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"content": "\u003cp>If there’s one thing you shouldn’t pass up this holiday season, it’s the opportunity to experience \u003cem>\u003ca href=\"http://fortmason.org/event/forty-part-motet/\" target=\"_blank\" rel=\"noopener\">The Forty Part Motet\u003c/a>\u003c/em> at the Fort Mason Center on San Francisco’s waterfront. While an otherwise-featureless room containing nothing but a bunch of faceless speakers pumping out a recording of a 16th century choral music work sounds about as appealing as being forced to attend choir practice when you’re a teenager, Janet Cardiff’s epic sound installation has to be one of the most profound pieces of performance art I’ve ever witnessed.\u003c/p>\n\u003cp>The Canadian artist wanted to find a way to “climb inside” complex music, to hear all the separate parts in a way that isn’t possible when you experience a live concert or regular recording. So she picked on one of the greatest choral works ever created —\u003cem> Spem in Alium\u003c/em>, a sacred motet written for a whopping 40 individual vocal lines by the English Renaissance composer Thomas Tallis around 1570 — and collaborated with the august Salisbury Cathedral Choir in 2000 to record each individual part separately. Visitors to the installation wander around a room in which 40 speakers standing at ear level on skinny tripods arranged in a large oval shape pump out the music. There is one speaker for each vocal line, so you can either stand in the middle of the space and feel the entire piece washing over you. Or you can sidle up to a specific speaker and hear a solitary voice sing their part, and then move on to another voice.\u003c/p>\n\u003cp>And here’s why the work made such an impression on me: In the wake of the appalling terrorist attacks in Paris, Cardiff’s installation gave me an unexpected feeling of sadness and hope. As I listened to the specific voices coming out of the separate speakers, I could hear the unique beauty — and, every now and again, the falterings — of each one. It was as if those impassive noise-emitting cubes suddenly came to life! But then, taking a step back, the individual voices that seemed so pronounced with my ear up to a speaker merged together into a perfect, seamless whole. All I could think as I was hit by Tallis’ soaring polyphony was about the power of the collective spirit to come together and overcome challenges and tragedies like the one that unfolded in Paris the other night.\u003c/p>\n\u003cp>The \u003cem>Forty Part Motet\u003c/em> is just one of the many performing arts events going on in the Bay Area this week. Here are a few more that caught my eye:\u003c/p>\n\u003cfigure id=\"attachment_11104899\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11104899\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-800x451.jpg\" alt=\"'Una noche tropical' at Dance Mission Theater\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Una Noche Tropical’ at Dance Mission Theater \u003ccite>(Photo: Andy Mogg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Saturday, Dec. 5: \u003cem>\u003ca href=\"http://www.dancemission.com/performances/upcoming.html\" target=\"_blank\" rel=\"noopener\">Explosión Cubana: Una Noche Tropical\u003c/a> \u003c/em>at Dance Mission Theater, San Francisco\u003c/strong>\u003cbr>\nCuba is changing fast. With Netflix and AirB&B already doing business with the until-recently-contraband Caribbean island and a gazillion U.S. tourists on the verge of a stampede, it might not be too long before the popular idea of Cuba as a run-down, rum-soaked paradise of hot nightclubs and cool vintage cars might become divorced from reality. CubaCaribe and Dance Mission Theater intend to keep the popular idea real with their joint effort to evoke the cigar-smoke-spirit of Havana’s famous Tropicana nightclub right in the heart of The Mission. The cabaret-style soiree explores the evolution of Cuban music and dance with the help of members of the Alayo Dance Company, headed by CubaCaribe artistic director Ramon Ramos Alayo, and live music from Patricio Angulo. Dinner is part of the show too, with Cubano delicacies like pork, plantains and yuca — all fried, best washed down with mojitos — on the menu.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Nov. 25: \u003ca href=\"http://www.punchlinecomedyclub.com/events/eventdetail/?viewNav=/eventdetail&eventId=1C004F3DCE043093&oid=18510\" target=\"_blank\" rel=\"noopener\">Al Madrigal\u003c/a> at Punchline Comedy Club, San Francisco\u003c/strong>\u003cbr>\nComedian, actor and San Francisco native Al Madrigal started out doing standup in local clubs before taking his wry brand of social satire to primetime TV, appearing as a regular on \u003cem>The Daily Show\u003c/em> and NBC’s \u003cem>About a Boy\u003c/em> with David Walton and Minnie Driver, among other fare. A comedian obsessed with his roots — Madrigal is of Mexican and Sicilian extraction and devoted his recently-released one hour documentary \u003cem>Half Like Me\u003c/em> to exploring his Latino heritage — the comic now returns home to San Francisco for a live recording of his new album. It’ll be an intimate affair: The Punchline, one of the city’s longest running comedy clubs, has less than 200 seats.\u003c/p>\n\u003cfigure id=\"attachment_11104562\" class=\"wp-caption alignright\" style=\"max-width: 744px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11104562\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927.jpg\" alt=\"A scene from 'Sunlight' by Sharr White at Dragon Theatre\" width=\"744\" height=\"412\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927.jpg 744w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927-400x222.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927-672x372.jpg 672w\" sizes=\"(max-width: 744px) 100vw, 744px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Sunlight’ by Sharr White at Dragon Theatre \u003ccite>(Photo: Kimberly Wadycki/Dragon Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sunday, Dec 13: \u003cem>\u003ca href=\"http://dragonproductions.net/box-office/2015tickets/sunlight.html\" target=\"_blank\" rel=\"noopener\">Sunlight\u003c/a>\u003c/em> at Dragon Theatre Company, Redwood City\u003c/strong>\u003cbr>\nLike Al Madrigal, American playwright Sharr White likes to return to his Bay Area roots every once in awhile. The San Francisco State and American Conservatory Theater grad launched his career here before his dramas \u003cem>The Other Place\u003c/em> and \u003cem>The Snow Geese\u003c/em> hit Broadway. But White continues his allegiance to Bay Area stages, premiering his plays \u003cem>Annapurna\u003c/em> and \u003cem>Sunlight\u003c/em> at The Magic Theatre and Marin Theatre Company respectively in recent years. \u003cem>Sunlight\u003c/em>, White’s 2010 drama exploring terrorism and its impact on civilians, is getting a new production right now with Redwood City’s feisty Dragon Theatre Company. The group has produced a couple of the White’s works in the past. In the wake of the Paris attacks a couple of weeks ago, this drama about the turmoil that arises on a university campus over a memo from a faculty member justifying the use of torture, couldn’t be more timely.\u003c/p>\n\u003cfigure id=\"attachment_11104558\" class=\"wp-caption alignright\" style=\"max-width: 557px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/disgraced-e1448321765821.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11104558\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/disgraced-e1448321765821.jpg\" alt=\"A scene from Ayad Akhtar’s 'Disgraced' at Berkeley Rep.\" width=\"557\" height=\"308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/disgraced-e1448321765821.jpg 557w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/disgraced-e1448321765821-400x221.jpg 400w\" sizes=\"(max-width: 557px) 100vw, 557px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from Ayad Akhtar’s ‘Disgraced’ at Berkeley Rep. \u003ccite>(Photo: Liz Lauren)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sunday, Dec. 20: \u003cem>\u003ca href=\"http://www.berkeleyrep.org/season/1516/9311.asp\" target=\"_blank\" rel=\"noopener\">Disgraced\u003c/a>\u003c/em> at Berkeley Repertory Theatre, Berkeley\u003c/strong>\u003cbr>\nPakistani-American playwright Ayad Akhtar’s Pulitzer Prize-winning 2013 play \u003cem>Disgraced\u003c/em> takes a different look at life in our post 9/11 world. The polished Berkeley Rep production directed by Kimberly Senior (who helmed the impactful play on its journey from Chicago to London’s West West End and on to Broadway before mounting this west coast premiere) deftly captures the story of a high-powered New York lawyer’s complex relationship with his Islamic roots. Exploring the challenges of Muslim identity in the United States today, Akhtar shatters assumptions about religion and race as he keenly exposes the lies and deceit embedded deep within his protagonist’s psyche. \u003cem>Read KQED’s interview with the playwright \u003ca href=\"http://ww2.kqed.org/arts/2015/11/21/pulitzer-prize-winning-playwright-on-islamophobia-and-religious-extremism/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Dec. 20: \u003ca href=\"http://www.dickensfair.com/\" target=\"_blank\" rel=\"noopener\">The Dickens Fair\u003c/a> at Cow Palace, San Francisco\u003c/strong>\u003cbr>\nChristmas Eve goes on for a full five weeks in this annual holiday favorite where Bay Area residents don hoop skirts and top hats and make believe that Cow Palace in 2015 is Merrie Olde Englande circa 1850. The event is a great place to pick up holiday gifts and pig out on cakes and ale. But it’s the theatricality of the thing that makes this fair stand out from other similar holiday pageants. If the hoards of actors wandering about dressed up as characters from Dickens novels aren’t enough to take you back to Christmas past, participating in an English country dance, watching the Stark Ravens Players’ original musical version of \u003cem>Pinocchio\u003c/em>, or — if you’re a grownup — getting your kicks at the titillating \u003cem>Dickens After Dark\u003c/em> revue, surely will.\u003c/p>\n\n",
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"title": "Show Me Yours: 'The Forty Part Motet', Al Madrigal, and more | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If there’s one thing you shouldn’t pass up this holiday season, it’s the opportunity to experience \u003cem>\u003ca href=\"http://fortmason.org/event/forty-part-motet/\" target=\"_blank\" rel=\"noopener\">The Forty Part Motet\u003c/a>\u003c/em> at the Fort Mason Center on San Francisco’s waterfront. While an otherwise-featureless room containing nothing but a bunch of faceless speakers pumping out a recording of a 16th century choral music work sounds about as appealing as being forced to attend choir practice when you’re a teenager, Janet Cardiff’s epic sound installation has to be one of the most profound pieces of performance art I’ve ever witnessed.\u003c/p>\n\u003cp>The Canadian artist wanted to find a way to “climb inside” complex music, to hear all the separate parts in a way that isn’t possible when you experience a live concert or regular recording. So she picked on one of the greatest choral works ever created —\u003cem> Spem in Alium\u003c/em>, a sacred motet written for a whopping 40 individual vocal lines by the English Renaissance composer Thomas Tallis around 1570 — and collaborated with the august Salisbury Cathedral Choir in 2000 to record each individual part separately. Visitors to the installation wander around a room in which 40 speakers standing at ear level on skinny tripods arranged in a large oval shape pump out the music. There is one speaker for each vocal line, so you can either stand in the middle of the space and feel the entire piece washing over you. Or you can sidle up to a specific speaker and hear a solitary voice sing their part, and then move on to another voice.\u003c/p>\n\u003cp>And here’s why the work made such an impression on me: In the wake of the appalling terrorist attacks in Paris, Cardiff’s installation gave me an unexpected feeling of sadness and hope. As I listened to the specific voices coming out of the separate speakers, I could hear the unique beauty — and, every now and again, the falterings — of each one. It was as if those impassive noise-emitting cubes suddenly came to life! But then, taking a step back, the individual voices that seemed so pronounced with my ear up to a speaker merged together into a perfect, seamless whole. All I could think as I was hit by Tallis’ soaring polyphony was about the power of the collective spirit to come together and overcome challenges and tragedies like the one that unfolded in Paris the other night.\u003c/p>\n\u003cp>The \u003cem>Forty Part Motet\u003c/em> is just one of the many performing arts events going on in the Bay Area this week. Here are a few more that caught my eye:\u003c/p>\n\u003cfigure id=\"attachment_11104899\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11104899\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-800x451.jpg\" alt=\"'Una noche tropical' at Dance Mission Theater\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Noche_Tropical_andymogg8-e1448333826385-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Una Noche Tropical’ at Dance Mission Theater \u003ccite>(Photo: Andy Mogg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Saturday, Dec. 5: \u003cem>\u003ca href=\"http://www.dancemission.com/performances/upcoming.html\" target=\"_blank\" rel=\"noopener\">Explosión Cubana: Una Noche Tropical\u003c/a> \u003c/em>at Dance Mission Theater, San Francisco\u003c/strong>\u003cbr>\nCuba is changing fast. With Netflix and AirB&B already doing business with the until-recently-contraband Caribbean island and a gazillion U.S. tourists on the verge of a stampede, it might not be too long before the popular idea of Cuba as a run-down, rum-soaked paradise of hot nightclubs and cool vintage cars might become divorced from reality. CubaCaribe and Dance Mission Theater intend to keep the popular idea real with their joint effort to evoke the cigar-smoke-spirit of Havana’s famous Tropicana nightclub right in the heart of The Mission. The cabaret-style soiree explores the evolution of Cuban music and dance with the help of members of the Alayo Dance Company, headed by CubaCaribe artistic director Ramon Ramos Alayo, and live music from Patricio Angulo. Dinner is part of the show too, with Cubano delicacies like pork, plantains and yuca — all fried, best washed down with mojitos — on the menu.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Nov. 25: \u003ca href=\"http://www.punchlinecomedyclub.com/events/eventdetail/?viewNav=/eventdetail&eventId=1C004F3DCE043093&oid=18510\" target=\"_blank\" rel=\"noopener\">Al Madrigal\u003c/a> at Punchline Comedy Club, San Francisco\u003c/strong>\u003cbr>\nComedian, actor and San Francisco native Al Madrigal started out doing standup in local clubs before taking his wry brand of social satire to primetime TV, appearing as a regular on \u003cem>The Daily Show\u003c/em> and NBC’s \u003cem>About a Boy\u003c/em> with David Walton and Minnie Driver, among other fare. A comedian obsessed with his roots — Madrigal is of Mexican and Sicilian extraction and devoted his recently-released one hour documentary \u003cem>Half Like Me\u003c/em> to exploring his Latino heritage — the comic now returns home to San Francisco for a live recording of his new album. It’ll be an intimate affair: The Punchline, one of the city’s longest running comedy clubs, has less than 200 seats.\u003c/p>\n\u003cfigure id=\"attachment_11104562\" class=\"wp-caption alignright\" style=\"max-width: 744px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11104562\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927.jpg\" alt=\"A scene from 'Sunlight' by Sharr White at Dragon Theatre\" width=\"744\" height=\"412\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927.jpg 744w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927-400x222.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/sunlight-e1448322247927-672x372.jpg 672w\" sizes=\"(max-width: 744px) 100vw, 744px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Sunlight’ by Sharr White at Dragon Theatre \u003ccite>(Photo: Kimberly Wadycki/Dragon Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sunday, Dec 13: \u003cem>\u003ca href=\"http://dragonproductions.net/box-office/2015tickets/sunlight.html\" target=\"_blank\" rel=\"noopener\">Sunlight\u003c/a>\u003c/em> at Dragon Theatre Company, Redwood City\u003c/strong>\u003cbr>\nLike Al Madrigal, American playwright Sharr White likes to return to his Bay Area roots every once in awhile. The San Francisco State and American Conservatory Theater grad launched his career here before his dramas \u003cem>The Other Place\u003c/em> and \u003cem>The Snow Geese\u003c/em> hit Broadway. But White continues his allegiance to Bay Area stages, premiering his plays \u003cem>Annapurna\u003c/em> and \u003cem>Sunlight\u003c/em> at The Magic Theatre and Marin Theatre Company respectively in recent years. \u003cem>Sunlight\u003c/em>, White’s 2010 drama exploring terrorism and its impact on civilians, is getting a new production right now with Redwood City’s feisty Dragon Theatre Company. The group has produced a couple of the White’s works in the past. In the wake of the Paris attacks a couple of weeks ago, this drama about the turmoil that arises on a university campus over a memo from a faculty member justifying the use of torture, couldn’t be more timely.\u003c/p>\n\u003cfigure id=\"attachment_11104558\" class=\"wp-caption alignright\" style=\"max-width: 557px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/disgraced-e1448321765821.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11104558\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/disgraced-e1448321765821.jpg\" alt=\"A scene from Ayad Akhtar’s 'Disgraced' at Berkeley Rep.\" width=\"557\" height=\"308\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/disgraced-e1448321765821.jpg 557w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/disgraced-e1448321765821-400x221.jpg 400w\" sizes=\"(max-width: 557px) 100vw, 557px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from Ayad Akhtar’s ‘Disgraced’ at Berkeley Rep. \u003ccite>(Photo: Liz Lauren)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sunday, Dec. 20: \u003cem>\u003ca href=\"http://www.berkeleyrep.org/season/1516/9311.asp\" target=\"_blank\" rel=\"noopener\">Disgraced\u003c/a>\u003c/em> at Berkeley Repertory Theatre, Berkeley\u003c/strong>\u003cbr>\nPakistani-American playwright Ayad Akhtar’s Pulitzer Prize-winning 2013 play \u003cem>Disgraced\u003c/em> takes a different look at life in our post 9/11 world. The polished Berkeley Rep production directed by Kimberly Senior (who helmed the impactful play on its journey from Chicago to London’s West West End and on to Broadway before mounting this west coast premiere) deftly captures the story of a high-powered New York lawyer’s complex relationship with his Islamic roots. Exploring the challenges of Muslim identity in the United States today, Akhtar shatters assumptions about religion and race as he keenly exposes the lies and deceit embedded deep within his protagonist’s psyche. \u003cem>Read KQED’s interview with the playwright \u003ca href=\"http://ww2.kqed.org/arts/2015/11/21/pulitzer-prize-winning-playwright-on-islamophobia-and-religious-extremism/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Dec. 20: \u003ca href=\"http://www.dickensfair.com/\" target=\"_blank\" rel=\"noopener\">The Dickens Fair\u003c/a> at Cow Palace, San Francisco\u003c/strong>\u003cbr>\nChristmas Eve goes on for a full five weeks in this annual holiday favorite where Bay Area residents don hoop skirts and top hats and make believe that Cow Palace in 2015 is Merrie Olde Englande circa 1850. The event is a great place to pick up holiday gifts and pig out on cakes and ale. But it’s the theatricality of the thing that makes this fair stand out from other similar holiday pageants. If the hoards of actors wandering about dressed up as characters from Dickens novels aren’t enough to take you back to Christmas past, participating in an English country dance, watching the Stark Ravens Players’ original musical version of \u003cem>Pinocchio\u003c/em>, or — if you’re a grownup — getting your kicks at the titillating \u003cem>Dickens After Dark\u003c/em> revue, surely will.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The California State University system has become the latest to take back an honorary degree from Bill Cosby.\u003c/p>\n\u003cp>The Board of Trustees voted Friday to revoke an honorary doctorate given to Cosby by Cal Poly Pomona in 1992.\u003c/p>\n\u003cp>The Cal State board said in a statement that it was revoking an honorary degree for the first time because Cosby’s conduct is contrary to the values of the university system.\u003c/p>\n\u003cp>With the move the system joins at least a half-dozen other institutions that have revoked degrees in an attempt to distance themselves from the 78-year-old Cosby as he has become embroiled in dozens of allegations of sexual assault. Cosby has not been charged in any of the cases and has denied many of the allegations while not addressing others. A message left with a Cosby representative was not immediately returned.\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"description": "The California State University system has become the latest to take back an honorary degree from Bill Cosby. The Board of Trustees voted Friday to revoke an honorary doctorate given to Cosby by Cal Poly Pomona in 1992. The Cal State board said in a statement that it was revoking an honorary degree for the first time because Cosby's conduct is contrary to the values of the university system. With the move the system joins at least a half-dozen other institutions that have revoked degrees in an attempt to distance themselves from the 78-year-old Cosby as he has become embroiled",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The California State University system has become the latest to take back an honorary degree from Bill Cosby.\u003c/p>\n\u003cp>The Board of Trustees voted Friday to revoke an honorary doctorate given to Cosby by Cal Poly Pomona in 1992.\u003c/p>\n\u003cp>The Cal State board said in a statement that it was revoking an honorary degree for the first time because Cosby’s conduct is contrary to the values of the university system.\u003c/p>\n\u003cp>With the move the system joins at least a half-dozen other institutions that have revoked degrees in an attempt to distance themselves from the 78-year-old Cosby as he has become embroiled in dozens of allegations of sexual assault. Cosby has not been charged in any of the cases and has denied many of the allegations while not addressing others. A message left with a Cosby representative was not immediately returned.\u003c/p>\n\u003cp>Copyright 2015 The Associated Press. All rights reserved.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"headTitle": "The California Report | KQED News",
"content": "\u003cp>The subtitle of author Kliph Nesteroff’s new book, \"The Comedians,\" tells all: \"Drunks, Thieves, Scoundrels and the History of American Comedy.\" It’s a comprehensive chronicle of the people who have made us laugh over the last century, but the often dark, desperate story is far from a chucklefest.\u003c/p>\n\u003cfigure id=\"attachment_10765967\" class=\"wp-caption alignleft\" style=\"max-width: 388px\">\u003cimg class=\"wp-image-10765967\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/11/Comedians-cover-art-e1448053022534.jpg\" alt='\"The Comedians\" by Kliph Nesteroff' width=\"388\" height=\"586\">\u003cfigcaption class=\"wp-caption-text\">'The Comedians' by Kliph Nesteroff\u003c/figcaption>\u003c/figure>\n\u003cp>Take Joe E. Lewis, for example, once the Dane Cook of his day, now virtually forgotten. In 1927, he had his throat slit during a contract negotiation with an Al Capone associate, though he survived to joke again. Lewis was one of many nightclub comics working for the mob, a largely overlooked history and a big part of author Kliph Nesteroff’s book, which spans the laugh business from vaudeville to podcasting.\u003c/p>\n\u003cp>“For some reason nobody has really talked about that in conjunction with comedians before,” says Nesteroff, “and to me that is so much more interesting than a boring singer being connected to the mob. A guy who makes fun of people for a living, his boss is a humorless Mafioso who could kill you? That dynamic to me is compelling.”\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/234393706\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>Los Angeles-based Nesteroff, who’s 35, started collecting vintage comedy albums as a teenager in British Columbia. That led to tracking down pretty much anyone he could reach involved with comedy on stage, screen, TV or radio. Meaning folks you’ve probably never heard of.\u003c/p>\n\u003cfigure id=\"attachment_10769753\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10769753\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/11/Kliph-800x590.jpg\" alt=\"Author Kliph Nesteroff\" width=\"800\" height=\"590\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/11/Kliph-800x590.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Kliph-400x295.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Kliph-1440x1063.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Kliph.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Kliph-1180x871.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Kliph-960x709.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Kliph Nesteroff \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There was all this insight,” he explains. “These guys were obscure and their careers were nothing, but they had insight into the people we did know. And that really built an incredible story I was able to work from.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2006, Nesteroff began sharing his stories on the website of New Jersey free-form station WFMU. He developed an appreciative cult following that included Steve Martin, Mel Brooks and Marc Maron.\u003c/p>\n\u003cp>“I think the first piece I read was about Shecky Green,” Maron says. “I was so amazed and engrossed with the way he captured show business, 'cause I have that thing in my head. I’m attracted to the dark crevices and the seediness and this sort of chaos of the personalities, and that piece he wrote on Shecky just blew my mind.”\u003c/p>\n\u003cp>Maron was impressed enough to interview Nesteroff on his \u003ca href=\"http://www.wtfpod.com/podcast/episodes/episode_314_-_kliph_nesteroff\" target=\"_blank\">\"WTF\" podcast\u003c/a>, which helped land the book deal and a Page One dedication.\u003c/p>\n\u003cfigure id=\"attachment_10770580\" class=\"wp-caption alignleft\" style=\"max-width: 386px\">\u003cimg class=\" wp-image-10770580\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/11/Maron-800x862.jpg\" alt=\"Comedian Marc Maron\" width=\"386\" height=\"415\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/11/Maron-800x862.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Maron-400x431.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Maron-1440x1552.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Maron.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Maron-1180x1272.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Maron-960x1035.jpg 960w\" sizes=\"(max-width: 386px) 100vw, 386px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Marc Maron \u003ccite>(Kevin Winter/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He just has this amazing eye for lurid but compelling tales that don’t necessarily diminish people, but you sort of feel, well, of course these guys were like that,” says Maron.\u003c/p>\n\u003cp>For every Richard Pryor, Jonathan Winters and Joan Rivers in the book, Nesteroff covers unfamiliar names like B.S. Pully, Slick Slavin and Frankie Ray Pirelli. But the author knows what it’s like to get onstage as an unknown. Before focusing on writing, Nesteroff worked comedy clubs in Canada for eight years.\u003c/p>\n\u003cp>“The fact that Kliph was a standup, I think was indispensable in the writing of this book because it gives you a perspective that you can only have once you’ve done it,” says veteran standup and former \"Simpsons\" writer Dana Gould, who’s quoted in \"The Comedians\" as a pillar of the early ‘90s alt-comedy scene.\u003c/p>\n\u003cp>“Standup comedy is like sex,” Gould continues. “The only way to learn how to do it is to actually do it. And then once you’ve done it, you’re full of shame.”\u003c/p>\n\u003cfigure id=\"attachment_10765978\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10765978 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/11/dana-1-comedy-800x600.jpg\" alt=\"Comedian Dana Gould and his cat Ella.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Comedian Dana Gould and his cat, Ella. (Peter Gilstrap)\u003c/figcaption>\u003c/figure>\n\u003cp>To borrow from Rodney Dangerfield, it’s all about respect.\u003c/p>\n\u003cp>“Because it’s comedy, it is innately not as well respected,” says Gould. “Ken Burns can do the history of jazz and it’s like the Parthenon, but comedy’s like, we don’t need to deal with that, it’s just comedy.”\u003c/p>\n\u003cp>But still, it’s important stuff.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s part of our popular culture,” says film critic and historian Leonard Maltin. “No less than movies or books or artwork of any kind. What Kliph has done is to take something that no one else has bothered to chronicle or to take seriously. I think he nailed it.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The subtitle of author Kliph Nesteroff’s new book, \"The Comedians,\" tells all: \"Drunks, Thieves, Scoundrels and the History of American Comedy.\" It’s a comprehensive chronicle of the people who have made us laugh over the last century, but the often dark, desperate story is far from a chucklefest.\u003c/p>\n\u003cfigure id=\"attachment_10765967\" class=\"wp-caption alignleft\" style=\"max-width: 388px\">\u003cimg class=\"wp-image-10765967\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/11/Comedians-cover-art-e1448053022534.jpg\" alt='\"The Comedians\" by Kliph Nesteroff' width=\"388\" height=\"586\">\u003cfigcaption class=\"wp-caption-text\">'The Comedians' by Kliph Nesteroff\u003c/figcaption>\u003c/figure>\n\u003cp>Take Joe E. Lewis, for example, once the Dane Cook of his day, now virtually forgotten. In 1927, he had his throat slit during a contract negotiation with an Al Capone associate, though he survived to joke again. Lewis was one of many nightclub comics working for the mob, a largely overlooked history and a big part of author Kliph Nesteroff’s book, which spans the laugh business from vaudeville to podcasting.\u003c/p>\n\u003cp>“For some reason nobody has really talked about that in conjunction with comedians before,” says Nesteroff, “and to me that is so much more interesting than a boring singer being connected to the mob. A guy who makes fun of people for a living, his boss is a humorless Mafioso who could kill you? That dynamic to me is compelling.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/234393706&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/234393706'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Los Angeles-based Nesteroff, who’s 35, started collecting vintage comedy albums as a teenager in British Columbia. That led to tracking down pretty much anyone he could reach involved with comedy on stage, screen, TV or radio. Meaning folks you’ve probably never heard of.\u003c/p>\n\u003cfigure id=\"attachment_10769753\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10769753\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/11/Kliph-800x590.jpg\" alt=\"Author Kliph Nesteroff\" width=\"800\" height=\"590\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/11/Kliph-800x590.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Kliph-400x295.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Kliph-1440x1063.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Kliph.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Kliph-1180x871.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Kliph-960x709.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Kliph Nesteroff \u003ccite>(Peter Gilstrap/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There was all this insight,” he explains. “These guys were obscure and their careers were nothing, but they had insight into the people we did know. And that really built an incredible story I was able to work from.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2006, Nesteroff began sharing his stories on the website of New Jersey free-form station WFMU. He developed an appreciative cult following that included Steve Martin, Mel Brooks and Marc Maron.\u003c/p>\n\u003cp>“I think the first piece I read was about Shecky Green,” Maron says. “I was so amazed and engrossed with the way he captured show business, 'cause I have that thing in my head. I’m attracted to the dark crevices and the seediness and this sort of chaos of the personalities, and that piece he wrote on Shecky just blew my mind.”\u003c/p>\n\u003cp>Maron was impressed enough to interview Nesteroff on his \u003ca href=\"http://www.wtfpod.com/podcast/episodes/episode_314_-_kliph_nesteroff\" target=\"_blank\">\"WTF\" podcast\u003c/a>, which helped land the book deal and a Page One dedication.\u003c/p>\n\u003cfigure id=\"attachment_10770580\" class=\"wp-caption alignleft\" style=\"max-width: 386px\">\u003cimg class=\" wp-image-10770580\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/11/Maron-800x862.jpg\" alt=\"Comedian Marc Maron\" width=\"386\" height=\"415\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/11/Maron-800x862.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Maron-400x431.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Maron-1440x1552.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Maron.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Maron-1180x1272.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/11/Maron-960x1035.jpg 960w\" sizes=\"(max-width: 386px) 100vw, 386px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Marc Maron \u003ccite>(Kevin Winter/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He just has this amazing eye for lurid but compelling tales that don’t necessarily diminish people, but you sort of feel, well, of course these guys were like that,” says Maron.\u003c/p>\n\u003cp>For every Richard Pryor, Jonathan Winters and Joan Rivers in the book, Nesteroff covers unfamiliar names like B.S. Pully, Slick Slavin and Frankie Ray Pirelli. But the author knows what it’s like to get onstage as an unknown. Before focusing on writing, Nesteroff worked comedy clubs in Canada for eight years.\u003c/p>\n\u003cp>“The fact that Kliph was a standup, I think was indispensable in the writing of this book because it gives you a perspective that you can only have once you’ve done it,” says veteran standup and former \"Simpsons\" writer Dana Gould, who’s quoted in \"The Comedians\" as a pillar of the early ‘90s alt-comedy scene.\u003c/p>\n\u003cp>“Standup comedy is like sex,” Gould continues. “The only way to learn how to do it is to actually do it. And then once you’ve done it, you’re full of shame.”\u003c/p>\n\u003cfigure id=\"attachment_10765978\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10765978 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/11/dana-1-comedy-800x600.jpg\" alt=\"Comedian Dana Gould and his cat Ella.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Comedian Dana Gould and his cat, Ella. (Peter Gilstrap)\u003c/figcaption>\u003c/figure>\n\u003cp>To borrow from Rodney Dangerfield, it’s all about respect.\u003c/p>\n\u003cp>“Because it’s comedy, it is innately not as well respected,” says Gould. “Ken Burns can do the history of jazz and it’s like the Parthenon, but comedy’s like, we don’t need to deal with that, it’s just comedy.”\u003c/p>\n\u003cp>But still, it’s important stuff.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s part of our popular culture,” says film critic and historian Leonard Maltin. “No less than movies or books or artwork of any kind. What Kliph has done is to take something that no one else has bothered to chronicle or to take seriously. I think he nailed it.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "sf-sketchfest-2016-includes-waiting-for-guffman-tribute-sally-field",
"title": "SF Sketchfest 2016 Includes 'Waiting For Guffman' Tribute, Sally Field",
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"headTitle": "SF Sketchfest 2016 Includes ‘Waiting For Guffman’ Tribute, Sally Field | KQED",
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"content": "\u003cp>The 2016 lineup for SF Sketchfest, San Francisco’s massively popular comedy festival, has been announced and just like previous years, it’s jam-packed and star-studded, with celebrities such as Sally Field, Jon Hamm and Parker Posey signed up for featured events.\u003c/p>\n\u003cp>Described as being “one of America’s most respected comedy festivals” by \u003ci>Rolling Stone,\u003c/i> next year’s SF Sketchfest — its 15th — will consist of over 200 events spread across over 16 days. Along with the sketch, stand up and improv comedy events that are the reason the festival started, there will be several film events, live game shows and podcast recordings, and even some events for the kids.\u003c/p>\n\u003cp>Top billing in the lineup is the 20th anniversary tribute to the hilarious Christopher Guest comedy \u003ci>Waiting For Guffman\u003c/i> that will include a cast reunion featuring Guest, Posey, Fred Willard and Bob Balaban. Also being featured is a in-person tribute to Oscar-winning actress Sally Field, who will have an on-stage conversation with comedic writer and actor Michael Showalter, and later show the movie they made together, \u003ci>Hello, My Name is Doris.\u003c/i>\u003c/p>\n\u003cp>Other featured events include the almost random-seeming pairing of comedian Patton Oswalt and Oakland rapper Boots Riley (of The Coup) for an “in conversation” event, and a performance by Jeff Goldblum and the Mildred Snitzer Orchestra.\u003c/p>\n\u003cp>Tickets range from $12 to $50 and go on sale Sunday, Nov. 22 at 10am. To buy tickets and and learn more information, go to \u003ca href=\"http://sfsketchfest.com/x/\" target=\"_blank\" rel=\"noopener\">sfsketchfest.com.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>Check the list below for other events happening at SF Sketchfest.\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>SF Sketchfest Tributes & Spotlights\u003c/strong>\u003c/p>\n\u003cp>● Tribute to “\u003cem>Waiting For Guffman\u003c/em>: Sesquicentennial + 20” with Bob Balaban, Christopher Guest, Parker Posey & Fred Willard\u003c/p>\n\u003cp>● Tribute to Sally Field: \u003cem>Hello, My Name Is Doris\u003c/em> Screening and Conversation with Sally Field & Michael Showalter\u003c/p>\n\u003cp>● Tribute to Jeff Goldblum: Conversation and Music with Jeff Goldblum and the Mildred Snitzer Orchestra\u003c/p>\n\u003cp>● Tribute to Patton Oswalt in Conversation with Boots Riley\u003c/p>\n\u003cp>● Tribute to \u003cem>Bob’s Burgers\u003c/em>: Loren Bouchard, Dan Mintz, Eugene Mirman, Larry Murphy, John Roberts & Kristen Schaal\u003c/p>\n\u003cp>● SF Sketchfest Comedy Writing Award: Dave Barry in Conversation\u003c/p>\n\u003cp>● Spotlight on \u003cem>Drunk History\u003c/em> with Derek Waters & Friends\u003c/p>\n\u003cp>\u003cstrong>Big Night Special Events\u003c/strong>\u003c/p>\n\u003cp>● Dave Foley, Kevin McDonald & Scott Thompson: Three Out of Five Ain’t Bad\u003c/p>\n\u003cp>● Facebook Improv with Owen Burke, Seth Morris, Paul Scheer and Charlie Sanders\u003c/p>\n\u003cp>● Morzouksnick with Nick Kroll, Jason Mantzoukas and Seth Morris\u003c/p>\n\u003cp>● Nerds and Music: A Night With Pat Rothfuss and Paul & Storm\u003c/p>\n\u003cp>● A Night with John Lurie in conversation with Parker Posey: \u003cem>Fishing with John\u003c/em> 25th Anniversary\u003c/p>\n\u003cp>● Noel Fielding and Bobcat Goldthwait in conversation\u003c/p>\n\u003cp>● NPR’s Ask Me Another\u003c/p>\n\u003cp>● Princess: Maya Rudolph and Gretchen Lieberum in an Evening of the Music of Prince\u003c/p>\n\u003cp>● \u003cem>Spontaneanation\u003c/em> with Paul F. Tompkins, Craig Cackowski, Matt Gourley, Janet Varney and Special Guest Jon Hamm\u003c/p>\n\u003cp>● \u003cem>StarTalk Live\u003c/em> with Bill Nye the Science Guy and Eugene Mirman\u003c/p>\n\u003cp>● Upright Citizens Brigade ASSSSCAT with Matt Besser, Ian Roberts, Matt Walsh, Jon Gabrus, Mary Holland, Brian Huskey and guest monologists Sally Field and Michael Showalter\u003c/p>\n\u003cp>\u003cstrong>Special Film & Video Events\u003c/strong>\u003c/p>\n\u003cp>● Found Footage Festival meets Everything is Terrible!\u003c/p>\n\u003cp>● \u003cem>Hey Monster, Hands Off My City\u003c/em> with Michael Meehan, Johnny Steele and Reggie Steele\u003c/p>\n\u003cp>● \u003cem>Hook\u003c/em> 25th Anniversary Screening with Dante Basco and James Madio (The Lost Boys’ Rufio and Don’t Ask)\u003c/p>\n\u003cp>● \u003cem>Hot Shots\u003c/em> 25th Anniversary with Jim Abrahams and Pat Proft\u003c/p>\n\u003cp>● RiffTrax Night of the Shorts VI with Michael J. Nelson, Kevin Murphy and Bill Corbett\u003c/p>\n\u003cp>● THE MADS ARE BACK! Live Movie Riffing with Trace Beaulieu and Frank Conniff\u003c/p>\n\u003cp>● \u003cem>Teen Witch\u003c/em>: The Peaches Christ Experience with Robyn Lively, Josh Miller and Mandy Ingber\u003c/p>\n\u003cp>\u003cstrong>Special Television Events\u003c/strong>\u003c/p>\n\u003cp>● \u003cem>BoJack Horseman\u003c/em> with Paul F. Tompkins, Lisa Hanawalt, Mike Hollingsworth and creator Raphael Bob-Waksberg\u003c/p>\n\u003cp>● \u003cem>Dr. Katz, Professional Therapist\u003c/em> Live\u003c/p>\n\u003cp>● \u003cem>Futurama\u003c/em>: Nothing New To Report with John DiMaggio, Maurice LaMarche, Lauren Tom and Billy West\u003c/p>\n\u003cp>● Galavanting with \u003cem>Galavant\u003c/em> with Timothy Omundson, Karen David, Mallory Jansen, Luke Youngblood and showrunners John Hoberg and Kat Likkel\u003c/p>\n\u003cp>● Pete & Pete Forever: \u003cem>The Adventures of Pete and Pete\u003c/em> Live with Michael C. Maronna, Danny Tamberelli, Toby Huss, Alison Fanelli, Rick Gomez, Mark Mulcahy, and creators Chris Viscardi and Will McRobb\u003c/p>\n\u003cp>● \u003cem>Sledge Hammer!\u003c/em> 30th Anniversary with creator Alan Spencer and more\u003c/p>\n\u003cp>● The Chris Gethard Show Presents: Chris Gethard versus Vacation Jason in a Literal Fight to the Death!\u003c/p>\n\u003cp>\u003cstrong>Special Theatrical Events\u003c/strong>\u003c/p>\n\u003cp>● Celebrity Autobiography with Pamela Adlon, Scott Adsit, Laraine Newman, Eugene Pack, Dayle Reyfel, Michael Urie and more\u003c/p>\n\u003cp>● Dead Pilots Society\u003c/p>\n\u003cp>● Workjuice Theater with Paget Brewster, Craig Cackowski, Mark Gagliardi, Marc Evan Jackson, Hal Lublin, Paul F. Tompkins and more\u003c/p>\n\u003cp>Debates\u003c/p>\n\u003cp>● Presidential Debate: The Write-In Candidates with James Adomian, Matt Besser, Paul Gilmartin, Mary Houlihan, Brian Huskey, Dan Van Kirk and moderator Tom Shillue from Fox News Channel’s “Red Eye”\u003c/p>\n\u003cp>● The Great Debate: “Donald Trump vs. Don(ald) Draper – Who Will Destroy America?” with Matt Price and IIyse Mimoun\u003c/p>\n\u003cp>● Uptown Showdown: The Internet vs. Real Life (IRL) with Maria Bamford, Guy Branum, Janeane Garofalo, Moshe Kasher, Natasha Leggero, Aparna Nancherla and emcee Beth Lisick\u003c/p>\n\u003cp>\u003cstrong>Game Shows & Interactive Events\u003c/strong>\u003c/p>\n\u003cp>● Bluff You with Jimmy Pardo\u003c/p>\n\u003cp>● Cultivated Wit’s Comedy Hack Day Finals\u003c/p>\n\u003cp>● Iron Comic with Nato Green and Moshe Kasher\u003c/p>\n\u003cp>● Jo Firestone’s “Friends of Single People” and “Incredible Game Show Showcase”\u003c/p>\n\u003cp>● Quiz-o-Tron with Rebecca Watson\u003c/p>\n\u003cp>\u003cstrong>Improv Comedy\u003c/strong>\u003c/p>\n\u003cp>● BATS: Improvised Game of Thrones\u003c/p>\n\u003cp>● The Black Version\u003c/p>\n\u003cp>● Each/Other with Scott Adsit and Tami Sagher\u003c/p>\n\u003cp>● Gravid Water\u003c/p>\n\u003cp>● The Groundlings: Crazy Uncle Joe Show\u003c/p>\n\u003cp>● The Groundlings: Personals with Stephanie Courtney, Jim Rash and more\u003c/p>\n\u003cp>● Improvised Shakespeare Company with Joey Bland, Ross Bryant, Greg Hess, Thomas Middleditch and Blaine Swen\u003c/p>\n\u003cp>● Prompter\u003c/p>\n\u003cp>● Speechless\u003c/p>\n\u003cp>● Theme Park Improv with Ian Brennan, John Michael Higgins, Michael Hitchcock, Jessica Makinson, Oscar Nunez, Cole Stratton and Janet Varney\u003c/p>\n\u003cp>● Who is Debbie Powell? with Eric Stonestreet, Dana Powell, Jessica Makinson and Michael Bunin\u003c/p>\n\u003cp>\u003cstrong>Kids Events\u003c/strong>\u003c/p>\n\u003cp>● The Groundlings Children’s Show with Stephanie Courtney, Beth Littleford and more\u003c/p>\n\u003cp>● Mo Willems’ Don’t Let the Comedians Do Storytime!\u003c/p>\n\u003cp>\u003cstrong>Music & Comedy\u003c/strong>\u003c/p>\n\u003cp>● BAKED with Brendon Small & Steve Agee\u003c/p>\n\u003cp>● Bring the Rock with Greg Behrendt\u003c/p>\n\u003cp>● The Imaginary Radio Program with Drennon Davis\u003c/p>\n\u003cp>● Jonathan Coulton & Friends\u003c/p>\n\u003cp>● Martin Starr and Band\u003c/p>\n\u003cp>● Night of Too Many Musical Comedians with Eli Braden, Drennon Davis, Dragon Boy Suede, Eliot Glazer: Haunting Renditions, Allie Goertz, Reformed Whores and DJ Real\u003c/p>\n\u003cp>● The Undone Sweaters: A Weezer Cover Band with Jim Tews, Reid Faylor, Andrew Short and Danny Tamberelli plus Weezer-themed comedy from Jonah Ray and Jacob Sirof\u003c/p>\n\u003cp>● Wheels Off with Rhett Miller\u003c/p>\n\u003cp>\u003cstrong>Podcasts & Talk Shows\u003c/strong>\u003c/p>\n\u003cp>● \u003cem>Come To Papa\u003c/em> with Tom Papa\u003c/p>\n\u003cp>● \u003cem>Comedy Nation\u003c/em> with John Fugelsang\u003c/p>\n\u003cp>● \u003cem>Computer Show\u003c/em> Live with Rob Baedeker\u003c/p>\n\u003cp>● \u003cem>The CrabFeast Podcast\u003c/em> with Jay Larson and Ryan Sickler\u003c/p>\n\u003cp>● \u003cem>Dork Forest\u003c/em> with Jackie Kashian\u003c/p>\n\u003cp>● \u003cem> Harmontown \u003c/em>with Dan Harmon and Jeff B. Davis\u003c/p>\n\u003cp>● \u003cem>Hound Tall\u003c/em> with Moshe Kasher\u003c/p>\n\u003cp>● \u003cem>improv4humans\u003c/em> with Matt Besser\u003c/p>\n\u003cp>● \u003cem>Jonah Raydio\u003c/em> with Jonah Ray\u003c/p>\n\u003cp>● \u003cem>Jordan, Jesse, Go!\u003c/em>\u003c/p>\n\u003cp>● \u003cem>Judge John Hodgman\u003c/em>\u003c/p>\n\u003cp>● \u003cem>The JV Club\u003c/em> with Janet Varney and guests Chuck Bryant and Josh Clark\u003c/p>\n\u003cp>● \u003cem>Never Not Funny\u003c/em> with Jimmy Pardo, Matt Belknap, Pat Francis and special guest Jon Hamm\u003c/p>\n\u003cp>● \u003cem>Pep Talks\u003c/em> with Eddie Pepitone\u003c/p>\n\u003cp>● \u003cem>Pop My Culture\u003c/em> Podcast with Cole Stratton and Vanessa Ragland and guest Fred Willard\u003c/p>\n\u003cp>● \u003cem>Probably Science\u003c/em> with Matt Kirshen and Andy Wood\u003c/p>\n\u003cp>● \u003cem>Rock Solid\u003c/em> with Pat Francis and David Wild\u003c/p>\n\u003cp>● \u003cem>Roderick on the Line\u003c/em> with John Roderick and Merlin Mann\u003c/p>\n\u003cp>● \u003cem>Ronna & Beverly\u003c/em>\u003c/p>\n\u003cp>● \u003cem>Sklarbro Country\u003c/em> with The Sklar Brothers\u003c/p>\n\u003cp>● \u003cem>Stuff You Should Know\u003c/em>\u003c/p>\n\u003cp>● \u003cem>Superego\u003c/em>\u003c/p>\n\u003cp>● \u003cem>The Todd Barry Podcast\u003c/em>\u003c/p>\n\u003cp>● \u003cem>Uhh Yeah Dude\u003c/em> with Jonathan Larroquette and Seth Romatelli\u003c/p>\n\u003cp>● \u003cem>The Wahlberg Solution\u003c/em> with Dan Van Kirk\u003c/p>\n\u003cp>● \u003cem>Walking the Room\u003c/em> with Dave Anthony and Greg Behrendt\u003c/p>\n\u003cp>● \u003cem>We Got This with Mark and Hal\u003c/em> and guest Adam Savage\u003c/p>\n\u003cp>● \u003cem>The World of Phil Hendrie\u003c/em>\u003c/p>\n\u003cp>● \u003cem>You’re the Expert\u003c/em> with Chris Duffy\u003c/p>\n\u003cp>\u003cstrong>Sketch Comedy\u003c/strong>\u003c/p>\n\u003cp>● Boat\u003c/p>\n\u003cp>● The Birthday Boys\u003c/p>\n\u003cp>● BriTANick\u003c/p>\n\u003cp>● Charles\u003c/p>\n\u003cp>● Dead Kevin\u003c/p>\n\u003cp>● Killing My Lobster\u003c/p>\n\u003cp>● Mission CTRL\u003c/p>\n\u003cp>● Paul Brittain: Sex Ed Vincent\u003c/p>\n\u003cp>\u003cstrong>Storytelling/Theatrical\u003c/strong>\u003c/p>\n\u003cp>● Bawdy Storytelling\u003c/p>\n\u003cp>● Competitive Erotic Fan Fiction with Bryan Cook\u003c/p>\n\u003cp>● First Comes Love with Kyle Ayers\u003c/p>\n\u003cp>● Mortified\u003c/p>\n\u003cp>● Porchlight with Beth Lisick and Arline Klatte\u003c/p>\n\u003cp>● \u003cem>RISK!\u003c/em> with Kevin Allison\u003c/p>\n\u003cp>● \u003cem>This is Not Happening\u003c/em> with Ari Shaffir\u003c/p>\n\u003cp>\u003cstrong>Variety and Stand-Up\u003c/strong>\u003c/p>\n\u003cp>● 2 Dope Queens with Phoebe Robinson and Jessica Williams\u003c/p>\n\u003cp>● 7 Minutes in Purgatory with Ian Abramson\u003c/p>\n\u003cp>● Alex Edelman: Millennial\u003c/p>\n\u003cp>● Alex Koll & Chris Thayer\u003c/p>\n\u003cp>● Andy Kindler’s Particular Show\u003c/p>\n\u003cp>● Aparna Nancherla\u003c/p>\n\u003cp>● Baron Vaughn\u003c/p>\n\u003cp>● Billy Wayne Davis\u003c/p>\n\u003cp>● Bobcat Goldthwait with Caitlin Gill: The Just Friends Tour\u003c/p>\n\u003cp>● Brandon Wardell\u003c/p>\n\u003cp>● Brent Weinbach Presents Spotlight on Andy Kaufman Award winner Brett Davis and finalists Jo Firestone and Ben Kronberg\u003c/p>\n\u003cp>● Brunches with Funches: Giggles & Nibbles with Ron Funches & Friends\u003c/p>\n\u003cp>● Chris Gethard: Career Suicide\u003c/p>\n\u003cp>● Cool Thanks with Janine Brito and Dave Thomason\u003c/p>\n\u003cp>● Dana Gould\u003c/p>\n\u003cp>● Fresh Out with Emily Heller and Adam Conover\u003c/p>\n\u003cp>● The Grawlix with Adam Cayton-Holland, Andrew Orvedahl and Ben Roy\u003c/p>\n\u003cp>● Invite Them Up with Eugene Mirman & Bobby Tisdale\u003c/p>\n\u003cp>● Janeane Garofalo\u003c/p>\n\u003cp>● Jeff Garlin and Associates\u003c/p>\n\u003cp>● Joe Machi & Lachlan Patterson\u003c/p>\n\u003cp>● Josh Androsky & Clare O’Kane\u003c/p>\n\u003cp>● Judah Friedlander: “If The Raindrops United” Stand-up and Book Release Show\u003c/p>\n\u003cp>● Little Esther Goes Through Your Stuff with Esther Povitsky\u003c/p>\n\u003cp>● Maria Bamford with Jackie Kashian and Natasha Muse\u003c/p>\n\u003cp>● Meet Me in the Bathroom and Tell Me All Your Secrets with Dave Hill\u003c/p>\n\u003cp>● Mo Willems’ Writing For Kids For Grown-Ups\u003c/p>\n\u003cp>● Natasha Leggero\u003c/p>\n\u003cp>● Picture This! with Brandie Posey\u003c/p>\n\u003cp>● Pound House Live with Brent Weinbach and DJ Douggpound\u003c/p>\n\u003cp>● Put Your Hands Together with Cameron Esposito & Rhea Butcher\u003c/p>\n\u003cp>● RoastSF Presents: Comedy Roast of Broke Ass Stuart\u003c/p>\n\u003cp>● Rooftop Comedy Showcases\u003c/p>\n\u003cp>● Seeso Presents: Big Jay Oakerson’s What’s Your F@%king Deal?! with Big Jay Oakerson and Ardie Fuqua\u003c/p>\n\u003cp>● Set List\u003c/p>\n\u003cp>● SF Sketchfest Comedy NightLife at the California Academy of Sciences\u003c/p>\n\u003cp>● The SF Sketchfest Dozen, the Next Wave of Stand-Up Comedy Stars: Tone Bell, Chris Cubas, Joe DeRosa, Maggie Maye, Matt McCarthy, Julian McCullough, Esther Povitsky, Erica Rhodes, Sarah Tiana, Alice Wetterlund, Jenny Zigrino, Joe Zimmerman\u003c/p>\n\u003cp>● SF Sketchfest Threesome: Barry Rothbart / Seaton Smith and more\u003c/p>\n\u003cp>● Solomon Georgio\u003c/p>\n\u003cp>● Tom Shillue\u003c/p>\n\u003cp>● The Ultimate Crowd Work Show: Todd Barry and Big Jay Oakerson and Friends\u003c/p>\n\u003cp>\u003cstrong>Workshops\u003c/strong>\u003c/p>\n\u003cp>● Improv and Sketch Workshop with Kevin McDonald\u003c/p>\n\u003cp>● Sell It! Improv Workshop with Craig Cackowski\u003c/p>\n\u003cp>● Storytelling Skills: WOW Your Crowd Workshop with Kevin Allison\u003c/p>\n\u003cp>● Voice Acting Workshop with Rob Paulsen\u003c/p>\n\u003cp>\u003cstrong>Showcases for Emerging Stand-Up, Sketch, Solo and Improv Performers\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>100% Stuff, 2 Hot Dogs, Kelly Anneken, Josef Anolin, Greg Asdourian, Attractive Camp, Avengers of Comedy, Joey Avery, Barrio Daze, Big Grande, Big-T, The Blank Experience presents The Idiots, Mac Blake, Boarding Party, Bombardier, Eloisa Bravo, Farah Brook, Nicole Calasich, Cardinal Redbird, Ron Chapman, Shanti Charan, Chardonnay, Chinese Ballroom, Saurin Choksi, Faith Choyce, Rob Christensen, Cobranauts, Katie Compa, Conor Delehanty, Dale Radio, JR De Guzman, Tom Devenport, Joey Devine, Don’t Watch This Show Live!, The Don’t We Boys!, Drama 3 / 4 Presents Cue to Cue, Anita Drieseberg, Brett Druck, Efficient Office Practices, Fairy Tale Theatre: 18 & Over, Falcon Powder, Krista Fatka, Ben Feldman, Danny Felts, Devin Field, Ash Fisher, Nate Follen, Brian Frange, Imran G, David Gborie, Samantha Gilweit, Walker Glenn, Good Morning Tonight, Chris Gorbos, Grant Gordon, Joe Gorman, The Great Difficulties, Hayden Greif-Neill, Hand to Mouth, Jane Harrison, Ivan Hernandez, Jesse Hett, Trevor Hill, Barbara Holm, Andrew Holmgren, Kollin Holtz, Mary Houlihan, Ike Night, Christopher John, Sean Jordan, Judith, Jumbo Mumbo, Sara June, Yuri Kagan, Ben Kolina, Erik Krasner, Loren Kraut, Joe Kwaczala, Dash Kwiatkowski, Candy Lawrence, LeMaire Lee, Casey Ley, Matt Lieb, Liss n’ Sams, Living Impaired, Grant Lyon, The Magic Negro and Other Blackness, Jesse McGrath, Jesus U. Bettawork, Andie Main, Sean McKenzie, Andrew Michaan, Allison Mick, Mike Breen, Amy Miller, Mime Com Show, Emmett Montgomery, Natasha Muse, Abhay Nadkarni, Naptime, Neel Nanda, Clay Newman, David Nguyen, Joe Nguyen, Katie Nguyen, Ify Nwadiwe, Lauren O’Brien, John F. O’Donnell, Onassis, Chad Opitz, OSFUG: The Fast Fuckin’ Sketch Show, Outside Dog Gets One Star, Shawn Pearlman, Adam Pearlstein, Dan Perlman, Gabby Poccia, Lydia Popovich, Jules Posner, Stevie Post, Private Street, Puzzles, RoastSF, Rollin’ in Riches, Paco Romane, The Romane Event, John Ross, Ali Safar, Jason Saenz, Nick Sahoyah, Greg Santos, Richard Sarvate, JoAnn Schinderle, Ryan Schutt, Red Scott, Jessica Sele, Anna Seregina, SF Barkast, Aviva Siegel, Scott Simpson, Bucky Sinister, Peggy Sinnott, Land Smith, Squirm and Germ, Ester Steinberg, Stevedore, Mateen Stewart, Brandon Stokes, Straitjacket Society, Streisand and Friends, Sup Doc Podcast, The Tabernacle, Jeremy Talamantes, Talkies, Taste Better Wit, Dave Thomason, Geoff Tice, Joe Tobin, Richard Toomer, Zach Noe Towers, The Trumpet Boys, Irene Tu, Vagina Jones, Emily Van Dyke, Jason Van Glass, Torio Van Grol, Vanessa Gonzalez presents “I Don’t Know Dating,” Cameron Vannini, Vice Principals of Comedy, Virginia’s Harem, We Did A Thing, Jason Webb, Cheryl White, White Women, Steven Wilber, Kate Willett, Austin Wolf-Sothern, The Worst and Ceda Xiong\u003c/p>\n\n",
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"excerpt": "The lineup for the SF Sketchfest's 15th year has been announced and it's jam-packed: 200 events over 16 days.",
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"title": "SF Sketchfest 2016 Includes 'Waiting For Guffman' Tribute, Sally Field | KQED",
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"headline": "SF Sketchfest 2016 Includes 'Waiting For Guffman' Tribute, Sally Field",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 2016 lineup for SF Sketchfest, San Francisco’s massively popular comedy festival, has been announced and just like previous years, it’s jam-packed and star-studded, with celebrities such as Sally Field, Jon Hamm and Parker Posey signed up for featured events.\u003c/p>\n\u003cp>Described as being “one of America’s most respected comedy festivals” by \u003ci>Rolling Stone,\u003c/i> next year’s SF Sketchfest — its 15th — will consist of over 200 events spread across over 16 days. Along with the sketch, stand up and improv comedy events that are the reason the festival started, there will be several film events, live game shows and podcast recordings, and even some events for the kids.\u003c/p>\n\u003cp>Top billing in the lineup is the 20th anniversary tribute to the hilarious Christopher Guest comedy \u003ci>Waiting For Guffman\u003c/i> that will include a cast reunion featuring Guest, Posey, Fred Willard and Bob Balaban. Also being featured is a in-person tribute to Oscar-winning actress Sally Field, who will have an on-stage conversation with comedic writer and actor Michael Showalter, and later show the movie they made together, \u003ci>Hello, My Name is Doris.\u003c/i>\u003c/p>\n\u003cp>Other featured events include the almost random-seeming pairing of comedian Patton Oswalt and Oakland rapper Boots Riley (of The Coup) for an “in conversation” event, and a performance by Jeff Goldblum and the Mildred Snitzer Orchestra.\u003c/p>\n\u003cp>Tickets range from $12 to $50 and go on sale Sunday, Nov. 22 at 10am. To buy tickets and and learn more information, go to \u003ca href=\"http://sfsketchfest.com/x/\" target=\"_blank\" rel=\"noopener\">sfsketchfest.com.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Check the list below for other events happening at SF Sketchfest.\u003c/i>\u003c/p>\n\u003cp>\u003cstrong>SF Sketchfest Tributes & Spotlights\u003c/strong>\u003c/p>\n\u003cp>● Tribute to “\u003cem>Waiting For Guffman\u003c/em>: Sesquicentennial + 20” with Bob Balaban, Christopher Guest, Parker Posey & Fred Willard\u003c/p>\n\u003cp>● Tribute to Sally Field: \u003cem>Hello, My Name Is Doris\u003c/em> Screening and Conversation with Sally Field & Michael Showalter\u003c/p>\n\u003cp>● Tribute to Jeff Goldblum: Conversation and Music with Jeff Goldblum and the Mildred Snitzer Orchestra\u003c/p>\n\u003cp>● Tribute to Patton Oswalt in Conversation with Boots Riley\u003c/p>\n\u003cp>● Tribute to \u003cem>Bob’s Burgers\u003c/em>: Loren Bouchard, Dan Mintz, Eugene Mirman, Larry Murphy, John Roberts & Kristen Schaal\u003c/p>\n\u003cp>● SF Sketchfest Comedy Writing Award: Dave Barry in Conversation\u003c/p>\n\u003cp>● Spotlight on \u003cem>Drunk History\u003c/em> with Derek Waters & Friends\u003c/p>\n\u003cp>\u003cstrong>Big Night Special Events\u003c/strong>\u003c/p>\n\u003cp>● Dave Foley, Kevin McDonald & Scott Thompson: Three Out of Five Ain’t Bad\u003c/p>\n\u003cp>● Facebook Improv with Owen Burke, Seth Morris, Paul Scheer and Charlie Sanders\u003c/p>\n\u003cp>● Morzouksnick with Nick Kroll, Jason Mantzoukas and Seth Morris\u003c/p>\n\u003cp>● Nerds and Music: A Night With Pat Rothfuss and Paul & Storm\u003c/p>\n\u003cp>● A Night with John Lurie in conversation with Parker Posey: \u003cem>Fishing with John\u003c/em> 25th Anniversary\u003c/p>\n\u003cp>● Noel Fielding and Bobcat Goldthwait in conversation\u003c/p>\n\u003cp>● NPR’s Ask Me Another\u003c/p>\n\u003cp>● Princess: Maya Rudolph and Gretchen Lieberum in an Evening of the Music of Prince\u003c/p>\n\u003cp>● \u003cem>Spontaneanation\u003c/em> with Paul F. Tompkins, Craig Cackowski, Matt Gourley, Janet Varney and Special Guest Jon Hamm\u003c/p>\n\u003cp>● \u003cem>StarTalk Live\u003c/em> with Bill Nye the Science Guy and Eugene Mirman\u003c/p>\n\u003cp>● Upright Citizens Brigade ASSSSCAT with Matt Besser, Ian Roberts, Matt Walsh, Jon Gabrus, Mary Holland, Brian Huskey and guest monologists Sally Field and Michael Showalter\u003c/p>\n\u003cp>\u003cstrong>Special Film & Video Events\u003c/strong>\u003c/p>\n\u003cp>● Found Footage Festival meets Everything is Terrible!\u003c/p>\n\u003cp>● \u003cem>Hey Monster, Hands Off My City\u003c/em> with Michael Meehan, Johnny Steele and Reggie Steele\u003c/p>\n\u003cp>● \u003cem>Hook\u003c/em> 25th Anniversary Screening with Dante Basco and James Madio (The Lost Boys’ Rufio and Don’t Ask)\u003c/p>\n\u003cp>● \u003cem>Hot Shots\u003c/em> 25th Anniversary with Jim Abrahams and Pat Proft\u003c/p>\n\u003cp>● RiffTrax Night of the Shorts VI with Michael J. Nelson, Kevin Murphy and Bill Corbett\u003c/p>\n\u003cp>● THE MADS ARE BACK! Live Movie Riffing with Trace Beaulieu and Frank Conniff\u003c/p>\n\u003cp>● \u003cem>Teen Witch\u003c/em>: The Peaches Christ Experience with Robyn Lively, Josh Miller and Mandy Ingber\u003c/p>\n\u003cp>\u003cstrong>Special Television Events\u003c/strong>\u003c/p>\n\u003cp>● \u003cem>BoJack Horseman\u003c/em> with Paul F. Tompkins, Lisa Hanawalt, Mike Hollingsworth and creator Raphael Bob-Waksberg\u003c/p>\n\u003cp>● \u003cem>Dr. Katz, Professional Therapist\u003c/em> Live\u003c/p>\n\u003cp>● \u003cem>Futurama\u003c/em>: Nothing New To Report with John DiMaggio, Maurice LaMarche, Lauren Tom and Billy West\u003c/p>\n\u003cp>● Galavanting with \u003cem>Galavant\u003c/em> with Timothy Omundson, Karen David, Mallory Jansen, Luke Youngblood and showrunners John Hoberg and Kat Likkel\u003c/p>\n\u003cp>● Pete & Pete Forever: \u003cem>The Adventures of Pete and Pete\u003c/em> Live with Michael C. Maronna, Danny Tamberelli, Toby Huss, Alison Fanelli, Rick Gomez, Mark Mulcahy, and creators Chris Viscardi and Will McRobb\u003c/p>\n\u003cp>● \u003cem>Sledge Hammer!\u003c/em> 30th Anniversary with creator Alan Spencer and more\u003c/p>\n\u003cp>● The Chris Gethard Show Presents: Chris Gethard versus Vacation Jason in a Literal Fight to the Death!\u003c/p>\n\u003cp>\u003cstrong>Special Theatrical Events\u003c/strong>\u003c/p>\n\u003cp>● Celebrity Autobiography with Pamela Adlon, Scott Adsit, Laraine Newman, Eugene Pack, Dayle Reyfel, Michael Urie and more\u003c/p>\n\u003cp>● Dead Pilots Society\u003c/p>\n\u003cp>● Workjuice Theater with Paget Brewster, Craig Cackowski, Mark Gagliardi, Marc Evan Jackson, Hal Lublin, Paul F. Tompkins and more\u003c/p>\n\u003cp>Debates\u003c/p>\n\u003cp>● Presidential Debate: The Write-In Candidates with James Adomian, Matt Besser, Paul Gilmartin, Mary Houlihan, Brian Huskey, Dan Van Kirk and moderator Tom Shillue from Fox News Channel’s “Red Eye”\u003c/p>\n\u003cp>● The Great Debate: “Donald Trump vs. Don(ald) Draper – Who Will Destroy America?” with Matt Price and IIyse Mimoun\u003c/p>\n\u003cp>● Uptown Showdown: The Internet vs. Real Life (IRL) with Maria Bamford, Guy Branum, Janeane Garofalo, Moshe Kasher, Natasha Leggero, Aparna Nancherla and emcee Beth Lisick\u003c/p>\n\u003cp>\u003cstrong>Game Shows & Interactive Events\u003c/strong>\u003c/p>\n\u003cp>● Bluff You with Jimmy Pardo\u003c/p>\n\u003cp>● Cultivated Wit’s Comedy Hack Day Finals\u003c/p>\n\u003cp>● Iron Comic with Nato Green and Moshe Kasher\u003c/p>\n\u003cp>● Jo Firestone’s “Friends of Single People” and “Incredible Game Show Showcase”\u003c/p>\n\u003cp>● Quiz-o-Tron with Rebecca Watson\u003c/p>\n\u003cp>\u003cstrong>Improv Comedy\u003c/strong>\u003c/p>\n\u003cp>● BATS: Improvised Game of Thrones\u003c/p>\n\u003cp>● The Black Version\u003c/p>\n\u003cp>● Each/Other with Scott Adsit and Tami Sagher\u003c/p>\n\u003cp>● Gravid Water\u003c/p>\n\u003cp>● The Groundlings: Crazy Uncle Joe Show\u003c/p>\n\u003cp>● The Groundlings: Personals with Stephanie Courtney, Jim Rash and more\u003c/p>\n\u003cp>● Improvised Shakespeare Company with Joey Bland, Ross Bryant, Greg Hess, Thomas Middleditch and Blaine Swen\u003c/p>\n\u003cp>● Prompter\u003c/p>\n\u003cp>● Speechless\u003c/p>\n\u003cp>● Theme Park Improv with Ian Brennan, John Michael Higgins, Michael Hitchcock, Jessica Makinson, Oscar Nunez, Cole Stratton and Janet Varney\u003c/p>\n\u003cp>● Who is Debbie Powell? with Eric Stonestreet, Dana Powell, Jessica Makinson and Michael Bunin\u003c/p>\n\u003cp>\u003cstrong>Kids Events\u003c/strong>\u003c/p>\n\u003cp>● The Groundlings Children’s Show with Stephanie Courtney, Beth Littleford and more\u003c/p>\n\u003cp>● Mo Willems’ Don’t Let the Comedians Do Storytime!\u003c/p>\n\u003cp>\u003cstrong>Music & Comedy\u003c/strong>\u003c/p>\n\u003cp>● BAKED with Brendon Small & Steve Agee\u003c/p>\n\u003cp>● Bring the Rock with Greg Behrendt\u003c/p>\n\u003cp>● The Imaginary Radio Program with Drennon Davis\u003c/p>\n\u003cp>● Jonathan Coulton & Friends\u003c/p>\n\u003cp>● Martin Starr and Band\u003c/p>\n\u003cp>● Night of Too Many Musical Comedians with Eli Braden, Drennon Davis, Dragon Boy Suede, Eliot Glazer: Haunting Renditions, Allie Goertz, Reformed Whores and DJ Real\u003c/p>\n\u003cp>● The Undone Sweaters: A Weezer Cover Band with Jim Tews, Reid Faylor, Andrew Short and Danny Tamberelli plus Weezer-themed comedy from Jonah Ray and Jacob Sirof\u003c/p>\n\u003cp>● Wheels Off with Rhett Miller\u003c/p>\n\u003cp>\u003cstrong>Podcasts & Talk Shows\u003c/strong>\u003c/p>\n\u003cp>● \u003cem>Come To Papa\u003c/em> with Tom Papa\u003c/p>\n\u003cp>● \u003cem>Comedy Nation\u003c/em> with John Fugelsang\u003c/p>\n\u003cp>● \u003cem>Computer Show\u003c/em> Live with Rob Baedeker\u003c/p>\n\u003cp>● \u003cem>The CrabFeast Podcast\u003c/em> with Jay Larson and Ryan Sickler\u003c/p>\n\u003cp>● \u003cem>Dork Forest\u003c/em> with Jackie Kashian\u003c/p>\n\u003cp>● \u003cem> Harmontown \u003c/em>with Dan Harmon and Jeff B. Davis\u003c/p>\n\u003cp>● \u003cem>Hound Tall\u003c/em> with Moshe Kasher\u003c/p>\n\u003cp>● \u003cem>improv4humans\u003c/em> with Matt Besser\u003c/p>\n\u003cp>● \u003cem>Jonah Raydio\u003c/em> with Jonah Ray\u003c/p>\n\u003cp>● \u003cem>Jordan, Jesse, Go!\u003c/em>\u003c/p>\n\u003cp>● \u003cem>Judge John Hodgman\u003c/em>\u003c/p>\n\u003cp>● \u003cem>The JV Club\u003c/em> with Janet Varney and guests Chuck Bryant and Josh Clark\u003c/p>\n\u003cp>● \u003cem>Never Not Funny\u003c/em> with Jimmy Pardo, Matt Belknap, Pat Francis and special guest Jon Hamm\u003c/p>\n\u003cp>● \u003cem>Pep Talks\u003c/em> with Eddie Pepitone\u003c/p>\n\u003cp>● \u003cem>Pop My Culture\u003c/em> Podcast with Cole Stratton and Vanessa Ragland and guest Fred Willard\u003c/p>\n\u003cp>● \u003cem>Probably Science\u003c/em> with Matt Kirshen and Andy Wood\u003c/p>\n\u003cp>● \u003cem>Rock Solid\u003c/em> with Pat Francis and David Wild\u003c/p>\n\u003cp>● \u003cem>Roderick on the Line\u003c/em> with John Roderick and Merlin Mann\u003c/p>\n\u003cp>● \u003cem>Ronna & Beverly\u003c/em>\u003c/p>\n\u003cp>● \u003cem>Sklarbro Country\u003c/em> with The Sklar Brothers\u003c/p>\n\u003cp>● \u003cem>Stuff You Should Know\u003c/em>\u003c/p>\n\u003cp>● \u003cem>Superego\u003c/em>\u003c/p>\n\u003cp>● \u003cem>The Todd Barry Podcast\u003c/em>\u003c/p>\n\u003cp>● \u003cem>Uhh Yeah Dude\u003c/em> with Jonathan Larroquette and Seth Romatelli\u003c/p>\n\u003cp>● \u003cem>The Wahlberg Solution\u003c/em> with Dan Van Kirk\u003c/p>\n\u003cp>● \u003cem>Walking the Room\u003c/em> with Dave Anthony and Greg Behrendt\u003c/p>\n\u003cp>● \u003cem>We Got This with Mark and Hal\u003c/em> and guest Adam Savage\u003c/p>\n\u003cp>● \u003cem>The World of Phil Hendrie\u003c/em>\u003c/p>\n\u003cp>● \u003cem>You’re the Expert\u003c/em> with Chris Duffy\u003c/p>\n\u003cp>\u003cstrong>Sketch Comedy\u003c/strong>\u003c/p>\n\u003cp>● Boat\u003c/p>\n\u003cp>● The Birthday Boys\u003c/p>\n\u003cp>● BriTANick\u003c/p>\n\u003cp>● Charles\u003c/p>\n\u003cp>● Dead Kevin\u003c/p>\n\u003cp>● Killing My Lobster\u003c/p>\n\u003cp>● Mission CTRL\u003c/p>\n\u003cp>● Paul Brittain: Sex Ed Vincent\u003c/p>\n\u003cp>\u003cstrong>Storytelling/Theatrical\u003c/strong>\u003c/p>\n\u003cp>● Bawdy Storytelling\u003c/p>\n\u003cp>● Competitive Erotic Fan Fiction with Bryan Cook\u003c/p>\n\u003cp>● First Comes Love with Kyle Ayers\u003c/p>\n\u003cp>● Mortified\u003c/p>\n\u003cp>● Porchlight with Beth Lisick and Arline Klatte\u003c/p>\n\u003cp>● \u003cem>RISK!\u003c/em> with Kevin Allison\u003c/p>\n\u003cp>● \u003cem>This is Not Happening\u003c/em> with Ari Shaffir\u003c/p>\n\u003cp>\u003cstrong>Variety and Stand-Up\u003c/strong>\u003c/p>\n\u003cp>● 2 Dope Queens with Phoebe Robinson and Jessica Williams\u003c/p>\n\u003cp>● 7 Minutes in Purgatory with Ian Abramson\u003c/p>\n\u003cp>● Alex Edelman: Millennial\u003c/p>\n\u003cp>● Alex Koll & Chris Thayer\u003c/p>\n\u003cp>● Andy Kindler’s Particular Show\u003c/p>\n\u003cp>● Aparna Nancherla\u003c/p>\n\u003cp>● Baron Vaughn\u003c/p>\n\u003cp>● Billy Wayne Davis\u003c/p>\n\u003cp>● Bobcat Goldthwait with Caitlin Gill: The Just Friends Tour\u003c/p>\n\u003cp>● Brandon Wardell\u003c/p>\n\u003cp>● Brent Weinbach Presents Spotlight on Andy Kaufman Award winner Brett Davis and finalists Jo Firestone and Ben Kronberg\u003c/p>\n\u003cp>● Brunches with Funches: Giggles & Nibbles with Ron Funches & Friends\u003c/p>\n\u003cp>● Chris Gethard: Career Suicide\u003c/p>\n\u003cp>● Cool Thanks with Janine Brito and Dave Thomason\u003c/p>\n\u003cp>● Dana Gould\u003c/p>\n\u003cp>● Fresh Out with Emily Heller and Adam Conover\u003c/p>\n\u003cp>● The Grawlix with Adam Cayton-Holland, Andrew Orvedahl and Ben Roy\u003c/p>\n\u003cp>● Invite Them Up with Eugene Mirman & Bobby Tisdale\u003c/p>\n\u003cp>● Janeane Garofalo\u003c/p>\n\u003cp>● Jeff Garlin and Associates\u003c/p>\n\u003cp>● Joe Machi & Lachlan Patterson\u003c/p>\n\u003cp>● Josh Androsky & Clare O’Kane\u003c/p>\n\u003cp>● Judah Friedlander: “If The Raindrops United” Stand-up and Book Release Show\u003c/p>\n\u003cp>● Little Esther Goes Through Your Stuff with Esther Povitsky\u003c/p>\n\u003cp>● Maria Bamford with Jackie Kashian and Natasha Muse\u003c/p>\n\u003cp>● Meet Me in the Bathroom and Tell Me All Your Secrets with Dave Hill\u003c/p>\n\u003cp>● Mo Willems’ Writing For Kids For Grown-Ups\u003c/p>\n\u003cp>● Natasha Leggero\u003c/p>\n\u003cp>● Picture This! with Brandie Posey\u003c/p>\n\u003cp>● Pound House Live with Brent Weinbach and DJ Douggpound\u003c/p>\n\u003cp>● Put Your Hands Together with Cameron Esposito & Rhea Butcher\u003c/p>\n\u003cp>● RoastSF Presents: Comedy Roast of Broke Ass Stuart\u003c/p>\n\u003cp>● Rooftop Comedy Showcases\u003c/p>\n\u003cp>● Seeso Presents: Big Jay Oakerson’s What’s Your F@%king Deal?! with Big Jay Oakerson and Ardie Fuqua\u003c/p>\n\u003cp>● Set List\u003c/p>\n\u003cp>● SF Sketchfest Comedy NightLife at the California Academy of Sciences\u003c/p>\n\u003cp>● The SF Sketchfest Dozen, the Next Wave of Stand-Up Comedy Stars: Tone Bell, Chris Cubas, Joe DeRosa, Maggie Maye, Matt McCarthy, Julian McCullough, Esther Povitsky, Erica Rhodes, Sarah Tiana, Alice Wetterlund, Jenny Zigrino, Joe Zimmerman\u003c/p>\n\u003cp>● SF Sketchfest Threesome: Barry Rothbart / Seaton Smith and more\u003c/p>\n\u003cp>● Solomon Georgio\u003c/p>\n\u003cp>● Tom Shillue\u003c/p>\n\u003cp>● The Ultimate Crowd Work Show: Todd Barry and Big Jay Oakerson and Friends\u003c/p>\n\u003cp>\u003cstrong>Workshops\u003c/strong>\u003c/p>\n\u003cp>● Improv and Sketch Workshop with Kevin McDonald\u003c/p>\n\u003cp>● Sell It! Improv Workshop with Craig Cackowski\u003c/p>\n\u003cp>● Storytelling Skills: WOW Your Crowd Workshop with Kevin Allison\u003c/p>\n\u003cp>● Voice Acting Workshop with Rob Paulsen\u003c/p>\n\u003cp>\u003cstrong>Showcases for Emerging Stand-Up, Sketch, Solo and Improv Performers\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>100% Stuff, 2 Hot Dogs, Kelly Anneken, Josef Anolin, Greg Asdourian, Attractive Camp, Avengers of Comedy, Joey Avery, Barrio Daze, Big Grande, Big-T, The Blank Experience presents The Idiots, Mac Blake, Boarding Party, Bombardier, Eloisa Bravo, Farah Brook, Nicole Calasich, Cardinal Redbird, Ron Chapman, Shanti Charan, Chardonnay, Chinese Ballroom, Saurin Choksi, Faith Choyce, Rob Christensen, Cobranauts, Katie Compa, Conor Delehanty, Dale Radio, JR De Guzman, Tom Devenport, Joey Devine, Don’t Watch This Show Live!, The Don’t We Boys!, Drama 3 / 4 Presents Cue to Cue, Anita Drieseberg, Brett Druck, Efficient Office Practices, Fairy Tale Theatre: 18 & Over, Falcon Powder, Krista Fatka, Ben Feldman, Danny Felts, Devin Field, Ash Fisher, Nate Follen, Brian Frange, Imran G, David Gborie, Samantha Gilweit, Walker Glenn, Good Morning Tonight, Chris Gorbos, Grant Gordon, Joe Gorman, The Great Difficulties, Hayden Greif-Neill, Hand to Mouth, Jane Harrison, Ivan Hernandez, Jesse Hett, Trevor Hill, Barbara Holm, Andrew Holmgren, Kollin Holtz, Mary Houlihan, Ike Night, Christopher John, Sean Jordan, Judith, Jumbo Mumbo, Sara June, Yuri Kagan, Ben Kolina, Erik Krasner, Loren Kraut, Joe Kwaczala, Dash Kwiatkowski, Candy Lawrence, LeMaire Lee, Casey Ley, Matt Lieb, Liss n’ Sams, Living Impaired, Grant Lyon, The Magic Negro and Other Blackness, Jesse McGrath, Jesus U. Bettawork, Andie Main, Sean McKenzie, Andrew Michaan, Allison Mick, Mike Breen, Amy Miller, Mime Com Show, Emmett Montgomery, Natasha Muse, Abhay Nadkarni, Naptime, Neel Nanda, Clay Newman, David Nguyen, Joe Nguyen, Katie Nguyen, Ify Nwadiwe, Lauren O’Brien, John F. O’Donnell, Onassis, Chad Opitz, OSFUG: The Fast Fuckin’ Sketch Show, Outside Dog Gets One Star, Shawn Pearlman, Adam Pearlstein, Dan Perlman, Gabby Poccia, Lydia Popovich, Jules Posner, Stevie Post, Private Street, Puzzles, RoastSF, Rollin’ in Riches, Paco Romane, The Romane Event, John Ross, Ali Safar, Jason Saenz, Nick Sahoyah, Greg Santos, Richard Sarvate, JoAnn Schinderle, Ryan Schutt, Red Scott, Jessica Sele, Anna Seregina, SF Barkast, Aviva Siegel, Scott Simpson, Bucky Sinister, Peggy Sinnott, Land Smith, Squirm and Germ, Ester Steinberg, Stevedore, Mateen Stewart, Brandon Stokes, Straitjacket Society, Streisand and Friends, Sup Doc Podcast, The Tabernacle, Jeremy Talamantes, Talkies, Taste Better Wit, Dave Thomason, Geoff Tice, Joe Tobin, Richard Toomer, Zach Noe Towers, The Trumpet Boys, Irene Tu, Vagina Jones, Emily Van Dyke, Jason Van Glass, Torio Van Grol, Vanessa Gonzalez presents “I Don’t Know Dating,” Cameron Vannini, Vice Principals of Comedy, Virginia’s Harem, We Did A Thing, Jason Webb, Cheryl White, White Women, Steven Wilber, Kate Willett, Austin Wolf-Sothern, The Worst and Ceda Xiong\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "show-me-yours-resurrecting-lenny-bruce-body-percussion-and-more",
"title": "Show Me Yours: Resurrecting Lenny Bruce, Body Percussion and More",
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"headTitle": "Show Me Yours: Resurrecting Lenny Bruce, Body Percussion and More | KQED",
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"content": "\u003cp>These days, San Francisco’s waterfront is bursting with FitBit wearing-joggers and heated patio seating, so it’s easy to forget that it was once one of the country’s foremost centers of delinquency, dirt and desire. Performance was the chief currency of The Barbary Coast, with its dance halls, jazz clubs, variety shows, and brothels. By the time Carol Doda was plying her trade in the neighborhood, its seedy spirit had cleaned up a bit. Yet San Francisco’s legendary go-go gal still managed to make an artform of striptease and keep the city’s shiny-moneyed veneer in much-needed check. \u003ca href=\"http://ww2.kqed.org/news/2015/11/11/legendary-san-francisco-stripper-carol-doda-dies\" target=\"_blank\" rel=\"noopener\">Doda died a few days ago at the age of 78 \u003c/a>— and the outpouring of love from fans and friends serves as a reminder that as fast as the Bay Area changes, it still manages somehow to hold onto its soul.\u003c/p>\n\u003cp>This week, Boxcar Theater announced that it will be re-launching The Speakeasy, right in the heart of Doda’s old stomping grounds. Part gambling den, part dive bar serviced by actors in fedoras and spats, the immersive show (which had a successful five-month run until it closed in June last year) throws audiences into the world of a Prohibition-era saloon. The company broke ground on a new site at 664 Broadway last Friday. When The Speakeasy launches an open-ended run in 2016, it’ll help to conjure that Barbary Coast feeling again.\u003c/p>\n\u003cp>Speaking of artists working hard to help the Bay Area retain its soul, the variety of performing arts events going on this week should disabuse anyone of the idea that the region ever lost it. So strap that FitBit to your wrist and head on out.\u003c/p>\n\u003cfigure id=\"attachment_11086732\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/DSC_4478.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11086732 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-800x437.jpg\" alt=\"Steve Cuiffo as Lenny Bruce\" width=\"800\" height=\"437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-800x437.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-400x219.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-1180x645.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-1920x1049.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-960x524.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Steve Cuiffo as Lenny Bruce \u003ccite>(Photo: )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Thursday, Nov. 19 – Saturday, Nov. 21: \u003cem>\u003ca href=\"http://sfcurran.com/event/steve-cuiffo-is-lenny-bruce/\" target=\"_blank\" rel=\"noopener\">Steve Cuiffo is Lenny Bruce\u003c/a>\u003c/em> at the Curran Theatre, San Francisco. \u003c/strong>Magician Steve Cuiffo’s latest conjuring act involves bringing Lenny Bruce back from the dead. By all accounts, it’s a successful resurrection: Not only does the slight-framed, dark-haired impersonator resemble the legendary bad boy comedian, but his solo show, in town for three days as part of the Curran Theatre’s feisty “Curran: Under Construction” series, has also been widely praised since Cuiffo first performed the piece in New York in 2011. Back then, Cuiffo reproduced Bruce’s famous 1961 appearance at Carnegie Hall in honor of the august venue’s 150th anniversary. Similarly, the San Francisco run celebrates 54 years since Bruce stepped onto the Curran stage to fascinate and terrify audiences with his no-holds-barred diatribes on sex, drugs, and race.\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 21: \u003ca href=\"http://www.internationalbodymusicfestival.com/about.shtml\" target=\"_blank\" rel=\"noopener\">International Body Music MiniFest \u003c/a>at the Freight & Salvage, Berkeley. \u003c/strong>Bay Area artist-educator Keith Terry has invented an unusual approach to teaching kids math: through moving their bootys. He inspires students to clap, slap and dance their way through the largely static business of learning their addition, fractions and multiplication tables. Terry’s “Rhythm of Math” system is part of a one-day jamboree dedicated to the art of body percussion that includes all day public workshops as well as an evening performance. On the roster are a slew of body music aficionados headlined by Molodi, a Las Vegas-based street dance troupe. Practitioners of Mexican zapateado (a form of rhythmic movement akin to tap) and North and South Indian Kathak and Konnakkol dance round out the chest-thumping, foot-stomping program.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Friday, Nov. 20 – Sunday, Nov. 22: \u003ca href=\"http://www.sfhiphopdancefest.com/\" target=\"_blank\" rel=\"noopener\">San Francisco International Hip-Hop DanceFest \u003c/a>at the Palace of Fine Arts, San Francisco. \u003c/strong>For 17 years, the formidable San Francisco International Hip-Hop DanceFest has helped to put and keep the Bay Area front and center when it comes to street dance in all its many forms. The main reason for this is the longstanding quality and geographic diversity of the offerings, which in 2015 include some of the best groups from countries as far-flung as Japan, Holland, and the UK, as well as troupes from points closer to home like Philly, Memphis, and L.A. Yet it’s the local offerings that so often get people krunking all the way to the Palace of Fine Arts, and this year’s event is no exception. The lineup includes Oakland-based Spulu’s devastating Black vs. Blue, which examines police violence and pays homage to Trayvon Martin, Oscar Grant, Mike Brown, Alex Nieto and Eric Garner in a nod to the Black Lives Matter movement. It also features Medea Sirkas, a company founded in 1991 in San Francisco’s Fillmore District and have brought their Bay Area hip-hop sensibility to collaborations with the likes of Usher and Justin Bieber.\u003c/p>\n\u003cfigure id=\"attachment_11086745\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11086745\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298-800x552.jpg\" alt=\"A scene from 'The Marriage of Figaro' at Opera San Jose\" width=\"800\" height=\"552\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298-400x276.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298-960x662.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from ‘The Marriage of Figaro’ at Opera San Jose \u003ccite>(Photo: Pat Kirk/Opera San Jose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sunday, No. 29: \u003ca href=\"http://www.operasj.org/tickets/2015-2016-season/the-marriage-of-figaro/\" target=\"_blank\" rel=\"noopener\">Opera San Jose presents \u003cem>The Marriage of Figaro\u003c/em>\u003c/a> at The California Theatre, San Jose. \u003c/strong>Mozart’s comic opera has become one of the greatest hits of the genre since it first appeared in Vienna in 1786. The opera tells the coquettish tale of the outmaneuvering of a faithless count by his wily servants and long-suffering wife. The work is packed with show-stopping tunes and good humor, so it’s no wonder that it consistently reigns near the top of the list of the world’s most performed operas. Opera San Jose assembles a lively, talented cast for its production at The California Theatre, including Amina Edris (of the San Francisco Opera’s prestigious Merola opera program) in the role of Susanna and up-and-coming bass-baritone Ben Wager as everyone’s favorite hair stylist, Figaro.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Thursday, Nov. 19 – Sunday, Dec. 13: \u003ca href=\"http://www.cavalia.net/en/odysseo#FQbHQ6LfAK1OGXRt.97\" target=\"_blank\" rel=\"noopener\">Cavalia presents \u003cem>Odysseo\u003c/em>\u003c/a> in the big top at AT&T Park, San Francisco. \u003c/strong>I wasn’t expecting to fall for an equestrian circus when I caught Odysseo last year in Denver at the behest of a horse-loving friend. But the sheer scale and spectacle of the thing, with its glossy steeds galloping — they were practically dancing, really — across a stage that morphed with seamless technicolor shimmer from one staggeringly beautiful setting to the next, converted me if only for one evening from a neigh-sayer to the oddball art form’s most passionate fan. The show’s pristinely executed combination of horsemanship and theater is no great shakes on the storytelling front. But that hardly matters when your mind’s reeling at the sight of 65 horses, a three-story mountain and an 80,000-gallon lake.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>These days, San Francisco’s waterfront is bursting with FitBit wearing-joggers and heated patio seating, so it’s easy to forget that it was once one of the country’s foremost centers of delinquency, dirt and desire. Performance was the chief currency of The Barbary Coast, with its dance halls, jazz clubs, variety shows, and brothels. By the time Carol Doda was plying her trade in the neighborhood, its seedy spirit had cleaned up a bit. Yet San Francisco’s legendary go-go gal still managed to make an artform of striptease and keep the city’s shiny-moneyed veneer in much-needed check. \u003ca href=\"http://ww2.kqed.org/news/2015/11/11/legendary-san-francisco-stripper-carol-doda-dies\" target=\"_blank\" rel=\"noopener\">Doda died a few days ago at the age of 78 \u003c/a>— and the outpouring of love from fans and friends serves as a reminder that as fast as the Bay Area changes, it still manages somehow to hold onto its soul.\u003c/p>\n\u003cp>This week, Boxcar Theater announced that it will be re-launching The Speakeasy, right in the heart of Doda’s old stomping grounds. Part gambling den, part dive bar serviced by actors in fedoras and spats, the immersive show (which had a successful five-month run until it closed in June last year) throws audiences into the world of a Prohibition-era saloon. The company broke ground on a new site at 664 Broadway last Friday. When The Speakeasy launches an open-ended run in 2016, it’ll help to conjure that Barbary Coast feeling again.\u003c/p>\n\u003cp>Speaking of artists working hard to help the Bay Area retain its soul, the variety of performing arts events going on this week should disabuse anyone of the idea that the region ever lost it. So strap that FitBit to your wrist and head on out.\u003c/p>\n\u003cfigure id=\"attachment_11086732\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/DSC_4478.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11086732 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-800x437.jpg\" alt=\"Steve Cuiffo as Lenny Bruce\" width=\"800\" height=\"437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-800x437.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-400x219.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-1180x645.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-1920x1049.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/DSC_4478-e1447699145226-960x524.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Steve Cuiffo as Lenny Bruce \u003ccite>(Photo: )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Thursday, Nov. 19 – Saturday, Nov. 21: \u003cem>\u003ca href=\"http://sfcurran.com/event/steve-cuiffo-is-lenny-bruce/\" target=\"_blank\" rel=\"noopener\">Steve Cuiffo is Lenny Bruce\u003c/a>\u003c/em> at the Curran Theatre, San Francisco. \u003c/strong>Magician Steve Cuiffo’s latest conjuring act involves bringing Lenny Bruce back from the dead. By all accounts, it’s a successful resurrection: Not only does the slight-framed, dark-haired impersonator resemble the legendary bad boy comedian, but his solo show, in town for three days as part of the Curran Theatre’s feisty “Curran: Under Construction” series, has also been widely praised since Cuiffo first performed the piece in New York in 2011. Back then, Cuiffo reproduced Bruce’s famous 1961 appearance at Carnegie Hall in honor of the august venue’s 150th anniversary. Similarly, the San Francisco run celebrates 54 years since Bruce stepped onto the Curran stage to fascinate and terrify audiences with his no-holds-barred diatribes on sex, drugs, and race.\u003c/p>\n\u003cp>\u003cstrong>Saturday, Nov. 21: \u003ca href=\"http://www.internationalbodymusicfestival.com/about.shtml\" target=\"_blank\" rel=\"noopener\">International Body Music MiniFest \u003c/a>at the Freight & Salvage, Berkeley. \u003c/strong>Bay Area artist-educator Keith Terry has invented an unusual approach to teaching kids math: through moving their bootys. He inspires students to clap, slap and dance their way through the largely static business of learning their addition, fractions and multiplication tables. Terry’s “Rhythm of Math” system is part of a one-day jamboree dedicated to the art of body percussion that includes all day public workshops as well as an evening performance. On the roster are a slew of body music aficionados headlined by Molodi, a Las Vegas-based street dance troupe. Practitioners of Mexican zapateado (a form of rhythmic movement akin to tap) and North and South Indian Kathak and Konnakkol dance round out the chest-thumping, foot-stomping program.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Friday, Nov. 20 – Sunday, Nov. 22: \u003ca href=\"http://www.sfhiphopdancefest.com/\" target=\"_blank\" rel=\"noopener\">San Francisco International Hip-Hop DanceFest \u003c/a>at the Palace of Fine Arts, San Francisco. \u003c/strong>For 17 years, the formidable San Francisco International Hip-Hop DanceFest has helped to put and keep the Bay Area front and center when it comes to street dance in all its many forms. The main reason for this is the longstanding quality and geographic diversity of the offerings, which in 2015 include some of the best groups from countries as far-flung as Japan, Holland, and the UK, as well as troupes from points closer to home like Philly, Memphis, and L.A. Yet it’s the local offerings that so often get people krunking all the way to the Palace of Fine Arts, and this year’s event is no exception. The lineup includes Oakland-based Spulu’s devastating Black vs. Blue, which examines police violence and pays homage to Trayvon Martin, Oscar Grant, Mike Brown, Alex Nieto and Eric Garner in a nod to the Black Lives Matter movement. It also features Medea Sirkas, a company founded in 1991 in San Francisco’s Fillmore District and have brought their Bay Area hip-hop sensibility to collaborations with the likes of Usher and Justin Bieber.\u003c/p>\n\u003cfigure id=\"attachment_11086745\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11086745\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298-800x552.jpg\" alt=\"A scene from 'The Marriage of Figaro' at Opera San Jose\" width=\"800\" height=\"552\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298-400x276.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298-960x662.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Figaro9A-e1447700950298.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A scene from ‘The Marriage of Figaro’ at Opera San Jose \u003ccite>(Photo: Pat Kirk/Opera San Jose)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sunday, No. 29: \u003ca href=\"http://www.operasj.org/tickets/2015-2016-season/the-marriage-of-figaro/\" target=\"_blank\" rel=\"noopener\">Opera San Jose presents \u003cem>The Marriage of Figaro\u003c/em>\u003c/a> at The California Theatre, San Jose. \u003c/strong>Mozart’s comic opera has become one of the greatest hits of the genre since it first appeared in Vienna in 1786. The opera tells the coquettish tale of the outmaneuvering of a faithless count by his wily servants and long-suffering wife. The work is packed with show-stopping tunes and good humor, so it’s no wonder that it consistently reigns near the top of the list of the world’s most performed operas. Opera San Jose assembles a lively, talented cast for its production at The California Theatre, including Amina Edris (of the San Francisco Opera’s prestigious Merola opera program) in the role of Susanna and up-and-coming bass-baritone Ben Wager as everyone’s favorite hair stylist, Figaro.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Nov. 19 – Sunday, Dec. 13: \u003ca href=\"http://www.cavalia.net/en/odysseo#FQbHQ6LfAK1OGXRt.97\" target=\"_blank\" rel=\"noopener\">Cavalia presents \u003cem>Odysseo\u003c/em>\u003c/a> in the big top at AT&T Park, San Francisco. \u003c/strong>I wasn’t expecting to fall for an equestrian circus when I caught Odysseo last year in Denver at the behest of a horse-loving friend. But the sheer scale and spectacle of the thing, with its glossy steeds galloping — they were practically dancing, really — across a stage that morphed with seamless technicolor shimmer from one staggeringly beautiful setting to the next, converted me if only for one evening from a neigh-sayer to the oddball art form’s most passionate fan. The show’s pristinely executed combination of horsemanship and theater is no great shakes on the storytelling front. But that hardly matters when your mind’s reeling at the sight of 65 horses, a three-story mountain and an 80,000-gallon lake.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Hours after launching a Kickstarter campaign to revive a TV show that made it fun to watch horrible movies, \u003cem>Mystery Science Theater 3000\u003c/em> creator Joel Hodgson has raised more than $500,000 — a quarter of his $2 million goal.\u003c/p>\n\u003cp>If the fundraising campaign is successful, the \u003cem>Mystery Science Theater\u003c/em> team could start a new run of up to 12 feature-length episodes next July, depending on the amount of donations over the next month.\u003c/p>\n\u003cp>From \u003ca href=\"https://www.kickstarter.com/projects/mst3k/bringbackmst3k\" target=\"_blank\" rel=\"noopener\">Hodgson’s Kickstarter pitch\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Our show has had a long, strange run. Across a UHF channel, a cable network, cancellation, a feature film, then another cable network, the show lasted for 12 years, two generations of hosts and puppeteers, 2 Emmy nominations and a total of 197 episodes before we got canceled again ‘for good’ in 1999. Sadly, it was just as Prince predicted.\u003c/p>\n\u003cp>“But maybe that’s not where it all ends.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Known as MST3K, Hodgson’s show was famous for riffing on anything that happened on screen, from an unusual name in a film’s credits to clunky dialogue or unlikely filmmaking choices.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nrlMibryPLY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Citing the rise of riffing among TV viewers, Hodgson says, “sometimes it feels good to just sit back and watch the original movie riffing team take a whack at it.”\u003c/p>\n\u003cp>The push for a new season comes two years after the folks behind \u003cem>Mystery Science Theater 3000\u003c/em> released a 25th-anniversary DVD set.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On that occasion, here’s how \u003ca href=\"http://www.npr.org/sections/monkeysee/2013/11/27/247520996/about-mystery-science-theater-a-bold-declaration-its-bold\" target=\"_blank\" rel=\"noopener\">NPR’s Monkey See blog\u003c/a> explained the show’s premise:\u003c/p>\n\u003cblockquote>\n\u003cp>“\u003cem>Mystery Science Theater 3000\u003c/em> was early performative badmouthing of old movies, long before we had Twitter to make fun of \u003cem>Scandal.\u003c/em> The gimmick was that Joel had been shot into space with nothing but old movies to entertain him, so he built wisecracking robots out of spare parts and they all watched and mocked movies together. (It’s not as sophisticated as it sounds.)”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Mystery+Science+Theater+3000%27+Creator+Raises+%24500K+Toward+New+Season&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hours after launching a Kickstarter campaign to revive a TV show that made it fun to watch horrible movies, \u003cem>Mystery Science Theater 3000\u003c/em> creator Joel Hodgson has raised more than $500,000 — a quarter of his $2 million goal.\u003c/p>\n\u003cp>If the fundraising campaign is successful, the \u003cem>Mystery Science Theater\u003c/em> team could start a new run of up to 12 feature-length episodes next July, depending on the amount of donations over the next month.\u003c/p>\n\u003cp>From \u003ca href=\"https://www.kickstarter.com/projects/mst3k/bringbackmst3k\" target=\"_blank\" rel=\"noopener\">Hodgson’s Kickstarter pitch\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Our show has had a long, strange run. Across a UHF channel, a cable network, cancellation, a feature film, then another cable network, the show lasted for 12 years, two generations of hosts and puppeteers, 2 Emmy nominations and a total of 197 episodes before we got canceled again ‘for good’ in 1999. Sadly, it was just as Prince predicted.\u003c/p>\n\u003cp>“But maybe that’s not where it all ends.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Known as MST3K, Hodgson’s show was famous for riffing on anything that happened on screen, from an unusual name in a film’s credits to clunky dialogue or unlikely filmmaking choices.\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/nrlMibryPLY'\n title='//www.youtube.com/embed/nrlMibryPLY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Citing the rise of riffing among TV viewers, Hodgson says, “sometimes it feels good to just sit back and watch the original movie riffing team take a whack at it.”\u003c/p>\n\u003cp>The push for a new season comes two years after the folks behind \u003cem>Mystery Science Theater 3000\u003c/em> released a 25th-anniversary DVD set.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On that occasion, here’s how \u003ca href=\"http://www.npr.org/sections/monkeysee/2013/11/27/247520996/about-mystery-science-theater-a-bold-declaration-its-bold\" target=\"_blank\" rel=\"noopener\">NPR’s Monkey See blog\u003c/a> explained the show’s premise:\u003c/p>\n\u003cblockquote>\n\u003cp>“\u003cem>Mystery Science Theater 3000\u003c/em> was early performative badmouthing of old movies, long before we had Twitter to make fun of \u003cem>Scandal.\u003c/em> The gimmick was that Joel had been shot into space with nothing but old movies to entertain him, so he built wisecracking robots out of spare parts and they all watched and mocked movies together. (It’s not as sophisticated as it sounds.)”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Mystery+Science+Theater+3000%27+Creator+Raises+%24500K+Toward+New+Season&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "sanjay-and-craig-co-creator-found-success-by-keeping-art-fun",
"title": "'Sanjay and Craig' Co-Creator Jay Howell on Zines, 'Bob's Burgers' and Being Too Gross For Nickelodeon",
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"headTitle": "‘Sanjay and Craig’ Co-Creator Jay Howell on Zines, ‘Bob’s Burgers’ and Being Too Gross For Nickelodeon | KQED",
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"content": "\u003cp>Babes, blood, and boners — it reads like the “B” section in a book of teenage boys’ favorite things. But for cartoonist Jason “Jay” Howell, they’re artistic muses, and thanks to their inspiration over the past two decades, he’s now a successful animator whose work is seen by millions every day on the popular Nickelodeon series \u003cem>Sanjay and Craig, \u003c/em>currently in its third season.\u003c/p>\n\u003cp>Howell, 40, says he always wanted to be an artist. But when he started drawing as a kid, technique was not a priority: he had a lot of ideas, and he just needed to draw them fast. He cranked out dozens of zines and short films as a young adult, always laughing at what he made — be they naughty pen-and-ink drawings or in-depth comics about a Black Metal singer getting lost at sea.\u003c/p>\n\u003cfigure id=\"attachment_11067675\" class=\"wp-caption alignright\" style=\"max-width: 526px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Jay-in-flesh.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11067675\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Jay-in-flesh-526x600.jpg\" alt=\"Jason 'Jay' Howell and beloved companion.\" width=\"526\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Jay-in-flesh-526x600.jpg 526w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Jay-in-flesh-400x457.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Jay-in-flesh.jpg 960w\" sizes=\"(max-width: 526px) 100vw, 526px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jason ‘Jay’ Howell and beloved companion. \u003ccite>(Photo: Jay Howell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those manic bursts of immaturity put to paper would garner him one very important fan in Loren Bouchard, the creator of successful cartoons for adults such as \u003ci>Home Movies\u003c/i> and \u003ci>Dr. Katz.\u003c/i> Bouchard hired Howell to design the characters for what would become a hit series on the Fox Network, \u003ci>Bob’s Burgers.\u003c/i> Not long after, Nickelodeon executives approached Howell and his creative partner Jim Dirschberger and asked them to pitch a children’s cartoon to the network. The result, \u003cem>Sanjay and Craig, \u003c/em>follows a 12-year-old boy and his anthropomorphic pet snake; the show has received overwhelmingly positive reviews since its premiere in 2013.\u003c/p>\n\u003cp>But Howell hasn’t forgotten his first loves. Recently, many of the zines he published were collected and released in anthology by Last Gasp publications called \u003ci>Punks Git Cut \u003c/i>(a name he often used for his self-published creations). Howell, a one-time San Franciscan, makes a victory lap through his old home on Thursday, Nov. 12, when he appears at a book signing party at 111 Minna Gallery.\u003c/p>\n\u003cp>Between reminiscing about punk bands of yore, we asked Howell (now a Los Angeles resident) a few questions about his path from zines to cable TV.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>How did your style of drawing come about?\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_11067674\" class=\"wp-caption alignright\" style=\"max-width: 748px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/here-are-my-dogs158shrunk.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11067674\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/here-are-my-dogs158shrunk.jpg\" alt='\"Here are my dogs\" by Jay Howell' width=\"748\" height=\"595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/here-are-my-dogs158shrunk.jpg 748w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/here-are-my-dogs158shrunk-400x318.jpg 400w\" sizes=\"(max-width: 748px) 100vw, 748px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Here are my Dogs’ by Jay Howell. \u003ccite>(Courtesy: the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I was afraid for a long time when I was younger that I wasn’t a good enough artist. But I always wanted to do little comics and draw little funny things, and when I got older and out of school I realized you don’t have to be the best technical artist; you can just have good ideas. At the time, there were a lot of skaters and zine-makers that I got turned on to, and though their art might not have been the best, they were telling cool stories and putting themselves out there. It made me realize that I could go on and show my stuff. I could have my own unique voice.\u003c/p>\n\u003cp>I found a \u003ca href=\"http://www.davidshrigley.com/\" target=\"_blank\" rel=\"noopener\">David Shirgley \u003c/a> book at the Museum of Modern Art when I was younger and I realized I was doing what he was doing, but way worse. But he was in the Museum of Modern art and he made these crude drawings that were really funny.\u003c/p>\n\u003cp>\u003cb>What were the zines that influenced you?\u003c/b>\u003c/p>\n\u003cp>I really liked \u003ci>Cometbus\u003c/i>, which was made by a guy named Aaron Cometbus, who was from the Bay Area. He was putting out professional-style books years ago and I thought, “If this punk kid could do this…”\u003c/p>\n\u003cp>There was also a woman from New Hampshire named Lisa “Suckdog” and she put out a zine called \u003ci>Rollerderby\u003c/i> that was really influential on me. She was just nasty and funny and did whatever the hell she wanted.\u003c/p>\n\u003cp>\u003cb>What is so inspiring about \u003ca href=\"https://www.google.com/search?q=jay+howell+harlequin+books&tbm=isch&tbo=u&source=univ&sa=X&ved=0CCAQsARqFQoTCI621_i0hMkCFRPuYwodP2QMKQ&biw=1056&bih=669\" target=\"_blank\" rel=\"noopener\">Harlequin Books\u003c/a>?\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_11067974\" class=\"wp-caption alignright\" style=\"max-width: 611px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Savage-Sanctuary-shrunk.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11067974\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Savage-Sanctuary-shrunk.jpg\" alt=\"'Savage Sanctuary' by JAy Howell\" width=\"611\" height=\"994\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Savage-Sanctuary-shrunk.jpg 611w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Savage-Sanctuary-shrunk-400x651.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Savage-Sanctuary-shrunk-369x600.jpg 369w\" sizes=\"(max-width: 611px) 100vw, 611px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Savage Sanctuary’ by Jay Howell.\u003c/figcaption>\u003c/figure>\n\u003cp>Essentially once I draw on a page, I can pretend I was a part of finishing something bigger. Of course I know it’s not true, but I like that feeling of adding to something that been completed.\u003c/p>\n\u003cp>But with Harlequin books, it’s the titles; those titles are ridiculous. I probably have 1,600 over those things — you can buy 300 at a time for like $30 on eBay. But the titles are so funny, it’s like they speak to me. And there are so many of them. I never read any, but right away I thought they were beautiful. After I started adding to them, I wanted to do a lot more. I’ve done hundreds of those.\u003c/p>\n\u003cp>But the paper is really fragile, so I’ve had to add a clear coat first so it could be painted on and still hold together. I’ve had to buy multiples of every book. I’d search them out — if I found a good title and I f*cked it up, I tried to find three more of the same one, just so I’d have it. But those titles would never not be funny.\u003c/p>\n\u003cp>\u003cb>You met Loren Bouchard while you were working at Atlas Cafe in San Francisco. How did that happen?\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_11067873\" class=\"wp-caption alignright\" style=\"max-width: 436px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/LINDA_DEMO_NEW_01shrunk.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11067873\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/LINDA_DEMO_NEW_01shrunk-436x600.jpg\" alt=\"Early drawings of Linda from 'Bob's Burgers'\" width=\"436\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LINDA_DEMO_NEW_01shrunk-436x600.jpg 436w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LINDA_DEMO_NEW_01shrunk-400x550.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LINDA_DEMO_NEW_01shrunk.jpg 576w\" sizes=\"(max-width: 436px) 100vw, 436px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Early drawings of Linda from ‘Bob’s Burgers.’ \u003ccite>(Courtesy: the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He had a studio just around the corner, and he’d come in every morning and order coffee. And someone said, “Hey, that’s the guy that did \u003ci>Home Movies\u003c/i>,” and I was like, “Those shows rule and I have to meet that guy.” Someone introduced me and it was very casual, and he became one of my regulars. He’d come in and I’d show him my new zine or whatever, and he was always excited and would talk to me about art because he’s such a cool dude.\u003c/p>\n\u003cp>Then he started coming to my art shows and watching animations, and then one day he asked if I wanted to come work on something, because he had an idea for a family restaurant show. It just spiraled from that moment on into a life in cartoons.\u003c/p>\n\u003cp>\u003cb>How did the show \u003ci>Sanjay and Craig\u003c/i> come together?\u003c/b>\u003c/p>\n\u003cp>My partner since 2006, Jim Dirschberger, and I were really into G.G Allin and punk sh*t, biker gangs, horror movies and stuff like that. We really like the f*cked up stuff in life.\u003c/p>\n\u003cfigure id=\"attachment_11067670\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/rose-wolf259Crop.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11067670\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/rose-wolf259Crop.jpg\" alt='\"Rosewolf\" by Jay Howell' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/rose-wolf259Crop.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/rose-wolf259Crop-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Rosewolf’ by Jay Howell. \u003ccite>(Courtesy: the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then Nickelodeon contacted us, telling us that they really liked our work and asking if we ever wanted to pitch a kids’ show. At first we said, “No!” [Laughs] It was like they were handing us our dream job but we’d have to do it in a way we’d never tried before.\u003c/p>\n\u003cp>But I’m an opportunist and I like to challenge myself. They gave me this opportunity to do something and it seemed fun so we went with it and it really worked out.\u003c/p>\n\u003cp>\u003cb>You love dogs. Why a snake for the main character and not a dog?\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_11067972\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/23-Leave-us-aloneSHRUNK.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11067972\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/23-Leave-us-aloneSHRUNK.jpg\" alt=\"'Leave Us Alone' by Jay Howell\" width=\"450\" height=\"695\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/23-Leave-us-aloneSHRUNK.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/23-Leave-us-aloneSHRUNK-400x618.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/23-Leave-us-aloneSHRUNK-388x600.jpg 388w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Leave Us Alone’ by Jay Howell.\u003c/figcaption>\u003c/figure>\n\u003cp>The idea came from a zine I wrote called \u003ci>Sanjay and Craig\u003c/i> about a snake charmer and a snake in India who f*ck around and date girls and get drunk together. It was this funny little buddy story and I probably made a couple hundred copies of this zine.\u003c/p>\n\u003cp>When we were thinking of ideas of what the TV show could be and I said, “What about this show, but with a boy and a snake instead of a man and a snake?” It was the only idea we really had for a kids’ show.\u003c/p>\n\u003cp>\u003cb>That zine isn’t in your anthology, is it?\u003c/b>\u003c/p>\n\u003cp>Nah, it’s not. I think I forgot. [Laughs]\u003c/p>\n\u003cp>\u003cb>Have you run into any resistance with the network over your ideas? I mean, one of the first episodes of \u003ci>Sanjay and Craig\u003c/i> is about \u003ca href=\"http://www.sfgate.com/tv/article/Sanjay-and-Craig-review-Hysssterical-4536182.php\" target=\"_blank\" rel=\"noopener\">a butt transplant\u003c/a>.\u003c/b>\u003c/p>\n\u003cp>I was just talking about that with Chris Hardwick and Maulik Pancholy (the voices of “Craig” and “Sanjay”). They were telling me that I had done some “f*cked up stuff” on the show and we were like, “Yeah, we have!” [Laughs]\u003c/p>\n\u003cp>We’ve gotten in trouble before. They’ve told us that we were being too gross and needed to pull back a little bit. But Nickelodeon has been really easy to work with. They know we’re this wild show, and people like it like that, so we haven’t had many problems. Maybe at first, when we were trying to find the voice of the show, we had arguments with the network. But other than that it’s been easy sailing.\u003c/p>\n\u003cp>I think Nickelodeon has had a lot of success with shows like \u003ci>Ren and Stimpy\u003c/i>, \u003cem>[The Adventures of] Pete and Pete\u003c/em> and other off-the-cuff kind of alternative things. I think our show was Nickelodeon seeing if that kind of thing could work again. They were like, “Let’s make something that people will pay attention to right away, so you can go for it.” So we thought “butt transplants, that’s hilarious.” (“Brett Venom M.D.,” about “the world’s first butt transplant,” was the first episode of \u003ci>Sanjay and Craig\u003c/i>.)\u003c/p>\n\u003cp>\u003cb>Do you see yourself ever doing more of an adult-themed, Adult Swim-style cartoon?\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_11067973\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Gucci-Blooms-3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11067973\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Gucci-Blooms-3.jpg\" alt='\"Gucci Blooms\" by Jay Howell' width=\"720\" height=\"864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Gucci-Blooms-3.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Gucci-Blooms-3-400x480.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Gucci-Blooms-3-500x600.jpg 500w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Gucci Blooms” by Jay Howell\u003c/figcaption>\u003c/figure>\n\u003cp>I can only allude to this, but my partner and I have another deal with another network, and it’s going to be an adult cartoon. It’s going to be punk as f*ck. It’s going to be \u003ci>South Park\u003c/i> bad. We attached an insane Hollywood actor to the project and it’s going to be bananas.\u003c/p>\n\u003cp>\u003cb>Did you ever think when you started drawing zines that it would turn into a career?\u003c/b>\u003c/p>\n\u003cp>I really rolled the dice with my life. I’m 40 now and when I was 18, I was committed to being an artist but I didn’t have any clue how it was going to work, at all. I’m kind of a clueless dude. I knew my art was narrative and I liked drawing cartoons, but I never thought I’d get to this point.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>\u003cb>Punks Git Cut\u003c/b> Book Release Party at 111 Minna Gallery in San Francisco is on Thursday, Nov. 12 at 6pm. Go to the \u003ca href=\"https://www.facebook.com/events/1504795093168830/\" target=\"_blank\" rel=\"noopener\">event page on Facebook\u003c/a> for more information.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Babes, blood, and boners — it reads like the “B” section in a book of teenage boys’ favorite things. But for cartoonist Jason “Jay” Howell, they’re artistic muses, and thanks to their inspiration over the past two decades, he’s now a successful animator whose work is seen by millions every day on the popular Nickelodeon series \u003cem>Sanjay and Craig, \u003c/em>currently in its third season.\u003c/p>\n\u003cp>Howell, 40, says he always wanted to be an artist. But when he started drawing as a kid, technique was not a priority: he had a lot of ideas, and he just needed to draw them fast. He cranked out dozens of zines and short films as a young adult, always laughing at what he made — be they naughty pen-and-ink drawings or in-depth comics about a Black Metal singer getting lost at sea.\u003c/p>\n\u003cfigure id=\"attachment_11067675\" class=\"wp-caption alignright\" style=\"max-width: 526px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Jay-in-flesh.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11067675\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Jay-in-flesh-526x600.jpg\" alt=\"Jason 'Jay' Howell and beloved companion.\" width=\"526\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Jay-in-flesh-526x600.jpg 526w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Jay-in-flesh-400x457.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Jay-in-flesh.jpg 960w\" sizes=\"(max-width: 526px) 100vw, 526px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jason ‘Jay’ Howell and beloved companion. \u003ccite>(Photo: Jay Howell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those manic bursts of immaturity put to paper would garner him one very important fan in Loren Bouchard, the creator of successful cartoons for adults such as \u003ci>Home Movies\u003c/i> and \u003ci>Dr. Katz.\u003c/i> Bouchard hired Howell to design the characters for what would become a hit series on the Fox Network, \u003ci>Bob’s Burgers.\u003c/i> Not long after, Nickelodeon executives approached Howell and his creative partner Jim Dirschberger and asked them to pitch a children’s cartoon to the network. The result, \u003cem>Sanjay and Craig, \u003c/em>follows a 12-year-old boy and his anthropomorphic pet snake; the show has received overwhelmingly positive reviews since its premiere in 2013.\u003c/p>\n\u003cp>But Howell hasn’t forgotten his first loves. Recently, many of the zines he published were collected and released in anthology by Last Gasp publications called \u003ci>Punks Git Cut \u003c/i>(a name he often used for his self-published creations). Howell, a one-time San Franciscan, makes a victory lap through his old home on Thursday, Nov. 12, when he appears at a book signing party at 111 Minna Gallery.\u003c/p>\n\u003cp>Between reminiscing about punk bands of yore, we asked Howell (now a Los Angeles resident) a few questions about his path from zines to cable TV.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>How did your style of drawing come about?\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_11067674\" class=\"wp-caption alignright\" style=\"max-width: 748px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/here-are-my-dogs158shrunk.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11067674\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/here-are-my-dogs158shrunk.jpg\" alt='\"Here are my dogs\" by Jay Howell' width=\"748\" height=\"595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/here-are-my-dogs158shrunk.jpg 748w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/here-are-my-dogs158shrunk-400x318.jpg 400w\" sizes=\"(max-width: 748px) 100vw, 748px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Here are my Dogs’ by Jay Howell. \u003ccite>(Courtesy: the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I was afraid for a long time when I was younger that I wasn’t a good enough artist. But I always wanted to do little comics and draw little funny things, and when I got older and out of school I realized you don’t have to be the best technical artist; you can just have good ideas. At the time, there were a lot of skaters and zine-makers that I got turned on to, and though their art might not have been the best, they were telling cool stories and putting themselves out there. It made me realize that I could go on and show my stuff. I could have my own unique voice.\u003c/p>\n\u003cp>I found a \u003ca href=\"http://www.davidshrigley.com/\" target=\"_blank\" rel=\"noopener\">David Shirgley \u003c/a> book at the Museum of Modern Art when I was younger and I realized I was doing what he was doing, but way worse. But he was in the Museum of Modern art and he made these crude drawings that were really funny.\u003c/p>\n\u003cp>\u003cb>What were the zines that influenced you?\u003c/b>\u003c/p>\n\u003cp>I really liked \u003ci>Cometbus\u003c/i>, which was made by a guy named Aaron Cometbus, who was from the Bay Area. He was putting out professional-style books years ago and I thought, “If this punk kid could do this…”\u003c/p>\n\u003cp>There was also a woman from New Hampshire named Lisa “Suckdog” and she put out a zine called \u003ci>Rollerderby\u003c/i> that was really influential on me. She was just nasty and funny and did whatever the hell she wanted.\u003c/p>\n\u003cp>\u003cb>What is so inspiring about \u003ca href=\"https://www.google.com/search?q=jay+howell+harlequin+books&tbm=isch&tbo=u&source=univ&sa=X&ved=0CCAQsARqFQoTCI621_i0hMkCFRPuYwodP2QMKQ&biw=1056&bih=669\" target=\"_blank\" rel=\"noopener\">Harlequin Books\u003c/a>?\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_11067974\" class=\"wp-caption alignright\" style=\"max-width: 611px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Savage-Sanctuary-shrunk.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11067974\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Savage-Sanctuary-shrunk.jpg\" alt=\"'Savage Sanctuary' by JAy Howell\" width=\"611\" height=\"994\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Savage-Sanctuary-shrunk.jpg 611w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Savage-Sanctuary-shrunk-400x651.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Savage-Sanctuary-shrunk-369x600.jpg 369w\" sizes=\"(max-width: 611px) 100vw, 611px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Savage Sanctuary’ by Jay Howell.\u003c/figcaption>\u003c/figure>\n\u003cp>Essentially once I draw on a page, I can pretend I was a part of finishing something bigger. Of course I know it’s not true, but I like that feeling of adding to something that been completed.\u003c/p>\n\u003cp>But with Harlequin books, it’s the titles; those titles are ridiculous. I probably have 1,600 over those things — you can buy 300 at a time for like $30 on eBay. But the titles are so funny, it’s like they speak to me. And there are so many of them. I never read any, but right away I thought they were beautiful. After I started adding to them, I wanted to do a lot more. I’ve done hundreds of those.\u003c/p>\n\u003cp>But the paper is really fragile, so I’ve had to add a clear coat first so it could be painted on and still hold together. I’ve had to buy multiples of every book. I’d search them out — if I found a good title and I f*cked it up, I tried to find three more of the same one, just so I’d have it. But those titles would never not be funny.\u003c/p>\n\u003cp>\u003cb>You met Loren Bouchard while you were working at Atlas Cafe in San Francisco. How did that happen?\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_11067873\" class=\"wp-caption alignright\" style=\"max-width: 436px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/LINDA_DEMO_NEW_01shrunk.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11067873\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/LINDA_DEMO_NEW_01shrunk-436x600.jpg\" alt=\"Early drawings of Linda from 'Bob's Burgers'\" width=\"436\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LINDA_DEMO_NEW_01shrunk-436x600.jpg 436w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LINDA_DEMO_NEW_01shrunk-400x550.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/LINDA_DEMO_NEW_01shrunk.jpg 576w\" sizes=\"(max-width: 436px) 100vw, 436px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Early drawings of Linda from ‘Bob’s Burgers.’ \u003ccite>(Courtesy: the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He had a studio just around the corner, and he’d come in every morning and order coffee. And someone said, “Hey, that’s the guy that did \u003ci>Home Movies\u003c/i>,” and I was like, “Those shows rule and I have to meet that guy.” Someone introduced me and it was very casual, and he became one of my regulars. He’d come in and I’d show him my new zine or whatever, and he was always excited and would talk to me about art because he’s such a cool dude.\u003c/p>\n\u003cp>Then he started coming to my art shows and watching animations, and then one day he asked if I wanted to come work on something, because he had an idea for a family restaurant show. It just spiraled from that moment on into a life in cartoons.\u003c/p>\n\u003cp>\u003cb>How did the show \u003ci>Sanjay and Craig\u003c/i> come together?\u003c/b>\u003c/p>\n\u003cp>My partner since 2006, Jim Dirschberger, and I were really into G.G Allin and punk sh*t, biker gangs, horror movies and stuff like that. We really like the f*cked up stuff in life.\u003c/p>\n\u003cfigure id=\"attachment_11067670\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/rose-wolf259Crop.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11067670\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/rose-wolf259Crop.jpg\" alt='\"Rosewolf\" by Jay Howell' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/rose-wolf259Crop.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/rose-wolf259Crop-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Rosewolf’ by Jay Howell. \u003ccite>(Courtesy: the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then Nickelodeon contacted us, telling us that they really liked our work and asking if we ever wanted to pitch a kids’ show. At first we said, “No!” [Laughs] It was like they were handing us our dream job but we’d have to do it in a way we’d never tried before.\u003c/p>\n\u003cp>But I’m an opportunist and I like to challenge myself. They gave me this opportunity to do something and it seemed fun so we went with it and it really worked out.\u003c/p>\n\u003cp>\u003cb>You love dogs. Why a snake for the main character and not a dog?\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_11067972\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/23-Leave-us-aloneSHRUNK.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11067972\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/23-Leave-us-aloneSHRUNK.jpg\" alt=\"'Leave Us Alone' by Jay Howell\" width=\"450\" height=\"695\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/23-Leave-us-aloneSHRUNK.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/23-Leave-us-aloneSHRUNK-400x618.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/23-Leave-us-aloneSHRUNK-388x600.jpg 388w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Leave Us Alone’ by Jay Howell.\u003c/figcaption>\u003c/figure>\n\u003cp>The idea came from a zine I wrote called \u003ci>Sanjay and Craig\u003c/i> about a snake charmer and a snake in India who f*ck around and date girls and get drunk together. It was this funny little buddy story and I probably made a couple hundred copies of this zine.\u003c/p>\n\u003cp>When we were thinking of ideas of what the TV show could be and I said, “What about this show, but with a boy and a snake instead of a man and a snake?” It was the only idea we really had for a kids’ show.\u003c/p>\n\u003cp>\u003cb>That zine isn’t in your anthology, is it?\u003c/b>\u003c/p>\n\u003cp>Nah, it’s not. I think I forgot. [Laughs]\u003c/p>\n\u003cp>\u003cb>Have you run into any resistance with the network over your ideas? I mean, one of the first episodes of \u003ci>Sanjay and Craig\u003c/i> is about \u003ca href=\"http://www.sfgate.com/tv/article/Sanjay-and-Craig-review-Hysssterical-4536182.php\" target=\"_blank\" rel=\"noopener\">a butt transplant\u003c/a>.\u003c/b>\u003c/p>\n\u003cp>I was just talking about that with Chris Hardwick and Maulik Pancholy (the voices of “Craig” and “Sanjay”). They were telling me that I had done some “f*cked up stuff” on the show and we were like, “Yeah, we have!” [Laughs]\u003c/p>\n\u003cp>We’ve gotten in trouble before. They’ve told us that we were being too gross and needed to pull back a little bit. But Nickelodeon has been really easy to work with. They know we’re this wild show, and people like it like that, so we haven’t had many problems. Maybe at first, when we were trying to find the voice of the show, we had arguments with the network. But other than that it’s been easy sailing.\u003c/p>\n\u003cp>I think Nickelodeon has had a lot of success with shows like \u003ci>Ren and Stimpy\u003c/i>, \u003cem>[The Adventures of] Pete and Pete\u003c/em> and other off-the-cuff kind of alternative things. I think our show was Nickelodeon seeing if that kind of thing could work again. They were like, “Let’s make something that people will pay attention to right away, so you can go for it.” So we thought “butt transplants, that’s hilarious.” (“Brett Venom M.D.,” about “the world’s first butt transplant,” was the first episode of \u003ci>Sanjay and Craig\u003c/i>.)\u003c/p>\n\u003cp>\u003cb>Do you see yourself ever doing more of an adult-themed, Adult Swim-style cartoon?\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_11067973\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Gucci-Blooms-3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11067973\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Gucci-Blooms-3.jpg\" alt='\"Gucci Blooms\" by Jay Howell' width=\"720\" height=\"864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Gucci-Blooms-3.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Gucci-Blooms-3-400x480.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Gucci-Blooms-3-500x600.jpg 500w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Gucci Blooms” by Jay Howell\u003c/figcaption>\u003c/figure>\n\u003cp>I can only allude to this, but my partner and I have another deal with another network, and it’s going to be an adult cartoon. It’s going to be punk as f*ck. It’s going to be \u003ci>South Park\u003c/i> bad. We attached an insane Hollywood actor to the project and it’s going to be bananas.\u003c/p>\n\u003cp>\u003cb>Did you ever think when you started drawing zines that it would turn into a career?\u003c/b>\u003c/p>\n\u003cp>I really rolled the dice with my life. I’m 40 now and when I was 18, I was committed to being an artist but I didn’t have any clue how it was going to work, at all. I’m kind of a clueless dude. I knew my art was narrative and I liked drawing cartoons, but I never thought I’d get to this point.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003cb>Punks Git Cut\u003c/b> Book Release Party at 111 Minna Gallery in San Francisco is on Thursday, Nov. 12 at 6pm. Go to the \u003ca href=\"https://www.facebook.com/events/1504795093168830/\" target=\"_blank\" rel=\"noopener\">event page on Facebook\u003c/a> for more information.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Five Smartest Things Mindy Kaling Said Last Night",
"headTitle": "The Five Smartest Things Mindy Kaling Said Last Night | KQED",
"content": "\u003cp>Mindy Kaling wants to be more personal. In the introduction to her latest book, \u003cem>Why Not Me?\u003c/em>, the writer and actor explains that “If my childhood, teens and twenties were about wanting people to like me, now I want people to know me.”\u003c/p>\n\u003cp>On Saturday night, in conversation with author Michael Lewis at City Arts & Lectures in San Francisco, that openness was on full display to a sold-out house. Kaling spoke of her desire to have kids, ribbed Lewis on his defense of Woody Allen and even fielded a question about writers’ inside jokes from surprise guest B.J. Novak. Along the way, Kaling dispensed smart, self-aware anecdotes and advice. Here’s a quick sample.\u003c/p>\n\u003cfigure id=\"attachment_11066189\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Mindy2-800x600.jpg\" alt=\"Michael Lewis and Mindy Kaling (L-R) in conversation at City Arts & Lectures.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11066189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Mindy2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Mindy2-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Mindy2-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Mindy2.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Lewis and Mindy Kaling (L-R) in conversation at City Arts & Lectures. \u003ccite>(Joanie Barberian)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On advice for aspiring actors:\u003c/strong>\u003c/p>\n\u003cp>“Here’s the thing — this is for young women, and it seems like there’s a lot of young women here — you can’t expect encouragement. You might be lucky, and have nice parents – I was born very lucky, and I had that – but you can’t expect it at all. The encouragement you have to find is within you, in that little fire that everyone’s always trying to put out. And you’re like, ‘Ah, no, it’s still there. I still wanna do it, and I’m gonna do it.’ So getting used to people encouraging you? You can’t get hooked on that, because it will not come until much, much later, after you’ve proved it yourself. That seems like a bummer thing to say, but it’s true. I mean, when you’re a chubby Indian kid with a haircut that’s like a boy’s, sitting in the classroom, and you say you want to be a leading lady in your own plays, any reasonable person would be like, ‘Eehhh… I’d revise your ambitions.'”\u003c/p>\n\u003cp>\u003cstrong>On the impetus to write, and the obligation to be funny:\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When I’m writing, I think I’m more motivated by injustice than I am about being funny. So I have a story that later maybe \u003cem>is\u003c/em> funny, but is about a time when I felt I was treated unfairly. That’s very easy to write down, because as you know, it’s very easy to go on a rant about a time when you felt mistreated. And then later, you have to look at it and go, ‘OK, will anyone care about this? Is this actually something that’s relatable?’ Then it’s like decorating a Christmas tree — you put some jokes and observations on it, after you feel like it has a spine. That’s how I write when I feel passionately about something.”\u003c/p>\n\u003cfigure id=\"attachment_11066190\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/BJNovak-800x600.jpg\" alt=\"Surprise guest B.J. Novak asks Mindy Kaling a question at the Nourse Theater.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11066190\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/BJNovak-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/BJNovak-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/BJNovak-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/BJNovak.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/BJNovak-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Surprise guest B.J. Novak asks Mindy Kaling a question at the Nourse Theater. \u003ccite>(Joanie Barberian)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On being recognized for her talent instead of her demographic:\u003c/strong>\u003c/p>\n\u003cp>“Because I’m Indian, and because I am a woman, I become part of a very small group – at this point, I think there’s about three of us who have big shows, which is in itself something that needs to change. But the issue, and the reason I say things like that, is that I believe I can compete with white men. Nothing makes me happier than feeling recognition from people who are my demographic; I cherish that, and I think it’s to be welcomed. It feels very gratifying to me. And yet I don’t want to self-categorize my work into a group that’s smaller than I can compete with.”\u003c/p>\n\u003cp>\u003cstrong>On advice for those entering college and the adult world:\u003c/strong>\u003c/p>\n\u003cp>“I’ve never given this advice before, but I think it could be useful. When I was in high school, I did not date a lot — surprise, surprise — and later, it helped me get into a good school… but I think that it would have been good for me to care more about that, or explore it more, or try to get my heart broken in high school. Because what it did later is in my 20s, and even in some of my 30s, I became so boy-crazy. I’m too susceptible to handsomeness. I’m too responsive to what a good-looking guy wants to say to me. I think if I had just a little more more experience when I was younger, I wouldn’t care so much about what Ashton Kutcher wants to say to me at a party. 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"excerpt": "In conversation with Michael Lewis at City Arts & Lectures, the writer and actor dispensed smart, self-aware anecdotes and advice to a sold-out crowd.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mindy Kaling wants to be more personal. In the introduction to her latest book, \u003cem>Why Not Me?\u003c/em>, the writer and actor explains that “If my childhood, teens and twenties were about wanting people to like me, now I want people to know me.”\u003c/p>\n\u003cp>On Saturday night, in conversation with author Michael Lewis at City Arts & Lectures in San Francisco, that openness was on full display to a sold-out house. Kaling spoke of her desire to have kids, ribbed Lewis on his defense of Woody Allen and even fielded a question about writers’ inside jokes from surprise guest B.J. Novak. Along the way, Kaling dispensed smart, self-aware anecdotes and advice. Here’s a quick sample.\u003c/p>\n\u003cfigure id=\"attachment_11066189\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Mindy2-800x600.jpg\" alt=\"Michael Lewis and Mindy Kaling (L-R) in conversation at City Arts & Lectures.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11066189\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Mindy2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Mindy2-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Mindy2-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Mindy2.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Lewis and Mindy Kaling (L-R) in conversation at City Arts & Lectures. \u003ccite>(Joanie Barberian)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On advice for aspiring actors:\u003c/strong>\u003c/p>\n\u003cp>“Here’s the thing — this is for young women, and it seems like there’s a lot of young women here — you can’t expect encouragement. You might be lucky, and have nice parents – I was born very lucky, and I had that – but you can’t expect it at all. The encouragement you have to find is within you, in that little fire that everyone’s always trying to put out. And you’re like, ‘Ah, no, it’s still there. I still wanna do it, and I’m gonna do it.’ So getting used to people encouraging you? You can’t get hooked on that, because it will not come until much, much later, after you’ve proved it yourself. That seems like a bummer thing to say, but it’s true. I mean, when you’re a chubby Indian kid with a haircut that’s like a boy’s, sitting in the classroom, and you say you want to be a leading lady in your own plays, any reasonable person would be like, ‘Eehhh… I’d revise your ambitions.'”\u003c/p>\n\u003cp>\u003cstrong>On the impetus to write, and the obligation to be funny:\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When I’m writing, I think I’m more motivated by injustice than I am about being funny. So I have a story that later maybe \u003cem>is\u003c/em> funny, but is about a time when I felt I was treated unfairly. That’s very easy to write down, because as you know, it’s very easy to go on a rant about a time when you felt mistreated. And then later, you have to look at it and go, ‘OK, will anyone care about this? Is this actually something that’s relatable?’ Then it’s like decorating a Christmas tree — you put some jokes and observations on it, after you feel like it has a spine. That’s how I write when I feel passionately about something.”\u003c/p>\n\u003cfigure id=\"attachment_11066190\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/BJNovak-800x600.jpg\" alt=\"Surprise guest B.J. Novak asks Mindy Kaling a question at the Nourse Theater.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-11066190\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/BJNovak-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/BJNovak-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/BJNovak-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/BJNovak.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/BJNovak-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Surprise guest B.J. Novak asks Mindy Kaling a question at the Nourse Theater. \u003ccite>(Joanie Barberian)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On being recognized for her talent instead of her demographic:\u003c/strong>\u003c/p>\n\u003cp>“Because I’m Indian, and because I am a woman, I become part of a very small group – at this point, I think there’s about three of us who have big shows, which is in itself something that needs to change. But the issue, and the reason I say things like that, is that I believe I can compete with white men. Nothing makes me happier than feeling recognition from people who are my demographic; I cherish that, and I think it’s to be welcomed. It feels very gratifying to me. And yet I don’t want to self-categorize my work into a group that’s smaller than I can compete with.”\u003c/p>\n\u003cp>\u003cstrong>On advice for those entering college and the adult world:\u003c/strong>\u003c/p>\n\u003cp>“I’ve never given this advice before, but I think it could be useful. When I was in high school, I did not date a lot — surprise, surprise — and later, it helped me get into a good school… but I think that it would have been good for me to care more about that, or explore it more, or try to get my heart broken in high school. Because what it did later is in my 20s, and even in some of my 30s, I became so boy-crazy. I’m too susceptible to handsomeness. I’m too responsive to what a good-looking guy wants to say to me. I think if I had just a little more more experience when I was younger, I wouldn’t care so much about what Ashton Kutcher wants to say to me at a party. Most of my advice is always just to study and study and work hard, but honestly, you \u003cem>should\u003c/em> have growing pains.”\u003c/p>\n\u003cp>\u003cstrong>On the question ‘You describe yourself as a competitive, bookish nerd, yet you love fashion, gossip, small talk and romantic movies. How do you reconcile these two seemingly contradictory sides of yourself?’\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“You know, I have always thought that was so unfair, and uncool. I think of myself as a smart person, I love to read, I keep up on global events and have political views. But because I am sometimes traditionally girly, or I like traditional girly things, that’s seen as anti-intellectual. I look at the way the show is perceived, or the way the book is perceived — that it’s easy to do, or it’s like picking up an issue of \u003cem>US Weekly\u003c/em>. But it’s not.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Saturday Night Live acknowledged a group of \u003ca href=\"http://www.huffingtonpost.com/entry/donald-trump-nbc_563e9a49e4b0b24aee4a9836\" target=\"-blank\" rel=\"noopener\">protesters outside of its studios\u003c/a> with a bit of comedy last night.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/sections/codeswitch/2015/10/25/451322445/would-snl-have-donald-trump-as-host-if-it-had-latino-cast-members\" target=\"-blank\" rel=\"noopener\">As we’ve reported\u003c/a>, Latino activists had called on NBC to disinvite Donald Trump from hosting the late-night comedy show. They charged that Trump had shown himself to be a bigot \u003ca href=\"http://www.npr.org/sections/itsallpolitics/2015/06/25/417586527/univision-cuts-ties-with-trump-after-comments-about-immigrants\" target=\"-blank\" rel=\"noopener\">when he denigrated Mexican immigrants\u003c/a>.\u003c/p>\n\u003cp>In the past, NBC reacted to those comments by dropping him as host of \u003cem>Celebrity Apprentice\u003c/em> and dropping Trump’s Miss USA and Miss Universe pageants.\u003c/p>\n\u003cp>But last night, Trump took the stage as planned. And NBC planted comedian Larry David to heckle him:\u003c/p>\n\u003cp>https://twitter.com/nbcsnl/status/663232455197851649\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The joke, of course, is based on a offer by Deport Racism PAC that \u003ca href=\"http://deportracism.com/pages/media-information-xxxxxx\" target=\"_blank\" rel=\"noopener\">offered $5,000 in “cold hard cash”\u003c/a> to anyone who shouted “Trump is a racist” during the live broadcast.\u003c/p>\n\u003cp>On Twitter, the group said David had won the bounty: \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/DeportRacism/status/663231776815386624\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=WATCH%3A+Donald+Trump+Is+Called+%27Racist%27+On+SNL...+But+As+Part+Of+The+Gag&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Saturday Night Live acknowledged a group of \u003ca href=\"http://www.huffingtonpost.com/entry/donald-trump-nbc_563e9a49e4b0b24aee4a9836\" target=\"-blank\" rel=\"noopener\">protesters outside of its studios\u003c/a> with a bit of comedy last night.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/sections/codeswitch/2015/10/25/451322445/would-snl-have-donald-trump-as-host-if-it-had-latino-cast-members\" target=\"-blank\" rel=\"noopener\">As we’ve reported\u003c/a>, Latino activists had called on NBC to disinvite Donald Trump from hosting the late-night comedy show. They charged that Trump had shown himself to be a bigot \u003ca href=\"http://www.npr.org/sections/itsallpolitics/2015/06/25/417586527/univision-cuts-ties-with-trump-after-comments-about-immigrants\" target=\"-blank\" rel=\"noopener\">when he denigrated Mexican immigrants\u003c/a>.\u003c/p>\n\u003cp>In the past, NBC reacted to those comments by dropping him as host of \u003cem>Celebrity Apprentice\u003c/em> and dropping Trump’s Miss USA and Miss Universe pageants.\u003c/p>\n\u003cp>But last night, Trump took the stage as planned. And NBC planted comedian Larry David to heckle him:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The joke, of course, is based on a offer by Deport Racism PAC that \u003ca href=\"http://deportracism.com/pages/media-information-xxxxxx\" target=\"_blank\" rel=\"noopener\">offered $5,000 in “cold hard cash”\u003c/a> to anyone who shouted “Trump is a racist” during the live broadcast.\u003c/p>\n\u003cp>On Twitter, the group said David had won the bounty: \u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>If Dave Anthony were a history teacher, his class would surely be popular at any American high school or university. Once parents heard the types of stories he told his students, however, he probably wouldn’t be able to keep his job. Thankfully, his history lessons are taught on the podcast \u003ci>The Dollop\u003c/i> — and anyone can take his class.\u003c/p>\n\u003cp>In short, \u003ci>The Dollop\u003c/i> consists of Anthony reading articles about screwed-up moments in history to his friend Gareth Reynolds, a stand-up comedian and talented impressionist who never knows in advance what the story is about, but he always has plenty of opinions. What usually ensues is a tornado of Irish accents, butchered names and a ton of jokes. It’s essentially a show consisting of two really funny people (sometimes three) having a good time with history while simultaneously enlightening listeners. (Disclosure: An article I wrote about the Hanford nuclear site in Washington state was once used in \u003ca href=\"http://thedollop.libsyn.com/72-the-hanford-site\" target=\"_blank\" rel=\"noopener\">an episode\u003c/a> of \u003ci>The Dollop.\u003c/i>)\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/177882419″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>I spoke to Anthony the week before he went back to work writing and acting in the television show \u003ci>Maron\u003c/i>, and he had plenty to say about podcasting — he started the Los Angeles Podcast Festival — as well as his own personal history.\u003c/p>\n\u003cp>\u003cb>You grew up in the Bay Area?\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yeah, I grew up in Fairfax. I lived there until I was 20 and then I moved to San Francisco for a few years. That’s where I started doing standup in 1989; quite a while ago. I started at a place called Holy City Zoo in the Richmond District, which is now gone. \u003c/p>\n\u003cp>\u003cb>The Holy City Zoo is famous for the people who got their start there: Robin Williams, Dana Carvey, Margaret Cho. When you were there, did it feel like you were involved with something great?\u003c/b>\u003c/p>\n\u003cp>We knew that we had a lot of great comedians compared to other cities and we knew it was pretty supportive. We pushed each other to do unique and creative things, and you’d go to other cities and you wouldn’t see that. \u003c/p>\n\u003cp>People always talk about San Francisco but when you’re in it, you don’t realize these people are going to go on and become really famous. That was always surprising; all of a sudden, Margaret Cho was famous and we were like, “Wait, what just happened?” Looking back on it, it was pretty awesome, but at the time we were really just having fun and being in it.\u003c/p>\n\u003cp>\u003cb>How did you get into podcasting? Was \u003ci>Walking the Room\u003c/i> your first podcast?\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_11055893\" class=\"wp-caption alignright\" style=\"max-width: 960px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Dollop-logo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Dollop-logo.jpg\" alt=\"The Dollop logo\" width=\"960\" height=\"960\" class=\"size-full wp-image-11055893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Dollop-logo.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Dollop-logo-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Dollop-logo-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Dollop-logo-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Dollop-logo-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Dollop-logo-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Dollop-logo-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Dollop-logo-75x75.jpg 75w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Dollop logo\u003c/figcaption>\u003c/figure>\n\u003cp>Yeah, it was. I was at the end of my standup career because before podcasting came along, if you were a standup, you had to wait to be given access to show business. The studios or whoever had to give you a show or put you on something. I felt like so many doors had been closed that I just wasn’t getting any chances, so I was pretty much done with standup. But I still wanted to be creative, because I get a little irritable when I’m not being creative. \u003c/p>\n\u003cp>During the dot-com boom, I had done an internet radio show, which is funny because no one could really listen to it back then. I did it with Greg Behrendt, and I thought we could do just what we did back then, but in a podcast. \u003c/p>\n\u003cp>It took off really fast. We were surprised by how fast it took off. All of a sudden we had this small but real loyal following. That went on for four years.\u003c/p>\n\u003cp>\u003cb>How did \u003ci>The Dollop\u003c/i> start?\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_11055522\" class=\"wp-caption alignright\" style=\"max-width: 885px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Podfest_2015_Dollopcrop-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Podfest_2015_Dollopcrop-2.jpg\" alt=\"L to R: Dave Anthony, Gareth Reynolds and Patton Oswalt recording a live Dollop\" width=\"885\" height=\"498\" class=\"size-full wp-image-11055522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Podfest_2015_Dollopcrop-2.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Podfest_2015_Dollopcrop-2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Podfest_2015_Dollopcrop-2-800x450.jpg 800w\" sizes=\"(max-width: 885px) 100vw, 885px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">L to R: Dave Anthony, Gareth Reynolds and Patton Oswalt recording a live Dollop\u003c/figcaption>\u003c/figure>\n\u003cp>I was putting together a one-man show to do at the Melbourne International Comedy Festival, and a one-man show is a completely different animal than stand up. In preparation, I decided I would force myself to start talking out loud about certain subjects; I was going to talk about Mike Tyson, Ted Nugent and other subjects. I started exploring these subjects and recorded four or five of these podcasts on my own. \u003c/p>\n\u003cp>It felt really weird to me; I admire people like Greg Proops and Bill Burr, who can just talk for an hour, but for me it just felt strange. I stopped doing it, and figured I’d start a more history-oriented podcast where I’d write out about 20 articles, invite different comedians over, read them the story and see how they reacted. The first guy I had on was Gareth and he was so funny, I said “Well, this is the show.” And the fans that listened to it went crazy, so I just stuck with it.\u003c/p>\n\u003cp>\u003cb>What makes for a good episode of \u003ci>The Dollop\u003c/i>?\u003c/b>\u003c/p>\n\u003cp>The number-one thing is that it has to be a topic that caters to “funny” (for the most part — we can do a subject like the one about Ferguson, which I think still turned out funny). I look for subjects that have crazy twists, or there can just be an ordinary story that has offshoots of weird stuff that just keeps happening. But for the most part it’s just about finding a story that I read and I’ll know there are parts where Gareth can go off and improv. I’ll read stories and get three-quarters of the way through and realize that “this can’t be one” or sometimes I’ll read half a page and I’ll know instantly that it will work. I don’t think there’s one tangible characteristic that you can grab onto, but in the end it has to lend itself to being really funny.\u003c/p>\n\u003cp>And it can’t be too dark. Sexual assault, child molestation — there’s nothing funny about that. Serial killers I don’t think are particularly funny. And then there’s a lot of periods in our history where we just slaughtered people — American Indians, African Americans in the 1920s — and once you start talking about it, you just feel gross. \u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/177882715″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>\u003cb>I’m so glad you did the Ferguson episode. It was well-informed enough that you could use it to teach people about the situation, and it was so easily digestible because you found a way to make it funny. But at that same time, it was an episode where I found myself screaming at my stereo.\u003c/b>\u003c/p>\n\u003cp>[Laughs] When I read stuff, I always step back and look at the broader picture, so it was easy for me to bring that to a subject like Ferguson. \u003ca href=\"http://www.nytimes.com/interactive/2014/08/13/us/ferguson-missouri-town-under-siege-after-police-shooting.html?\" target=\"_blank\" rel=\"noopener\">What happened there\u003c/a> was far from an isolated incident; it was born out of history of racial issues and the violence of our culture. With a story like that, to look at it as just being Ferguson is so myopic and doesn’t help anything. \u003c/p>\n\u003cp>\u003cb>When writing these articles, how much goes into setting up jokes for Gareth?\u003c/b>\u003c/p>\n\u003cp>I’ll gather all these sources, take what portions work for the story and mash them together in my own story. Then I’ll read it and ask myself, “Is this enough for him to make it funny?” And if it needs more, I’ll delve deeper and look for little weird bits — there’s always weird moments in these stories and you can find them all over the place. With each turn a story takes, if you just investigate that turn, it sort of lends itself to improv, and a lot of time that’s an Irish voice or a Scottish accent or some sort of crazy circumstance that he can run with. \u003c/p>\n\u003cp>\u003cb>I have to wonder how often you’re like, “Yes, an Irish person!”\u003c/b>\u003c/p>\n\u003cp>[Laughs] All the time!\u003c/p>\n\u003cp>\u003cb>If Gareth couldn’t do the podcast any more, would you end \u003ci>The Dollop?\u003c/i>\u003c/b>\u003c/p>\n\u003cp>Yeah, I can’t imagine doing it with anyone else. It would just be really weird. I might do something in the same formula with someone else, but I can’t imagine doing the same thing without him.\u003c/p>\n\u003cp>\u003cb>Has Gareth had it with the long-running joke of calling him Gary? Does he want it to stop?\u003c/b>\u003c/p>\n\u003cp>Yeah, that’s where it is right now. He totally wants it to stop. [Laughing]\u003c/p>\n\u003cp>\u003cb>But it’s never going to end — people love it too much. Audiences in Australia chant it when you introduce him!\u003c/b>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I know! It’s never going away. [laughs]\u003c/p>\n\n",
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"excerpt": "Comedian Dave Anthony tells true stories Americans (and Australians) would rather forget on his hilarious podcast 'The Dollop.'",
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"title": "EARFUL: Dave Anthony Makes History Hilarious with 'The Dollop' | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If Dave Anthony were a history teacher, his class would surely be popular at any American high school or university. Once parents heard the types of stories he told his students, however, he probably wouldn’t be able to keep his job. Thankfully, his history lessons are taught on the podcast \u003ci>The Dollop\u003c/i> — and anyone can take his class.\u003c/p>\n\u003cp>In short, \u003ci>The Dollop\u003c/i> consists of Anthony reading articles about screwed-up moments in history to his friend Gareth Reynolds, a stand-up comedian and talented impressionist who never knows in advance what the story is about, but he always has plenty of opinions. What usually ensues is a tornado of Irish accents, butchered names and a ton of jokes. It’s essentially a show consisting of two really funny people (sometimes three) having a good time with history while simultaneously enlightening listeners. (Disclosure: An article I wrote about the Hanford nuclear site in Washington state was once used in \u003ca href=\"http://thedollop.libsyn.com/72-the-hanford-site\" target=\"_blank\" rel=\"noopener\">an episode\u003c/a> of \u003ci>The Dollop.\u003c/i>)\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/177882419″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/177882419″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>I spoke to Anthony the week before he went back to work writing and acting in the television show \u003ci>Maron\u003c/i>, and he had plenty to say about podcasting — he started the Los Angeles Podcast Festival — as well as his own personal history.\u003c/p>\n\u003cp>\u003cb>You grew up in the Bay Area?\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yeah, I grew up in Fairfax. I lived there until I was 20 and then I moved to San Francisco for a few years. That’s where I started doing standup in 1989; quite a while ago. I started at a place called Holy City Zoo in the Richmond District, which is now gone. \u003c/p>\n\u003cp>\u003cb>The Holy City Zoo is famous for the people who got their start there: Robin Williams, Dana Carvey, Margaret Cho. When you were there, did it feel like you were involved with something great?\u003c/b>\u003c/p>\n\u003cp>We knew that we had a lot of great comedians compared to other cities and we knew it was pretty supportive. We pushed each other to do unique and creative things, and you’d go to other cities and you wouldn’t see that. \u003c/p>\n\u003cp>People always talk about San Francisco but when you’re in it, you don’t realize these people are going to go on and become really famous. That was always surprising; all of a sudden, Margaret Cho was famous and we were like, “Wait, what just happened?” Looking back on it, it was pretty awesome, but at the time we were really just having fun and being in it.\u003c/p>\n\u003cp>\u003cb>How did you get into podcasting? Was \u003ci>Walking the Room\u003c/i> your first podcast?\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_11055893\" class=\"wp-caption alignright\" style=\"max-width: 960px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Dollop-logo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Dollop-logo.jpg\" alt=\"The Dollop logo\" width=\"960\" height=\"960\" class=\"size-full wp-image-11055893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Dollop-logo.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Dollop-logo-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Dollop-logo-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Dollop-logo-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Dollop-logo-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Dollop-logo-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Dollop-logo-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Dollop-logo-75x75.jpg 75w\" sizes=\"(max-width: 960px) 100vw, 960px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Dollop logo\u003c/figcaption>\u003c/figure>\n\u003cp>Yeah, it was. I was at the end of my standup career because before podcasting came along, if you were a standup, you had to wait to be given access to show business. The studios or whoever had to give you a show or put you on something. I felt like so many doors had been closed that I just wasn’t getting any chances, so I was pretty much done with standup. But I still wanted to be creative, because I get a little irritable when I’m not being creative. \u003c/p>\n\u003cp>During the dot-com boom, I had done an internet radio show, which is funny because no one could really listen to it back then. I did it with Greg Behrendt, and I thought we could do just what we did back then, but in a podcast. \u003c/p>\n\u003cp>It took off really fast. We were surprised by how fast it took off. All of a sudden we had this small but real loyal following. That went on for four years.\u003c/p>\n\u003cp>\u003cb>How did \u003ci>The Dollop\u003c/i> start?\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_11055522\" class=\"wp-caption alignright\" style=\"max-width: 885px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Podfest_2015_Dollopcrop-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/11/Podfest_2015_Dollopcrop-2.jpg\" alt=\"L to R: Dave Anthony, Gareth Reynolds and Patton Oswalt recording a live Dollop\" width=\"885\" height=\"498\" class=\"size-full wp-image-11055522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Podfest_2015_Dollopcrop-2.jpg 885w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Podfest_2015_Dollopcrop-2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/11/Podfest_2015_Dollopcrop-2-800x450.jpg 800w\" sizes=\"(max-width: 885px) 100vw, 885px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">L to R: Dave Anthony, Gareth Reynolds and Patton Oswalt recording a live Dollop\u003c/figcaption>\u003c/figure>\n\u003cp>I was putting together a one-man show to do at the Melbourne International Comedy Festival, and a one-man show is a completely different animal than stand up. In preparation, I decided I would force myself to start talking out loud about certain subjects; I was going to talk about Mike Tyson, Ted Nugent and other subjects. I started exploring these subjects and recorded four or five of these podcasts on my own. \u003c/p>\n\u003cp>It felt really weird to me; I admire people like Greg Proops and Bill Burr, who can just talk for an hour, but for me it just felt strange. I stopped doing it, and figured I’d start a more history-oriented podcast where I’d write out about 20 articles, invite different comedians over, read them the story and see how they reacted. The first guy I had on was Gareth and he was so funny, I said “Well, this is the show.” And the fans that listened to it went crazy, so I just stuck with it.\u003c/p>\n\u003cp>\u003cb>What makes for a good episode of \u003ci>The Dollop\u003c/i>?\u003c/b>\u003c/p>\n\u003cp>The number-one thing is that it has to be a topic that caters to “funny” (for the most part — we can do a subject like the one about Ferguson, which I think still turned out funny). I look for subjects that have crazy twists, or there can just be an ordinary story that has offshoots of weird stuff that just keeps happening. But for the most part it’s just about finding a story that I read and I’ll know there are parts where Gareth can go off and improv. I’ll read stories and get three-quarters of the way through and realize that “this can’t be one” or sometimes I’ll read half a page and I’ll know instantly that it will work. I don’t think there’s one tangible characteristic that you can grab onto, but in the end it has to lend itself to being really funny.\u003c/p>\n\u003cp>And it can’t be too dark. Sexual assault, child molestation — there’s nothing funny about that. Serial killers I don’t think are particularly funny. And then there’s a lot of periods in our history where we just slaughtered people — American Indians, African Americans in the 1920s — and once you start talking about it, you just feel gross. \u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/177882715″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/177882715″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cb>I’m so glad you did the Ferguson episode. It was well-informed enough that you could use it to teach people about the situation, and it was so easily digestible because you found a way to make it funny. But at that same time, it was an episode where I found myself screaming at my stereo.\u003c/b>\u003c/p>\n\u003cp>[Laughs] When I read stuff, I always step back and look at the broader picture, so it was easy for me to bring that to a subject like Ferguson. \u003ca href=\"http://www.nytimes.com/interactive/2014/08/13/us/ferguson-missouri-town-under-siege-after-police-shooting.html?\" target=\"_blank\" rel=\"noopener\">What happened there\u003c/a> was far from an isolated incident; it was born out of history of racial issues and the violence of our culture. With a story like that, to look at it as just being Ferguson is so myopic and doesn’t help anything. \u003c/p>\n\u003cp>\u003cb>When writing these articles, how much goes into setting up jokes for Gareth?\u003c/b>\u003c/p>\n\u003cp>I’ll gather all these sources, take what portions work for the story and mash them together in my own story. Then I’ll read it and ask myself, “Is this enough for him to make it funny?” And if it needs more, I’ll delve deeper and look for little weird bits — there’s always weird moments in these stories and you can find them all over the place. With each turn a story takes, if you just investigate that turn, it sort of lends itself to improv, and a lot of time that’s an Irish voice or a Scottish accent or some sort of crazy circumstance that he can run with. \u003c/p>\n\u003cp>\u003cb>I have to wonder how often you’re like, “Yes, an Irish person!”\u003c/b>\u003c/p>\n\u003cp>[Laughs] All the time!\u003c/p>\n\u003cp>\u003cb>If Gareth couldn’t do the podcast any more, would you end \u003ci>The Dollop?\u003c/i>\u003c/b>\u003c/p>\n\u003cp>Yeah, I can’t imagine doing it with anyone else. It would just be really weird. I might do something in the same formula with someone else, but I can’t imagine doing the same thing without him.\u003c/p>\n\u003cp>\u003cb>Has Gareth had it with the long-running joke of calling him Gary? Does he want it to stop?\u003c/b>\u003c/p>\n\u003cp>Yeah, that’s where it is right now. He totally wants it to stop. [Laughing]\u003c/p>\n\u003cp>\u003cb>But it’s never going to end — people love it too much. Audiences in Australia chant it when you introduce him!\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 know! It’s never going away. [laughs]\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>San Francisco comedian \u003ca href=\"http://www.margagomez.com/\" target=\"_blank\" rel=\"noopener\">Marga Gomez \u003c/a>knows how to find the funny bone of sex.\u003c/p>\n\u003cp>Gomez developed her latest solo show, \u003ca href=\"http://www.brava.org/current-shows/current-shows/pound/#.VjGNfberSJA\" target=\"_blank\" rel=\"noopener\">\u003cem>Pound\u003c/em>,\u003c/a> at \u003ca href=\"http://dixonplace.org/\" target=\"_blank\" rel=\"noopener\">Dixon Place\u003c/a> in New York City, and has now brought it back to her home here in San Francisco, where \u003cem>Pound \u003c/em>plays at the \u003ca href=\"http://www.brava.org/\" target=\"_blank\" rel=\"noopener\">Brava Theater Center\u003c/a> through Nov. 15th. The production explores what happens when a mysterious gynecologist diagnoses Gomez with a condition known as “unplanned celibacy,” and she’s forced to confront a notorious lesbian movie character she grew up with to resolve her ailment.\u003c/p>\n\u003cp>\u003cstrong>You’re Puerto Rican, Cuban and lesbian. But you say in the show you’re not into labels. So who are you in \u003cem>Pound\u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>Well I’m pretty much celibate right now, which sounds like “I’m a little bit pregnant.” But as I was writing this show about lesbian desire in the movies, I started using my own situation, and also started blaming these dysfunctional lesbian movie characters for my celibacy, my lack of physical connection with another person.\u003c/p>\n\u003cp>\u003cstrong>Right: Lesbians on film don’t often have good fates, and that’s one of your themes.\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As just one example, in \u003cem>Pound\u003c/em> I appear in the show as Marga Gomez, and I introduce myself as one of the actresses in \u003ca href=\"http://www.imdb.com/title/tt0120184/?ref_=nm_flmg_act_4\" target=\"_blank\" rel=\"noopener\">\u003cem>Sphere\u003c/em>,\u003c/a> a Warner Brothers movie from 1997, where I played a computer expert manning an underwater biosphere with one other character, played by Queen Latifah. I mention that both of our characters are attacked by sea creatures and we die in the first thirty minutes, because they always kill the lesbians of color first.\u003c/p>\n\u003cp>But all the lesbians in the films that I grew up with are shadowy figures. In \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/The_Children%27s_Hour_(film)\" target=\"_blank\" rel=\"noopener\">The Children’s Hour\u003c/a>\u003c/em>, Shirley MacLaine played a character where at the end when she confesses her love to her best friend and is rebuffed, she goes off and hangs herself. And there was another movie called \u003ca href=\"https://en.wikipedia.org/wiki/The_Fox_(1967_film)\" target=\"_blank\" rel=\"noopener\">\u003cem>The Fox\u003c/em> \u003c/a>that starred Sandy Dennis from 1967. She’s killed by a tree.\u003c/p>\n\u003cp>\u003cstrong>Yet you’re a successful lesbian comedian. You have somehow survived.\u003c/strong>\u003c/p>\n\u003cp>Yes, I have become a lesbian despite what Hollywood taught us. Yet it has influenced my dating life, because I’ve always kind of gone for drama and dysfunction in my partners. And I feel most passionate when I’m being done wrong. But I’m changing all that. With these solo shows I save the money on therapy and I work it out on stage. So I think I show what not to do: Don’t follow these terrible plot lines that were given us by the mainstream and not by our own tribe.\u003c/p>\n\u003cp>\u003cstrong>One of your themes is that lesbians are hot. \u003c/strong>\u003c/p>\n\u003cp>Well, there’s nothing in my show that’s sexy or a turn-on. I’m wearing a giant plaid shirt, and these big combat boots and shorts, and I go through all these reenactments of sexy scenes from movies. But look at me I’m like a plaid shirted lesbian clown.\u003c/p>\n\u003cp>\u003cstrong>Why is sex so funny?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The first thing is because sex does not separate us from the animals. So we have to laugh at our selves because we spend our days as cerebral beings. But when it comes to sex, we write songs, and we try to make it elegant and sophisticated, but when it comes down to it, we’re just grunting little animals trying to carry on our species. And it never changes. There’s no app for it. It’s kind of like passing gas. It’s hilarious, when you hang out with your friends and you’re drinking, there’s nothing funnier. So these are the things that keep us real.\u003c/p>\n\n",
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},
"closealltabs": {
"id": "closealltabs",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
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"id": "freakonomics-radio",
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"meta": {
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"source": "WaitWhat"
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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