture/persons-of-interest/what-will-become-of-the-dirtbag-left\" target=\"_blank\" rel=\"noopener\">“Dirtbag Left” podcast\u003c/a> \u003ci>Chapo Trap House\u003c/i>, and a group at Glasgow University started a campaign to have Belden elected to their school’s \u003ca href=\"https://twitter.com/Belden4Rector\" target=\"_blank\" rel=\"noopener\">honorary rector position\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But he’s also received a lot of ire from the alt-right on Twitter. (The tweet below came after Belden participated in the protests against the Trump rally in Berkeley on April 15.)\u003c/p>\n\u003cp>https://twitter.com/breddy_gud/status/853397645527834625 \u003c/p>\n\u003cp>One week after his account was shut down, it’s still unclear why. There’s a small group of followers demanding Twitter \u003ca href=\"https://twitter.com/search?src=typd&q=%40PissPigGranddad\" target=\"_blank\" rel=\"noopener\">reinstate his account\u003c/a>, but nothing has come of it yet. But he’s also made a few enemies, \u003ca href=\"https://twitter.com/DangunsProgeny/status/848594602311503872\" target=\"_blank\" rel=\"noopener\">even on the left\u003c/a>. Also, other notable Twitter users known for polemics have been suspended recently, like former \u003cem>Million Dollar Extreme\u003c/em> host Sam Hyde’s (@Night_0f_Fire).\u003c/p>\n\u003cp>Still, Belden wants answers, and much more.\u003c/p>\n\u003cp>“In regards to Twitter, I demand that my account be reinstated and for Twitter to give me a ride in Gravedigger,” Belden wrote in a Facebook message. “Gravedigger is the monster truck.”\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"alignright size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>*The Twitter handle, Belden says, comes from something he saw at the Folsom Street Fair.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Local writer and singer Brace Belden drew national headlines for his Twitter feed, which was suddenly shut down last week.",
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"title": "Twitter Shuts Down Writer-Turned-Militia Fighter's Account | KQED",
"description": "Local writer and singer Brace Belden drew national headlines for his Twitter feed, which was suddenly shut down last week.",
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"headline": "Twitter Shuts Down Writer-Turned-Militia Fighter's Account",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Without warning, Twitter recently shut down the account of Brace Belden, a local writer and punk singer who made headlines after he went to Syria to fight ISIS with a Kurdish Militia.\u003c/p>\n\u003cfigure id=\"attachment_13110040\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Brace-Wild-thing-800x532.jpg\" alt=\"Belden playing in his former band Wild Thing\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13110040\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Brace-Wild-thing-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Brace-Wild-thing-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Brace-Wild-thing-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Brace-Wild-thing-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Brace-Wild-thing-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Brace-Wild-thing-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Brace-Wild-thing.jpg 893w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Belden playing in his former band Wild Thing \u003ccite>(Mark Murrman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Social media served as Belden’s lifeline to the west during his six-month stint battling the Islamic State, and because of his crass-yet-witty take on the chaos he faced, his Twitter account @PissPigGranddad* garnered global attention. Stories about his tour of duty ran in \u003ca href=\"http://www.rollingstone.com/politics/features/american-anarchists-ypg-kurdish-militia-syria-isis-islamic-state-w466069\" target=\"_blank\" rel=\"noopener\">\u003cem>Rolling Stone\u003c/em>\u003c/a>, the \u003ca href=\"https://www.washingtonpost.com/world/middle_east/how-two-us-marxists-wound-up-on-the-front-lines-against-isis/2017/03/30/3c722344-c79e-11e6-acda-59924caa2450_story.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Washington Post\u003c/em>\u003c/a>, \u003ca href=\"http://nymag.com/daily/intelligencer/2017/04/brace-belden-pisspiggranddad-syria-isis.html\" target=\"_blank\" rel=\"noopener\">\u003cem>New York Magazine\u003c/em>\u003c/a> and others, and there was even talk of a \u003ca href=\"http://www.spin.com/2017/03/rolling-stone-article-about-american-radicals-fighting-isis-to-become-jake-gyllenhaal-movie/\" target=\"_blank\" rel=\"noopener\">movie being made\u003c/a> about his experiences.\u003c/p>\n\u003cp>But early last week, Belden logged on to Twitter and found that his \u003ca href=\"https://twitter.com/account/suspended\" target=\"_blank\" rel=\"noopener\">account was suspended\u003c/a>. \u003c/p>\n\u003cp>“I don’t know if it’s suspended or deleted,” Belden said Monday. “I either got suspended by horny racists or (Turkish Prime Minister Recep Tayyip) Erdoğan’s dogs.” \u003c/p>\n\u003cp>Before leaving for Syria last fall, Belden managed a local boxing gym and freelanced for publications like \u003cem>Willamette Week\u003c/em> and \u003ca href=\"https://ww2.kqed.org/arts/2016/08/25/400-issues-life-at-maximum-rocknroll-after-tim-yohannan/\" target=\"_blank\" rel=\"noopener\">\u003cem>Maximum Rocknroll\u003c/em>\u003c/a>. He also was a member in the bands Wild Thing and Warkrime. A dedicated Marxist, he signed up to help the Kurdish militia People’s Protection Units (YPG) establish secular democracy in the war-torn country, despite having no military experience. He also brought his phone with him so he could stay in contact with the western world.\u003c/p>\n\u003cfigure id=\"attachment_13109592\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Belden-Meme-800x800.jpg\" alt=\"A meme featuring Belden\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13109592\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Belden-Meme.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A meme featuring Belden \u003ccite>(via Twitter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The attention that came from his tweets, which consisted of politically-themed one-liners and pictures of him holding homeless puppies or machine guns, was both positive and negative. The news coverage brought attention to the militias fighting in Syria; Belden, who saw his follower count jump to over 30,000 during that time, became a left-wing hero of sorts. He was a featured guest on the popular \u003ca href=\"http://www.newyorker.com/culture/persons-of-interest/what-will-become-of-the-dirtbag-left\" target=\"_blank\" rel=\"noopener\">“Dirtbag Left” podcast\u003c/a> \u003ci>Chapo Trap House\u003c/i>, and a group at Glasgow University started a campaign to have Belden elected to their school’s \u003ca href=\"https://twitter.com/Belden4Rector\" target=\"_blank\" rel=\"noopener\">honorary rector position\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But he’s also received a lot of ire from the alt-right on Twitter. (The tweet below came after Belden participated in the protests against the Trump rally in Berkeley on April 15.)\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> \u003c/p>\n\u003cp>One week after his account was shut down, it’s still unclear why. There’s a small group of followers demanding Twitter \u003ca href=\"https://twitter.com/search?src=typd&q=%40PissPigGranddad\" target=\"_blank\" rel=\"noopener\">reinstate his account\u003c/a>, but nothing has come of it yet. But he’s also made a few enemies, \u003ca href=\"https://twitter.com/DangunsProgeny/status/848594602311503872\" target=\"_blank\" rel=\"noopener\">even on the left\u003c/a>. Also, other notable Twitter users known for polemics have been suspended recently, like former \u003cem>Million Dollar Extreme\u003c/em> host Sam Hyde’s (@Night_0f_Fire).\u003c/p>\n\u003cp>Still, Belden wants answers, and much more.\u003c/p>\n\u003cp>“In regards to Twitter, I demand that my account be reinstated and for Twitter to give me a ride in Gravedigger,” Belden wrote in a Facebook message. “Gravedigger is the monster truck.”\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"alignright size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>*The Twitter handle, Belden says, comes from something he saw at the Folsom Street Fair.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Alec Baldwin's Trump Impersonations Aren't the Most Important Thing",
"headTitle": "Alec Baldwin’s Trump Impersonations Aren’t the Most Important Thing | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Every time Alec Baldwin raised an eyebrow and pursed his lips like a fish as he impersonated President Donald Trump, the audience applauded and howled with laughter.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The actor and comedian stopped by San Francisco’s Nourse Theater Thursday night for a sold out \u003ca href=\"http://www.cityarts.net/event/alec-baldwin-2/\" target=\"_blank\" rel=\"noopener\">City Arts & Lectures event\u003c/a> to promote his new memoir, \u003c/span>\u003ca href=\"https://www.harpercollins.com/9780062409706/nevertheless\" target=\"_blank\" rel=\"noopener\">\u003ci>\u003cspan style=\"font-weight: 400\">Nevertheless\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, which hit bookstands on Apr. 4.\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Baldwin talked about the book, life in New York and his work with \u003ca href=\"http://www.pfaw.org/about-us/\" target=\"_blank\" rel=\"noopener\">People for the American Way\u003c/a> to increase voter registration. But the audience was most hungry to hear about his \u003c/span>\u003ca href=\"http://www.nbc.com/saturday-night-live\" target=\"_blank\" rel=\"noopener\">\u003ci>\u003cspan style=\"font-weight: 400\">Saturday Night Live\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">\u003cem> (SNL)\u003c/em> appearances as Trump.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Leaning forward in his chair, Baldwin revealed his internal monologue about getting into character as Trump: “Try to stick your face out as much as you can like you’re going to chew the face off the person in front of you,” Baldwin said.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">30-Rock\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> star initially turned down the role when \u003cem>SNL \u003c/em>producer Lorne Michaels offered him the gig. Baldwin was scheduled to act in a small independent film last fall, but when the paycheck never materialized, he called Lorne back and said he was in.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">His debut \u003cem>SNL\u003c/em> appearance as Trump came in Oct. 2016, as he parodied the first presidential debate opposite Hillary Clinton impersonator, Kate McKinnon.\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-nQGBZQrtT0\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But his feelings about the role are mixed.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’m very 50/50 on the whole Trump [impersonation] thing,” Baldwin said. “Lorne is my dear friend, and he asked me to do this thing; I didn’t have any connection to Trump or any passion for doing that, I just pulled that out of my pocket the day we did it.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">New Yorkers are less ambivalent about the comedian’s impersonation. Baldwin said when people pass him on the street, they sometimes whisper, “thank you.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Trump himself has responded to Baldwin’s impersonation. After the first \u003cem>SNL\u003c/em> mock presidential debate, Trump tweeted: “The Baldwin impersonation just can’t get any worse. Sad.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Baldwin replied swiftly calling for Trump to release his tax returns: “…\u003ca href=\"https://twitter.com/realDonaldTrump?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\" target=\"_blank\" rel=\"noopener\">@realDonaldTrump\u003c/a> Release your tax returns and I’ll stop. Ha.”\u003c/span>\u003c/p>\n\u003cp>https://twitter.com/ABFalecbaldwin/status/805284113741729792\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Despite openly mocking Trump, Baldwin said he doesn’t detest the president.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I think it’s important to understand, I don’t hate Trump,” Baldwin said. “I don’t look at him and spit on the ground, I’m more just depressed by the whole thing.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Baldwin said that the 2016 election galvanized Americans to act. \u003c/span>\u003cspan style=\"font-weight: 400\">“The one silver lining, and the one piece of good news from this is he has reinvigorated democracy,” Baldwin said. \u003c/span>\u003cspan style=\"font-weight: 400\">“What we’ve realized is, don’t be ashamed of your beliefs and your opinions. The other side isn’t; the other side is going to throttle you like it’s a rattan cane with their opinions. You have to get political.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Interviewer Steven Winn asked Baldwin whether he’d ever consider running for office, \u003ca href=\"http://www.huffingtonpost.com/2012/01/25/alec-baldwin-wants-to-run-for-office_n_1232251.html\" target=\"_blank\" rel=\"noopener\">an idea the performer “flirted with”\u003c/a> in 2012.\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZO1nINyvDp8\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I would love to be the president of the United States. I think I’d be a great president. I think I’d be fantastic,” Baldwin said.\u003c/span>\u003c/p>\n\u003cp>There’s one caveat, though.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My wife said she would divorce me if I ran for office,” Baldwin said.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With that, the audience laughed, the house lights came on, and Baldwin waited to answer questions.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" 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\n",
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"excerpt": "Even more impassioned than his viral Trump impression on 'Saturday Night Live' is the actor and comedian's plea for Americans to vote in 2020.",
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"description": "Even more impassioned than his viral Trump impression on 'Saturday Night Live' is the actor and comedian's plea for Americans to vote in 2020.",
"title": "Alec Baldwin's Trump Impersonations Aren't the Most Important Thing | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Every time Alec Baldwin raised an eyebrow and pursed his lips like a fish as he impersonated President Donald Trump, the audience applauded and howled with laughter.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The actor and comedian stopped by San Francisco’s Nourse Theater Thursday night for a sold out \u003ca href=\"http://www.cityarts.net/event/alec-baldwin-2/\" target=\"_blank\" rel=\"noopener\">City Arts & Lectures event\u003c/a> to promote his new memoir, \u003c/span>\u003ca href=\"https://www.harpercollins.com/9780062409706/nevertheless\" target=\"_blank\" rel=\"noopener\">\u003ci>\u003cspan style=\"font-weight: 400\">Nevertheless\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">, which hit bookstands on Apr. 4.\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Baldwin talked about the book, life in New York and his work with \u003ca href=\"http://www.pfaw.org/about-us/\" target=\"_blank\" rel=\"noopener\">People for the American Way\u003c/a> to increase voter registration. But the audience was most hungry to hear about his \u003c/span>\u003ca href=\"http://www.nbc.com/saturday-night-live\" target=\"_blank\" rel=\"noopener\">\u003ci>\u003cspan style=\"font-weight: 400\">Saturday Night Live\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">\u003cem> (SNL)\u003c/em> appearances as Trump.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Leaning forward in his chair, Baldwin revealed his internal monologue about getting into character as Trump: “Try to stick your face out as much as you can like you’re going to chew the face off the person in front of you,” Baldwin said.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">30-Rock\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> star initially turned down the role when \u003cem>SNL \u003c/em>producer Lorne Michaels offered him the gig. Baldwin was scheduled to act in a small independent film last fall, but when the paycheck never materialized, he called Lorne back and said he was in.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">His debut \u003cem>SNL\u003c/em> appearance as Trump came in Oct. 2016, as he parodied the first presidential debate opposite Hillary Clinton impersonator, Kate McKinnon.\u003c/span>\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/-nQGBZQrtT0'\n title='//www.youtube.com/embed/-nQGBZQrtT0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">But his feelings about the role are mixed.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’m very 50/50 on the whole Trump [impersonation] thing,” Baldwin said. “Lorne is my dear friend, and he asked me to do this thing; I didn’t have any connection to Trump or any passion for doing that, I just pulled that out of my pocket the day we did it.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">New Yorkers are less ambivalent about the comedian’s impersonation. Baldwin said when people pass him on the street, they sometimes whisper, “thank you.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Trump himself has responded to Baldwin’s impersonation. After the first \u003cem>SNL\u003c/em> mock presidential debate, Trump tweeted: “The Baldwin impersonation just can’t get any worse. Sad.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Baldwin replied swiftly calling for Trump to release his tax returns: “…\u003ca href=\"https://twitter.com/realDonaldTrump?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\" target=\"_blank\" rel=\"noopener\">@realDonaldTrump\u003c/a> Release your tax returns and I’ll stop. Ha.”\u003c/span>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003cspan style=\"font-weight: 400\">Despite openly mocking Trump, Baldwin said he doesn’t detest the president.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I think it’s important to understand, I don’t hate Trump,” Baldwin said. “I don’t look at him and spit on the ground, I’m more just depressed by the whole thing.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Baldwin said that the 2016 election galvanized Americans to act. \u003c/span>\u003cspan style=\"font-weight: 400\">“The one silver lining, and the one piece of good news from this is he has reinvigorated democracy,” Baldwin said. \u003c/span>\u003cspan style=\"font-weight: 400\">“What we’ve realized is, don’t be ashamed of your beliefs and your opinions. The other side isn’t; the other side is going to throttle you like it’s a rattan cane with their opinions. You have to get political.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Interviewer Steven Winn asked Baldwin whether he’d ever consider running for office, \u003ca href=\"http://www.huffingtonpost.com/2012/01/25/alec-baldwin-wants-to-run-for-office_n_1232251.html\" target=\"_blank\" rel=\"noopener\">an idea the performer “flirted with”\u003c/a> in 2012.\u003c/span>\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/ZO1nINyvDp8'\n title='//www.youtube.com/embed/ZO1nINyvDp8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">“I would love to be the president of the United States. I think I’d be a great president. I think I’d be fantastic,” Baldwin said.\u003c/span>\u003c/p>\n\u003cp>There’s one caveat, though.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My wife said she would divorce me if I ran for office,” Baldwin said.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With that, the audience laughed, the house lights came on, and Baldwin waited to answer questions.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" 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\n\u003c/div>\u003c/p>",
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"title": "New 'Mystery Science Theater' Coming to Netflix in the Not-Too-Distant Future",
"headTitle": "New ‘Mystery Science Theater’ Coming to Netflix in the Not-Too-Distant Future | KQED",
"content": "\u003cp>Here’s the setup: Mad scientists send a guy (Joel) into space and force him to watch cheesy movies. He can’t get back home because he’s used parts from his spaceship to build two robots whose commentaries make the movies bearable.\u003c/p>\n\u003cp>Sure, \u003cem>Mystery Science Theater 3000\u003c/em> had a silly premise — but it also had a cult following. The show aired in the 1990s and helped spawn the entire attitude of the Internet, where nothing is off limits from being mocked. \u003cem>MST3K\u003c/em> eventually came to an end, but now, to the delight of millions, it’s back.\u003c/p>\n\u003cp>The show was the brainchild of Joel Hodgson, a prop comic from Wisconsin who made a few appearances on \u003cem>Saturday Night Live\u003c/em>. His combination of stoner absurdism and Midwestern nice proved perfect when he got the chance to start his own show on Minneapolis cable access TV in 1988. Making fun of dumb movies with your friends is a time-honored tradition, but with \u003cem>MST3K\u003c/em>, your friends were much funnier.\u003c/p>\n\u003cp>The program got picked up by Comedy Central, where it ran for six seasons, then moved to the Sci-Fi Channel for another three. In the middle of all that, in 1993, Hodgson left over creative differences and a new host took over.\u003c/p>\n\u003cp>“It was really like a tragedy for me the way it worked out,” he says. “It was like the most public, frustrating thing I could imagine. And so that took a really long time to grapple with. And then once I started to get more distance from it, I started to kind of feel like it could happen again.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the meantime, the show acquired such fans as Frank Zappa, Questlove from The Roots, Al Gore and Jonah Ray, a stand-up comic who hosts a parody travel show called \u003cem>Hidden America\u003c/em>. Ray grew up watching \u003cem>MST3K\u003c/em>. He says, “\u003cem>Mystery Science Theater\u003c/em> was someone I could watch old sci-fi movies with and make fun of them by myself. You know, essentially you have these friends with you while you’re by yourself. And I think that’s why it connects with people.”\u003c/p>\n\u003cp>A lot of people. When Hodgson got the rights back and launched a Kickstarter campaign to produce a new season, it broke the crowdfunding site’s record for video projects, raising more than $5.5 million. Super fan Jonah Ray got the call of a lifetime when Hodgson asked him to be the new host.\u003c/p>\n\u003cp>“I was just like, ‘Wha?’ ” he remembers. “How does that even happen? … That’s the one thing I always wanted. Like, when I was growing up, that’s what I wanted.”\u003c/p>\n\u003cp>Netflix signed on to distribute it and the new \u003cem>MST3K\u003c/em> started shooting last fall. The cast includes Baron Vaughn and Hampton Yount as the new robots, and Patton Oswalt and Felicia Day as the new mad scientists.\u003c/p>\n\u003cp>Day also grew up watching \u003cem>MST3K\u003c/em>, and in addition to starring in \u003cem>Dr. Horrible’s Sing-Along Blog\u003c/em> she created a popular web series called \u003cem>The Guild\u003c/em>. She says \u003cem>MST3K\u003c/em> spawned a whole culture of silly online commentary. “Nowadays people are used to having that commentary in their day-to-day lives, you know. They’re used to commenting on Twitter about, like, ‘Hey, did you see Batman’s new codpiece? It looks like a misshapen face,’ or something.”\u003c/p>\n\u003cp>The Internet is a make-fun-of-everything, snarky place that can sometimes be downright mean — but not \u003cem>MST3K\u003c/em>. “I actually think there’s a kindness to the sense of humor and the overall aspect and tone of \u003cem>Mystery Science Theater\u003c/em>,” Day says. “Joel — on the conference calls when we talk about the movies before we started writing on them — would always talk with love about the movies, never hate. He would be like, ‘Guys, this movie is \u003cem>so awesome\u003c/em>. There’s this thing and he’s flying through the air.’ You’re like, ‘Oh wait, this sounds terrible.’ But Joel \u003cem>loves\u003c/em> it.”\u003c/p>\n\u003cp>Hodgson makes a few on-screen cameos in the new \u003cem>MST3K\u003c/em>, but he mostly stays behind the camera as a writer and creative director. “Honestly, I would have preferred that from the beginning,” he says. “It kind of makes me uptight and it’s a lot of pressure and I just feel so relieved to not have to worry about being on camera. I’m like really happy just being the guy who came up with it and being creative.”\u003c/p>\n\u003cp>Hodgson’s absence as host and head movie-riffer may make nostalgic fans sad, and even lead to some snark online. But we suggest those fans take a cue from \u003ca href=\"https://www.youtube.com/watch?v=VF7cO4t0o9c\" target=\"_blank\" rel=\"noopener\">the show’s theme song\u003c/a>: “Just repeat to yourself, ‘It’s just a show. I should really just relax.’ ”\u003c/p>\n\u003cp>Netflix is releasing the full first season of \u003cem>Mystery Science Theater 3000: The Return\u003c/em> on April 14.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Editor \u003ca href=\"http://www.npr.org/people/2100368/tom-cole\" target=\"_blank\" rel=\"noopener\">Tom Cole\u003c/a> and digital producer \u003ca href=\"http://www.npr.org/people/348780034/nicole-cohen\" target=\"_blank\" rel=\"noopener\">Nicole Cohen\u003c/a> contributed to this report.\u003c/em> \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=New+%27Mystery+Science+Theater%27+Coming+To+Netflix+In+The+Not-Too-Distant+Future&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The show originally aired in the '90s and helped spawn the entire attitude of the Internet. Sure, it had a silly premise — but it also had a cult following. The reboot's first season drops on Friday.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Here’s the setup: Mad scientists send a guy (Joel) into space and force him to watch cheesy movies. He can’t get back home because he’s used parts from his spaceship to build two robots whose commentaries make the movies bearable.\u003c/p>\n\u003cp>Sure, \u003cem>Mystery Science Theater 3000\u003c/em> had a silly premise — but it also had a cult following. The show aired in the 1990s and helped spawn the entire attitude of the Internet, where nothing is off limits from being mocked. \u003cem>MST3K\u003c/em> eventually came to an end, but now, to the delight of millions, it’s back.\u003c/p>\n\u003cp>The show was the brainchild of Joel Hodgson, a prop comic from Wisconsin who made a few appearances on \u003cem>Saturday Night Live\u003c/em>. His combination of stoner absurdism and Midwestern nice proved perfect when he got the chance to start his own show on Minneapolis cable access TV in 1988. Making fun of dumb movies with your friends is a time-honored tradition, but with \u003cem>MST3K\u003c/em>, your friends were much funnier.\u003c/p>\n\u003cp>The program got picked up by Comedy Central, where it ran for six seasons, then moved to the Sci-Fi Channel for another three. In the middle of all that, in 1993, Hodgson left over creative differences and a new host took over.\u003c/p>\n\u003cp>“It was really like a tragedy for me the way it worked out,” he says. “It was like the most public, frustrating thing I could imagine. And so that took a really long time to grapple with. And then once I started to get more distance from it, I started to kind of feel like it could happen again.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the meantime, the show acquired such fans as Frank Zappa, Questlove from The Roots, Al Gore and Jonah Ray, a stand-up comic who hosts a parody travel show called \u003cem>Hidden America\u003c/em>. Ray grew up watching \u003cem>MST3K\u003c/em>. He says, “\u003cem>Mystery Science Theater\u003c/em> was someone I could watch old sci-fi movies with and make fun of them by myself. You know, essentially you have these friends with you while you’re by yourself. And I think that’s why it connects with people.”\u003c/p>\n\u003cp>A lot of people. When Hodgson got the rights back and launched a Kickstarter campaign to produce a new season, it broke the crowdfunding site’s record for video projects, raising more than $5.5 million. Super fan Jonah Ray got the call of a lifetime when Hodgson asked him to be the new host.\u003c/p>\n\u003cp>“I was just like, ‘Wha?’ ” he remembers. “How does that even happen? … That’s the one thing I always wanted. Like, when I was growing up, that’s what I wanted.”\u003c/p>\n\u003cp>Netflix signed on to distribute it and the new \u003cem>MST3K\u003c/em> started shooting last fall. The cast includes Baron Vaughn and Hampton Yount as the new robots, and Patton Oswalt and Felicia Day as the new mad scientists.\u003c/p>\n\u003cp>Day also grew up watching \u003cem>MST3K\u003c/em>, and in addition to starring in \u003cem>Dr. Horrible’s Sing-Along Blog\u003c/em> she created a popular web series called \u003cem>The Guild\u003c/em>. She says \u003cem>MST3K\u003c/em> spawned a whole culture of silly online commentary. “Nowadays people are used to having that commentary in their day-to-day lives, you know. They’re used to commenting on Twitter about, like, ‘Hey, did you see Batman’s new codpiece? It looks like a misshapen face,’ or something.”\u003c/p>\n\u003cp>The Internet is a make-fun-of-everything, snarky place that can sometimes be downright mean — but not \u003cem>MST3K\u003c/em>. “I actually think there’s a kindness to the sense of humor and the overall aspect and tone of \u003cem>Mystery Science Theater\u003c/em>,” Day says. “Joel — on the conference calls when we talk about the movies before we started writing on them — would always talk with love about the movies, never hate. He would be like, ‘Guys, this movie is \u003cem>so awesome\u003c/em>. There’s this thing and he’s flying through the air.’ You’re like, ‘Oh wait, this sounds terrible.’ But Joel \u003cem>loves\u003c/em> it.”\u003c/p>\n\u003cp>Hodgson makes a few on-screen cameos in the new \u003cem>MST3K\u003c/em>, but he mostly stays behind the camera as a writer and creative director. “Honestly, I would have preferred that from the beginning,” he says. “It kind of makes me uptight and it’s a lot of pressure and I just feel so relieved to not have to worry about being on camera. I’m like really happy just being the guy who came up with it and being creative.”\u003c/p>\n\u003cp>Hodgson’s absence as host and head movie-riffer may make nostalgic fans sad, and even lead to some snark online. But we suggest those fans take a cue from \u003ca href=\"https://www.youtube.com/watch?v=VF7cO4t0o9c\" target=\"_blank\" rel=\"noopener\">the show’s theme song\u003c/a>: “Just repeat to yourself, ‘It’s just a show. I should really just relax.’ ”\u003c/p>\n\u003cp>Netflix is releasing the full first season of \u003cem>Mystery Science Theater 3000: The Return\u003c/em> on April 14.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Editor \u003ca href=\"http://www.npr.org/people/2100368/tom-cole\" target=\"_blank\" rel=\"noopener\">Tom Cole\u003c/a> and digital producer \u003ca href=\"http://www.npr.org/people/348780034/nicole-cohen\" target=\"_blank\" rel=\"noopener\">Nicole Cohen\u003c/a> contributed to this report.\u003c/em> \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=New+%27Mystery+Science+Theater%27+Coming+To+Netflix+In+The+Not-Too-Distant+Future&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Hasan Minhaj, a senior correspondent at \u003cem>The Daily Show\u003c/em> who started his comedy career in the Bay Area, will host this year’s White House Correspondents’ Dinner.\u003c/p>\n\u003cp>\u003ca href=\"http://www.whca.net/news.htm\" target=\"_blank\" rel=\"noopener\">In an announcement\u003c/a> from the White House Correspondents Association (WHCA) Tuesday, Minhaj said he was honored to speak at the event on Saturday, Apr. 29, despite President Donald Trump’s \u003ca href=\"http://www.npr.org/2017/02/25/517257273/trump-will-be-first-president-in-36-years-to-skip-white-house-correspondents-din\" target=\"_blank\" rel=\"noopener\">decision not to attend\u003c/a>.\u003c/p>\n\u003cp>“It is a tremendous honor to be a part of such a historic event even though the president has chosen not to attend this year,” Minhaj said. “Now more than ever, it is vital that we honor the First Amendment and the freedom of the press.”\u003c/p>\n\u003cp>The last time a sitting president skipped the dinner was 36 years ago, when Ronald Reagan couldn’t attend after being shot during an assassination attempt. Instead, he called into the event from Camp David and joked about the shooting, saying, “If I could give you just one little bit of advice: when somebody tells you to get in a car quick, do it.”\u003c/p>\n\u003cfigure id=\"attachment_13038147\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13038147\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Hasan-Minhaj-2-800x450.jpg\" alt=\"Hasan Minhaj attends The Daily Show with Trevor Noah Stand-Up in the Park in 2016. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Hasan-Minhaj-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Hasan-Minhaj-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Hasan-Minhaj-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Hasan-Minhaj-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Hasan-Minhaj-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Hasan-Minhaj-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Hasan-Minhaj-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Hasan-Minhaj-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Hasan-Minhaj-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Hasan-Minhaj-2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hasan Minhaj attends The Daily Show with Trevor Noah Stand-Up in the Park in 2016. \u003ccite>(Photo: Brad Barket/Getty Images for Comedy Central)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s dinner has struggled to find a host. The host is traditionally announced months before the event, and \u003ca href=\"http://www.hollywoodreporter.com/news/trump-press-wars-effect-white-house-correspondents-dinner-attendance-973097\" target=\"_blank\" rel=\"noopener\">The Hollywood Reporter (THR)\u003c/a> reported back in February that a few candidates including the \u003cem>Late Late Show\u003c/em>‘s James Corden had turned down the job. In the same piece, THR also found that many celebrities and publications who have attended in recent years would be passing this time around, and that former \u003ci>Daily Show\u003c/i> correspondent Samantha Bee would be hosting an event called “\u003ca href=\"http://www.hollywoodreporter.com/news/samantha-bee-roast-trump-at-not-white-house-correspondents-dinner-970088\" target=\"_blank\" rel=\"noopener\">Not the White House Correspondents’ Dinner\u003c/a>” on the same night.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Trump’s staffers have also announced that they would be skipping the event “\u003ca href=\"http://www.hollywoodreporter.com/news/white-house-correspondents-dinner-white-house-staff-not-attending-show-solidarity-trump-989602\" target=\"_blank\" rel=\"noopener\">in solidarity\u003c/a>” with the president.\u003c/p>\n\u003cp>Minhaj, 31, was born and raised in \u003ca href=\"http://www.sacbee.com/entertainment/tv/article28715740.html\" target=\"_blank\" rel=\"noopener\">Davis, California\u003c/a>, and began performing stand-up comedy in Sacramento and later San Francisco. He started making a name for himself alongside other notable Bay Area comics such as \u003ca href=\"https://ww2.kqed.org/pop/tag/w-kamau-bell/\" target=\"_blank\" rel=\"noopener\">W. Kamau Bell\u003c/a> and \u003ca href=\"https://ww2.kqed.org/arts/2015/12/16/nato-green-on-his-san-francisco-childhood-and-life-as-a-comic/\" target=\"_blank\" rel=\"noopener\">Nato Green\u003c/a>.\u003c/p>\n\u003cp>Former \u003ci>Daily Show\u003c/i> host \u003ca href=\"http://www.npr.org/sections/codeswitch/2015/10/14/448572486/daily-shows-hasan-minhaj-on-proms-immigrants-and-white-folks-at-desi-weddings\" target=\"_blank\" rel=\"noopener\">Jon Stewart hired Minhaj\u003c/a> as a correspondent before he left in 2014. Since then, Minhaj has made headlines for his work both on the show and off it, including his calling out of congress over its inability to pass gun control legislation at the \u003ca href=\"https://www.youtube.com/watch?v=NUymQKZqP6w\" target=\"_blank\" rel=\"noopener\">2016 Radio and Television Correspondents’ Dinner\u003c/a>.\u003c/p>\n\u003cp>\u003ci>Watch Minhaj’s report on the “Muslim Makeover” for the Daily Show in 2014:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hSTywVwZCjw\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hasan Minhaj, a senior correspondent at \u003cem>The Daily Show\u003c/em> who started his comedy career in the Bay Area, will host this year’s White House Correspondents’ Dinner.\u003c/p>\n\u003cp>\u003ca href=\"http://www.whca.net/news.htm\" target=\"_blank\" rel=\"noopener\">In an announcement\u003c/a> from the White House Correspondents Association (WHCA) Tuesday, Minhaj said he was honored to speak at the event on Saturday, Apr. 29, despite President Donald Trump’s \u003ca href=\"http://www.npr.org/2017/02/25/517257273/trump-will-be-first-president-in-36-years-to-skip-white-house-correspondents-din\" target=\"_blank\" rel=\"noopener\">decision not to attend\u003c/a>.\u003c/p>\n\u003cp>“It is a tremendous honor to be a part of such a historic event even though the president has chosen not to attend this year,” Minhaj said. “Now more than ever, it is vital that we honor the First Amendment and the freedom of the press.”\u003c/p>\n\u003cp>The last time a sitting president skipped the dinner was 36 years ago, when Ronald Reagan couldn’t attend after being shot during an assassination attempt. Instead, he called into the event from Camp David and joked about the shooting, saying, “If I could give you just one little bit of advice: when somebody tells you to get in a car quick, do it.”\u003c/p>\n\u003cfigure id=\"attachment_13038147\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13038147\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/04/Hasan-Minhaj-2-800x450.jpg\" alt=\"Hasan Minhaj attends The Daily Show with Trevor Noah Stand-Up in the Park in 2016. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Hasan-Minhaj-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Hasan-Minhaj-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Hasan-Minhaj-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Hasan-Minhaj-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Hasan-Minhaj-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Hasan-Minhaj-2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Hasan-Minhaj-2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Hasan-Minhaj-2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Hasan-Minhaj-2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/04/Hasan-Minhaj-2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hasan Minhaj attends The Daily Show with Trevor Noah Stand-Up in the Park in 2016. \u003ccite>(Photo: Brad Barket/Getty Images for Comedy Central)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year’s dinner has struggled to find a host. The host is traditionally announced months before the event, and \u003ca href=\"http://www.hollywoodreporter.com/news/trump-press-wars-effect-white-house-correspondents-dinner-attendance-973097\" target=\"_blank\" rel=\"noopener\">The Hollywood Reporter (THR)\u003c/a> reported back in February that a few candidates including the \u003cem>Late Late Show\u003c/em>‘s James Corden had turned down the job. In the same piece, THR also found that many celebrities and publications who have attended in recent years would be passing this time around, and that former \u003ci>Daily Show\u003c/i> correspondent Samantha Bee would be hosting an event called “\u003ca href=\"http://www.hollywoodreporter.com/news/samantha-bee-roast-trump-at-not-white-house-correspondents-dinner-970088\" target=\"_blank\" rel=\"noopener\">Not the White House Correspondents’ Dinner\u003c/a>” on the same night.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Trump’s staffers have also announced that they would be skipping the event “\u003ca href=\"http://www.hollywoodreporter.com/news/white-house-correspondents-dinner-white-house-staff-not-attending-show-solidarity-trump-989602\" target=\"_blank\" rel=\"noopener\">in solidarity\u003c/a>” with the president.\u003c/p>\n\u003cp>Minhaj, 31, was born and raised in \u003ca href=\"http://www.sacbee.com/entertainment/tv/article28715740.html\" target=\"_blank\" rel=\"noopener\">Davis, California\u003c/a>, and began performing stand-up comedy in Sacramento and later San Francisco. He started making a name for himself alongside other notable Bay Area comics such as \u003ca href=\"https://ww2.kqed.org/pop/tag/w-kamau-bell/\" target=\"_blank\" rel=\"noopener\">W. Kamau Bell\u003c/a> and \u003ca href=\"https://ww2.kqed.org/arts/2015/12/16/nato-green-on-his-san-francisco-childhood-and-life-as-a-comic/\" target=\"_blank\" rel=\"noopener\">Nato Green\u003c/a>.\u003c/p>\n\u003cp>Former \u003ci>Daily Show\u003c/i> host \u003ca href=\"http://www.npr.org/sections/codeswitch/2015/10/14/448572486/daily-shows-hasan-minhaj-on-proms-immigrants-and-white-folks-at-desi-weddings\" target=\"_blank\" rel=\"noopener\">Jon Stewart hired Minhaj\u003c/a> as a correspondent before he left in 2014. Since then, Minhaj has made headlines for his work both on the show and off it, including his calling out of congress over its inability to pass gun control legislation at the \u003ca href=\"https://www.youtube.com/watch?v=NUymQKZqP6w\" target=\"_blank\" rel=\"noopener\">2016 Radio and Television Correspondents’ Dinner\u003c/a>.\u003c/p>\n\u003cp>\u003ci>Watch Minhaj’s report on the “Muslim Makeover” for the Daily Show in 2014:\u003c/i>\u003c/p>\n\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/hSTywVwZCjw'\n title='//www.youtube.com/embed/hSTywVwZCjw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"title": "Comedian Don Rickles, Merciless 'Merchant Of Venom,' Dies At 90",
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"content": "\u003cp>Before Comedy Central’s celebrity roasts, before \u003cem>American Idol\u003c/em>‘s Simon Cowell, before Triumph the Insult Comic Dog, one man abused people on TV and in clubs like no other — as one emcee introduced him, “the sultan of insults, the merchant of venom, the pussy cat with claws, Mr. Don Rickles!”\u003c/p>\n\u003cp>Rickles died of kidney failure Thursday at his home in Los Angeles. He was 90.\u003c/p>\n\u003cp>He wouldn’t be able to get away with it in quite the same way today, but from the 1950s on, Rickles had a simple, successful recipe. Be merciless and spare no one: “That’s all Jews do, sit in their underwear, belch, and watch TV,” he told one audience. “The Irish guys are staggering around, the colored guys are going, ‘Glory, glory hallelujah,’ the Mexicans, ‘I’m going to the toilet, I don’t care what the colored guys do.’ And the queers are going, ‘Let’s go to the park and have a love-out.'”\u003c/p>\n\u003cp>“Oh, it’s very offensive, but not if you’re into comedy,” comedian Chris Rock said in the 2007 documentary \u003cem>Mr. Warmth: The Don Rickles Project\u003c/em>. Rickles didn’t use four-letter words — back then that would’ve been more transgressive than racial and ethnic stereotypes. For personal invective, he called people dummies and hockey pucks.\u003c/p>\n\u003cp>And when people heckled him in clubs, he shot right back: “Where you from, tiny? Alabama — that’s trouble boy, that’s trouble. What’s your first name? Rufus? Usually from the South they have those flukey names like Booker T. Abraham, Isaac Aloysius Whiteman, Kiss My Sink Alabama Harry.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Rickles was born in Queens, N.Y., in 1926, the son of Lithuanian Jewish immigrants. He served in the Navy during World War II and then began to pursue comedy full time, working East Coast nightclubs and burlesque houses. His career took off in the late 1950s and ’60s thanks, in part, to his friend and longtime supporter Frank Sinatra.\u003c/p>\n\u003cp>Rickles was the Rat Pack’s court jester — Sinatra once appeared on \u003cem>The Tonight Show\u003c/em> telling a legendary story about an incident in a restaurant, something no one but Rickles could’ve gotten away with.\u003c/p>\n\u003cp>“He came over to the table and he said, ‘Frank, do me a favor, will you? I’m sitting with a very pretty girl and, uh, I’m trying to make out, you know,’ and he said, ‘I told her I know you and she really doesn’t believe me. Would you stop by the table?’ And I said all right, I was just about finished, and I walked by the table and I said, ‘How are ya, Don? Nice to see you.’ And he said, ‘Can’t you see I’m eating, Frank?’ ”\u003c/p>\n\u003cp>Rickles became a Las Vegas fixture at Rat Pack hangouts like the Sands Hotel, where every audience became a target. In 1968 he recorded a bestselling comedy album live at the Sands called \u003cem>Hello, Dummy\u003c/em>. And in Hollywood, being insulted by Rickles was a compliment. His most memorable — and ubiquitous — performances were on late night talk shows. For decades, Johnny Carson, Jay Leno and David Letterman relied on Rickles’ ability to tickle viewers with his infinite arsenal of zingers. Rickles also acted in dozens of movies and TV shows, and provided the voice of Mr. Potato Head in the \u003cem>Toy Story\u003c/em> movies.\u003c/p>\n\u003cp>There was always a sentimental side to Don Rickles. Not convinced? Then consider this, ya hockey puck, from that album \u003cem>Hello, Dummy\u003c/em>: “Will Rogers once said: I never picked on a little guy, only big people. May I say to this entire audience, on a hectic night, you are pretty big and I do thank each and every one of you.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rickles wanted everyone to know that his insults were all in fun — but let’s face it, it’s the insults we’re remembering. Ya hockey puck.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before Comedy Central’s celebrity roasts, before \u003cem>American Idol\u003c/em>‘s Simon Cowell, before Triumph the Insult Comic Dog, one man abused people on TV and in clubs like no other — as one emcee introduced him, “the sultan of insults, the merchant of venom, the pussy cat with claws, Mr. Don Rickles!”\u003c/p>\n\u003cp>Rickles died of kidney failure Thursday at his home in Los Angeles. He was 90.\u003c/p>\n\u003cp>He wouldn’t be able to get away with it in quite the same way today, but from the 1950s on, Rickles had a simple, successful recipe. Be merciless and spare no one: “That’s all Jews do, sit in their underwear, belch, and watch TV,” he told one audience. “The Irish guys are staggering around, the colored guys are going, ‘Glory, glory hallelujah,’ the Mexicans, ‘I’m going to the toilet, I don’t care what the colored guys do.’ And the queers are going, ‘Let’s go to the park and have a love-out.'”\u003c/p>\n\u003cp>“Oh, it’s very offensive, but not if you’re into comedy,” comedian Chris Rock said in the 2007 documentary \u003cem>Mr. Warmth: The Don Rickles Project\u003c/em>. Rickles didn’t use four-letter words — back then that would’ve been more transgressive than racial and ethnic stereotypes. For personal invective, he called people dummies and hockey pucks.\u003c/p>\n\u003cp>And when people heckled him in clubs, he shot right back: “Where you from, tiny? Alabama — that’s trouble boy, that’s trouble. What’s your first name? Rufus? Usually from the South they have those flukey names like Booker T. Abraham, Isaac Aloysius Whiteman, Kiss My Sink Alabama Harry.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Rickles was born in Queens, N.Y., in 1926, the son of Lithuanian Jewish immigrants. He served in the Navy during World War II and then began to pursue comedy full time, working East Coast nightclubs and burlesque houses. His career took off in the late 1950s and ’60s thanks, in part, to his friend and longtime supporter Frank Sinatra.\u003c/p>\n\u003cp>Rickles was the Rat Pack’s court jester — Sinatra once appeared on \u003cem>The Tonight Show\u003c/em> telling a legendary story about an incident in a restaurant, something no one but Rickles could’ve gotten away with.\u003c/p>\n\u003cp>“He came over to the table and he said, ‘Frank, do me a favor, will you? I’m sitting with a very pretty girl and, uh, I’m trying to make out, you know,’ and he said, ‘I told her I know you and she really doesn’t believe me. Would you stop by the table?’ And I said all right, I was just about finished, and I walked by the table and I said, ‘How are ya, Don? Nice to see you.’ And he said, ‘Can’t you see I’m eating, Frank?’ ”\u003c/p>\n\u003cp>Rickles became a Las Vegas fixture at Rat Pack hangouts like the Sands Hotel, where every audience became a target. In 1968 he recorded a bestselling comedy album live at the Sands called \u003cem>Hello, Dummy\u003c/em>. And in Hollywood, being insulted by Rickles was a compliment. His most memorable — and ubiquitous — performances were on late night talk shows. For decades, Johnny Carson, Jay Leno and David Letterman relied on Rickles’ ability to tickle viewers with his infinite arsenal of zingers. Rickles also acted in dozens of movies and TV shows, and provided the voice of Mr. Potato Head in the \u003cem>Toy Story\u003c/em> movies.\u003c/p>\n\u003cp>There was always a sentimental side to Don Rickles. Not convinced? Then consider this, ya hockey puck, from that album \u003cem>Hello, Dummy\u003c/em>: “Will Rogers once said: I never picked on a little guy, only big people. May I say to this entire audience, on a hectic night, you are pretty big and I do thank each and every one of you.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rickles wanted everyone to know that his insults were all in fun — but let’s face it, it’s the insults we’re remembering. Ya hockey puck.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Jon Stewart of Egypt' Looks for More than Just Laughs in U.S.",
"headTitle": "‘Jon Stewart of Egypt’ Looks for More than Just Laughs in U.S. | KQED",
"content": "\u003cp>When he appears on Tuesday, Apr. 4 at the University of California Berkeley’s Zellerbach Hall, \u003ca href=\"https://en.wikipedia.org/wiki/Bassem_Youssef\">Bassem Youssef \u003c/a>promises to be his usual funny self: a guy who, with a wry quip or odd facial expression, can induce laughter about very hard truths.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Millions of Americans know Youssef as “the Jon Stewart of Egypt,” a designation that references Youssef’s former Arabic-language TV show \u003ca href=\"https://en.wikipedia.org/wiki/Al_Bernameg\">\u003cem>Al-Bernameg\u003c/em>\u003c/a> (البرنامج), in which the comedian satirized Egyptian society before a weekly audience of 30 million people. During the \u003ca href=\"https://en.wikipedia.org/wiki/Arab_Spring\">2011 Arab Spring revolutions\u003c/a> and the turmoil surrounding \u003ca href=\"https://en.wikipedia.org/wiki/Mohamed_Morsi\">Mohamed Morsi\u003c/a>‘s presidential election and deposition in Egypt, humor made Youssef famous.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Jon Stewart with Bassem Youssef at Albernameg (English sub) البرنامج لقاء باسم يوسف مع جون ستيوارت\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/ZveBqA4xy0A?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>It also led to Youssef’s arrest by the Egyptian government and eventual forced exile from his homeland.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Today, Youssef lives in the United States, and he’s experiencing a \u003cem>very \u003c/em>American moment — at the center of a giant media spotlight. The comedian’s new memoir, \u003cem>\u003ca href=\"https://www.harpercollins.com/9780062659989/revolution-for-dummies#audio-player\">Revolution for Dummies\u003c/a>,\u003c/em> is getting lots of attention, \u003ca href=\"https://www.youtube.com/watch?v=0o_MGKvYG3s\">including from Stephen Colbert\u003c/a>. Youssef is also the subject of the new documentary \u003ca href=\"http://ticklinggiants.com/\">\u003cem>Tickling Giants\u003c/em>\u003c/a> that’s getting rave reviews (“an ebullient ode to freedom,” \u003ca href=\"http://variety.com/2017/film/reviews/tickling-giants-review-boussem-youssef-jon-stewart-1202015825/\">said\u003c/a> \u003cem>Variety\u003c/em>) and drawing crowds around the U.S.\u003c/p>\n\u003cp>By phone from Los Angeles, where he lives with his wife and young daughter, Youssef spoke to KQED about the ups and downs of life in the spotlight, in advance of his appearance in the Bay Area under the auspices of Cal Performances.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Bassem Youssef Worries He's In The Middle Eastern Version Of 'Get Out'\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/0o_MGKvYG3s?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Do you miss Egypt and your show \u003cem>Al-Bernameg\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>Of course I do. But I’m in a different life now. I’m starting over in a new country with new audiences and new references. I have very realistic expectations. If I have moderate success here – for example having my own foothold in the American media – that will be enough for me. The show in Egypt had its time, and that was it.\u003c/p>\n\u003cp>\u003cstrong>In the fall of 2016, you were a \u003ca href=\"http://cddrl.fsi.stanford.edu/news/bassem-youssef-joins-ard-visiting-scholar\">visiting scholar\u003c/a> at Stanford – with the Program on Arab Reform and Democracy at the university’s Center on Democracy, Development, and the Rule of Law. Is teaching at a university so different from doing comedy?\u003c/strong>\u003cspan style=\"font-size: 10.0pt;font-family: 'Arial','sans-serif';color: black\"> \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12979811\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12979811 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Bassem_Photo-Credit_Coucla-Refaat_Profile-e1490981174725-800x452.jpg\" alt=\"Bassem Youssef\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Bassem_Photo-Credit_Coucla-Refaat_Profile-e1490981174725-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Bassem_Photo-Credit_Coucla-Refaat_Profile-e1490981174725-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Bassem_Photo-Credit_Coucla-Refaat_Profile-e1490981174725-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Bassem_Photo-Credit_Coucla-Refaat_Profile-e1490981174725-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Bassem_Photo-Credit_Coucla-Refaat_Profile-e1490981174725-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Bassem_Photo-Credit_Coucla-Refaat_Profile-e1490981174725-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Bassem_Photo-Credit_Coucla-Refaat_Profile-e1490981174725-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Bassem_Photo-Credit_Coucla-Refaat_Profile-e1490981174725-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Bassem_Photo-Credit_Coucla-Refaat_Profile-e1490981174725-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Bassem_Photo-Credit_Coucla-Refaat_Profile-e1490981174725.jpg 1330w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bassem Youssef \u003ccite>(Photo: Courtesy of Coucla Refaat)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Well, in 2015 \u003ca href=\"http://iop.harvard.edu/fellows/bassem-youssef\">I was an academic at Harvard\u003c/a>, and engaging with students is something beautiful, because you have all these young students who are hungry to know more about politics outside the realm of the books they read. And, of course they sometimes turn to you for answers that the biggest, most veteran political scientists and leaders don’t have the answer for, like, “When are things going to change?” and “Do you think there’s hope?” Of course, we struggle in that. But it’s a great experience. I learned from them as much as they learned from me.\u003c/p>\n\u003cp>\u003cstrong>You’re very funny in front of a camera. But you can also be serious. Who is the real Bassem Youssef?\u003c/strong>\u003c/p>\n\u003cp>I enjoy more intellectual conversations than just cracking jokes. I’m a much more serious person in real life. Maybe before the show, I was that kind of guy – someone who liked to crack jokes. But after the show happened, it was kind of like my persona was doing the show, and my person was exhausted by that persona. In real life, I’m much more mellow.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Revolution for Dummies\u003c/em> reminds readers that you got involved in the Arab Spring protests, and started doing your show, somewhat reluctantly. You were a practicing doctor before all this.\u003c/strong>\u003c/p>\n\u003cp>I was only one example of millions of people who, after 30 years of living under a dictator, just thought it doesn’t matter to get involved because nothing will ever change. The revolution came and signified the change, and many people who had left Egypt came back. It changed all of us – I can’t say if it was for better or for worse.\u003c/p>\n\u003cp>\u003cstrong>When Jon Stewart visited your show in Egypt, you joked with your audience – in Arabic – that Stewart was “the Bassem Youssef of America.” Do you get tired of being compared to Jon Stewart? \u003c/strong>\u003c/p>\n\u003cp>We have this joke going on a lot between Jon and me. I’m honored to be mentioned in the same sentence as Jon Stewart. He’s an idol. I’ve watched him for 10 years. For me, it doesn’t get old. But it serves a practical purpose: It tells people who I am in four words: ‘Jon Stewart of Egypt.’ So people can automatically make a reference instead of trying to explain it to them the history of what I did, and what happened in Egypt.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Bassem Youssef \u003ca href=\"https://calperformances.org/performances/2016-17/speakers/bassem-youssef.php\">appears\u003c/a> on Tuesday, Apr. 4 at the Cal Performances event, “The Joke is Mightier than the Sword.”\u003c/em>\u003c/p>\n\n",
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"excerpt": "With a book, documentary, and Ivy League visiting scholar credits to his name, Egyptian comedian Bassem Youssef is thriving in exile, where his satirical, Arabic-language TV show satirized Egyptian society before a weekly audience of 30 million people -- and got him into trouble with the government.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When he appears on Tuesday, Apr. 4 at the University of California Berkeley’s Zellerbach Hall, \u003ca href=\"https://en.wikipedia.org/wiki/Bassem_Youssef\">Bassem Youssef \u003c/a>promises to be his usual funny self: a guy who, with a wry quip or odd facial expression, can induce laughter about very hard truths.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Millions of Americans know Youssef as “the Jon Stewart of Egypt,” a designation that references Youssef’s former Arabic-language TV show \u003ca href=\"https://en.wikipedia.org/wiki/Al_Bernameg\">\u003cem>Al-Bernameg\u003c/em>\u003c/a> (البرنامج), in which the comedian satirized Egyptian society before a weekly audience of 30 million people. During the \u003ca href=\"https://en.wikipedia.org/wiki/Arab_Spring\">2011 Arab Spring revolutions\u003c/a> and the turmoil surrounding \u003ca href=\"https://en.wikipedia.org/wiki/Mohamed_Morsi\">Mohamed Morsi\u003c/a>‘s presidential election and deposition in Egypt, humor made Youssef famous.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Jon Stewart with Bassem Youssef at Albernameg (English sub) البرنامج لقاء باسم يوسف مع جون ستيوارت\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/ZveBqA4xy0A?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>It also led to Youssef’s arrest by the Egyptian government and eventual forced exile from his homeland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Today, Youssef lives in the United States, and he’s experiencing a \u003cem>very \u003c/em>American moment — at the center of a giant media spotlight. The comedian’s new memoir, \u003cem>\u003ca href=\"https://www.harpercollins.com/9780062659989/revolution-for-dummies#audio-player\">Revolution for Dummies\u003c/a>,\u003c/em> is getting lots of attention, \u003ca href=\"https://www.youtube.com/watch?v=0o_MGKvYG3s\">including from Stephen Colbert\u003c/a>. Youssef is also the subject of the new documentary \u003ca href=\"http://ticklinggiants.com/\">\u003cem>Tickling Giants\u003c/em>\u003c/a> that’s getting rave reviews (“an ebullient ode to freedom,” \u003ca href=\"http://variety.com/2017/film/reviews/tickling-giants-review-boussem-youssef-jon-stewart-1202015825/\">said\u003c/a> \u003cem>Variety\u003c/em>) and drawing crowds around the U.S.\u003c/p>\n\u003cp>By phone from Los Angeles, where he lives with his wife and young daughter, Youssef spoke to KQED about the ups and downs of life in the spotlight, in advance of his appearance in the Bay Area under the auspices of Cal Performances.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Bassem Youssef Worries He's In The Middle Eastern Version Of 'Get Out'\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/0o_MGKvYG3s?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Do you miss Egypt and your show \u003cem>Al-Bernameg\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>Of course I do. But I’m in a different life now. I’m starting over in a new country with new audiences and new references. I have very realistic expectations. If I have moderate success here – for example having my own foothold in the American media – that will be enough for me. The show in Egypt had its time, and that was it.\u003c/p>\n\u003cp>\u003cstrong>In the fall of 2016, you were a \u003ca href=\"http://cddrl.fsi.stanford.edu/news/bassem-youssef-joins-ard-visiting-scholar\">visiting scholar\u003c/a> at Stanford – with the Program on Arab Reform and Democracy at the university’s Center on Democracy, Development, and the Rule of Law. Is teaching at a university so different from doing comedy?\u003c/strong>\u003cspan style=\"font-size: 10.0pt;font-family: 'Arial','sans-serif';color: black\"> \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12979811\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12979811 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Bassem_Photo-Credit_Coucla-Refaat_Profile-e1490981174725-800x452.jpg\" alt=\"Bassem Youssef\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Bassem_Photo-Credit_Coucla-Refaat_Profile-e1490981174725-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Bassem_Photo-Credit_Coucla-Refaat_Profile-e1490981174725-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Bassem_Photo-Credit_Coucla-Refaat_Profile-e1490981174725-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Bassem_Photo-Credit_Coucla-Refaat_Profile-e1490981174725-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Bassem_Photo-Credit_Coucla-Refaat_Profile-e1490981174725-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Bassem_Photo-Credit_Coucla-Refaat_Profile-e1490981174725-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Bassem_Photo-Credit_Coucla-Refaat_Profile-e1490981174725-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Bassem_Photo-Credit_Coucla-Refaat_Profile-e1490981174725-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Bassem_Photo-Credit_Coucla-Refaat_Profile-e1490981174725-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Bassem_Photo-Credit_Coucla-Refaat_Profile-e1490981174725.jpg 1330w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bassem Youssef \u003ccite>(Photo: Courtesy of Coucla Refaat)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Well, in 2015 \u003ca href=\"http://iop.harvard.edu/fellows/bassem-youssef\">I was an academic at Harvard\u003c/a>, and engaging with students is something beautiful, because you have all these young students who are hungry to know more about politics outside the realm of the books they read. And, of course they sometimes turn to you for answers that the biggest, most veteran political scientists and leaders don’t have the answer for, like, “When are things going to change?” and “Do you think there’s hope?” Of course, we struggle in that. But it’s a great experience. I learned from them as much as they learned from me.\u003c/p>\n\u003cp>\u003cstrong>You’re very funny in front of a camera. But you can also be serious. Who is the real Bassem Youssef?\u003c/strong>\u003c/p>\n\u003cp>I enjoy more intellectual conversations than just cracking jokes. I’m a much more serious person in real life. Maybe before the show, I was that kind of guy – someone who liked to crack jokes. But after the show happened, it was kind of like my persona was doing the show, and my person was exhausted by that persona. In real life, I’m much more mellow.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Revolution for Dummies\u003c/em> reminds readers that you got involved in the Arab Spring protests, and started doing your show, somewhat reluctantly. You were a practicing doctor before all this.\u003c/strong>\u003c/p>\n\u003cp>I was only one example of millions of people who, after 30 years of living under a dictator, just thought it doesn’t matter to get involved because nothing will ever change. The revolution came and signified the change, and many people who had left Egypt came back. It changed all of us – I can’t say if it was for better or for worse.\u003c/p>\n\u003cp>\u003cstrong>When Jon Stewart visited your show in Egypt, you joked with your audience – in Arabic – that Stewart was “the Bassem Youssef of America.” Do you get tired of being compared to Jon Stewart? \u003c/strong>\u003c/p>\n\u003cp>We have this joke going on a lot between Jon and me. I’m honored to be mentioned in the same sentence as Jon Stewart. He’s an idol. I’ve watched him for 10 years. For me, it doesn’t get old. But it serves a practical purpose: It tells people who I am in four words: ‘Jon Stewart of Egypt.’ So people can automatically make a reference instead of trying to explain it to them the history of what I did, and what happened in Egypt.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Bassem Youssef \u003ca href=\"https://calperformances.org/performances/2016-17/speakers/bassem-youssef.php\">appears\u003c/a> on Tuesday, Apr. 4 at the Cal Performances event, “The Joke is Mightier than the Sword.”\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Sam DiSalvo Says it's Tough Being a Woman in S.F. Comedy Scene",
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"content": "\u003cp>The Bay Area has long been a step for comedians, a training ground for budding comics with a passion for the form and dreams of stardom. They come to San Francisco in particular because there have always been lots of clubs and open mics, and receptive crowds. \u003c/p>\n\u003cp>Comedian \u003ca href=\"http://www.samdisalvo.com/\" target=\"_blank\" rel=\"noopener\">Sam DiSalvo\u003c/a> came to San Francisco from Reno three years ago hoping to do something more with her standup routine. Over that time, DiSalvo has received plenty of stage time and has launched and hosted a few ongoing series, such as the monthly comedy night at Blondie’s Bar in The Mission, now in its second year.\u003c/p>\n\u003cp>But it hasn’t all been smooth for DiSalvo. The comedian addresses some of the challenges she’s faced during her time in San Francisco, such as gender discrimination and being groped,\u003cstrong> \u003c/strong>in an essay she recently wrote for The \u003ca href=\"https://thebolditalic.com/the-reality-of-being-a-female-comic-in-san-francisco-6638b604a5f4\" target=\"_blank\" rel=\"noopener\">Bold Italic\u003c/a>. She visited KQED a little while after her story ran to chat about these issues and her life as a comedian.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=an_kha8snQk\u003c/p>\n\u003cp>\u003cb>Do you consider the San Francisco comedy scene to be a training ground?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I’ve thought about this a lot. If you become the best comic in San Francisco, the best thing that can happen to you is to have someone from Los Angeles or New York notice that. It’s a great scene because you can get a ton of shows and become known in a big city that appreciates arts and comedy. But if you want to make it a career, you need to move to New York or L.A., unless you want to go on the road.\u003c/p>\n\u003cp>\u003cb>Do you see it as a competitive scene? Is there a strong sense of community, with everyone looking out for each other?\u003c/b>\u003c/p>\n\u003cp>I would say that it’s both. I think in any career, you will see people trying to get ahead of others and taking things personally — taking breaks that other people get and wondering why that didn’t happen to them. That’s all there. But I also think it’s been a very encouraging scene, because people who are more established do have influence and they’ll recommend you for shows. Also, there are so many shows and venues that provide the opportunity for you to start your own show, which is the number one thing you should do once you become more established.\u003c/p>\n\u003cp>\u003cb>From your essay for \u003cem>The Bold Italic\u003c/em>, it sounds like you’ve experienced a significant amount of sexism. Do you feel it’s a serious issue that needs to be addressed immediately?\u003c/b>\u003c/p>\n\u003cp>I don’t think it’s unique to San Francisco at all. I titled the essay, “The Reality of Being a Female Comic in San Francisco,” but I wanted it to be clear that it was my personal experience and not “all women feel exactly like I do.” That being said, in any male-dominated career, you’re going to run into a lot of the things I talk about.\u003c/p>\n\u003cfigure id=\"attachment_12968369\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo3-800x1199.jpg\" alt=\"Sam DiSalvo\" width=\"800\" height=\"1199\" class=\"size-medium wp-image-12968369\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo3-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo3-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo3-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo3-1020x1528.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo3-1920x2877.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo3-1180x1768.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo3-960x1438.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo3-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo3-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo3-520x779.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo3.jpg 1367w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sam DiSalvo \u003ccite>(Photo: Red Scott)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My time in San Francisco has been the first I’ve spent with a large group of comedians. In Reno, there were maybe five comedians at the bar. Even there, I was one of only four women regularly doing comedy and everyone else were guys. It’s more emphasized in smaller towns.\u003c/p>\n\u003cp>Sometimes you get caught up in social situations where men are in the majority, and you’ll see that even men who want to be really good to women will still join in a total boys’ club and talk trash. It feels like there’s no reason for them to care about women as much when they’re not in the room.\u003c/p>\n\u003cp>\u003cb>This really goes against the Bay Area’s progressive reputation. Also, so many great female comedians have come out of the San Francisco scene, like Margaret Cho, Paula Poundstone, Ali Wong and Caitlin Gill.\u003c/b>\u003c/p>\n\u003cp>It is strange because there are so many notable comediennes. But I still feel like that they’re seen as being “good for women,” like “that’s a good \u003ci>female\u003c/i> comic.” Or another way they look at it is, “they only talk about female things and that does not pertain to me.” The thing is, men are constantly doing that! They talk about things I don’t necessarily relate to but that can still resonate. I think it’s taken longer for men to accept that just because they don’t have vaginas, it doesn’t mean they can’t find women funny.\u003c/p>\n\u003cp>\u003cb>Could you please describe what happened when you were groped on stage?\u003c/b>\u003c/p>\n\u003cp>It was at an open mic and it was super small. When the stakes are lower, I think people feel, “Who cares, this isn’t a real show. I can do whatever I want,” which is a horrible way of thinking.\u003c/p>\n\u003cp>The stage was close to the bar. I was hosting, and a guy just came on the stage and grabbed my leg. I pushed him away and got off the stage. It was real weird because I was looking around, saying “Your next comic…” while I’m fighting this guy off. When I got off stage, another comic came up to me afterwards and asked, “Who was that guy?” I was like, “I don’t know!” She thought that I knew him and when I told her I didn’t, she was horrified.\u003c/p>\n\u003cp>It felt really weird. Why did you think you could just come up here and grab me? It made me feel like I was an object up there for everyone to have at because I am a woman.\u003c/p>\n\u003cfigure id=\"attachment_12969483\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo5-800x515.jpg\" alt=\"From 2016\" width=\"800\" height=\"515\" class=\"size-medium wp-image-12969483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo5-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo5-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo5-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo5-1020x657.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo5-1920x1236.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo5-1180x760.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo5-960x618.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo5-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo5-375x242.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo5-520x335.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo5.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From 2016 \u003ccite>(Photo: Virginia Tieman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On stage, I talk about having sex. I sometimes put myself as “the fool” so-to-speak in the situations I’m describing and then I’ll have men come up after the show who are like, “Man, if she’s having all of these sexual blunders, then she’ll want to have sex with me, Joe from the bar.” They’ll come up to me and say, “Hey, I’ll have sex with you.” Wow, that’s not something I invited or asked or needed to hear at all.\u003c/p>\n\u003cp>They think I’m offering based on my being awkward on stage, but this is not about them. This is not a performance for you. It feels like some men think it is just for them and they can take whatever is on stage as, “This is available for me and I can do whatever, say whatever, because this is a woman.” They don’t need to respect me like they would a male comedian, even though we’re talking about the same things.\u003c/p>\n\u003cp>\u003cb>Is the sexism getting worse?\u003c/b>\u003c/p>\n\u003cp>I think the view that women are lesser than men — I really don’t know if it will go away. But for the Bay Area specifically, we’re sometimes referred to as “woke.” [Laughs] Men here are at least trying. They’ve read a lot of articles. They’re really trying not to have that come across and I know because there’s new phrasing — some men will talk to me and say, “Look, I’m not trying to be sexist or anything.” They know it’s something they shouldn’t be. And some men are just better at living that and don’t have to tell me that they’re not sexist. \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=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>You can see Sam DiSalvo at shows all across the Bay Area, including the TGIF’d at Piano Fight on the last Friday of every month, and at Blondie’s Bar on the last Monday of every month. For more dates, visit her website at \u003ca href=\"http://www.samdisalvo.com/\" target=\"_blank\" rel=\"noopener\">samdisalvo.com\u003c/a>.\u003c/i> \u003c/p>\n\n",
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"title": "Sam DiSalvo Says it's Tough Being a Woman in S.F. Comedy Scene | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area has long been a step for comedians, a training ground for budding comics with a passion for the form and dreams of stardom. They come to San Francisco in particular because there have always been lots of clubs and open mics, and receptive crowds. \u003c/p>\n\u003cp>Comedian \u003ca href=\"http://www.samdisalvo.com/\" target=\"_blank\" rel=\"noopener\">Sam DiSalvo\u003c/a> came to San Francisco from Reno three years ago hoping to do something more with her standup routine. Over that time, DiSalvo has received plenty of stage time and has launched and hosted a few ongoing series, such as the monthly comedy night at Blondie’s Bar in The Mission, now in its second year.\u003c/p>\n\u003cp>But it hasn’t all been smooth for DiSalvo. The comedian addresses some of the challenges she’s faced during her time in San Francisco, such as gender discrimination and being groped,\u003cstrong> \u003c/strong>in an essay she recently wrote for The \u003ca href=\"https://thebolditalic.com/the-reality-of-being-a-female-comic-in-san-francisco-6638b604a5f4\" target=\"_blank\" rel=\"noopener\">Bold Italic\u003c/a>. She visited KQED a little while after her story ran to chat about these issues and her life as a comedian.\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/an_kha8snQk'\n title='//www.youtube.com/embed/an_kha8snQk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>Do you consider the San Francisco comedy scene to be a training ground?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’ve thought about this a lot. If you become the best comic in San Francisco, the best thing that can happen to you is to have someone from Los Angeles or New York notice that. It’s a great scene because you can get a ton of shows and become known in a big city that appreciates arts and comedy. But if you want to make it a career, you need to move to New York or L.A., unless you want to go on the road.\u003c/p>\n\u003cp>\u003cb>Do you see it as a competitive scene? Is there a strong sense of community, with everyone looking out for each other?\u003c/b>\u003c/p>\n\u003cp>I would say that it’s both. I think in any career, you will see people trying to get ahead of others and taking things personally — taking breaks that other people get and wondering why that didn’t happen to them. That’s all there. But I also think it’s been a very encouraging scene, because people who are more established do have influence and they’ll recommend you for shows. Also, there are so many shows and venues that provide the opportunity for you to start your own show, which is the number one thing you should do once you become more established.\u003c/p>\n\u003cp>\u003cb>From your essay for \u003cem>The Bold Italic\u003c/em>, it sounds like you’ve experienced a significant amount of sexism. Do you feel it’s a serious issue that needs to be addressed immediately?\u003c/b>\u003c/p>\n\u003cp>I don’t think it’s unique to San Francisco at all. I titled the essay, “The Reality of Being a Female Comic in San Francisco,” but I wanted it to be clear that it was my personal experience and not “all women feel exactly like I do.” That being said, in any male-dominated career, you’re going to run into a lot of the things I talk about.\u003c/p>\n\u003cfigure id=\"attachment_12968369\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo3-800x1199.jpg\" alt=\"Sam DiSalvo\" width=\"800\" height=\"1199\" class=\"size-medium wp-image-12968369\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo3-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo3-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo3-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo3-1020x1528.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo3-1920x2877.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo3-1180x1768.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo3-960x1438.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo3-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo3-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo3-520x779.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo3.jpg 1367w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sam DiSalvo \u003ccite>(Photo: Red Scott)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My time in San Francisco has been the first I’ve spent with a large group of comedians. In Reno, there were maybe five comedians at the bar. Even there, I was one of only four women regularly doing comedy and everyone else were guys. It’s more emphasized in smaller towns.\u003c/p>\n\u003cp>Sometimes you get caught up in social situations where men are in the majority, and you’ll see that even men who want to be really good to women will still join in a total boys’ club and talk trash. It feels like there’s no reason for them to care about women as much when they’re not in the room.\u003c/p>\n\u003cp>\u003cb>This really goes against the Bay Area’s progressive reputation. Also, so many great female comedians have come out of the San Francisco scene, like Margaret Cho, Paula Poundstone, Ali Wong and Caitlin Gill.\u003c/b>\u003c/p>\n\u003cp>It is strange because there are so many notable comediennes. But I still feel like that they’re seen as being “good for women,” like “that’s a good \u003ci>female\u003c/i> comic.” Or another way they look at it is, “they only talk about female things and that does not pertain to me.” The thing is, men are constantly doing that! They talk about things I don’t necessarily relate to but that can still resonate. I think it’s taken longer for men to accept that just because they don’t have vaginas, it doesn’t mean they can’t find women funny.\u003c/p>\n\u003cp>\u003cb>Could you please describe what happened when you were groped on stage?\u003c/b>\u003c/p>\n\u003cp>It was at an open mic and it was super small. When the stakes are lower, I think people feel, “Who cares, this isn’t a real show. I can do whatever I want,” which is a horrible way of thinking.\u003c/p>\n\u003cp>The stage was close to the bar. I was hosting, and a guy just came on the stage and grabbed my leg. I pushed him away and got off the stage. It was real weird because I was looking around, saying “Your next comic…” while I’m fighting this guy off. When I got off stage, another comic came up to me afterwards and asked, “Who was that guy?” I was like, “I don’t know!” She thought that I knew him and when I told her I didn’t, she was horrified.\u003c/p>\n\u003cp>It felt really weird. Why did you think you could just come up here and grab me? It made me feel like I was an object up there for everyone to have at because I am a woman.\u003c/p>\n\u003cfigure id=\"attachment_12969483\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo5-800x515.jpg\" alt=\"From 2016\" width=\"800\" height=\"515\" class=\"size-medium wp-image-12969483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo5-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo5-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo5-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo5-1020x657.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo5-1920x1236.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo5-1180x760.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo5-960x618.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo5-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo5-375x242.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo5-520x335.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sam-DiSalvo5.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From 2016 \u003ccite>(Photo: Virginia Tieman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On stage, I talk about having sex. I sometimes put myself as “the fool” so-to-speak in the situations I’m describing and then I’ll have men come up after the show who are like, “Man, if she’s having all of these sexual blunders, then she’ll want to have sex with me, Joe from the bar.” They’ll come up to me and say, “Hey, I’ll have sex with you.” Wow, that’s not something I invited or asked or needed to hear at all.\u003c/p>\n\u003cp>They think I’m offering based on my being awkward on stage, but this is not about them. This is not a performance for you. It feels like some men think it is just for them and they can take whatever is on stage as, “This is available for me and I can do whatever, say whatever, because this is a woman.” They don’t need to respect me like they would a male comedian, even though we’re talking about the same things.\u003c/p>\n\u003cp>\u003cb>Is the sexism getting worse?\u003c/b>\u003c/p>\n\u003cp>I think the view that women are lesser than men — I really don’t know if it will go away. But for the Bay Area specifically, we’re sometimes referred to as “woke.” [Laughs] Men here are at least trying. They’ve read a lot of articles. They’re really trying not to have that come across and I know because there’s new phrasing — some men will talk to me and say, “Look, I’m not trying to be sexist or anything.” They know it’s something they shouldn’t be. And some men are just better at living that and don’t have to tell me that they’re not sexist. \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=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>You can see Sam DiSalvo at shows all across the Bay Area, including the TGIF’d at Piano Fight on the last Friday of every month, and at Blondie’s Bar on the last Monday of every month. For more dates, visit her website at \u003ca href=\"http://www.samdisalvo.com/\" target=\"_blank\" rel=\"noopener\">samdisalvo.com\u003c/a>.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Prosecutors Fight Cosby Bid to Query 2,000 Potential Jurors",
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"content": "\u003cp>Prosecutors in Bill Cosby’s sex assault case in Pennsylvania objected Monday to defense efforts to prescreen as many as 2,000 potential jurors.\u003c/p>\n\u003cp>They also said in a court filing that the jury should be selected weeks before the scheduled June 5 trial so jurors can prepare to be sequestered nearly 300 miles away from home. And they challenged defense claims that it will be tough to find people without opinions of the longtime Hollywood icon.\u003c/p>\n\u003cp>In a sometimes caustic court filing, they called that “a cynical view of the potential jurors in Allegheny County.”\u003c/p>\n\u003cp>“Defendant forecasts that jury selection will take weeks; we are confident that it will not,” Montgomery County District Attorney Kevin Steele said, noting that it took just a day to pick jurors for the state attorney general’s perjury trial last year.\u003c/p>\n\u003cp>Cosby, who turns 80 next month, is accused of drugging and molesting a Temple University basketball team manager at his home in 2004, an encounter he calls consensual. He was 66 at the time; Andrea Constand was 30.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Prosecutors had hoped to call a dozen women who have made similar accusations, but the judge will allow just one “prior bad act” witness: a woman who worked for Cosby’s agent and said he drugged and assaulted her during a lunch meeting at the Bel-Air Hotel, in Los Angeles, in 1996.\u003c/p>\n\u003cp>The trial will be held in suburban Philadelphia, where Cosby met with Constand at his estate, but the jury will come from the Pittsburgh area because of pretrial publicity over the past two years. Cosby’s appearance at a half-dozen court hearings has drawn a swarm of national and international media.\u003c/p>\n\u003cp>Defense lawyers have proposed sending a specialized questionnaire to up to 2,000 Allegheny County residents, and to question those who pass muster starting June 5. Prosecutors said Cosby deserves no such “special treatment.” They want opening statements to start that day.\u003c/p>\n\u003cp>The battle over jury selection is just the latest legal maneuvering in the high-profile case. The judge must still decide how much the jury will hear from Cosby’s deposition about his long history of extramarital affairs. The next court hearing is scheduled for Monday.\u003c/p>\n\u003cp>Cosby, a Philadelphia native, broke racial barriers when he became the first black actor to star in a network drama, the 1965 hit \u003cem>I Spy\u003c/em>, a role that earned him three consecutive Emmy awards for best actor. He is perhaps best known for his top-rated 1980s sitcom, \u003cem>The Cosby Show\u003c/em>, which painted a warm portrait of black family life and earned hundreds of millions of dollars in royalties.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Associated Press does not typically name people who say they are sexual assault victims, but Constand has granted permission through her lawyer.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Prosecutors in Bill Cosby’s sex assault case in Pennsylvania objected Monday to defense efforts to prescreen as many as 2,000 potential jurors.\u003c/p>\n\u003cp>They also said in a court filing that the jury should be selected weeks before the scheduled June 5 trial so jurors can prepare to be sequestered nearly 300 miles away from home. And they challenged defense claims that it will be tough to find people without opinions of the longtime Hollywood icon.\u003c/p>\n\u003cp>In a sometimes caustic court filing, they called that “a cynical view of the potential jurors in Allegheny County.”\u003c/p>\n\u003cp>“Defendant forecasts that jury selection will take weeks; we are confident that it will not,” Montgomery County District Attorney Kevin Steele said, noting that it took just a day to pick jurors for the state attorney general’s perjury trial last year.\u003c/p>\n\u003cp>Cosby, who turns 80 next month, is accused of drugging and molesting a Temple University basketball team manager at his home in 2004, an encounter he calls consensual. He was 66 at the time; Andrea Constand was 30.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Prosecutors had hoped to call a dozen women who have made similar accusations, but the judge will allow just one “prior bad act” witness: a woman who worked for Cosby’s agent and said he drugged and assaulted her during a lunch meeting at the Bel-Air Hotel, in Los Angeles, in 1996.\u003c/p>\n\u003cp>The trial will be held in suburban Philadelphia, where Cosby met with Constand at his estate, but the jury will come from the Pittsburgh area because of pretrial publicity over the past two years. Cosby’s appearance at a half-dozen court hearings has drawn a swarm of national and international media.\u003c/p>\n\u003cp>Defense lawyers have proposed sending a specialized questionnaire to up to 2,000 Allegheny County residents, and to question those who pass muster starting June 5. Prosecutors said Cosby deserves no such “special treatment.” They want opening statements to start that day.\u003c/p>\n\u003cp>The battle over jury selection is just the latest legal maneuvering in the high-profile case. The judge must still decide how much the jury will hear from Cosby’s deposition about his long history of extramarital affairs. The next court hearing is scheduled for Monday.\u003c/p>\n\u003cp>Cosby, a Philadelphia native, broke racial barriers when he became the first black actor to star in a network drama, the 1965 hit \u003cem>I Spy\u003c/em>, a role that earned him three consecutive Emmy awards for best actor. He is perhaps best known for his top-rated 1980s sitcom, \u003cem>The Cosby Show\u003c/em>, which painted a warm portrait of black family life and earned hundreds of millions of dollars in royalties.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Associated Press does not typically name people who say they are sexual assault victims, but Constand has granted permission through her lawyer.\u003c/p>\n\n\u003c/div>\u003c/p>",
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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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"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
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