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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/an-evening-with-scharpling-wurster/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>An Evening with Scharpling & Wurster\u003c/h2>\n\u003cdiv class=\"event-desc\">Proto-podcasters provide an on-stage version of their radio bits. \u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Sept. 3\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Great American Music Hall\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/an-evening-with-scharpling-wurster/\" target=\"_blank\" rel=\"noopener\">Event Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>If drummers are your thing, you should get to know Jon Wurster. For decades, he’s pounded the skins in Superchunk, the band that helped lay the foundation for indie rock as we know it. He has a musical resume miles-long, with his current employers including punk legend Bob Mould and indie poet laureates the Mountain Goats. \u003c/p>\n\u003cp>But he’s also one half of the writing duo (Tom) Scharpling & Wurster, the comedic engine behind \u003ca href=\"http://thebestshow.net/\" target=\"_blank\" rel=\"noopener\">\u003ci>The Best Show\u003c/i>\u003c/a> podcast. \u003ca href=\"http://ww2.kqed.org/arts/2015/01/22/longtime-fan-speaks-to-godfather-of-podcasting-about-the-best-show/\" target=\"_blank\" rel=\"noopener\">Covered before on this site\u003c/a>, Scharpling and Wurster are godfathers of the medium, making mp3s of their long-running radio show \u003cem>The Best Show on WFMU\u003c/em> available on their site before iTunes supported podcasts. \u003c/p>\n\u003cp>Though Scharpling is the host and main driver of \u003cem>The Best Show\u003c/em>, the highlight of each episode are Wurster’s pre-scripted calls to Scharpling as one of dozens of wacky characters, such as “The Gorch” (supposed inspiration for the Fonz), two-inch-tall racist Timmy Von Trimble and the Philadelphia-loving Mayor of Newbridge, Philly Boy Roy. (\u003ci>Listen to Wurster discuss the inspiration for Philly Boy Roy Below.\u003c/i>)\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/221530711″ 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>After taking their show off the airwaves, retooling it into a web-only show and releasing a 16-CD \u003cem>Best Of\u003c/em> box set this year, the two also began performing live in theaters around the country. Scharpling and Wurster bring their show to San Francisco’s Great American Music Hall \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/an-evening-with-scharpling-wurster/\" target=\"_blank\" rel=\"noopener\">this week\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When I spoke with Wurster on the phone, I couldn’t help but ask about his long career in the music business before jumping into his comedy work. Interview has been edited for length and clarity.\u003c/p>\n\u003cp>\u003cb>How did you get the name “Johnny Earthshoe?”\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_10925605\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_0695-800x600.jpg\" alt=\"Back of The Dead Milkmen 'Big Lizard In My Backyard' showing Wurster's joke name\" width=\"800\" height=\"600\" class=\"size-medium wp-image-10925605\">\u003cfigcaption class=\"wp-caption-text\">Back cover of the Dead Milkmen’s ‘Big Lizard In My Backyard,’ showing Wurster’s joke name.\u003c/figcaption>\u003c/figure>\n\u003cp>When I was a kid, probably 16, I was friends with Dean “Clean” Sabatino, who was the drummer in the Dead Milkmen. I knew him before he was in the band, and when he joined the Dead Milkmen, I’d go to his house and watch them rehearse. This was before they had a record out, and I’m actually credited with recording two songs on their debut album \u003ci>Big Lizard in My Backyard\u003c/i>, which just means that I turned their tape recorder on while they recorded in their basement. \u003c/p>\n\u003cp>Around that time I started making up these songs and recording them using two boomboxes. I put a cassette out via Joe Jack Talcum (guitarist for the Dead Milkmen) who had a tape label. I chose to release the tape under the name “Johnny Earthshoe” because a kid I sat next to at school wore Earth Shoes, those rippled-soled shoes that were really out of fashion by that point. I think I was really fascinated that someone would still wear these things. \u003c/p>\n\u003cp>\u003cb>What was it like signing to Arista when you were playing with the \u003ca href=\"https://www.youtube.com/watch?v=uDUNl2mFL5Y\" target=\"_blank\" rel=\"noopener\">Right Profile\u003c/a> and having nothing come of it?\u003c/b>\u003c/p>\n\u003cp>I was lucky I had my really bad music industry stuff out of the way early. We got signed, and it turned out to be a revenge signing against someone who used to be an A&R guy for Arista. A guy who I knew from Philadelphia who was familiar with the whole deal told me that this one A&R guy wanted to sign the band before I joined but someone high up at the label didn’t want to. Then the guy left, having gone to a new label and was going to sign the band to it but that’s when Arista got interested again.\u003c/p>\n\u003cp>I joined the band in January of 1986 and we got signed three months later. Imagine being 19, working at a toothpaste packaging plant and you move to this city you don’t really know (Winston-Salem, NC) and you get signed by Clive Davis after a show at CBGBs. It was kind of like a movie. \u003c/p>\n\u003cp>And then it got bad. We had a few months of exhilaration — “It’s happening!” — and then things began to drag. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wginsK5ridE\u003c/p>\n\u003cp>We were in a red tape hell for years. We’d do these demos and we’d work with people like the guy that produced the Dwight Yoakam records and Jim Dickinson (producer of the Rolling Stones and the Replacements, among others). But it was just impossible to get anything done. I was seeing my friends in the Dead Milkmen coming to town, and they had a hit record and were drawing lots of people. My band was on a major label and we didn’t have any money. We were struggling to even make a record. \u003c/p>\n\u003cp>That ended eventually and I moved to Chapel Hill, NC, where I got lucky: I met Mac (McCaughan) from Superchunk when I was cleaning the windows of the record store he worked at. They were having trouble with their drummer at the time and the idea came up that maybe I would want to play in Superchunk. Luckily it all worked out.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Y_gE3QWO7jU\u003c/p>\n\u003cp>\u003cb>Did that experience prepare you for when Superchunk went on hiatus in the early ’00s? You’ve described that as being a horrible time.\u003c/b>\u003c/p>\n\u003cp>We put out a record in 2001 and unfortunately it came out a week after 9/11. To go on the road when the world is falling apart, literally… It wasn’t a fun tour. Nobody was coming out because nobody wanted to see bands.\u003c/p>\n\u003cp>We had a meeting and I was secretly hoping that the band would end but we agreed to put it way on the backburner. Other things would come first and we would get back together if and when we wanted to, and that sounded great. And that’s what we did for the next eight years.\u003c/p>\n\u003cfigure id=\"attachment_10925602\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Jon-Wurster-drums-400x266.jpg\" alt=\"Jon Wurster behind the kit\" width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-10925602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Jon-Wurster-drums-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Jon-Wurster-drums.jpg 599w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Jon Wurster behind the kit. \u003ccite>(Courtesy: Jon Wurster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We did one final tour with the Get Up Kids in the summer of 2002. I honestly didn’t know about them, but they named one of their records after a Superchunk lyric and they were big fans. So when they asked us to tour we thought maybe we’d pick up a new, younger audience by opening for them. \u003c/p>\n\u003cp>The first night of the tour was in Orlando. We drove all the way down there. The first band plays, this band called Hot Rod Circuit. They were a young, pop-punkish kind of band and everyone loves them. So we’re thinking “This is going to be great. If they like them, they’re gonna love us!” [Laughs] \u003c/p>\n\u003cp>We get up there and it was like playing to a painting for 45-50 minutes. And every show was like that. They’d never heard of us, we were old and just not their scene. That was tough, and after that is when we took the next eight years off.\u003c/p>\n\u003cp>\u003cb>I understand you got your start in television writing for MTV?\u003c/b>\u003c/p>\n\u003cp>In 2005, I was lucky a friend of mine put my name in for a gig writing funny commercials for MTV. So every six months or so I’d get a decent-paying gig writing commercials for the \u003cem>MTV Movie Awards\u003c/em> and stuff like that. I was doing that while I was playing in bands.\u003c/p>\n\u003cp>\u003cb>I’m guessing it helped that you were doing the \u003ci>The Best Show on WFMU\u003c/i> at that time.\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_10925604\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Wurster-Adam-West-400x267.jpg\" alt=\"Wurster (R) hanging with actor Adam West during Wurster's MTV writing days\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-10925604\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Wurster-Adam-West-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Wurster-Adam-West-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Wurster-Adam-West.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Wurster (at right) with actor Adam West during Wurster’s MTV writing days. \u003ccite>(Courtesy: Jon Wurster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yes, that helped, because both the MTV commercials and the \u003cem>Best Show\u003c/em> calls were written. The calls were less written-out in the early days of the show, but there’s a degree of writing involved in both. So I was able to take what little experience I had writing comedy and put it into these spots. \u003c/p>\n\u003cp>\u003cb>Why did you start completely writing out the calls? Is it about quality control?\u003c/b>\u003c/p>\n\u003cp>Well, we do have spaces where we can improvise in these tightly scripted calls. But for me, the reason for tightening the calls up came about when I would edit the “Best Of” CDs we’d put out every couple of years in the 2000s. I just realized that the calls could be tighter. There were a lot of digressions and little off-roads that were funny, but they didn’t really further the story that much. \u003c/p>\n\u003cp>Also, we like the idea of these crazy, involved stories that have all these layers to them. I think when you’re able to think them out beforehand, it’s easier to tell those stories than if you just have a kernel of an idea and you’re trying to come up with stuff as you’re going.\u003c/p>\n\u003cp>\u003cb>What about those calls where you’re listing off a lot of things, like the guy who wrote all those “___ sucks” songs?\u003c/b> \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MO_UbaKy7r4\u003c/p>\n\u003cp>If there’s ever a big list of anything, those are written out. But one of the greatest compliments we’ll ever get is that people think that the calls are just us talking. They’re not, but it’s great that people think they are. \u003c/p>\n\u003cp>\u003cb>Especially with the running gag about the “mouse with the cape,” which you’ll say you saw if you find yourself laughing too hard during the call. Where did that come from?\u003c/b>\u003c/p>\n\u003cp>I don’t remember. We didn’t laugh during calls for the longest time and then around ’09 or ’10, we just got comfortable enough that we just started laughing more. In the past I think we were more focused on just getting through them and making sure we hit all the things we wanted to hit. Now that we’ve done it so much, we know each other’s buttons so I’ll sneak in stuff he doesn’t know about and he’ll do the same for me. Any time you hear us laughing, that’s real and it’s usually someone being surprised by something. \u003c/p>\n\u003cp>But I think I was just laughing once and I needed something to cover those six seconds I lost — some sort of dumb explanation as to why I stopped talking. I came up with that I just saw a mouse scurrying across the floor wearing a cape. a) That’s stupid, and b) why is that the funniest thing you’ve ever heard?\u003c/p>\n\u003cp>\u003cb>How has it been doing the show live? I was surprised to hear that Tom wanted to do these live shows because he had always said that he didn’t like being the guy on stage; he’d rather be behind the scenes as a writer or behind a mic.\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_10925603\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Scharpling-Wurster-live-400x364.jpg\" alt=\"Tom Scharlping (L) and Jon Wurster (R) during a live performance\" width=\"400\" height=\"364\" class=\"size-thumbnail wp-image-10925603\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Scharpling-Wurster-live-400x364.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Scharpling-Wurster-live-660x600.jpg 660w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Scharpling-Wurster-live.jpg 708w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Tom Scharlping (L) and Jon Wurster (R) during a live performance.\u003c/figcaption>\u003c/figure>\n\u003cp>Well, I don’t want to use the word “force,” but we were definitely… I’ll use the word forced. [Laughs] We were kinda forced into doing these live shows to promote the box set we put out in March. We always talked about doing a live show but we never talked about it in any kind of depth. So when the box set came up and we had to do some kind of personal appearances to promote this thing, that’s when we really got to thinking about doing a live show. \u003c/p>\n\u003cp>I’m a little like Tom in that doing this over the phone is way easier than doing it live. I don’t think either of us have that gene/defect where we need to be in front of people, basking in applause. But once we got past that apprehension, it became much easier and a lot more fun. \u003c/p>\n\u003cp>After we first wrote the show out in March, we did four shows in Brooklyn. We knew what we were going to do, but we never ran through it. We never timed it or anything. We didn’t know if it was going to be a half-hour or three hours. And we had two shows a night. \u003c/p>\n\u003cp>When we did that first show, it was just over 90 minutes and we realized that it was working. We got five minutes into the first show, and we knew that we could do it and people liked it. That was a huge load off, and the fact that it was a reasonable amount of time was even better. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘An Evening With Scharpling & Wurster’ comes to town on Thursday, Sept. 3, at the Great American Music Hall. For event details, visit \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/an-evening-with-scharpling-wurster/\" target=\"_blank\" rel=\"noopener\">The Do List.\u003c/a>\u003c/i>\u003c/p>\n\n",
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"excerpt": "Jon Wurster just happens to not only play drums for the coolest bands, he also provides the special ingredient to one of the funniest podcasts going today.",
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"title": "Can It Get Any Wurst(er)? Talking Drumming & Joke-Writing with Jon Wurster | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/an-evening-with-scharpling-wurster/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>An Evening with Scharpling & Wurster\u003c/h2>\n\u003cdiv class=\"event-desc\">Proto-podcasters provide an on-stage version of their radio bits. \u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Sept. 3\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Great American Music Hall\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/an-evening-with-scharpling-wurster/\" target=\"_blank\" rel=\"noopener\">Event Details\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>If drummers are your thing, you should get to know Jon Wurster. For decades, he’s pounded the skins in Superchunk, the band that helped lay the foundation for indie rock as we know it. He has a musical resume miles-long, with his current employers including punk legend Bob Mould and indie poet laureates the Mountain Goats. \u003c/p>\n\u003cp>But he’s also one half of the writing duo (Tom) Scharpling & Wurster, the comedic engine behind \u003ca href=\"http://thebestshow.net/\" target=\"_blank\" rel=\"noopener\">\u003ci>The Best Show\u003c/i>\u003c/a> podcast. \u003ca href=\"http://ww2.kqed.org/arts/2015/01/22/longtime-fan-speaks-to-godfather-of-podcasting-about-the-best-show/\" target=\"_blank\" rel=\"noopener\">Covered before on this site\u003c/a>, Scharpling and Wurster are godfathers of the medium, making mp3s of their long-running radio show \u003cem>The Best Show on WFMU\u003c/em> available on their site before iTunes supported podcasts. \u003c/p>\n\u003cp>Though Scharpling is the host and main driver of \u003cem>The Best Show\u003c/em>, the highlight of each episode are Wurster’s pre-scripted calls to Scharpling as one of dozens of wacky characters, such as “The Gorch” (supposed inspiration for the Fonz), two-inch-tall racist Timmy Von Trimble and the Philadelphia-loving Mayor of Newbridge, Philly Boy Roy. (\u003ci>Listen to Wurster discuss the inspiration for Philly Boy Roy Below.\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/221530711″&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/221530711″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>After taking their show off the airwaves, retooling it into a web-only show and releasing a 16-CD \u003cem>Best Of\u003c/em> box set this year, the two also began performing live in theaters around the country. Scharpling and Wurster bring their show to San Francisco’s Great American Music Hall \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/an-evening-with-scharpling-wurster/\" target=\"_blank\" rel=\"noopener\">this week\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When I spoke with Wurster on the phone, I couldn’t help but ask about his long career in the music business before jumping into his comedy work. Interview has been edited for length and clarity.\u003c/p>\n\u003cp>\u003cb>How did you get the name “Johnny Earthshoe?”\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_10925605\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/IMG_0695-800x600.jpg\" alt=\"Back of The Dead Milkmen 'Big Lizard In My Backyard' showing Wurster's joke name\" width=\"800\" height=\"600\" class=\"size-medium wp-image-10925605\">\u003cfigcaption class=\"wp-caption-text\">Back cover of the Dead Milkmen’s ‘Big Lizard In My Backyard,’ showing Wurster’s joke name.\u003c/figcaption>\u003c/figure>\n\u003cp>When I was a kid, probably 16, I was friends with Dean “Clean” Sabatino, who was the drummer in the Dead Milkmen. I knew him before he was in the band, and when he joined the Dead Milkmen, I’d go to his house and watch them rehearse. This was before they had a record out, and I’m actually credited with recording two songs on their debut album \u003ci>Big Lizard in My Backyard\u003c/i>, which just means that I turned their tape recorder on while they recorded in their basement. \u003c/p>\n\u003cp>Around that time I started making up these songs and recording them using two boomboxes. I put a cassette out via Joe Jack Talcum (guitarist for the Dead Milkmen) who had a tape label. I chose to release the tape under the name “Johnny Earthshoe” because a kid I sat next to at school wore Earth Shoes, those rippled-soled shoes that were really out of fashion by that point. I think I was really fascinated that someone would still wear these things. \u003c/p>\n\u003cp>\u003cb>What was it like signing to Arista when you were playing with the \u003ca href=\"https://www.youtube.com/watch?v=uDUNl2mFL5Y\" target=\"_blank\" rel=\"noopener\">Right Profile\u003c/a> and having nothing come of it?\u003c/b>\u003c/p>\n\u003cp>I was lucky I had my really bad music industry stuff out of the way early. We got signed, and it turned out to be a revenge signing against someone who used to be an A&R guy for Arista. A guy who I knew from Philadelphia who was familiar with the whole deal told me that this one A&R guy wanted to sign the band before I joined but someone high up at the label didn’t want to. Then the guy left, having gone to a new label and was going to sign the band to it but that’s when Arista got interested again.\u003c/p>\n\u003cp>I joined the band in January of 1986 and we got signed three months later. Imagine being 19, working at a toothpaste packaging plant and you move to this city you don’t really know (Winston-Salem, NC) and you get signed by Clive Davis after a show at CBGBs. It was kind of like a movie. \u003c/p>\n\u003cp>And then it got bad. We had a few months of exhilaration — “It’s happening!” — and then things began to drag. \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/wginsK5ridE'\n title='//www.youtube.com/embed/wginsK5ridE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We were in a red tape hell for years. We’d do these demos and we’d work with people like the guy that produced the Dwight Yoakam records and Jim Dickinson (producer of the Rolling Stones and the Replacements, among others). But it was just impossible to get anything done. I was seeing my friends in the Dead Milkmen coming to town, and they had a hit record and were drawing lots of people. My band was on a major label and we didn’t have any money. We were struggling to even make a record. \u003c/p>\n\u003cp>That ended eventually and I moved to Chapel Hill, NC, where I got lucky: I met Mac (McCaughan) from Superchunk when I was cleaning the windows of the record store he worked at. They were having trouble with their drummer at the time and the idea came up that maybe I would want to play in Superchunk. Luckily it all worked out.\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/Y_gE3QWO7jU'\n title='//www.youtube.com/embed/Y_gE3QWO7jU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>Did that experience prepare you for when Superchunk went on hiatus in the early ’00s? You’ve described that as being a horrible time.\u003c/b>\u003c/p>\n\u003cp>We put out a record in 2001 and unfortunately it came out a week after 9/11. To go on the road when the world is falling apart, literally… It wasn’t a fun tour. Nobody was coming out because nobody wanted to see bands.\u003c/p>\n\u003cp>We had a meeting and I was secretly hoping that the band would end but we agreed to put it way on the backburner. Other things would come first and we would get back together if and when we wanted to, and that sounded great. And that’s what we did for the next eight years.\u003c/p>\n\u003cfigure id=\"attachment_10925602\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Jon-Wurster-drums-400x266.jpg\" alt=\"Jon Wurster behind the kit\" width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-10925602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Jon-Wurster-drums-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Jon-Wurster-drums.jpg 599w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Jon Wurster behind the kit. \u003ccite>(Courtesy: Jon Wurster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We did one final tour with the Get Up Kids in the summer of 2002. I honestly didn’t know about them, but they named one of their records after a Superchunk lyric and they were big fans. So when they asked us to tour we thought maybe we’d pick up a new, younger audience by opening for them. \u003c/p>\n\u003cp>The first night of the tour was in Orlando. We drove all the way down there. The first band plays, this band called Hot Rod Circuit. They were a young, pop-punkish kind of band and everyone loves them. So we’re thinking “This is going to be great. If they like them, they’re gonna love us!” [Laughs] \u003c/p>\n\u003cp>We get up there and it was like playing to a painting for 45-50 minutes. And every show was like that. They’d never heard of us, we were old and just not their scene. That was tough, and after that is when we took the next eight years off.\u003c/p>\n\u003cp>\u003cb>I understand you got your start in television writing for MTV?\u003c/b>\u003c/p>\n\u003cp>In 2005, I was lucky a friend of mine put my name in for a gig writing funny commercials for MTV. So every six months or so I’d get a decent-paying gig writing commercials for the \u003cem>MTV Movie Awards\u003c/em> and stuff like that. I was doing that while I was playing in bands.\u003c/p>\n\u003cp>\u003cb>I’m guessing it helped that you were doing the \u003ci>The Best Show on WFMU\u003c/i> at that time.\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_10925604\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Wurster-Adam-West-400x267.jpg\" alt=\"Wurster (R) hanging with actor Adam West during Wurster's MTV writing days\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-10925604\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Wurster-Adam-West-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Wurster-Adam-West-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Wurster-Adam-West.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Wurster (at right) with actor Adam West during Wurster’s MTV writing days. \u003ccite>(Courtesy: Jon Wurster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yes, that helped, because both the MTV commercials and the \u003cem>Best Show\u003c/em> calls were written. The calls were less written-out in the early days of the show, but there’s a degree of writing involved in both. So I was able to take what little experience I had writing comedy and put it into these spots. \u003c/p>\n\u003cp>\u003cb>Why did you start completely writing out the calls? Is it about quality control?\u003c/b>\u003c/p>\n\u003cp>Well, we do have spaces where we can improvise in these tightly scripted calls. But for me, the reason for tightening the calls up came about when I would edit the “Best Of” CDs we’d put out every couple of years in the 2000s. I just realized that the calls could be tighter. There were a lot of digressions and little off-roads that were funny, but they didn’t really further the story that much. \u003c/p>\n\u003cp>Also, we like the idea of these crazy, involved stories that have all these layers to them. I think when you’re able to think them out beforehand, it’s easier to tell those stories than if you just have a kernel of an idea and you’re trying to come up with stuff as you’re going.\u003c/p>\n\u003cp>\u003cb>What about those calls where you’re listing off a lot of things, like the guy who wrote all those “___ sucks” songs?\u003c/b> \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/MO_UbaKy7r4'\n title='//www.youtube.com/embed/MO_UbaKy7r4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If there’s ever a big list of anything, those are written out. But one of the greatest compliments we’ll ever get is that people think that the calls are just us talking. They’re not, but it’s great that people think they are. \u003c/p>\n\u003cp>\u003cb>Especially with the running gag about the “mouse with the cape,” which you’ll say you saw if you find yourself laughing too hard during the call. Where did that come from?\u003c/b>\u003c/p>\n\u003cp>I don’t remember. We didn’t laugh during calls for the longest time and then around ’09 or ’10, we just got comfortable enough that we just started laughing more. In the past I think we were more focused on just getting through them and making sure we hit all the things we wanted to hit. Now that we’ve done it so much, we know each other’s buttons so I’ll sneak in stuff he doesn’t know about and he’ll do the same for me. Any time you hear us laughing, that’s real and it’s usually someone being surprised by something. \u003c/p>\n\u003cp>But I think I was just laughing once and I needed something to cover those six seconds I lost — some sort of dumb explanation as to why I stopped talking. I came up with that I just saw a mouse scurrying across the floor wearing a cape. a) That’s stupid, and b) why is that the funniest thing you’ve ever heard?\u003c/p>\n\u003cp>\u003cb>How has it been doing the show live? I was surprised to hear that Tom wanted to do these live shows because he had always said that he didn’t like being the guy on stage; he’d rather be behind the scenes as a writer or behind a mic.\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_10925603\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/Scharpling-Wurster-live-400x364.jpg\" alt=\"Tom Scharlping (L) and Jon Wurster (R) during a live performance\" width=\"400\" height=\"364\" class=\"size-thumbnail wp-image-10925603\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Scharpling-Wurster-live-400x364.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Scharpling-Wurster-live-660x600.jpg 660w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/Scharpling-Wurster-live.jpg 708w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Tom Scharlping (L) and Jon Wurster (R) during a live performance.\u003c/figcaption>\u003c/figure>\n\u003cp>Well, I don’t want to use the word “force,” but we were definitely… I’ll use the word forced. [Laughs] We were kinda forced into doing these live shows to promote the box set we put out in March. We always talked about doing a live show but we never talked about it in any kind of depth. So when the box set came up and we had to do some kind of personal appearances to promote this thing, that’s when we really got to thinking about doing a live show. \u003c/p>\n\u003cp>I’m a little like Tom in that doing this over the phone is way easier than doing it live. I don’t think either of us have that gene/defect where we need to be in front of people, basking in applause. But once we got past that apprehension, it became much easier and a lot more fun. \u003c/p>\n\u003cp>After we first wrote the show out in March, we did four shows in Brooklyn. We knew what we were going to do, but we never ran through it. We never timed it or anything. We didn’t know if it was going to be a half-hour or three hours. And we had two shows a night. \u003c/p>\n\u003cp>When we did that first show, it was just over 90 minutes and we realized that it was working. We got five minutes into the first show, and we knew that we could do it and people liked it. That was a huge load off, and the fact that it was a reasonable amount of time was even better. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘An Evening With Scharpling & Wurster’ comes to town on Thursday, Sept. 3, at the Great American Music Hall. For event details, visit \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/an-evening-with-scharpling-wurster/\" target=\"_blank\" rel=\"noopener\">The Do List.\u003c/a>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cy and David's Weekly Picks: San Jose Jazz, SNL's Youngest Comic, and More",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2015/08/20150807tdl.mp3\u003c/p>\n\u003c/aside>\n\u003cp>\u003cstrong>Opening Friday, Aug. 7: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/american-bach-soloists-festival/\" target=\"_blank\" rel=\"noopener\">American Bach Soloists Festival\u003c/a>.\u003c/strong> Artistic and Music Director Jeffrey Thomas conducts works by Couperin, Rameau, Rebel, and others. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/american-bach-soloists-festival/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Opening Friday, Aug. 7:\u003c/strong> \u003cstrong>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/cabrillo-music-festival/\" target=\"_blank\" rel=\"noopener\">Cabrillo Music Festival\u003c/a>. \u003c/strong>This year’s fest features 12 composers in residence, including the Bay Area’s own Mason Bates and Nathaniel Stookey, plus Hannah Lash, Missy Mazzoli, and the great Nico Muhly. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/cabrillo-music-festival/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Aug. 7: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/mary-younakof/\" target=\"_blank\" rel=\"noopener\">Mary Younakof at San Jose ICA\u003c/a>.\u003c/strong> An audience-participation art happening — and an exploration of color. Details here. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/mary-younakof/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Aug. 7 – Sunday, Aug. 9: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-jose-jazzs-summer-fest-street-party-on-steroids/\" target=\"_blank\" rel=\"noopener\">San Jose Jazz SummerFest.\u003c/a> \u003c/strong>San Jose Jazz’s Summer Fest brings a dazzling array of jazz, blues, R&B, and Latin music to downtown. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-jose-jazzs-summer-fest-street-party-on-steroids/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Aug. 13. – Saturday, Aug. 16: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/pete-davidson/\" target=\"_blank\" rel=\"noopener\">Pete Davidson at the San Jose Improv.\u003c/a> \u003c/strong>\u003ci>SNL\u003c/i>‘s resident youngun hits San Jose for some standup. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/pete-davidson/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Shout-Out:\u003c/strong> Of course, \u003cstrong>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/kqed-the-do-list-live/\" target=\"_blank\" rel=\"noopener\">The Do List Live\u003c/a>\u003c/strong> is the hottest ticket in town next week. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/kqed-the-do-list-live/\" target=\"_blank\" rel=\"noopener\">Get your tickets here — it will sell out! \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>\u003cstrong>Opening Friday, Aug. 7: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/american-bach-soloists-festival/\" target=\"_blank\" rel=\"noopener\">American Bach Soloists Festival\u003c/a>.\u003c/strong> Artistic and Music Director Jeffrey Thomas conducts works by Couperin, Rameau, Rebel, and others. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/american-bach-soloists-festival/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Opening Friday, Aug. 7:\u003c/strong> \u003cstrong>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/cabrillo-music-festival/\" target=\"_blank\" rel=\"noopener\">Cabrillo Music Festival\u003c/a>. \u003c/strong>This year’s fest features 12 composers in residence, including the Bay Area’s own Mason Bates and Nathaniel Stookey, plus Hannah Lash, Missy Mazzoli, and the great Nico Muhly. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/cabrillo-music-festival/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Aug. 7: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/mary-younakof/\" target=\"_blank\" rel=\"noopener\">Mary Younakof at San Jose ICA\u003c/a>.\u003c/strong> An audience-participation art happening — and an exploration of color. Details here. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/mary-younakof/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Aug. 7 – Sunday, Aug. 9: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-jose-jazzs-summer-fest-street-party-on-steroids/\" target=\"_blank\" rel=\"noopener\">San Jose Jazz SummerFest.\u003c/a> \u003c/strong>San Jose Jazz’s Summer Fest brings a dazzling array of jazz, blues, R&B, and Latin music to downtown. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-jose-jazzs-summer-fest-street-party-on-steroids/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Aug. 13. – Saturday, Aug. 16: \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/pete-davidson/\" target=\"_blank\" rel=\"noopener\">Pete Davidson at the San Jose Improv.\u003c/a> \u003c/strong>\u003ci>SNL\u003c/i>‘s resident youngun hits San Jose for some standup. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/pete-davidson/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Shout-Out:\u003c/strong> Of course, \u003cstrong>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/kqed-the-do-list-live/\" target=\"_blank\" rel=\"noopener\">The Do List Live\u003c/a>\u003c/strong> is the hottest ticket in town next week. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/kqed-the-do-list-live/\" target=\"_blank\" rel=\"noopener\">Get your tickets here — it will sell out! \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>As part of a series called\u003c/em> \u003ca href=\"http://www.npr.org/series/274340198/my-big-break\" target=\"_blank\" rel=\"noopener\">My Big Break\u003c/a>\u003cem>, \u003c/em>All Things Considered\u003cem> is collecting stories of triumph, big and small. These are the moments when everything seems to click, and people leap forward into their careers\u003c/em>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>Reggie Watts is a one-man show. He beatboxes, imitates and impersonates with incredible accuracy — and, equipped with just a keyboard, looping pedals and a microphone, he crafts one-of-a-kind musical pieces.\u003c/p>\n\u003cp>Watts calls his style of entertainment “disinformationist.” He disorients his audience, sometimes talking nonsense and switching seamlessly between accents — all improvised on the spot.\u003c/p>\n\u003cp>“When I get on stage, I really just like to listen to what’s happening in the moment,” Watts says. “And because I’ve been doing it long enough, I definitely have structures that I can lean on. I know that I can make a beat. And if I make a beat, then I can create a bass line. One thing inspires the next thing, I really just wait until I’m on stage to be inspired to do whatever it is I’m doing.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BdHK_r9RXTc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Watts says a couple of his childhood heroes helped him find his many voices. It all started back when he was a kid watching \u003cem>Sesame Street\u003c/em>.\u003c/p>\n\u003cp>“I can remember Victor Borge being a guest on \u003cem>Sesame Street\u003c/em> and Victor Borge being this legendary musical comedian,” Watts says. “He was a virtuosic piano player and he would do these popping sounds with his mouth.”\u003c/p>\n\u003cp>Watts says he was transfixed to the television.\u003c/p>\n\u003cp>“I would see him perform — playing piano, a brainiac of a musician, but using it to an absurd scale,” he says.\u003c/p>\n\u003cp>Then there was the 1984 film \u003cem>Police Academy\u003c/em>, featuring Michael Winslow, the so-called “Man of 10,000 Sound Effects.”\u003c/p>\n\u003cp>“I heard the human voice as capable of imitating machines and other people’s voices and accents and also music — and that’s really where it all came from,” he says. “And I would practice incessantly, as I still do … It’s mostly just me walking around, making noises, oftentimes annoying other people.”\u003c/p>\n\u003cp>For Watts, he says his big break is all thanks to comedian Conan O’Brien.\u003c/p>\n\u003cp>He got an unexpected call from his manager, saying O’Brien wanted him to be the opening act for his 2010 \u003cem>Legally Prohibited From Being Funny on Television Tour. \u003c/em>\u003c/p>\n\u003cp>Watts says he was shocked that O’Brien knew who he was.\u003c/p>\n\u003cp>“I was just like, ‘What? Why?’ ” Watts says. “But I remember running into Conan for the first time, he came into my dressing room and he was like, the sweetest guy … Things changed from that point on.”\u003c/p>\n\u003cp>Watts is now the band leader of \u003cem>The Late, Late Show\u003c/em> \u003cem>with James Cordon\u003c/em> on CBS.\u003c/p>\n\u003cp>He’s mastered his craft of disinformationist entertainment. Yet he still thinks back to his childhood days, growing up as an only child and making up voices for his action figures to pass the time.\u003c/p>\n\u003cp>He says not that much has changed.\u003c/p>\n\u003cp>“It’s still me just screwing around, having a fun, super-imaginative time,” he says. “Really the only thing you have to do is just have a good time and engage with people and don’t be a jerk. That’s it.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" width=\"600\" height=\"338\" src=\"http://www.npr.org/templates/event/embeddedVideo.php?storyId=428415046&mediaId=428432071\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\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=Reggie+Watts%2C+Man+Of+Many+Voices%2C+Improvised+His+Way+To+Success&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Watts says a couple of his childhood heroes helped him find his many voices. It all started back when he was a kid watching \u003cem>Sesame Street\u003c/em>.\u003c/p>\n\u003cp>“I can remember Victor Borge being a guest on \u003cem>Sesame Street\u003c/em> and Victor Borge being this legendary musical comedian,” Watts says. “He was a virtuosic piano player and he would do these popping sounds with his mouth.”\u003c/p>\n\u003cp>Watts says he was transfixed to the television.\u003c/p>\n\u003cp>“I would see him perform — playing piano, a brainiac of a musician, but using it to an absurd scale,” he says.\u003c/p>\n\u003cp>Then there was the 1984 film \u003cem>Police Academy\u003c/em>, featuring Michael Winslow, the so-called “Man of 10,000 Sound Effects.”\u003c/p>\n\u003cp>“I heard the human voice as capable of imitating machines and other people’s voices and accents and also music — and that’s really where it all came from,” he says. “And I would practice incessantly, as I still do … It’s mostly just me walking around, making noises, oftentimes annoying other people.”\u003c/p>\n\u003cp>For Watts, he says his big break is all thanks to comedian Conan O’Brien.\u003c/p>\n\u003cp>He got an unexpected call from his manager, saying O’Brien wanted him to be the opening act for his 2010 \u003cem>Legally Prohibited From Being Funny on Television Tour. \u003c/em>\u003c/p>\n\u003cp>Watts says he was shocked that O’Brien knew who he was.\u003c/p>\n\u003cp>“I was just like, ‘What? Why?’ ” Watts says. “But I remember running into Conan for the first time, he came into my dressing room and he was like, the sweetest guy … Things changed from that point on.”\u003c/p>\n\u003cp>Watts is now the band leader of \u003cem>The Late, Late Show\u003c/em> \u003cem>with James Cordon\u003c/em> on CBS.\u003c/p>\n\u003cp>He’s mastered his craft of disinformationist entertainment. Yet he still thinks back to his childhood days, growing up as an only child and making up voices for his action figures to pass the time.\u003c/p>\n\u003cp>He says not that much has changed.\u003c/p>\n\u003cp>“It’s still me just screwing around, having a fun, super-imaginative time,” he says. “Really the only thing you have to do is just have a good time and engage with people and don’t be a jerk. That’s it.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" width=\"600\" height=\"338\" src=\"http://www.npr.org/templates/event/embeddedVideo.php?storyId=428415046&mediaId=428432071\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\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=Reggie+Watts%2C+Man+Of+Many+Voices%2C+Improvised+His+Way+To+Success&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Franklin, a 'Peanuts' Character Created in the Civil Rights Era, Turns 47",
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"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/217272138″ 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>On Friday, we said Happy Anniversary to \u003ci>Peanuts\u003c/i> character Franklin, who first met his curly-haired friend named Charlie Brown, or “Chuck” to some, on a beach some 47 years ago.\u003c/p>\n\u003cp>Franklin was the first African American character to be created by Charles M. Schulz for his long-running cartoon strip. The young man’s first appearance in the comic was on July 31, 1968 – during the middle of the Civil Rights era and right after the assassination of Martin Luther King Jr.\u003c/p>\n\u003cp>\u003cem>The following is an edited interview with Cesar Gallegos, archivist for the Charles M. Schulz Museum located in Santa Rosa.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Let’s start with how Franklin came about – it’s 1968 – in the middle of the Civil Rights era, what happens next?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A school teacher from Sherman Oaks, California named Harriet Glickman she writes a letter to Charles Schulz asking him to integrate the script. Initially she writes to Schulz telling him that it’s very important and a mainstream comic like Peanuts would be a great platform to introduce somebody like Franklin, an African American character.\u003c/p>\n\u003cfigure id=\"attachment_10870924\" class=\"wp-caption alignright\" style=\"max-width: 462px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/SC2002_003_001.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10870924\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/SC2002_003_001-462x600.jpg\" alt=\"Here is Glickman's first letter to Schulz where she asks him to introduce African American children into Peanuts. \" width=\"462\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_001-462x600.jpg 462w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_001-400x520.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_001-908x1180.jpg 908w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_001-1180x1533.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_001-960x1247.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_001.jpg 1703w\" sizes=\"auto, (max-width: 462px) 100vw, 462px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Here is Glickman’s first letter to Schulz where she asks him to introduce African American children into Peanuts. \u003ccite>(Courtesy of the Charles M. Schulz Museum and Research Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shulz was initially very hesitant because he didn’t want to be patronizing and he wasn’t sure if he could write to such a character.\u003c/p>\n\u003cfigure id=\"attachment_10870921\" class=\"wp-caption alignright\" style=\"max-width: 544px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/SC2002_003_002.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10870921\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/SC2002_003_002-544x600.jpg\" alt=\"Schulz writes Glickman a letter showing concern for introducing an African American character.\" width=\"544\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_002-544x600.jpg 544w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_002-400x442.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_002-1069x1180.jpg 1069w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_002-1180x1303.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_002-960x1060.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_002.jpg 1338w\" sizes=\"auto, (max-width: 544px) 100vw, 544px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Schulz writes Glickman a letter showing concern for introducing an African American character. \u003ccite>(Courtesy of the Charles M. Schulz Museum and Research Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Can you share any of the correspondence between Harriet Glickman and Charles Schulz?\u003c/strong>\u003c/p>\n\u003cp>“It occurs to me today that the introduction of negro children into the group of Schulz characters could happen with the minimum of impact. The gentleness of the kids, even Lucy, is the perfect setting.\u003c/p>\n\u003cp>\u003cstrong>The creation of Franklin happened really fast. What was the public reaction when his character came out?\u003c/strong>\u003c/p>\n\u003cp>Overall the public reaction was so positive. The syndicates sent Schulz a large assortment of letters that we actually have in our collection and all very positive. There was a few mentions from newspapers that wrote to Schulz and said we won’t publish your strip if you continue to have Franklin in the Peanuts comic but Schulz held his ground.\u003c/p>\n\u003cp>\u003cstrong>What does the last letter look like from Schulz back to Glickman? \u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/SC2002_003_008a.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10870923\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/SC2002_003_008a-533x600.jpg\" alt=\"Schulz writes Glickman to tell her he has taken her advice.\" width=\"533\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_008a-533x600.jpg 533w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_008a-400x451.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_008a-1047x1180.jpg 1047w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_008a-1180x1329.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_008a-960x1082.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_008a.jpg 1248w\" sizes=\"auto, (max-width: 533px) 100vw, 533px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Schulz writes Glickman to tell her he has taken her advice.\u003c/p>\n\n",
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Initially she writes to Schulz telling him that it’s very important and a mainstream comic like Peanuts would be a great platform to introduce somebody like Franklin, an African American character.\u003c/p>\n\u003cfigure id=\"attachment_10870924\" class=\"wp-caption alignright\" style=\"max-width: 462px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/SC2002_003_001.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10870924\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/SC2002_003_001-462x600.jpg\" alt=\"Here is Glickman's first letter to Schulz where she asks him to introduce African American children into Peanuts. \" width=\"462\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_001-462x600.jpg 462w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_001-400x520.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_001-908x1180.jpg 908w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_001-1180x1533.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_001-960x1247.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_001.jpg 1703w\" sizes=\"auto, (max-width: 462px) 100vw, 462px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Here is Glickman’s first letter to Schulz where she asks him to introduce African American children into Peanuts. \u003ccite>(Courtesy of the Charles M. Schulz Museum and Research Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shulz was initially very hesitant because he didn’t want to be patronizing and he wasn’t sure if he could write to such a character.\u003c/p>\n\u003cfigure id=\"attachment_10870921\" class=\"wp-caption alignright\" style=\"max-width: 544px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/SC2002_003_002.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10870921\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/SC2002_003_002-544x600.jpg\" alt=\"Schulz writes Glickman a letter showing concern for introducing an African American character.\" width=\"544\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_002-544x600.jpg 544w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_002-400x442.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_002-1069x1180.jpg 1069w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_002-1180x1303.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_002-960x1060.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_002.jpg 1338w\" sizes=\"auto, (max-width: 544px) 100vw, 544px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Schulz writes Glickman a letter showing concern for introducing an African American character. \u003ccite>(Courtesy of the Charles M. Schulz Museum and Research Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Can you share any of the correspondence between Harriet Glickman and Charles Schulz?\u003c/strong>\u003c/p>\n\u003cp>“It occurs to me today that the introduction of negro children into the group of Schulz characters could happen with the minimum of impact. The gentleness of the kids, even Lucy, is the perfect setting.\u003c/p>\n\u003cp>\u003cstrong>The creation of Franklin happened really fast. What was the public reaction when his character came out?\u003c/strong>\u003c/p>\n\u003cp>Overall the public reaction was so positive. The syndicates sent Schulz a large assortment of letters that we actually have in our collection and all very positive. There was a few mentions from newspapers that wrote to Schulz and said we won’t publish your strip if you continue to have Franklin in the Peanuts comic but Schulz held his ground.\u003c/p>\n\u003cp>\u003cstrong>What does the last letter look like from Schulz back to Glickman? \u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/SC2002_003_008a.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10870923\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/SC2002_003_008a-533x600.jpg\" alt=\"Schulz writes Glickman to tell her he has taken her advice.\" width=\"533\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_008a-533x600.jpg 533w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_008a-400x451.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_008a-1047x1180.jpg 1047w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_008a-1180x1329.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_008a-960x1082.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/SC2002_003_008a.jpg 1248w\" sizes=\"auto, (max-width: 533px) 100vw, 533px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Schulz writes Glickman to tell her he has taken her advice.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Twitter Takes Down Unoriginal Jokes, but All of Yours are Probably Safe",
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"content": "\u003cp>Twitter has started taking down jokes for copyright infringement. The removals were first spotted by \u003ca href=\"https://twitter.com/plagiarismbad/status/624926843322396672\">@PlagiarismBad\u003c/a>, which traced the takedown notices to Olga Lexell, a freelance writer in Los Angeles.\u003c/p>\n\u003cp>Lexell, whose bio describes her as a freelance writer, \u003ca href=\"https://twitter.com/runolgarun/status/624971697075019776/photo/1\" target=\"_blank\" rel=\"noopener\">confirmed that she had asked Twitter to take down jokes\u003c/a>. In her post, Lexell says she makes her living writing jokes, and that the users who had tweeted them — many of them spam accounts that “re-post tons of other people’s jokes every day” — did not give her credit.\u003c/p>\n\u003cp>But Lexell may not have a good copyright claim, according to \u003ca href=\"http://www.thompsoncoburn.com/people/find-a-professional/james-burger.aspx\">Jim Burger, a Washington, D.C.-based copyright attorney\u003c/a>.\u003c/p>\n\u003cp>“You can copyright a joke, but it’s not a very strong copyright,” he says. “And a lot of jokes are derivative of other jokes, so I think you would have a hard time defending your copyright.”\u003c/p>\n\u003cp>Christopher Jon Sprigman, a law professor at New York University \u003ca href=\"http://www.law.virginia.edu/pdf/faculty/hein/sprigman/94va_l_rev1787_2008.pdf\" target=\"_blank\" rel=\"noopener\">who has written about jokes and copyright\u003c/a>, agrees. He says you can’t copyright an idea, only a way of expression; if a joke can only be expressed in a few ways you probably can’t get a copyright on it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Among Lexell’s reposted jokes that were taken down by Twitter: “Saw someone spill their high-end juice cleanse all over the sidewalk and now I know God is on my side.”\u003c/p>\n\u003cp>Sprigman says it’s debatable whether that joke can be copyrighted. Sometimes, he says, a joke is just in the zeitgeist of the moment.\u003c/p>\n\u003cp>Take the case of Carlos Mencia, who made a joke during an appearance on Comedy Central about plans to build a fence along the southern U.S. border to keep Mexicans from entering the U.S. illegally. Mencia quipped, “Um, who’s going to build it?”\u003c/p>\n\u003cp>Comedian Ari Shaffir claimed Mencia stole the joke from him, and cited earlier recordings of himself making the joke — but it turned out that \u003ca href=\"http://www.dead-frog.com/blog/entry/whose_joke_is_it_ari_shaffir_carlos_mencia_dl_hughley_george_lopez\" target=\"_blank\" rel=\"noopener\">comedians D.L. Hughley and George Lopez also had told similar jokes\u003c/a>.\u003c/p>\n\u003cp>Sprigman says that, historically, the comedy community has policed itself by shaming those who steal jokes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to Twitter, the accounts that had Lexell’s jokes removed can file a counter notice under the Digital Millennium Copyright Act within 10 days. But, if Lexell is right and it’s only spambot accounts stealing her jokes, they’ll just move on to finding other good lines to pilfer. \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=Twitter+Takes+Down+Unoriginal+Jokes%2C+But+All+Of+Yours+Are+Probably+Safe&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "A freelance writer got the company to take down several unauthorized uses of her humor by what she says are robot accounts, but legal scholars say proving copyright on jokes is difficult.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Twitter has started taking down jokes for copyright infringement. The removals were first spotted by \u003ca href=\"https://twitter.com/plagiarismbad/status/624926843322396672\">@PlagiarismBad\u003c/a>, which traced the takedown notices to Olga Lexell, a freelance writer in Los Angeles.\u003c/p>\n\u003cp>Lexell, whose bio describes her as a freelance writer, \u003ca href=\"https://twitter.com/runolgarun/status/624971697075019776/photo/1\" target=\"_blank\" rel=\"noopener\">confirmed that she had asked Twitter to take down jokes\u003c/a>. In her post, Lexell says she makes her living writing jokes, and that the users who had tweeted them — many of them spam accounts that “re-post tons of other people’s jokes every day” — did not give her credit.\u003c/p>\n\u003cp>But Lexell may not have a good copyright claim, according to \u003ca href=\"http://www.thompsoncoburn.com/people/find-a-professional/james-burger.aspx\">Jim Burger, a Washington, D.C.-based copyright attorney\u003c/a>.\u003c/p>\n\u003cp>“You can copyright a joke, but it’s not a very strong copyright,” he says. “And a lot of jokes are derivative of other jokes, so I think you would have a hard time defending your copyright.”\u003c/p>\n\u003cp>Christopher Jon Sprigman, a law professor at New York University \u003ca href=\"http://www.law.virginia.edu/pdf/faculty/hein/sprigman/94va_l_rev1787_2008.pdf\" target=\"_blank\" rel=\"noopener\">who has written about jokes and copyright\u003c/a>, agrees. He says you can’t copyright an idea, only a way of expression; if a joke can only be expressed in a few ways you probably can’t get a copyright on it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Among Lexell’s reposted jokes that were taken down by Twitter: “Saw someone spill their high-end juice cleanse all over the sidewalk and now I know God is on my side.”\u003c/p>\n\u003cp>Sprigman says it’s debatable whether that joke can be copyrighted. Sometimes, he says, a joke is just in the zeitgeist of the moment.\u003c/p>\n\u003cp>Take the case of Carlos Mencia, who made a joke during an appearance on Comedy Central about plans to build a fence along the southern U.S. border to keep Mexicans from entering the U.S. illegally. Mencia quipped, “Um, who’s going to build it?”\u003c/p>\n\u003cp>Comedian Ari Shaffir claimed Mencia stole the joke from him, and cited earlier recordings of himself making the joke — but it turned out that \u003ca href=\"http://www.dead-frog.com/blog/entry/whose_joke_is_it_ari_shaffir_carlos_mencia_dl_hughley_george_lopez\" target=\"_blank\" rel=\"noopener\">comedians D.L. Hughley and George Lopez also had told similar jokes\u003c/a>.\u003c/p>\n\u003cp>Sprigman says that, historically, the comedy community has policed itself by shaming those who steal jokes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to Twitter, the accounts that had Lexell’s jokes removed can file a counter notice under the Digital Millennium Copyright Act within 10 days. But, if Lexell is right and it’s only spambot accounts stealing her jokes, they’ll just move on to finding other good lines to pilfer. \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=Twitter+Takes+Down+Unoriginal+Jokes%2C+But+All+Of+Yours+Are+Probably+Safe&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Neil Hamburger, 'America's Funnyman,' Discusses His San Francisco Roots",
"headTitle": "Neil Hamburger, ‘America’s Funnyman,’ Discusses His San Francisco Roots | KQED",
"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/neil-hamburger/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Neil Hamburger\u003c/h2>\n\u003cdiv class=\"event-desc\">The sweaty stand up comedian character returns to the city where he started.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>July 24, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The Independent SF\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/neil-hamburger/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>“Why did God create Domino’s Pizza?” comedian Neil Hamburger asked a \u003ca href=\"https://www.youtube.com/watch?v=jsFCXvEW_0Y\" target=\"_blank\" rel=\"noopener\">San Francisco crowd back in 2009\u003c/a>.\u003c/p>\n\u003cp>The answer? “To punish humanity for their complacency in letting the Holocaust happen.”\u003c/p>\n\u003cp>What a horrible joke, you might be saying — but then again, that’s the whole point of Hamburger’s comedy: it’s a challenge to good taste. \u003c/p>\n\u003cp>For the uninitiated, Hamburger is a character, created and played by Gregg Turkington, that’s meant to poke fun at the \u003ca href=\"https://en.wikipedia.org/wiki/Borscht_Belt\" target=\"_blank\" rel=\"noopener\">Borscht Belt\u003c/a> comedians of the ’50s and ’60s. Hamburger wears faded tuxes, his combover is always pasted to his pate with sweat, he holds multiple drinks in one arm, and his one-liner insults — many of them too crude to reprint here — would make even Don Rickles say, “You’re taking it too far.”\u003c/p>\n\u003cfigure id=\"attachment_10852111\" class=\"wp-caption alignright\" style=\"max-width: 441px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/GettyImages-479027636-441x600.jpg\" alt=\"Gregg Turkington and guest attend the world premiere of Marvel's "Ant-Man," in which Turkington had a role. \" width=\"441\" height=\"600\" class=\"size-medium wp-image-10852111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/GettyImages-479027636-441x600.jpg 441w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/GettyImages-479027636-400x544.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/GettyImages-479027636.jpg 800w\" sizes=\"(max-width: 441px) 100vw, 441px\">\u003cfigcaption class=\"wp-caption-text\">Gregg Turkington and his wife Simone attend the world premiere of Marvel’s “Ant-Man,” in which Turkington had a role. \u003ccite>(Photo by Jesse Grant/Getty Images for Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Turkington originally conceived the Hamburger character while living in San Francisco in the early ’90s. As he explains it, he made up the character on the spot while making a prank call and kept using him for experimental recordings, which landed Turkington an album deal before he even had a live act. Flash forward a few decades and not only has Hamburger played everywhere from the Hemlock Tavern to Madison Square Garden, he’s now the subject of a feature-length film, \u003ci>Entertainment\u003c/i>, which premiered at the 2015 Sundance Film Festival.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the past, Turkington would’ve done this interview in character, as Neil Hamburger, but he agreed to speak to KQED as himself. I took advantage of the situation to ask him about his days in San Francisco. As it happens, Turkington was quite active in the local music scene in the early ’80s, publishing zines, playing in bands — he was a founding member of the local experimental bluegrass noise group Caroliner — and even working at the influential punk label \u003ca href=\"http://www.subterranean.org/main/home.html\" target=\"_blank\" rel=\"noopener\">Subterranean Records\u003c/a>.\u003c/p>\n\u003cp>\u003cb>You came to San Francisco from Phoenix, Ariz., where you were active in the punk scene. Did Flipper have anything to do with you moving out here?\u003c/b>\u003c/p>\n\u003cp>I was 15. My parents were divorced and my dad got a job in San Francisco. He moved there and I saw it as my big chance. A lot of the bands that I liked — particularly Flipper — were San Francisco bands. \u003c/p>\n\u003cp>When Flipper played in Phoenix in 1983, I talked to Will Shatter for a bit and he was super friendly. He gave me his address and said, “Get in touch.” I did and when I came out to San Francisco, I ended up hanging out with him and going to every Flipper show I could. I was recording all the shows. I was obsessed. (Turkington eventually compiled those recordings for a live album, \u003ci>Public Flipper Limited, Live 1980 – 1985\u003c/i>, and designed the record cover.)\u003c/p>\n\u003cp>I was nuts for Flipper and Frightwig. I would end up going to a million Frightwig shows too.\u003c/p>\n\u003cp>\u003cb>When did you start doing comedy?\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_10852113\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/dc363ph08-800x533.jpg\" alt=\"Turkington as Neil Hamburger\" width=\"800\" height=\"533\" class=\"size-medium wp-image-10852113\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/dc363ph08-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/dc363ph08-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/dc363ph08-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/dc363ph08-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/dc363ph08.jpg 1229w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Turkington as Neil Hamburger \u003ccite>(Courtesy of Drag City)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I had a band called “Hello Kitty on Ice” that was playing around in ’84 or ’85, and I would say a lot of crazy sh-t between songs. I’d tell jokes, and later I was doing these bad magic tricks between the songs. I got more into that than the singing, which I didn’t have much skill at, really. \u003c/p>\n\u003cp>A few years later, I got it into my head that I could do standup, so I started going to the Holy City Zoo. It had a couple of open mic nights.\u003c/p>\n\u003cp>\u003cb>It’s a famous club, right? Robin Williams got his start there?\u003c/b>\u003c/p>\n\u003cp>Yeah, a lot of people were doing stuff there. I would go there — I don’t think I was 21 yet — and I’d do 4-minute sets. Every time I thought I needed to have a different act from the week before, and they were all character-based. I don’t remember what they were but I don’t think they were any good. \u003c/p>\n\u003cp>I decided it wasn’t for me. It just seemed like everyone who would go up was such a standard, brick-wall, observational comedian. And I’d go up with my weirdo show and it just didn’t feel right at all. Nobody liked it and I didn’t fit in. \u003c/p>\n\u003cp>\u003cb>When did you start making prank phone calls?\u003c/b>\u003c/p>\n\u003cp>A few years later. I was doing a lot of prank calls back then with friends, just for fun. For a couple of months where a bunch of people would come over at 10pm and we’d make prank phone calls. \u003c/p>\n\u003cp>After weeks of this, this girl Becky Wilson asked if she could record the calls. She recorded them for two nights on a little recorder and started dubbing the tapes, passing them around to people. \u003c/p>\n\u003cp>Then I started hearing about these calls from all over the place; the tapes spread really fast. So I said, “Why don’t we print up 500 copies of this on vinyl, just for fun? Let’s see what happens.” And that was the \u003ci>Great Phone Calls\u003c/i> album. \u003c/p>\n\u003cp>\u003cem>(Editor’s Note: The clips below contain explicit language.)\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uGaa8j8qjfY\u003c/p>\n\u003cp>\u003cb>What do you remember about those nights?\u003c/b>\u003c/p>\n\u003cp>It was pre-Internet, so we’d have the \u003cem>SF Weekly\u003c/em>, the \u003cem>Bay Guardian\u003c/em> and the phone book in front of us. And we’d make calls to whoever is in those things that might be up late at night. There were other calls to other musicians starting bands, because they’d tend answer the phone at midnight.\u003c/p>\n\u003cp>I wish we recorded more nights of this stuff because once it got pressed up as a record and people really responded to it, it was impossible to go back and do more of them. It just wasn’t the same spirit. There’s a difference between hanging around with people, drinking whiskey and making prank calls to make each other laugh, and making the follow-up to \u003ci>Great Phone Calls\u003c/i>.\u003c/p>\n\u003cp>\u003cb>How did Mike Patton (of Faith No More) get involved?\u003c/b>\u003c/p>\n\u003cp>He was just there. Trey Spruance was there. We had our little gang of people.\u003c/p>\n\u003cp>\u003cb>How did Neil Hamburger come from this?\u003c/b>\u003c/p>\n\u003cp>There’s a prank call on \u003ci>Great Phone Calls\u003c/i>, and as the words “Neil Hamburger” come out of my mouth, that is when he was invented.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VyO43tcl5tc\u003c/p>\n\u003cp>There were two or more of those calls going around on cassette because I kept calling up the Holy City Zoo and harassing them. Then this noise label back east, RRR records, got in touch. There were doing a compilation CD called \u003ci>America the Beautiful,\u003c/i> which was mostly noise acts, but they liked \u003ci>Great Phone Calls\u003c/i> and they asked for a Neil Hamburger track. \u003c/p>\n\u003cp>I made a few calls as Neil Hamburger that I was going to send to them to choose from, and then I thought “F–k this, I’m gonna record what this guy’s show is like!” So, using a four-track, I recorded the actual show for three minutes. I did a little routine and dubbed in laugh tracks I dubbed off of Andrew Dice Clay records. I purposefully made it sound like inept engineering.\u003c/p>\n\u003cp>I had so much fun doing it that I did another one, and I put one out as a single on my label Amarillo, and another one on Planet Pimp. Then Drag City contacted me about doing a full album and I decided that it was my one big shot at making a comedy record. \u003ci>America’s Funnyman\u003c/i> was another fake live show with all this bad editing, technical glitches and a lot of foley — ice clinking and other stuff. I did it with Trey and we had a great time working on it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GA8M36bqAXc\u003c/p>\n\u003cp>I thought that would be the end of that, but Drag City wanted another record and we did a few more. \u003c/p>\n\u003cp>By then, there was a lot of interest in me doing live shows. But I was always resistant, because I thought there was no way you could capture the sound of these records at a show. On the records, I controlled all the background sounds. At the shows there was potential for people to be too enthusiastic and it wouldn’t have the same glum, despairing vibe that the records had. Which was true, but I just had to accept that it wasn’t the same thing.\u003c/p>\n\u003cp>\u003cb>When you moved to Australia for a few years, did you continue doing Neil Hamburger?\u003c/b>\u003c/p>\n\u003cp>I recorded a few of the records over there. I recorded \u003ci>Left for Dead in Malaysia\u003c/i> in Malaysia, but edited it in Australia. \u003c/p>\n\u003cfigure id=\"attachment_10852197\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/NeilHamburger_bySimoneTurkington_10-800x533.jpg\" alt=\"Neil Hamburger\" width=\"800\" height=\"533\" class=\"size-medium wp-image-10852197\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/NeilHamburger_bySimoneTurkington_10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/NeilHamburger_bySimoneTurkington_10-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/NeilHamburger_bySimoneTurkington_10.jpg 933w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Neil Hamburger \u003ccite>(Photo by Simone Turkington)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Australia is where the whole thing started as a live act. That’s where the first 20 or 30 shows were. This band called Frenzal Rhomb from Australia, a pretty big punk band over there, had me open some shows for them at some big venues. Those were the first shows I ever did as Neil Hamburger. The first one was at the University of Sydney, and during this particular run of shows we were playing at massive venues; eventually I did a show with them at the Olympic Stadium in Sydney at one of these big rock festivals. It was like 50,000 people, at this giant stadium in the middle of the day, booing me. [Laughs]\u003c/p>\n\u003cp>\u003cb>Is that a part of performing you enjoy — getting the audience mad at you?\u003c/b>\u003c/p>\n\u003cp>It’s not something I’m into; it’s just something that happens sometimes. I’m not interested in inciting audiences to be angry. I’m more into confusing them, and some of them may get really angry, while others may scratch their heads. And others may be inspired by it. The artists I’ve been inspired by are, a lot of the time, the most confusing — the kind that you’re thinking about days later about what it means and where they’re coming from. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>At this point, when I’m doing shows, it’s not like I go out and try to incite a crowd. I want it to be enjoyable for people. Not for everyone, but the people that are tuned into what I’m doing. I’ve certainly gone to see a lot of live shows and hated it, even though 95 percent of the crowd was having the time of their lives. I think it’s nice that the other five percent have something they can enjoy — and if 95 percent hate it, that’s perfectly fine, because they have a lot of other things that are meant for them. \u003c/p>\n\n",
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"excerpt": "Gregg Turkington invented his miserable-comedian character on the spot during a prank phone call, and it's slowly morphed into one of America's most beloved standup acts.",
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"description": "Gregg Turkington invented his miserable-comedian character on the spot during a prank phone call, and it's slowly morphed into one of America's most beloved standup acts.",
"title": "Neil Hamburger, 'America's Funnyman,' Discusses His San Francisco Roots | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/neil-hamburger/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>Neil Hamburger\u003c/h2>\n\u003cdiv class=\"event-desc\">The sweaty stand up comedian character returns to the city where he started.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>July 24, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The Independent SF\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/neil-hamburger/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>“Why did God create Domino’s Pizza?” comedian Neil Hamburger asked a \u003ca href=\"https://www.youtube.com/watch?v=jsFCXvEW_0Y\" target=\"_blank\" rel=\"noopener\">San Francisco crowd back in 2009\u003c/a>.\u003c/p>\n\u003cp>The answer? “To punish humanity for their complacency in letting the Holocaust happen.”\u003c/p>\n\u003cp>What a horrible joke, you might be saying — but then again, that’s the whole point of Hamburger’s comedy: it’s a challenge to good taste. \u003c/p>\n\u003cp>For the uninitiated, Hamburger is a character, created and played by Gregg Turkington, that’s meant to poke fun at the \u003ca href=\"https://en.wikipedia.org/wiki/Borscht_Belt\" target=\"_blank\" rel=\"noopener\">Borscht Belt\u003c/a> comedians of the ’50s and ’60s. Hamburger wears faded tuxes, his combover is always pasted to his pate with sweat, he holds multiple drinks in one arm, and his one-liner insults — many of them too crude to reprint here — would make even Don Rickles say, “You’re taking it too far.”\u003c/p>\n\u003cfigure id=\"attachment_10852111\" class=\"wp-caption alignright\" style=\"max-width: 441px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/GettyImages-479027636-441x600.jpg\" alt=\"Gregg Turkington and guest attend the world premiere of Marvel's "Ant-Man," in which Turkington had a role. \" width=\"441\" height=\"600\" class=\"size-medium wp-image-10852111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/GettyImages-479027636-441x600.jpg 441w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/GettyImages-479027636-400x544.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/GettyImages-479027636.jpg 800w\" sizes=\"(max-width: 441px) 100vw, 441px\">\u003cfigcaption class=\"wp-caption-text\">Gregg Turkington and his wife Simone attend the world premiere of Marvel’s “Ant-Man,” in which Turkington had a role. \u003ccite>(Photo by Jesse Grant/Getty Images for Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Turkington originally conceived the Hamburger character while living in San Francisco in the early ’90s. As he explains it, he made up the character on the spot while making a prank call and kept using him for experimental recordings, which landed Turkington an album deal before he even had a live act. Flash forward a few decades and not only has Hamburger played everywhere from the Hemlock Tavern to Madison Square Garden, he’s now the subject of a feature-length film, \u003ci>Entertainment\u003c/i>, which premiered at the 2015 Sundance Film Festival.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the past, Turkington would’ve done this interview in character, as Neil Hamburger, but he agreed to speak to KQED as himself. I took advantage of the situation to ask him about his days in San Francisco. As it happens, Turkington was quite active in the local music scene in the early ’80s, publishing zines, playing in bands — he was a founding member of the local experimental bluegrass noise group Caroliner — and even working at the influential punk label \u003ca href=\"http://www.subterranean.org/main/home.html\" target=\"_blank\" rel=\"noopener\">Subterranean Records\u003c/a>.\u003c/p>\n\u003cp>\u003cb>You came to San Francisco from Phoenix, Ariz., where you were active in the punk scene. Did Flipper have anything to do with you moving out here?\u003c/b>\u003c/p>\n\u003cp>I was 15. My parents were divorced and my dad got a job in San Francisco. He moved there and I saw it as my big chance. A lot of the bands that I liked — particularly Flipper — were San Francisco bands. \u003c/p>\n\u003cp>When Flipper played in Phoenix in 1983, I talked to Will Shatter for a bit and he was super friendly. He gave me his address and said, “Get in touch.” I did and when I came out to San Francisco, I ended up hanging out with him and going to every Flipper show I could. I was recording all the shows. I was obsessed. (Turkington eventually compiled those recordings for a live album, \u003ci>Public Flipper Limited, Live 1980 – 1985\u003c/i>, and designed the record cover.)\u003c/p>\n\u003cp>I was nuts for Flipper and Frightwig. I would end up going to a million Frightwig shows too.\u003c/p>\n\u003cp>\u003cb>When did you start doing comedy?\u003c/b>\u003c/p>\n\u003cfigure id=\"attachment_10852113\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/dc363ph08-800x533.jpg\" alt=\"Turkington as Neil Hamburger\" width=\"800\" height=\"533\" class=\"size-medium wp-image-10852113\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/dc363ph08-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/dc363ph08-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/dc363ph08-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/dc363ph08-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/dc363ph08.jpg 1229w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Turkington as Neil Hamburger \u003ccite>(Courtesy of Drag City)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I had a band called “Hello Kitty on Ice” that was playing around in ’84 or ’85, and I would say a lot of crazy sh-t between songs. I’d tell jokes, and later I was doing these bad magic tricks between the songs. I got more into that than the singing, which I didn’t have much skill at, really. \u003c/p>\n\u003cp>A few years later, I got it into my head that I could do standup, so I started going to the Holy City Zoo. It had a couple of open mic nights.\u003c/p>\n\u003cp>\u003cb>It’s a famous club, right? Robin Williams got his start there?\u003c/b>\u003c/p>\n\u003cp>Yeah, a lot of people were doing stuff there. I would go there — I don’t think I was 21 yet — and I’d do 4-minute sets. Every time I thought I needed to have a different act from the week before, and they were all character-based. I don’t remember what they were but I don’t think they were any good. \u003c/p>\n\u003cp>I decided it wasn’t for me. It just seemed like everyone who would go up was such a standard, brick-wall, observational comedian. And I’d go up with my weirdo show and it just didn’t feel right at all. Nobody liked it and I didn’t fit in. \u003c/p>\n\u003cp>\u003cb>When did you start making prank phone calls?\u003c/b>\u003c/p>\n\u003cp>A few years later. I was doing a lot of prank calls back then with friends, just for fun. For a couple of months where a bunch of people would come over at 10pm and we’d make prank phone calls. \u003c/p>\n\u003cp>After weeks of this, this girl Becky Wilson asked if she could record the calls. She recorded them for two nights on a little recorder and started dubbing the tapes, passing them around to people. \u003c/p>\n\u003cp>Then I started hearing about these calls from all over the place; the tapes spread really fast. So I said, “Why don’t we print up 500 copies of this on vinyl, just for fun? Let’s see what happens.” And that was the \u003ci>Great Phone Calls\u003c/i> album. \u003c/p>\n\u003cp>\u003cem>(Editor’s Note: The clips below contain explicit language.)\u003c/em>\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/uGaa8j8qjfY'\n title='//www.youtube.com/embed/uGaa8j8qjfY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>What do you remember about those nights?\u003c/b>\u003c/p>\n\u003cp>It was pre-Internet, so we’d have the \u003cem>SF Weekly\u003c/em>, the \u003cem>Bay Guardian\u003c/em> and the phone book in front of us. And we’d make calls to whoever is in those things that might be up late at night. There were other calls to other musicians starting bands, because they’d tend answer the phone at midnight.\u003c/p>\n\u003cp>I wish we recorded more nights of this stuff because once it got pressed up as a record and people really responded to it, it was impossible to go back and do more of them. It just wasn’t the same spirit. There’s a difference between hanging around with people, drinking whiskey and making prank calls to make each other laugh, and making the follow-up to \u003ci>Great Phone Calls\u003c/i>.\u003c/p>\n\u003cp>\u003cb>How did Mike Patton (of Faith No More) get involved?\u003c/b>\u003c/p>\n\u003cp>He was just there. Trey Spruance was there. We had our little gang of people.\u003c/p>\n\u003cp>\u003cb>How did Neil Hamburger come from this?\u003c/b>\u003c/p>\n\u003cp>There’s a prank call on \u003ci>Great Phone Calls\u003c/i>, and as the words “Neil Hamburger” come out of my mouth, that is when he was invented.\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/VyO43tcl5tc'\n title='//www.youtube.com/embed/VyO43tcl5tc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There were two or more of those calls going around on cassette because I kept calling up the Holy City Zoo and harassing them. Then this noise label back east, RRR records, got in touch. There were doing a compilation CD called \u003ci>America the Beautiful,\u003c/i> which was mostly noise acts, but they liked \u003ci>Great Phone Calls\u003c/i> and they asked for a Neil Hamburger track. \u003c/p>\n\u003cp>I made a few calls as Neil Hamburger that I was going to send to them to choose from, and then I thought “F–k this, I’m gonna record what this guy’s show is like!” So, using a four-track, I recorded the actual show for three minutes. I did a little routine and dubbed in laugh tracks I dubbed off of Andrew Dice Clay records. I purposefully made it sound like inept engineering.\u003c/p>\n\u003cp>I had so much fun doing it that I did another one, and I put one out as a single on my label Amarillo, and another one on Planet Pimp. Then Drag City contacted me about doing a full album and I decided that it was my one big shot at making a comedy record. \u003ci>America’s Funnyman\u003c/i> was another fake live show with all this bad editing, technical glitches and a lot of foley — ice clinking and other stuff. I did it with Trey and we had a great time working on it.\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/GA8M36bqAXc'\n title='//www.youtube.com/embed/GA8M36bqAXc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I thought that would be the end of that, but Drag City wanted another record and we did a few more. \u003c/p>\n\u003cp>By then, there was a lot of interest in me doing live shows. But I was always resistant, because I thought there was no way you could capture the sound of these records at a show. On the records, I controlled all the background sounds. At the shows there was potential for people to be too enthusiastic and it wouldn’t have the same glum, despairing vibe that the records had. Which was true, but I just had to accept that it wasn’t the same thing.\u003c/p>\n\u003cp>\u003cb>When you moved to Australia for a few years, did you continue doing Neil Hamburger?\u003c/b>\u003c/p>\n\u003cp>I recorded a few of the records over there. I recorded \u003ci>Left for Dead in Malaysia\u003c/i> in Malaysia, but edited it in Australia. \u003c/p>\n\u003cfigure id=\"attachment_10852197\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/NeilHamburger_bySimoneTurkington_10-800x533.jpg\" alt=\"Neil Hamburger\" width=\"800\" height=\"533\" class=\"size-medium wp-image-10852197\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/NeilHamburger_bySimoneTurkington_10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/NeilHamburger_bySimoneTurkington_10-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/07/NeilHamburger_bySimoneTurkington_10.jpg 933w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Neil Hamburger \u003ccite>(Photo by Simone Turkington)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Australia is where the whole thing started as a live act. That’s where the first 20 or 30 shows were. This band called Frenzal Rhomb from Australia, a pretty big punk band over there, had me open some shows for them at some big venues. Those were the first shows I ever did as Neil Hamburger. The first one was at the University of Sydney, and during this particular run of shows we were playing at massive venues; eventually I did a show with them at the Olympic Stadium in Sydney at one of these big rock festivals. It was like 50,000 people, at this giant stadium in the middle of the day, booing me. [Laughs]\u003c/p>\n\u003cp>\u003cb>Is that a part of performing you enjoy — getting the audience mad at you?\u003c/b>\u003c/p>\n\u003cp>It’s not something I’m into; it’s just something that happens sometimes. I’m not interested in inciting audiences to be angry. I’m more into confusing them, and some of them may get really angry, while others may scratch their heads. And others may be inspired by it. The artists I’ve been inspired by are, a lot of the time, the most confusing — the kind that you’re thinking about days later about what it means and where they’re coming from. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At this point, when I’m doing shows, it’s not like I go out and try to incite a crowd. I want it to be enjoyable for people. Not for everyone, but the people that are tuned into what I’m doing. I’ve certainly gone to see a lot of live shows and hated it, even though 95 percent of the crowd was having the time of their lives. I think it’s nice that the other five percent have something they can enjoy — and if 95 percent hate it, that’s perfectly fine, because they have a lot of other things that are meant for them. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As spring gives way to summer and the days grow warmer and longer, thousands around the Bay Area will be gearing up for Gay Pride and tons of other opportunities to celebrate our outrageous, lovely and creative queer community. From trans women of color sharing hilarious tales, to queer men and women telling stories of migration from the Dirty South through performance art; there is no shortage of accessible, engaging events to check out. \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/summer-arts-guide-2015\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10671038\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-400x400.png\" alt=\"SummerArtsGuide-2015-400x400-1\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>This list of such events, however, is certainly not comprehensive, but serves as a highlight of who, where and what folks should experience this June. Many of the events listed here are free or affordable, and I’d be shocked if anyone was turned away for lack of funds. Also, most of them provide scent-free seating areas, language interpretation and the best of what our queer community has to offer.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10735898\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10735898\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-800x450.jpg\" alt=\" Miho Aida's “The Sacred Place Where Life Begins” screens at the Queer Women of Color Film Festival\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Miho Aida’s “The Sacred Place Where Life Begins” screens at the Queer Women of Color Film Festival\u003c/figcaption>\u003c/figure>\n\u003ch3>11\u003csup>th\u003c/sup> Annual Queer Women of Color Film Festival\u003c/h3>\n\u003ch5>June 12-14\u003cbr>\nQueer Women of Color Media Arts Project\u003cbr>\n\u003ca href=\"http://www.qwocmap.org/festival/film-festival/schedule/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>One of the most anticipated Bay Area film events is the 11th annual Queer Women of Color Film Festival in San Francisco. For three days, audiences will have access to documentary films covering a variety of topics ranging from interracial coupling, body love, immigration and everything in between. The festival also features comedies, dramas, experimental film and more. With a total of 39 flicks, the festival is the best deal in the Bay as it’s completely free!\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10735899\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10735899\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration-478x600.jpg\" alt=\"Gary Edjukated Rebel Brice performs at "Y'all Come Back: Stories of Queer Southern Migration"\" width=\"478\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration-478x600.jpg 478w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration-400x503.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration.jpg 480w\" sizes=\"(max-width: 478px) 100vw, 478px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gary Edjukated Rebel Brice performs at “Y’all Come Back: Stories of Queer Southern Migration”\u003c/figcaption>\u003c/figure>\n\u003ch3>Y’all Come Back: Stories of Queer Southern Migration \u003c/h3>\n\u003ch5>June 13\u003cbr>\nSan Francisco LGBT Community Center\u003cbr>\n\u003ca href=\"http://www.yallcomebackshow.com/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>There is an assumption that the South is full of scary, right-wing bible thumpers, but if you think about it, not all of the queer community in San Francisco were born near The Bay. Y’all Come Back: Stories of Queer Southern Migration hopes to expose the rest of us to the “real queer” South through a visual art show (June 1- July 17) and two performances on June 13. Also, the event is not just tales of getting out but includes stories of queers heading to the South as well. It is sure to be an educational experience for all.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10741363\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Black-dont-crack-400x224.jpg\" alt=\"Black Don't Crack flyer\" width=\"400\" height=\"224\" class=\"size-thumbnail wp-image-10741363\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Black-dont-crack-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Black-dont-crack.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Black Don’t Crack flyer\u003c/figcaption>\u003c/figure>\n\u003ch3>Black Don’t Crack \u003c/h3>\n\u003ch5>June 18\u003cbr>\nAfrican American Art & Culture Complex\u003cbr>\n\u003ca href=\"https://www.facebook.com/events/816222501792567/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Congregation of Liberation composed an interdisciplinary musical theater production that uses humor and drama to shed some positive light on the alliances between marginalized communities of color and the queer community. The performance serves as a healing tool as well as an act of resistance against racism and homophobia, using art as a path to collective liberation and community building.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10736036\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Jackie-wang-RADAR-queerfail.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10736036\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Jackie-wang-RADAR-queerfail-800x533.jpg\" alt=\"Jackie Wang reads at RADAR Production's #QueerFail Festival\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Jackie-wang-RADAR-queerfail.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Jackie-wang-RADAR-queerfail-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jackie Wang reads at RADAR Production’s #QueerFail Festival\u003c/figcaption>\u003c/figure>\n\u003ch3>RADAR Productions #QUEERFAIL Festival \u003c/h3>\n\u003ch5>June 15-21\u003cbr>\nVarious locations in San Francisco\u003cbr>\n\u003ca href=\"http://www.radarproductions.org/reading-series/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>If the literary arts are your cup of tea, you won’t want to miss this fabulous Queer Fail series in June. Themed around “queer failure,” or as RADAR puts it, “the unique history of queer anti-assimilation and also just straight-up FAILURE to be polite, to be a tool, to be on time,” the festival offers a series of readings. The June 17 \u003ca href=\"https://www.facebook.com/events/1071305416216886/\" target=\"_blank\" rel=\"noopener\">Superstar\u003c/a> event features Jackie Wang, Maggie Nelson, CAConrad and Christopher Soto (aka Loma). Other events feature Sarah Fontaine, Lovewarz, Baruch Porras-Hernandez, Brontez Purnell, Cooper Lee Bombardier, Manish Vaidya, Cate White and more!\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10741365\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/CPA-GSD-41-400x267.jpeg\" alt=\"Example from <i>Stories of the Spectrum</i>\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-10741365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/CPA-GSD-41-400x267.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/CPA-GSD-41.jpeg 432w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Example from \u003ci>Stories of the Spectrum\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>Stories of the Spectrum Photo Exhibit\u003c/h3>\n\u003ch5>June 22 reception (exhibit runs June 1 – July 17)\u003cbr>\nLGBT Community Center\u003cbr>\n\u003ca href=\"http://www.sfcenter.org/programs/gallery-shows/stories-spectrum-photo-exhibit\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>While the “coming out” story of Caitlyn Jenner has been inspiring, it is certainly not representative of many trans people’s experiences. An upcoming exhibit in San Francisco offers a peak at some of the varied experience local youth have in the Bay Area. The Chinese Progressive Association and the Queer Cultural Center hosts \u003cem>Stories of the Spectrum\u003c/em>, a photography exhibit which documents queer and gender non-conforming people of color and their allies in the Bay Area at San Francisco’s LGBT Community center. The youth-led project defies stereotypes and is free of charge.\n\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As spring gives way to summer and the days grow warmer and longer, thousands around the Bay Area will be gearing up for Gay Pride and tons of other opportunities to celebrate our outrageous, lovely and creative queer community. From trans women of color sharing hilarious tales, to queer men and women telling stories of migration from the Dirty South through performance art; there is no shortage of accessible, engaging events to check out. \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/summer-arts-guide-2015\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10671038\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-400x400.png\" alt=\"SummerArtsGuide-2015-400x400-1\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>This list of such events, however, is certainly not comprehensive, but serves as a highlight of who, where and what folks should experience this June. Many of the events listed here are free or affordable, and I’d be shocked if anyone was turned away for lack of funds. Also, most of them provide scent-free seating areas, language interpretation and the best of what our queer community has to offer.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10735898\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10735898\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-800x450.jpg\" alt=\" Miho Aida's “The Sacred Place Where Life Begins” screens at the Queer Women of Color Film Festival\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Miho Aida’s “The Sacred Place Where Life Begins” screens at the Queer Women of Color Film Festival\u003c/figcaption>\u003c/figure>\n\u003ch3>11\u003csup>th\u003c/sup> Annual Queer Women of Color Film Festival\u003c/h3>\n\u003ch5>June 12-14\u003cbr>\nQueer Women of Color Media Arts Project\u003cbr>\n\u003ca href=\"http://www.qwocmap.org/festival/film-festival/schedule/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>One of the most anticipated Bay Area film events is the 11th annual Queer Women of Color Film Festival in San Francisco. For three days, audiences will have access to documentary films covering a variety of topics ranging from interracial coupling, body love, immigration and everything in between. The festival also features comedies, dramas, experimental film and more. With a total of 39 flicks, the festival is the best deal in the Bay as it’s completely free!\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10735899\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10735899\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration-478x600.jpg\" alt=\"Gary Edjukated Rebel Brice performs at "Y'all Come Back: Stories of Queer Southern Migration"\" width=\"478\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration-478x600.jpg 478w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration-400x503.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration.jpg 480w\" sizes=\"(max-width: 478px) 100vw, 478px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gary Edjukated Rebel Brice performs at “Y’all Come Back: Stories of Queer Southern Migration”\u003c/figcaption>\u003c/figure>\n\u003ch3>Y’all Come Back: Stories of Queer Southern Migration \u003c/h3>\n\u003ch5>June 13\u003cbr>\nSan Francisco LGBT Community Center\u003cbr>\n\u003ca href=\"http://www.yallcomebackshow.com/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>There is an assumption that the South is full of scary, right-wing bible thumpers, but if you think about it, not all of the queer community in San Francisco were born near The Bay. Y’all Come Back: Stories of Queer Southern Migration hopes to expose the rest of us to the “real queer” South through a visual art show (June 1- July 17) and two performances on June 13. Also, the event is not just tales of getting out but includes stories of queers heading to the South as well. It is sure to be an educational experience for all.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10741363\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Black-dont-crack-400x224.jpg\" alt=\"Black Don't Crack flyer\" width=\"400\" height=\"224\" class=\"size-thumbnail wp-image-10741363\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Black-dont-crack-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Black-dont-crack.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Black Don’t Crack flyer\u003c/figcaption>\u003c/figure>\n\u003ch3>Black Don’t Crack \u003c/h3>\n\u003ch5>June 18\u003cbr>\nAfrican American Art & Culture Complex\u003cbr>\n\u003ca href=\"https://www.facebook.com/events/816222501792567/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Congregation of Liberation composed an interdisciplinary musical theater production that uses humor and drama to shed some positive light on the alliances between marginalized communities of color and the queer community. The performance serves as a healing tool as well as an act of resistance against racism and homophobia, using art as a path to collective liberation and community building.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10736036\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Jackie-wang-RADAR-queerfail.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10736036\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Jackie-wang-RADAR-queerfail-800x533.jpg\" alt=\"Jackie Wang reads at RADAR Production's #QueerFail Festival\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Jackie-wang-RADAR-queerfail.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Jackie-wang-RADAR-queerfail-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jackie Wang reads at RADAR Production’s #QueerFail Festival\u003c/figcaption>\u003c/figure>\n\u003ch3>RADAR Productions #QUEERFAIL Festival \u003c/h3>\n\u003ch5>June 15-21\u003cbr>\nVarious locations in San Francisco\u003cbr>\n\u003ca href=\"http://www.radarproductions.org/reading-series/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>If the literary arts are your cup of tea, you won’t want to miss this fabulous Queer Fail series in June. Themed around “queer failure,” or as RADAR puts it, “the unique history of queer anti-assimilation and also just straight-up FAILURE to be polite, to be a tool, to be on time,” the festival offers a series of readings. The June 17 \u003ca href=\"https://www.facebook.com/events/1071305416216886/\" target=\"_blank\" rel=\"noopener\">Superstar\u003c/a> event features Jackie Wang, Maggie Nelson, CAConrad and Christopher Soto (aka Loma). Other events feature Sarah Fontaine, Lovewarz, Baruch Porras-Hernandez, Brontez Purnell, Cooper Lee Bombardier, Manish Vaidya, Cate White and more!\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10741365\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/CPA-GSD-41-400x267.jpeg\" alt=\"Example from <i>Stories of the Spectrum</i>\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-10741365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/CPA-GSD-41-400x267.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/CPA-GSD-41.jpeg 432w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Example from \u003ci>Stories of the Spectrum\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>Stories of the Spectrum Photo Exhibit\u003c/h3>\n\u003ch5>June 22 reception (exhibit runs June 1 – July 17)\u003cbr>\nLGBT Community Center\u003cbr>\n\u003ca href=\"http://www.sfcenter.org/programs/gallery-shows/stories-spectrum-photo-exhibit\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>While the “coming out” story of Caitlyn Jenner has been inspiring, it is certainly not representative of many trans people’s experiences. An upcoming exhibit in San Francisco offers a peak at some of the varied experience local youth have in the Bay Area. The Chinese Progressive Association and the Queer Cultural Center hosts \u003cem>Stories of the Spectrum\u003c/em>, a photography exhibit which documents queer and gender non-conforming people of color and their allies in the Bay Area at San Francisco’s LGBT Community center. The youth-led project defies stereotypes and is free of charge.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "When the Heck is that Film Festival?",
"headTitle": "When the Heck is that Film Festival? | KQED",
"content": "\u003cp>Do you ever ask yourself, when the heck is that __________ film festival happening? Do you ever kick yourself for inadvertently being out of town during your favorite movie-viewing time of year? Well, fear no more. We (along with a little help from \u003ca title=\"Michael Fox\" href=\"http://ww2.kqed.org/arts/author/mfox/\" target=\"_blank\" rel=\"noopener\">Michael Fox\u003c/a>) have put together a (not so) short list of the best of the Bay, so you can enjoy year-round access to films and storytellers.\u003c/p>\n\u003cp>\u003ca href=\"http://www.kqed.org/assets/pdf/arts/filmfestivals.pdf\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/thumbnail-filmfestival.jpg\" alt=\"thumbnail-filmfestival\" width=\"200\" height=\"260\" class=\"alignright size-full wp-image-10529260\">\u003c/a>So, bookmark this post or print out this handy, \u003ca title=\"Film Festivals\" href=\"http://www.kqed.org/assets/pdf/arts/filmfestivals.pdf\" target=\"_blank\" rel=\"noopener\">\u003cstrong>print-friendly list\u003c/strong>\u003c/a> — and sleep easy knowing you won’t miss out on indie films throughout the year. Visit the festivals’ websites for exact dates.\u003c/p>\n\u003cp>\u003cstrong>January\u003c/strong>\u003cbr>\n– \u003ca title=\"Goethe-Institut\" href=\"http://www.berlinbeyond.com\" target=\"_blank\" rel=\"noopener\">Berlin and Beyond\u003c/a> presented by the Goethe-Institut\u003cbr>\n– \u003ca title=\"Noir City\" href=\"http://www.noircity.com\" target=\"_blank\" rel=\"noopener\">Noir City Film Festival\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>February\u003c/strong>\u003cbr>\n– \u003ca title=\"Cinequest\" href=\"http://www.cinequest.org\" target=\"_blank\" rel=\"noopener\">Cinequest Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"Mostly British\" href=\"http://mostlybritish.org\" target=\"_blank\" rel=\"noopener\">Mostly British Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"Noisepop\" href=\"http://noisepop.com\" target=\"_blank\" rel=\"noopener\">NoisePop Film Series\u003c/a>\u003cbr>\n– \u003ca title=\"SFIndie\" href=\"http://sfindie.com/festivals/sf-indiefest\" target=\"_blank\" rel=\"noopener\">San Francisco Independent Film Festival\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March\u003c/strong>\u003cbr>\n– \u003ca title=\"Ocean Film Fest\" href=\"http://oceanfilmfest.org\" target=\"_blank\" rel=\"noopener\">San Francisco International Ocean Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"CAAM Fest\" href=\"http://caamfest.com\" target=\"_blank\" rel=\"noopener\">CAAMFest\u003c/a> (formerly the SF International Asian American Film Festival)\u003cbr>\n– \u003ca title=\"East Bay Jewish Film\" href=\"http://eastbayjewishfilm.org\" target=\"_blank\" rel=\"noopener\">East Bay International Jewish Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"Sonoma Film Festival\" href=\"http://www.sonomafilmfest.org\" target=\"_blank\" rel=\"noopener\">Sonoma International Film Festival\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>April\u003c/strong>\u003cbr>\n– \u003ca title=\"SF Cinematheque\" href=\"http://www.sfcinematheque.org\" target=\"_blank\" rel=\"noopener\">Crossroads\u003c/a> (avant-garde films) presented by San Francisco Cinematheque\u003cbr>\n– \u003ca title=\"Disposable Film Festival\" href=\"https://disposablefilm.com\" target=\"_blank\" rel=\"noopener\">Disposable Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"Food and Farm\" href=\"http://www.foodandfarmfilms.com\" target=\"_blank\" rel=\"noopener\">Food & Farm Film Fest\u003c/a>\u003cbr>\n– \u003ca title=\"USFCA\" href=\"http://www.usfca.edu/artsci/hrff/\" target=\"_blank\" rel=\"noopener\">Human Rights Film Festival\u003c/a> presented by the University of San Francisco\u003cbr>\n– \u003ca title=\"Buddhist Film Foundation\" href=\"http://www.buddhistfilmfoundation.org/international-buddhist-film-festival\" target=\"_blank\" rel=\"noopener\">International Buddhist Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"Oakland International Film Festival\" href=\"http://www.oiff.org\" target=\"_blank\" rel=\"noopener\">Oakland International Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"SF Film Society\" href=\"http://www.sffs.org/festival-home\" target=\"_blank\" rel=\"noopener\">San Francisco International Film Festival\u003c/a>\u003cbr>\n– \u003ca href=\"http://www.tiburonfilmfestival.com\" title=\"Tiburon Film\" target=\"_blank\" rel=\"noopener\">Tiburon International Film Festival\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May\u003c/strong>\u003cbr>\n– \u003ca title=\"Green Film Festival\" href=\"http://www.greenfilmfest.org\" target=\"_blank\" rel=\"noopener\">San Francisco Green Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"Silent Film Festival\" href=\"http://www.silentfilm.org\" target=\"_blank\" rel=\"noopener\">San Francisco Silent Film Festival\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>June\u003c/strong>\u003cbr>\n– \u003ca title=\"Docfest\" href=\"http://sfindie.com/festivals/sf-docfest\" target=\"_blank\" rel=\"noopener\">San Francisco Documentary Festival\u003c/a>\u003cbr>\n– \u003ca title=\"SF Black Film Festival\" href=\"http://sfbff.org\" target=\"_blank\" rel=\"noopener\">San Francisco Black Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"Frameline\" href=\"http://www.frameline.org\" target=\"_blank\" rel=\"noopener\">San Francisco International LGBT Film Festival\u003c/a> presented by Frameline\u003c/p>\n\u003cp>\u003cstrong>July\u003c/strong>\u003cbr>\n– \u003ca title=\"Frozen Film Festival\" href=\"http://www.frozenfilmfestival.com\" target=\"_blank\" rel=\"noopener\">San Francisco Frozen Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"San Francisco Jewish Film Festival\" href=\"http://www.sfjff.org\" target=\"_blank\" rel=\"noopener\">San Francisco Jewish Film Festival\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>August\u003c/strong>\u003cbr>\n– \u003ca title=\"Japan Film\" href=\"http://jffsf.org\" target=\"_blank\" rel=\"noopener\">Japan Film Festival of San Francisco\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>September\u003c/strong>\u003cbr>\n– \u003ca title=\"CAAM San Jose\" href=\"http://caamedia.org/caamfest-san-jose/\" target=\"_blank\" rel=\"noopener\">CAAMFest San Jose\u003c/a>\u003cbr>\n– \u003ca title=\"SF Latino Film Festival\" href=\"http://www.sflatinofilmfestival.com\" target=\"_blank\" rel=\"noopener\">Cine+Mas San Francisco Latino Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"Oakland Underground Film Festival\" href=\"http://oakuff.org\" target=\"_blank\" rel=\"noopener\">Oakland Underground Film Festival\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>October\u003c/strong>\u003cbr>\n– \u003ca title=\"Arab Film Festival\" href=\"http://www.arabfilmfestival.org\" target=\"_blank\" rel=\"noopener\">Arab Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"Mill Valley Film Festival\" href=\"http://www.mvff.com\" target=\"_blank\" rel=\"noopener\">Mill Valley Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"SF Dance Film Festival\" href=\"http://www.sfdancefilmfest.org\" target=\"_blank\" rel=\"noopener\">San Francisco Dance Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"Third I\" href=\"http://www.thirdi.org/festival/\" target=\"_blank\" rel=\"noopener\">San Francisco International South Asian Film Festival\u003c/a> presented by Third I\u003cbr>\n– \u003ca title=\"San Jose International Short\" href=\"http://www.sjsff.com\" target=\"_blank\" rel=\"noopener\">San Jose International Short Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"SF Shorts\" href=\"http://www.sfshorts.com\" target=\"_blank\" rel=\"noopener\">SF Shorts\u003c/a>\u003cbr>\n– \u003ca title=\"Silicon Valley Jewish Film Festival\" href=\"http://www.svjff.org\" target=\"_blank\" rel=\"noopener\">Silicon Valley Jewish Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"UNAFF\" href=\"http://www.unaff.org\" target=\"_blank\" rel=\"noopener\">UNAFF International Documentary Film Festival\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>November\u003c/strong>\u003cbr>\n– \u003ca title=\"American Indian Film\" href=\"http://aifisf.com\" target=\"_blank\" rel=\"noopener\">American Indian Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"Napa Valley Film Festival\" href=\"http://napavalleyfilmfest.org\" target=\"_blank\" rel=\"noopener\">Napa Valley Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"San Francisco Film Society\" href=\"http://www.sffs.org\" target=\"_blank\" rel=\"noopener\">San Francisco Film Society fall season\u003c/a>, which includes French Cinema Now, Hong Kong Cinema, New Italian Cinema (NICE) and Essential SF\u003cbr>\n– \u003ca title=\"Santa Cruz Film Festival\" href=\"http://santacruzfilmfestival.org\" target=\"_blank\" rel=\"noopener\">Santa Cruz Film Festival\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>December\u003c/strong>\u003cbr>\n– \u003ca title=\"SF Indie\" href=\"http://sfindie.com\" target=\"_blank\" rel=\"noopener\">Another Hole in the Head\u003c/a> (horror, sci-fi, dark fantasy films) presented by SF IndieFest\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Editor’s Note: The following changes were made to this post on May 4, 2015: Added Santa Cruz Film Festival, Food & Farm Film Fest, Napa Valley Film Festival, and SF Shorts. Removed ReelAbilities Film Festival.\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Do you ever ask yourself, when the heck is that __________ film festival happening? Do you ever kick yourself for inadvertently being out of town during your favorite movie-viewing time of year? Well, fear no more. We (along with a little help from \u003ca title=\"Michael Fox\" href=\"http://ww2.kqed.org/arts/author/mfox/\" target=\"_blank\" rel=\"noopener\">Michael Fox\u003c/a>) have put together a (not so) short list of the best of the Bay, so you can enjoy year-round access to films and storytellers.\u003c/p>\n\u003cp>\u003ca href=\"http://www.kqed.org/assets/pdf/arts/filmfestivals.pdf\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/thumbnail-filmfestival.jpg\" alt=\"thumbnail-filmfestival\" width=\"200\" height=\"260\" class=\"alignright size-full wp-image-10529260\">\u003c/a>So, bookmark this post or print out this handy, \u003ca title=\"Film Festivals\" href=\"http://www.kqed.org/assets/pdf/arts/filmfestivals.pdf\" target=\"_blank\" rel=\"noopener\">\u003cstrong>print-friendly list\u003c/strong>\u003c/a> — and sleep easy knowing you won’t miss out on indie films throughout the year. Visit the festivals’ websites for exact dates.\u003c/p>\n\u003cp>\u003cstrong>January\u003c/strong>\u003cbr>\n– \u003ca title=\"Goethe-Institut\" href=\"http://www.berlinbeyond.com\" target=\"_blank\" rel=\"noopener\">Berlin and Beyond\u003c/a> presented by the Goethe-Institut\u003cbr>\n– \u003ca title=\"Noir City\" href=\"http://www.noircity.com\" target=\"_blank\" rel=\"noopener\">Noir City Film Festival\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>February\u003c/strong>\u003cbr>\n– \u003ca title=\"Cinequest\" href=\"http://www.cinequest.org\" target=\"_blank\" rel=\"noopener\">Cinequest Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"Mostly British\" href=\"http://mostlybritish.org\" target=\"_blank\" rel=\"noopener\">Mostly British Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"Noisepop\" href=\"http://noisepop.com\" target=\"_blank\" rel=\"noopener\">NoisePop Film Series\u003c/a>\u003cbr>\n– \u003ca title=\"SFIndie\" href=\"http://sfindie.com/festivals/sf-indiefest\" target=\"_blank\" rel=\"noopener\">San Francisco Independent Film Festival\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March\u003c/strong>\u003cbr>\n– \u003ca title=\"Ocean Film Fest\" href=\"http://oceanfilmfest.org\" target=\"_blank\" rel=\"noopener\">San Francisco International Ocean Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"CAAM Fest\" href=\"http://caamfest.com\" target=\"_blank\" rel=\"noopener\">CAAMFest\u003c/a> (formerly the SF International Asian American Film Festival)\u003cbr>\n– \u003ca title=\"East Bay Jewish Film\" href=\"http://eastbayjewishfilm.org\" target=\"_blank\" rel=\"noopener\">East Bay International Jewish Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"Sonoma Film Festival\" href=\"http://www.sonomafilmfest.org\" target=\"_blank\" rel=\"noopener\">Sonoma International Film Festival\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April\u003c/strong>\u003cbr>\n– \u003ca title=\"SF Cinematheque\" href=\"http://www.sfcinematheque.org\" target=\"_blank\" rel=\"noopener\">Crossroads\u003c/a> (avant-garde films) presented by San Francisco Cinematheque\u003cbr>\n– \u003ca title=\"Disposable Film Festival\" href=\"https://disposablefilm.com\" target=\"_blank\" rel=\"noopener\">Disposable Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"Food and Farm\" href=\"http://www.foodandfarmfilms.com\" target=\"_blank\" rel=\"noopener\">Food & Farm Film Fest\u003c/a>\u003cbr>\n– \u003ca title=\"USFCA\" href=\"http://www.usfca.edu/artsci/hrff/\" target=\"_blank\" rel=\"noopener\">Human Rights Film Festival\u003c/a> presented by the University of San Francisco\u003cbr>\n– \u003ca title=\"Buddhist Film Foundation\" href=\"http://www.buddhistfilmfoundation.org/international-buddhist-film-festival\" target=\"_blank\" rel=\"noopener\">International Buddhist Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"Oakland International Film Festival\" href=\"http://www.oiff.org\" target=\"_blank\" rel=\"noopener\">Oakland International Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"SF Film Society\" href=\"http://www.sffs.org/festival-home\" target=\"_blank\" rel=\"noopener\">San Francisco International Film Festival\u003c/a>\u003cbr>\n– \u003ca href=\"http://www.tiburonfilmfestival.com\" title=\"Tiburon Film\" target=\"_blank\" rel=\"noopener\">Tiburon International Film Festival\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>May\u003c/strong>\u003cbr>\n– \u003ca title=\"Green Film Festival\" href=\"http://www.greenfilmfest.org\" target=\"_blank\" rel=\"noopener\">San Francisco Green Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"Silent Film Festival\" href=\"http://www.silentfilm.org\" target=\"_blank\" rel=\"noopener\">San Francisco Silent Film Festival\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>June\u003c/strong>\u003cbr>\n– \u003ca title=\"Docfest\" href=\"http://sfindie.com/festivals/sf-docfest\" target=\"_blank\" rel=\"noopener\">San Francisco Documentary Festival\u003c/a>\u003cbr>\n– \u003ca title=\"SF Black Film Festival\" href=\"http://sfbff.org\" target=\"_blank\" rel=\"noopener\">San Francisco Black Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"Frameline\" href=\"http://www.frameline.org\" target=\"_blank\" rel=\"noopener\">San Francisco International LGBT Film Festival\u003c/a> presented by Frameline\u003c/p>\n\u003cp>\u003cstrong>July\u003c/strong>\u003cbr>\n– \u003ca title=\"Frozen Film Festival\" href=\"http://www.frozenfilmfestival.com\" target=\"_blank\" rel=\"noopener\">San Francisco Frozen Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"San Francisco Jewish Film Festival\" href=\"http://www.sfjff.org\" target=\"_blank\" rel=\"noopener\">San Francisco Jewish Film Festival\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>August\u003c/strong>\u003cbr>\n– \u003ca title=\"Japan Film\" href=\"http://jffsf.org\" target=\"_blank\" rel=\"noopener\">Japan Film Festival of San Francisco\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>September\u003c/strong>\u003cbr>\n– \u003ca title=\"CAAM San Jose\" href=\"http://caamedia.org/caamfest-san-jose/\" target=\"_blank\" rel=\"noopener\">CAAMFest San Jose\u003c/a>\u003cbr>\n– \u003ca title=\"SF Latino Film Festival\" href=\"http://www.sflatinofilmfestival.com\" target=\"_blank\" rel=\"noopener\">Cine+Mas San Francisco Latino Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"Oakland Underground Film Festival\" href=\"http://oakuff.org\" target=\"_blank\" rel=\"noopener\">Oakland Underground Film Festival\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>October\u003c/strong>\u003cbr>\n– \u003ca title=\"Arab Film Festival\" href=\"http://www.arabfilmfestival.org\" target=\"_blank\" rel=\"noopener\">Arab Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"Mill Valley Film Festival\" href=\"http://www.mvff.com\" target=\"_blank\" rel=\"noopener\">Mill Valley Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"SF Dance Film Festival\" href=\"http://www.sfdancefilmfest.org\" target=\"_blank\" rel=\"noopener\">San Francisco Dance Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"Third I\" href=\"http://www.thirdi.org/festival/\" target=\"_blank\" rel=\"noopener\">San Francisco International South Asian Film Festival\u003c/a> presented by Third I\u003cbr>\n– \u003ca title=\"San Jose International Short\" href=\"http://www.sjsff.com\" target=\"_blank\" rel=\"noopener\">San Jose International Short Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"SF Shorts\" href=\"http://www.sfshorts.com\" target=\"_blank\" rel=\"noopener\">SF Shorts\u003c/a>\u003cbr>\n– \u003ca title=\"Silicon Valley Jewish Film Festival\" href=\"http://www.svjff.org\" target=\"_blank\" rel=\"noopener\">Silicon Valley Jewish Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"UNAFF\" href=\"http://www.unaff.org\" target=\"_blank\" rel=\"noopener\">UNAFF International Documentary Film Festival\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>November\u003c/strong>\u003cbr>\n– \u003ca title=\"American Indian Film\" href=\"http://aifisf.com\" target=\"_blank\" rel=\"noopener\">American Indian Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"Napa Valley Film Festival\" href=\"http://napavalleyfilmfest.org\" target=\"_blank\" rel=\"noopener\">Napa Valley Film Festival\u003c/a>\u003cbr>\n– \u003ca title=\"San Francisco Film Society\" href=\"http://www.sffs.org\" target=\"_blank\" rel=\"noopener\">San Francisco Film Society fall season\u003c/a>, which includes French Cinema Now, Hong Kong Cinema, New Italian Cinema (NICE) and Essential SF\u003cbr>\n– \u003ca title=\"Santa Cruz Film Festival\" href=\"http://santacruzfilmfestival.org\" target=\"_blank\" rel=\"noopener\">Santa Cruz Film Festival\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>December\u003c/strong>\u003cbr>\n– \u003ca title=\"SF Indie\" href=\"http://sfindie.com\" target=\"_blank\" rel=\"noopener\">Another Hole in the Head\u003c/a> (horror, sci-fi, dark fantasy films) presented by SF IndieFest\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Editor’s Note: The following changes were made to this post on May 4, 2015: Added Santa Cruz Film Festival, Food & Farm Film Fest, Napa Valley Film Festival, and SF Shorts. Removed ReelAbilities Film Festival.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>B.J. Novak came to the San Francisco offices of \u003ca href=\"https://medium.com/foreword\" target=\"_blank\" rel=\"noopener\">\u003cem>Medium\u003c/em>\u003c/a> recently to talk about comedy’s relationship to the dark side with \u003cem>Foreword\u003c/em> host Kelly Corrigan. In this excerpt, Corrigan asks Novak to explain why a very grim quote about marriage is so wickedly funny. His response speaks to the close ties between what makes us laugh, what makes us cringe and what makes us weep. \u003c/p>\n\u003cp>Novak is a comedian, actor and writer known for his work in \u003cem>The Office,\u003c/em> where he was also an executive producer, and in films like \u003cem>Inglorious Basterds\u003c/em> and \u003cem>Saving Mr. Banks.\u003c/em> His book of short stories, \u003cem>One More Thing,\u003c/em> was published by Knopf last year. \u003cem>Foreword\u003c/em> — hosted by the bestselling author Kelly Corrigan (\u003cem>The Middle Place\u003c/em>, \u003cem>LIFT\u003c/em>), is a digital series where thinkers and writers take on big ideas in front of a live studio audience. \u003c/p>\n\u003cp>The full interview is available at \u003ca href=\"https://medium.com/foreword/b-j-novak-on-surprise-bold-moves-and-taboo-subjects-in-comedy-b5b533f19ac5\" target=\"_blank\" rel=\"noopener\">medium.com/foreword\u003c/a> and \u003ca href=\"https://www.facebook.com/mediumforeword\" target=\"_blank\" rel=\"noopener\">www.facebook.com/mediumforeword\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>B.J. Novak came to the San Francisco offices of \u003ca href=\"https://medium.com/foreword\" target=\"_blank\" rel=\"noopener\">\u003cem>Medium\u003c/em>\u003c/a> recently to talk about comedy’s relationship to the dark side with \u003cem>Foreword\u003c/em> host Kelly Corrigan. In this excerpt, Corrigan asks Novak to explain why a very grim quote about marriage is so wickedly funny. His response speaks to the close ties between what makes us laugh, what makes us cringe and what makes us weep. \u003c/p>\n\u003cp>Novak is a comedian, actor and writer known for his work in \u003cem>The Office,\u003c/em> where he was also an executive producer, and in films like \u003cem>Inglorious Basterds\u003c/em> and \u003cem>Saving Mr. Banks.\u003c/em> His book of short stories, \u003cem>One More Thing,\u003c/em> was published by Knopf last year. \u003cem>Foreword\u003c/em> — hosted by the bestselling author Kelly Corrigan (\u003cem>The Middle Place\u003c/em>, \u003cem>LIFT\u003c/em>), is a digital series where thinkers and writers take on big ideas in front of a live studio audience. \u003c/p>\n\u003cp>The full interview is available at \u003ca href=\"https://medium.com/foreword/b-j-novak-on-surprise-bold-moves-and-taboo-subjects-in-comedy-b5b533f19ac5\" target=\"_blank\" rel=\"noopener\">medium.com/foreword\u003c/a> and \u003ca href=\"https://www.facebook.com/mediumforeword\" target=\"_blank\" rel=\"noopener\">www.facebook.com/mediumforeword\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Finding the Funniest People in Some of the Saddest Places",
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"content": "\u003cp>Serious issues demand to be taken seriously. That’s what I was taught from an early age, despite the best efforts of Lenny Bruce and Abbie Hoffman, and it’s the unquestioned aphorism that drives newscasts, newspapers and documentaries. But \u003cem>The Daily Show\u003c/em> and \u003cem>The Colbert Report\u003c/em> proved that it’s possible to inform and inspire a swath of the population through witty, barbed dissections of current events. The latter will never replace the former, of course, but it’s an invaluable compliment.\u003c/p>\n\u003cp>Building on the idea that comedy opens people’s ears—to ugly realities and uncomfortable truths, Bay Area producers David Munro and Xandra Castleton made \u003ci>Stand Up Planet\u003c/i>, a one-hour documentary following an Indian-American comic as he searches for comedic talent in some of the poorest areas in the world. \u003c/p>\n\u003cp>On one level, \u003cem>Stand Up Planet\u003c/em> is an enlightened travelogue in which charismatic comic and host Hasan Minhaj ventures to India and South Africa in search of local comedians with the guts to take on social issues and the talent to get laughs. An important secondary goal is bringing a couple of those comedians to Los Angeles to perform at the Laugh Factory. In addition to offering a personal and career boon for the two aspiring talents, the gig could demonstrate that a given culture’s problems and humor can be deeply understood by another. Suffering may be universal, but so is empathy; is comedy?\u003c/p>\n\u003cfigure id=\"attachment_10135789\" class=\"wp-caption alignright\" style=\"max-width: 1024px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Castleton_Munro_byTommyLau_02-1-1024x682.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Castleton_Munro_byTommyLau_02-1-1024x682.jpg\" alt=\"Stand Up Planet co-creators, Xandra Castleton & David Munro\" width=\"1024\" height=\"682\" class=\"size-full wp-image-10135789\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Castleton_Munro_byTommyLau_02-1-1024x682.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Castleton_Munro_byTommyLau_02-1-1024x682-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Castleton_Munro_byTommyLau_02-1-1024x682-300x199.jpg 300w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stand Up Planet co-creators, Xandra Castleton & David Munro \u003ccite>(Tommy Lau )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Traditional social issue documentaries leave out the ‘life goes on’ part, where people laugh and love, and just focus to an extreme on the problem,” Munro explains. “I think they not only leave out a big part of the story, but make people tune out when it’s presented that way. You can’t keep living if all there is is poverty and hopelessness.”\u003c/p>\n\u003cp>The producers looked at a lot of comics before settling on the likable, intelligent Minhaj (from MTV’s \u003cem>Failosophy\u003c/em>) as Stand Up Planet’s host, guide and ringleader. It happened to be pilot season in L.A., and Minhaj had various options. He chose \u003ci>Stand Up Planet\u003c/i>, in part, because he recognized that he was increasingly drawing on his own life for his stand-up act.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He was in a time of discovery for his own work, and [the program] was an experience that would broaden his scope,” Munro says. “And also connect some dots, to go back to India and go through this Ralph Ellison experience. ‘What if my family hadn’t left? Would I have been a comedian? A computer engineer?’ It closed a circle, in a way, and opened one up.”\u003c/p>\n\u003cp>Minhaj’s trip to Mumbai uncovers a handful of courageous, outspoken English-language comics who primarily perform in small venues such as restaurants. Their audience largely consists of young, educated elites, but that’s an influential segment of the population. On the street, bulky comic Tanmay Bhat takes Minhat on a neighborhood tour to illustrate the reality behind one of his most trenchant bits: 54 percent of Indians defecate outdoors. Every day, 1,600 children die of sanitation-related illnesses.\u003c/p>\n\u003cp>In Johannesburg, Minhaj and the filmmakers encounter black stars who launched their careers with daring sketch-comedy shows that made fun of the tendency to blame now-banned apartheid for every ill. \u003c/p>\n\u003cp>“Everyone was walking on eggshells, no one wanted to touch the third rail of flat-out truth,” Munro says. “The comics were willing to. Some of the stuff they did on the TV show caught a lot of flak from the government.”\u003c/p>\n\u003cp>\u003cem>Stand Up Planet\u003c/em> goes to great pains to avoid condescending to the native comics and populations, which should be commended. At the same time, Munro says he sees the progression and history of American comedy mirrored in India and South Africa.\u003c/p>\n\u003cp>“Before stand-up, just like in this country, mass-appeal mainstream comedy tends to be broad, almost like vaudeville,” he explains. “So what we saw in these countries was an accelerated evolution of what happened here. The performers start out as filler (on a long bill) and slowly become the main draw.”\u003c/p>\n\u003cp>One of the surprising thing about \u003cem>Stand Up Planet\u003c/em> is when the scouted talent that were invited to L.A. at Minhaj’s invitation are treated to a private visit with Bill Cosby, which rocks their world.\u003c/p>\n\u003cp>“The way it works for me is as the passing of the torch, that dangerous comedy is not a new invention,” Munro says. “It’s going to the mountain,” Castleton concurs. “All these comics grew up watching \u003cem>The Cosby Show\u003c/em>.”\u003c/p>\n\u003cp>The show also had a huge impact in South Africa, simply by depicting that a black man and his wife could be professionals and live in a nice house. According to Munro, the inmates on Robben Island used to write in sand, recounting what happened the night before on \u003cem>The Cosby Show\u003c/em>.\u003c/p>\n\u003cp>In other words, never discount the power of comedy. \u003cem>Stand Up Planet\u003c/em> carries on the fight with a contemporary voice and ample laughs.\u003c/p>\n\u003cp>\u003ci>Stand Up Planet\u003c/i> has its broadcast premiere Wednesday, May 14 on Link TV, Pivot and KCET.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For more information, visit \u003ca href=\"http://www.standupplanet.org/\" target=\"”_blank”\" rel=\"noopener\"> www.standupplanet.org.\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Serious issues demand to be taken seriously. That’s what I was taught from an early age, despite the best efforts of Lenny Bruce and Abbie Hoffman, and it’s the unquestioned aphorism that drives newscasts, newspapers and documentaries. But \u003cem>The Daily Show\u003c/em> and \u003cem>The Colbert Report\u003c/em> proved that it’s possible to inform and inspire a swath of the population through witty, barbed dissections of current events. The latter will never replace the former, of course, but it’s an invaluable compliment.\u003c/p>\n\u003cp>Building on the idea that comedy opens people’s ears—to ugly realities and uncomfortable truths, Bay Area producers David Munro and Xandra Castleton made \u003ci>Stand Up Planet\u003c/i>, a one-hour documentary following an Indian-American comic as he searches for comedic talent in some of the poorest areas in the world. \u003c/p>\n\u003cp>On one level, \u003cem>Stand Up Planet\u003c/em> is an enlightened travelogue in which charismatic comic and host Hasan Minhaj ventures to India and South Africa in search of local comedians with the guts to take on social issues and the talent to get laughs. An important secondary goal is bringing a couple of those comedians to Los Angeles to perform at the Laugh Factory. In addition to offering a personal and career boon for the two aspiring talents, the gig could demonstrate that a given culture’s problems and humor can be deeply understood by another. Suffering may be universal, but so is empathy; is comedy?\u003c/p>\n\u003cfigure id=\"attachment_10135789\" class=\"wp-caption alignright\" style=\"max-width: 1024px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Castleton_Munro_byTommyLau_02-1-1024x682.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Castleton_Munro_byTommyLau_02-1-1024x682.jpg\" alt=\"Stand Up Planet co-creators, Xandra Castleton & David Munro\" width=\"1024\" height=\"682\" class=\"size-full wp-image-10135789\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Castleton_Munro_byTommyLau_02-1-1024x682.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Castleton_Munro_byTommyLau_02-1-1024x682-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Castleton_Munro_byTommyLau_02-1-1024x682-300x199.jpg 300w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stand Up Planet co-creators, Xandra Castleton & David Munro \u003ccite>(Tommy Lau )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Traditional social issue documentaries leave out the ‘life goes on’ part, where people laugh and love, and just focus to an extreme on the problem,” Munro explains. “I think they not only leave out a big part of the story, but make people tune out when it’s presented that way. You can’t keep living if all there is is poverty and hopelessness.”\u003c/p>\n\u003cp>The producers looked at a lot of comics before settling on the likable, intelligent Minhaj (from MTV’s \u003cem>Failosophy\u003c/em>) as Stand Up Planet’s host, guide and ringleader. It happened to be pilot season in L.A., and Minhaj had various options. He chose \u003ci>Stand Up Planet\u003c/i>, in part, because he recognized that he was increasingly drawing on his own life for his stand-up act.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He was in a time of discovery for his own work, and [the program] was an experience that would broaden his scope,” Munro says. “And also connect some dots, to go back to India and go through this Ralph Ellison experience. ‘What if my family hadn’t left? Would I have been a comedian? A computer engineer?’ It closed a circle, in a way, and opened one up.”\u003c/p>\n\u003cp>Minhaj’s trip to Mumbai uncovers a handful of courageous, outspoken English-language comics who primarily perform in small venues such as restaurants. Their audience largely consists of young, educated elites, but that’s an influential segment of the population. On the street, bulky comic Tanmay Bhat takes Minhat on a neighborhood tour to illustrate the reality behind one of his most trenchant bits: 54 percent of Indians defecate outdoors. Every day, 1,600 children die of sanitation-related illnesses.\u003c/p>\n\u003cp>In Johannesburg, Minhaj and the filmmakers encounter black stars who launched their careers with daring sketch-comedy shows that made fun of the tendency to blame now-banned apartheid for every ill. \u003c/p>\n\u003cp>“Everyone was walking on eggshells, no one wanted to touch the third rail of flat-out truth,” Munro says. “The comics were willing to. Some of the stuff they did on the TV show caught a lot of flak from the government.”\u003c/p>\n\u003cp>\u003cem>Stand Up Planet\u003c/em> goes to great pains to avoid condescending to the native comics and populations, which should be commended. At the same time, Munro says he sees the progression and history of American comedy mirrored in India and South Africa.\u003c/p>\n\u003cp>“Before stand-up, just like in this country, mass-appeal mainstream comedy tends to be broad, almost like vaudeville,” he explains. “So what we saw in these countries was an accelerated evolution of what happened here. The performers start out as filler (on a long bill) and slowly become the main draw.”\u003c/p>\n\u003cp>One of the surprising thing about \u003cem>Stand Up Planet\u003c/em> is when the scouted talent that were invited to L.A. at Minhaj’s invitation are treated to a private visit with Bill Cosby, which rocks their world.\u003c/p>\n\u003cp>“The way it works for me is as the passing of the torch, that dangerous comedy is not a new invention,” Munro says. “It’s going to the mountain,” Castleton concurs. “All these comics grew up watching \u003cem>The Cosby Show\u003c/em>.”\u003c/p>\n\u003cp>The show also had a huge impact in South Africa, simply by depicting that a black man and his wife could be professionals and live in a nice house. According to Munro, the inmates on Robben Island used to write in sand, recounting what happened the night before on \u003cem>The Cosby Show\u003c/em>.\u003c/p>\n\u003cp>In other words, never discount the power of comedy. \u003cem>Stand Up Planet\u003c/em> carries on the fight with a contemporary voice and ample laughs.\u003c/p>\n\u003cp>\u003ci>Stand Up Planet\u003c/i> has its broadcast premiere Wednesday, May 14 on Link TV, Pivot and KCET.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For more information, visit \u003ca href=\"http://www.standupplanet.org/\" target=\"”_blank”\" rel=\"noopener\"> www.standupplanet.org.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The heroine of Aristophanes’ fifth century comedy \u003cb>Lysistrata\u003c/b> convinces women from warring Sparta and Troy to withhold sex from their husbands until they end the Peloponnesian War. \u003cb>The Lysistrata Project\u003c/b>, a work-in-development staged by San Francisco’s Crowded Theater Company, is a riff on the theme based in fifties suburban America. In this version, a pirate radio personality encourages suburban housewives to exploit their domesticity rather than their sexuality — telling her listeners at the end of one transmission they can find her next time by tuning their dial to the same number as the best recipe for the apple pie in Betty Crocker — to incite a feminist awakening.\u003c/p>\n\u003cp>Crowded Fire Theater, now in its 13th season, has earned a reputation as an institution for experimental theater, staging performances like this one, which was created by their thirteen resident artists in a development program called the Matchbox Theater. Elana McKernan, the author of \u003cb>The Lysistrata Project\u003c/b>, started as an intern with the company before becoming a resident, and worked with Crowded Fire’s Artistic Director, Marissa Wolf, while developing the play.\u003c/p>\n\u003cp>When you enter the Berkeley residence that has been taken over for the staging of this site-specific production, you might have to pause to re-gain your bearings. It is 1958 \u003ci>and\u003c/i> 2010; on the stairs to your left and in the parlor to your right are women in aprons and men in sport coats, intermixed among others dressed not so differently from yourself. Head through to the kitchen, and you will find a housewife serving up slices of pie, and — if you get lost for a moment savoring the flaky crust (go ahead, it’s okay) — you might forget that you are in the middle of a performance piece. That is, until the woman’s husband walks past you, loosening his collar, and greets her with a “Honey, I’m home!? before retreating to the parlor (for a gin, presumably). In that moment, squished between the refrigerator and the pantry, you get the first taste of a feeling that will become familiar before the night is over, as though you are a trespasser in someone’s home, witness to their most personal moments.\u003c/p>\n\u003cp>\u003cb>The Lysistrata Project\u003c/b> is choose-your-own-adventure theatre: when you purchase your ticket, you select one of three characters to follow. Literally — through the house, from the kitchen to the bedroom, the parlor, back to the kitchen… The audience is split into three groups, each observing the personal story of one of three housewives: Linda, Cindy, and Karen. Linda is mourning the loss of her husband (finding comfort in the arms of a number of different men); Cindy is the consummate homemaker, but laboring in a loveless marriage; Karen is struggling to find her place in a restrictive suburban life she feels at odds with.\u003c/p>\n\u003cp>The play wrestles with some heavy issues — sexism, xenophobia, censorship — in a way that might have felt heavy-handed in a more traditional theater setting, but this intimate space, sitting in someone’s kitchen, watching as these issues play out in daily life reaffirms their continued relevance. Or, maybe the pie is so good it doesn’t even matter.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Lysistrata Project\u003c/b> runs through April 23, with performances at 8pm, Thursday through Saturday at \u003ca href=\"http://www.mapquest.com/maps?city=Berkeley&state=CA&address=2836+Regent+St&zipcode=94705-2134&country=US&latitude=37.85842&longitude=-122.25689&geocode=ADDRESS\">The Regent House\u003c/a> in Berkeley. Performances are Thursday through Saturday at 8pm. For \u003ca href=\"http://crowdedfire.org/\">tickets and information\u003c/a> visit crowdedFire.org.\u003c/p>\n\n",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
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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.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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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.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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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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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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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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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
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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",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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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/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"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)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"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",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"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": {
"site": "news",
"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/",
"meta": {
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"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",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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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.",
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