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"content": "\u003cp>With a name like Killing My Lobster, it would be hard to expect anything less than comedy — or dinner in a New England shanty. Sketch comedy group Killing My Lobster (The Lobster Theater Project, if you want to get formal) is a roving production exclusive to San Francisco. If you’re wondering where the group’s name comes from, a few games of Pimm’s Cups would be the culprit so don’t try to decipher any deeper meanings. The core group of performers participates in the script writing process, most likely because telling other people’s jokes is lame. For the month of March, KML has settled in The Jewish Theater to perform \u003cb>Preaches to the Choir\u003c/b>, a sinfully silly take on religion.\u003c/p>\n\u003cp>Mostly couples in their late thirties fill the intimately sized theater Friday night. Director Paco Romane, a spunky fella in all black business-casual attire, introduces the show. A few audience members cheer and yell out Paco’s name, showing we are amongst friends.\u003c/p>\n\u003cp>\u003cb>Preaches to the Choir\u003c/b> explores a more inclusive definition of religion. An intense faith in anything (even Yelp) is up for consideration and acceptance. Set design reinforces the show’s intentions. Four angled walls flank the stage and are painted with religious and culturally significant symbols. Equal weight is given to the Star of David, the cross, Om, Shepard Fairey’s “Obey” Andre the Giant sticker, and a bicycle with the words “Critical Mass,” which definitely has a cult-like following in San Francisco.\u003c/p>\n\u003cp>KML is not afraid to cross the politically correct line time and again. Laughter is hesitant at first. But it doesn’t take long for hearty responses, of sometimes booming proportions, to take over as the audience realizes this is a safe zone and PC standards need not apply. By the time we reach Father Murphy, he is being lectured by a higher order for his inability to follow a centuries-old tradition of the Catholic Church in regards to little boys. The faux Irish accent was what did me in.\u003c/p>\n\u003cp>Cozily arranged in an on-stage corner, is a three-man band including Mike Smith on guitar, James Dumlao on drums, and Jonathan Kepke on keyboards. Between sketches, musical interludes cover segments of songs spanning genres and generations. The playlist seems to be the result of a Google search with the words: faith, religion, Jesus, and God as the segments range from George Michael’s “Faith” to R.E.M.’s “Losing My Religion.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yet, no expertly performed interlude can compare to Mylie Cyrus’ seizure-inducing “Party in the USA,” as delivered by Leslie Waggoner, in a sketch involving an exorcism kit. Waggoner’s song and dance is post-exorcism. Ironically, excitement over Mylie Cyrus concert tickets created the monster, hence the need for the teenybopper’s exorcism — a vicious cycle, causing the bopper’s parents to fall to the ground twitching.\u003c/p>\n\u003cp>The final sketch ends with an inspirational little diddle from an overly exuberant preacher (Nick A. Olivero). His cadence and big gestures lend to the feeling that he belongs in an 8,000 person auditorium rather than this small theater. He resonates with KML’s overarching theme, “As long as you believe in something.”\u003c/p>\n\u003cp>As expected in small theater productions, the performers were vibrant and a bit synthetic. But that cheesy, overly happy vibe doubles as comedically purposeful. The characters’ feigned ignorance exaggerates real-life absurdities.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Killing My Lobster Preaches to the Choir\u003c/b> is on view through March 28, 2010 at \u003ca href=\"http://www.tjt-sf.org/\">The Jewish Theater\u003c/a>. \u003ca href=\"https://www.killingmylobster.com/tix/preaches/\">For tickets and information\u003c/a>, visit killingmylobster.com\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With a name like Killing My Lobster, it would be hard to expect anything less than comedy — or dinner in a New England shanty. Sketch comedy group Killing My Lobster (The Lobster Theater Project, if you want to get formal) is a roving production exclusive to San Francisco. If you’re wondering where the group’s name comes from, a few games of Pimm’s Cups would be the culprit so don’t try to decipher any deeper meanings. The core group of performers participates in the script writing process, most likely because telling other people’s jokes is lame. For the month of March, KML has settled in The Jewish Theater to perform \u003cb>Preaches to the Choir\u003c/b>, a sinfully silly take on religion.\u003c/p>\n\u003cp>Mostly couples in their late thirties fill the intimately sized theater Friday night. Director Paco Romane, a spunky fella in all black business-casual attire, introduces the show. A few audience members cheer and yell out Paco’s name, showing we are amongst friends.\u003c/p>\n\u003cp>\u003cb>Preaches to the Choir\u003c/b> explores a more inclusive definition of religion. An intense faith in anything (even Yelp) is up for consideration and acceptance. Set design reinforces the show’s intentions. Four angled walls flank the stage and are painted with religious and culturally significant symbols. Equal weight is given to the Star of David, the cross, Om, Shepard Fairey’s “Obey” Andre the Giant sticker, and a bicycle with the words “Critical Mass,” which definitely has a cult-like following in San Francisco.\u003c/p>\n\u003cp>KML is not afraid to cross the politically correct line time and again. Laughter is hesitant at first. But it doesn’t take long for hearty responses, of sometimes booming proportions, to take over as the audience realizes this is a safe zone and PC standards need not apply. By the time we reach Father Murphy, he is being lectured by a higher order for his inability to follow a centuries-old tradition of the Catholic Church in regards to little boys. The faux Irish accent was what did me in.\u003c/p>\n\u003cp>Cozily arranged in an on-stage corner, is a three-man band including Mike Smith on guitar, James Dumlao on drums, and Jonathan Kepke on keyboards. Between sketches, musical interludes cover segments of songs spanning genres and generations. The playlist seems to be the result of a Google search with the words: faith, religion, Jesus, and God as the segments range from George Michael’s “Faith” to R.E.M.’s “Losing My Religion.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yet, no expertly performed interlude can compare to Mylie Cyrus’ seizure-inducing “Party in the USA,” as delivered by Leslie Waggoner, in a sketch involving an exorcism kit. Waggoner’s song and dance is post-exorcism. Ironically, excitement over Mylie Cyrus concert tickets created the monster, hence the need for the teenybopper’s exorcism — a vicious cycle, causing the bopper’s parents to fall to the ground twitching.\u003c/p>\n\u003cp>The final sketch ends with an inspirational little diddle from an overly exuberant preacher (Nick A. Olivero). His cadence and big gestures lend to the feeling that he belongs in an 8,000 person auditorium rather than this small theater. He resonates with KML’s overarching theme, “As long as you believe in something.”\u003c/p>\n\u003cp>As expected in small theater productions, the performers were vibrant and a bit synthetic. But that cheesy, overly happy vibe doubles as comedically purposeful. The characters’ feigned ignorance exaggerates real-life absurdities.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Killing My Lobster Preaches to the Choir\u003c/b> is on view through March 28, 2010 at \u003ca href=\"http://www.tjt-sf.org/\">The Jewish Theater\u003c/a>. \u003ca href=\"https://www.killingmylobster.com/tix/preaches/\">For tickets and information\u003c/a>, visit killingmylobster.com\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Last season, Tina Fey reminded us that sketch comedy could be pretty sensational; Fey as Sarah Palin was a revelation. But it was the “interview” with Katie Couric (Amy Poehler) that comes to mind on the eve of SF Sketchfest, the annual comedy festival, which starts tonight and runs through February 2.\u003c/p>\n\u003cp>A key component to the awesomeness of that Palin/Couric sketch was that a giant chunk of the dialogue was verbatim Palin. Those words spoke for themselves. You can’t make this stuff up! (as they say, somewhere.) But you can mount it as staged performance.\u003c/p>\n\u003cp>SF Sketchfest, now in its ninth year, showcases improv, stand-up, sketch comedy and cult film screenings. In recent years, many of the events have been inspired by “found” material, which is culled, swiped or appropriated from real life sources.\u003c/p>\n\u003cp>This year, the festival pays tribute to some established muckety-mucks — like Conan O’Brien and Dick Cavett and some classic film comedies (\u003cb>Monty Python and the Holy Grail\u003c/b>, \u003cb>Waiting For Guffman\u003c/b>). John Hodgman (\u003cb>The Daily Show\u003c/b>‘s resident expert) will receive the SF Sketchfest Comedy Writing Award and will converse onstage with Dave Eggers on January 30th. And scads of comics (including Michael Cera, Neil Patrick Harris, Rachel Dratch, Julia Sweeney, Dave Foley, Fred Willard, Ileanna Douglas — to name but seven) will appear in what I’ll call “found comedy.”\u003c/p>\n\u003cp>Like found art — from Marcel Duchamp’s readymades to \u003ca href=\"http://www.foundmagazine.com/\">Found Magazine\u003c/a>, a scrapbook of discards from other people’s lives — found performance repurposes its source material. Found comedy takes the accidentally hilarious and shines a spotlight on it. That is, Tina Fey’s Sarah Palin is funny ha ha. Sarah Palin’s Sarah Palin is funny yikes!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Consider \u003cb>Celebrity Autobiography\u003c/b> (January 30 and 31). You would no doubt be amused at the poorly-written naval-gazing if you bothered to read a Loni Anderson memoir or a Mr. T tell-all. But when Rachel Dratch reads to you from the intimate musings of Miley Cyrus or Will Forte reads verbatim from the erotic philosophizing of Metallica’s Tommy Lee, it’s no longer drivel; it’s theater. (The writings of Mr. T, Mr. Lee and Ms. Cyrus were read by these actors in previous iterations of the show (in LA, NY and here). Which guest orator will read whose C-list memoir at this year’s Sketchfest is part of the surprise.)\u003c/p>\n\u003cp>Like the implied quotation marks that are often a part of satire (and camp), refried transcripts cue the irony. When Fey does verbatim Palin, she’s putting the two-fingered bunny ears behind the former Alaska governor’s head. When Michael Urie (\u003cb>Ugly Betty\u003c/b>‘s Marc St. James) reads from David Cassidy’s memoir (\u003cb>C’mon Get Happy\u003c/b>, 1994), he is — lovingly — putting a two-fingered “loser” sign on the former teen heartthrob’s forehead.\u003c/p>\n\u003cp>Comedic readings of the confessions of Keith Partridge (he had nailed his TV half-sister) or of Vanna White (the secret of her letter turning is all in the wrist) are found prose — a sub-category of found performance. They are enhanced only by tone of voice. But SF Sketchfest also features a series of found footage humor — forgotten movie rubbish screened for public mockery.\u003c/p>\n\u003cp>\u003cb>Cinematic Titanic\u003c/b>, brought to you by the professional smart alecks of Mystery Science Theater 3000, scavenges through the septic tank of celluloid sludge to unspool the stinkiest movies for our mocking pleasure. This year at the Castro, they’ll provide running quippery during the February 2 screening of \u003cb>Danger on Tiki Island\u003c/b> (a shlocky 1968 sci-fi horror flick involving virgin sacrifices and mutant monsters).\u003c/p>\n\u003cp>“Laughing at” differs from the “laughing with” solidarity that you can feel in the audience at \u003ca href=\"http://www.getmortified.com/live/\">Mortified\u003c/a>, performed monthly (not part of the festival, but terrific — the first SF performances of 2010 are this weekend at the Make Out Room). Here teen artifacts (journals, letters, poems) are read by their original authors (Adult Survivors of Adolescence) before total strangers. Since these diarists and poets are putting the two-fingered L on their own foreheads, the laughter is usually tempered with condolences.\u003c/p>\n\u003cp>This comedy of hindsight is also on self-display at SF Sketchfest’s \u003cb>The Shit Show\u003c/b> (January 24), a collection of the worst (and yet real) TV pilots and movies that never came to light. They’ll be presented by the actors who regret doing them — and can laugh about it now. It’s a cross between \u003cb>Cinematic Titanic\u003c/b>‘s unbridled ridicule of bad movies and the self-inflicted comedy of Mortified. Actors in the \u003cb>The Shit Show\u003c/b> reveal what they accidentally stepped in.\u003c/p>\n\u003cp>\u003cb>Facebook Improv\u003c/b> (January 23) takes the utterly virtual inter-web of online living and repurposes it IRL for laughs. Here, the Facebook pages of audience volunteers are projected onto a big screen and comics make hay of the subjects’ status updates, group affiliations, wall postings etc.\u003c/p>\n\u003cp>“A great deal of comedy…has always been in response to its respective current climate,” says Janet Varney, one of the co-founders of SF Sketchfest. “It comments on culture, politics, trends, issues… so this hard-to-define, sort of post-modern way of tweaking existing entertainment is probably a good reflection of our times.”\u003c/p>\n\u003cp>Indeed, \u003cb>Facebook Improv\u003c/b> was originally \u003cb>My Space Improv\u003c/b> — the 8-track tape of social networking. The show re-branded itself to continue its ride on the coattails of the current zeitgeist. Back in the distant 1980s, VH1s \u003cb>Pop-Up Videos\u003c/b> tailgated the then still-novel music video format. It was the Mystery Science Theater of music videos (except hardly ever actually funny).\u003c/p>\n\u003cp>Facebook may be here to stay, but when it loses its novelty, it’ll go the way of Segway and Y2K jokes. (“My computer is so slow it hertz.” Anyone?)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>SF Sketchfest runs January 14 through February 2, 2010 at various San Francisco locations. For \u003ca href=\"http://www.sfsketchfest.com/home/\">tickets and information\u003c/a> visit sfsketchfest.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last season, Tina Fey reminded us that sketch comedy could be pretty sensational; Fey as Sarah Palin was a revelation. But it was the “interview” with Katie Couric (Amy Poehler) that comes to mind on the eve of SF Sketchfest, the annual comedy festival, which starts tonight and runs through February 2.\u003c/p>\n\u003cp>A key component to the awesomeness of that Palin/Couric sketch was that a giant chunk of the dialogue was verbatim Palin. Those words spoke for themselves. You can’t make this stuff up! (as they say, somewhere.) But you can mount it as staged performance.\u003c/p>\n\u003cp>SF Sketchfest, now in its ninth year, showcases improv, stand-up, sketch comedy and cult film screenings. In recent years, many of the events have been inspired by “found” material, which is culled, swiped or appropriated from real life sources.\u003c/p>\n\u003cp>This year, the festival pays tribute to some established muckety-mucks — like Conan O’Brien and Dick Cavett and some classic film comedies (\u003cb>Monty Python and the Holy Grail\u003c/b>, \u003cb>Waiting For Guffman\u003c/b>). John Hodgman (\u003cb>The Daily Show\u003c/b>‘s resident expert) will receive the SF Sketchfest Comedy Writing Award and will converse onstage with Dave Eggers on January 30th. And scads of comics (including Michael Cera, Neil Patrick Harris, Rachel Dratch, Julia Sweeney, Dave Foley, Fred Willard, Ileanna Douglas — to name but seven) will appear in what I’ll call “found comedy.”\u003c/p>\n\u003cp>Like found art — from Marcel Duchamp’s readymades to \u003ca href=\"http://www.foundmagazine.com/\">Found Magazine\u003c/a>, a scrapbook of discards from other people’s lives — found performance repurposes its source material. Found comedy takes the accidentally hilarious and shines a spotlight on it. That is, Tina Fey’s Sarah Palin is funny ha ha. Sarah Palin’s Sarah Palin is funny yikes!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Consider \u003cb>Celebrity Autobiography\u003c/b> (January 30 and 31). You would no doubt be amused at the poorly-written naval-gazing if you bothered to read a Loni Anderson memoir or a Mr. T tell-all. But when Rachel Dratch reads to you from the intimate musings of Miley Cyrus or Will Forte reads verbatim from the erotic philosophizing of Metallica’s Tommy Lee, it’s no longer drivel; it’s theater. (The writings of Mr. T, Mr. Lee and Ms. Cyrus were read by these actors in previous iterations of the show (in LA, NY and here). Which guest orator will read whose C-list memoir at this year’s Sketchfest is part of the surprise.)\u003c/p>\n\u003cp>Like the implied quotation marks that are often a part of satire (and camp), refried transcripts cue the irony. When Fey does verbatim Palin, she’s putting the two-fingered bunny ears behind the former Alaska governor’s head. When Michael Urie (\u003cb>Ugly Betty\u003c/b>‘s Marc St. James) reads from David Cassidy’s memoir (\u003cb>C’mon Get Happy\u003c/b>, 1994), he is — lovingly — putting a two-fingered “loser” sign on the former teen heartthrob’s forehead.\u003c/p>\n\u003cp>Comedic readings of the confessions of Keith Partridge (he had nailed his TV half-sister) or of Vanna White (the secret of her letter turning is all in the wrist) are found prose — a sub-category of found performance. They are enhanced only by tone of voice. But SF Sketchfest also features a series of found footage humor — forgotten movie rubbish screened for public mockery.\u003c/p>\n\u003cp>\u003cb>Cinematic Titanic\u003c/b>, brought to you by the professional smart alecks of Mystery Science Theater 3000, scavenges through the septic tank of celluloid sludge to unspool the stinkiest movies for our mocking pleasure. This year at the Castro, they’ll provide running quippery during the February 2 screening of \u003cb>Danger on Tiki Island\u003c/b> (a shlocky 1968 sci-fi horror flick involving virgin sacrifices and mutant monsters).\u003c/p>\n\u003cp>“Laughing at” differs from the “laughing with” solidarity that you can feel in the audience at \u003ca href=\"http://www.getmortified.com/live/\">Mortified\u003c/a>, performed monthly (not part of the festival, but terrific — the first SF performances of 2010 are this weekend at the Make Out Room). Here teen artifacts (journals, letters, poems) are read by their original authors (Adult Survivors of Adolescence) before total strangers. Since these diarists and poets are putting the two-fingered L on their own foreheads, the laughter is usually tempered with condolences.\u003c/p>\n\u003cp>This comedy of hindsight is also on self-display at SF Sketchfest’s \u003cb>The Shit Show\u003c/b> (January 24), a collection of the worst (and yet real) TV pilots and movies that never came to light. They’ll be presented by the actors who regret doing them — and can laugh about it now. It’s a cross between \u003cb>Cinematic Titanic\u003c/b>‘s unbridled ridicule of bad movies and the self-inflicted comedy of Mortified. Actors in the \u003cb>The Shit Show\u003c/b> reveal what they accidentally stepped in.\u003c/p>\n\u003cp>\u003cb>Facebook Improv\u003c/b> (January 23) takes the utterly virtual inter-web of online living and repurposes it IRL for laughs. Here, the Facebook pages of audience volunteers are projected onto a big screen and comics make hay of the subjects’ status updates, group affiliations, wall postings etc.\u003c/p>\n\u003cp>“A great deal of comedy…has always been in response to its respective current climate,” says Janet Varney, one of the co-founders of SF Sketchfest. “It comments on culture, politics, trends, issues… so this hard-to-define, sort of post-modern way of tweaking existing entertainment is probably a good reflection of our times.”\u003c/p>\n\u003cp>Indeed, \u003cb>Facebook Improv\u003c/b> was originally \u003cb>My Space Improv\u003c/b> — the 8-track tape of social networking. The show re-branded itself to continue its ride on the coattails of the current zeitgeist. Back in the distant 1980s, VH1s \u003cb>Pop-Up Videos\u003c/b> tailgated the then still-novel music video format. It was the Mystery Science Theater of music videos (except hardly ever actually funny).\u003c/p>\n\u003cp>Facebook may be here to stay, but when it loses its novelty, it’ll go the way of Segway and Y2K jokes. (“My computer is so slow it hertz.” Anyone?)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>SF Sketchfest runs January 14 through February 2, 2010 at various San Francisco locations. For \u003ca href=\"http://www.sfsketchfest.com/home/\">tickets and information\u003c/a> visit sfsketchfest.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The headline act for the opening night of SF Sketchfest, which began on January 15 and continues through January 31, 2009 at various venues in San Francisco and Marin, was a live version of the \u003cb>Tim and Eric Awesome Show, Great Job!\u003c/b> which begins its fourth season at Adult Swim on February 8. Writers/performers Tim Heidecker and Eric Wareheim kicked things off with a crowd-pleasing little ditty about diarrhea called “Diarrhea,” whose lyrics consisted of the repetition of the word diarrhea over and over and over again for perhaps five minutes. This was followed by a parody ad for a product called D-Pants, whose waterproof design and catch basins at the cuffs allow diarrhea sufferers to relieve themselves without having to take off their trousers. A short film about a misguided road trip came next, then the guys treated the hooting and hollering audience of mostly 20-something males to a duet between two elementary-school-age boys who are hanging out in the school bathroom and rapping about how much they enjoy kissing their sisters on the lips and not wiping themselves after they take a crap.\u003c/p>\n\u003cp>Tim and Eric are obviously extraordinarily gifted artists. Just as Robert Rauschenberg strove to create an art that was post-retinal (i.e., not necessarily appealing to the eye), Heidecker and Wareheim have perfected a form of comedy that is not funny. The material itself is purposefully awful and the spare production values accompanying the delivery of said content is proudly cheesy. It’s not supposed to be humorous, or even good. That’s what’s so funny, which is very meta, and meta is so baller, yo.\u003c/p>\n\u003cp>Fortunately Tim and Eric are not the only attraction on SF Sketchfest’s crammed calendar. This Thursday night, January 22, the Castro Theatre hosts \u003cb>A Salute to Bud Cort\u003c/b>. The evening begins with a screening of the ’70s cult classic \u003cb>Harold and Maude\u003c/b>, then shifts gears for an on-stage interview with the actor immediately thereafter. \u003cb>Facebook Improv\u003c/b> happens the next night at the Eureka Theatre, with Rob Corddry and Rob Riggle of \u003cb>The Daily Show\u003c/b> among the comedians who will riff on the actual Facebook pages of audience members. Saturday’s can’t miss event takes place at Cobb’s Comedy Club, where Janeane Garofalo, Tom Kenny (the voice of Spongebob Squarepants) and others present a staged reading of the MTV soap \u003cb>The Hills\u003c/b>. It promises to be very, very important. That same night, January 24, the legendary comedy troupe The State does two shows at the Eureka, followed the next day by an ensemble on-stage interview with busy Janeane Garofalo at the Herbst Theatre.\u003c/p>\n\u003cp>Highlights of the festival’s final week include a \u003cb>Fernwood Reunion\u003c/b> at Cobb’s on January 28 with \u003cb>Fernwood 2Night\u003c/b> stars Martin Mull and Fred Willard. The \u003cb>Upright Citizens Brigade\u003c/b> with Tim Meadows (\u003cb>Saturday Night Live\u003c/b>) and Andy Richter (\u003cb>Late Night with Conan O’Brien\u003c/b>) performs twice on January 30 at the Eureka, while political satirist \u003cb>Will Durst\u003c/b> holds fort at the Purple Onion on January 30 and 31.\u003c/p>\n\u003cp>SF Sketchfest runs through January 31, 2009 at various San Francisco locations. For \u003ca href=\"http://sfsketchfest.com\" target=\"offsite\" rel=\"noopener\">tickets and information,\u003c/a>visit sksketchfest.com.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The headline act for the opening night of SF Sketchfest, which began on January 15 and continues through January 31, 2009 at various venues in San Francisco and Marin, was a live version of the \u003cb>Tim and Eric Awesome Show, Great Job!\u003c/b> which begins its fourth season at Adult Swim on February 8. Writers/performers Tim Heidecker and Eric Wareheim kicked things off with a crowd-pleasing little ditty about diarrhea called “Diarrhea,” whose lyrics consisted of the repetition of the word diarrhea over and over and over again for perhaps five minutes. This was followed by a parody ad for a product called D-Pants, whose waterproof design and catch basins at the cuffs allow diarrhea sufferers to relieve themselves without having to take off their trousers. A short film about a misguided road trip came next, then the guys treated the hooting and hollering audience of mostly 20-something males to a duet between two elementary-school-age boys who are hanging out in the school bathroom and rapping about how much they enjoy kissing their sisters on the lips and not wiping themselves after they take a crap.\u003c/p>\n\u003cp>Tim and Eric are obviously extraordinarily gifted artists. Just as Robert Rauschenberg strove to create an art that was post-retinal (i.e., not necessarily appealing to the eye), Heidecker and Wareheim have perfected a form of comedy that is not funny. The material itself is purposefully awful and the spare production values accompanying the delivery of said content is proudly cheesy. It’s not supposed to be humorous, or even good. That’s what’s so funny, which is very meta, and meta is so baller, yo.\u003c/p>\n\u003cp>Fortunately Tim and Eric are not the only attraction on SF Sketchfest’s crammed calendar. This Thursday night, January 22, the Castro Theatre hosts \u003cb>A Salute to Bud Cort\u003c/b>. The evening begins with a screening of the ’70s cult classic \u003cb>Harold and Maude\u003c/b>, then shifts gears for an on-stage interview with the actor immediately thereafter. \u003cb>Facebook Improv\u003c/b> happens the next night at the Eureka Theatre, with Rob Corddry and Rob Riggle of \u003cb>The Daily Show\u003c/b> among the comedians who will riff on the actual Facebook pages of audience members. Saturday’s can’t miss event takes place at Cobb’s Comedy Club, where Janeane Garofalo, Tom Kenny (the voice of Spongebob Squarepants) and others present a staged reading of the MTV soap \u003cb>The Hills\u003c/b>. It promises to be very, very important. That same night, January 24, the legendary comedy troupe The State does two shows at the Eureka, followed the next day by an ensemble on-stage interview with busy Janeane Garofalo at the Herbst Theatre.\u003c/p>\n\u003cp>Highlights of the festival’s final week include a \u003cb>Fernwood Reunion\u003c/b> at Cobb’s on January 28 with \u003cb>Fernwood 2Night\u003c/b> stars Martin Mull and Fred Willard. The \u003cb>Upright Citizens Brigade\u003c/b> with Tim Meadows (\u003cb>Saturday Night Live\u003c/b>) and Andy Richter (\u003cb>Late Night with Conan O’Brien\u003c/b>) performs twice on January 30 at the Eureka, while political satirist \u003cb>Will Durst\u003c/b> holds fort at the Purple Onion on January 30 and 31.\u003c/p>\n\u003cp>SF Sketchfest runs through January 31, 2009 at various San Francisco locations. For \u003ca href=\"http://sfsketchfest.com\" target=\"offsite\" rel=\"noopener\">tickets and information,\u003c/a>visit sksketchfest.com.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Club Chuckles' Five Year Anniversay Blowout",
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"content": "\u003cp>Much like its role in the worlds of film, music and art, the San Francisco Bay Area has had, and continues to have, an indelible impact on the world of comedy. Many entertainers now finding success under the alternative comedy umbrella once logged time in the San Francisco scene, including Patton Oswalt, Greg Proops, and Brian Posehn, but the lure of the LA entertainment industry frequently proves too great to resist. Still, a ton of talented folks live here in the Bay, and many have found an audience at \u003ca href=\"http://www.myspace.com/clubchuckles\">\u003cb>Club Chuckles\u003c/b>\u003c/a>.\u003c/p>\n\u003cp>Since December 2003, Club Chuckles has hosted an impressive variety of cutting edge local and out-of-town comedians monthly at the \u003ca href=\"http://www.hemlocktavern.com\">Hemlock Tavern\u003c/a>. It’s a non-traditional venue for comedy, appropriate to showcase some non-traditional acts, and on Friday, December 12th, the Hemlock hosts Club Chuckles’ “Five Year Anniversary Blowout,” featuring some of the Bay Area’s funniest performers. It’s a quality bill with several likely highlights.\u003c/p>\n\u003cp>One of the funniest and strangest comedians to come out of the Bay, \u003ca href=\"http://www.myspace.com/brentweinbach\">Brent Weinbach\u003c/a>‘s stage presence is simultaneously distancing and confrontational, a slight, hunched posture with two hands tightly gripped around the microphone. It’s an appropriate stance for material that frequently recreates awkward dialogues involving some unsettling characters who betray a lack of basic self-awareness. Things don’t just get uncomfortable, though. They also get hilariously weird, as Weinbach manages to impress a blind date with a offensive mockery of her heritage, or a student tells the comedian that his tight pants are “fucking up \u003ci>my\u003c/i> sperm count.” It isn’t much of a surprise that Brent Weinbach won the Andy Kaufman award at the 2007 Comedy Festival in Las Vegas, but it also isn’t surprising that for every several awards, there’s at least one entertainment industry official who doesn’t seem to “get” him (with his \u003ca href=\"http://www.brentweinbach.com/news\">web site documenting both\u003c/a>).\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/buckysinister\">Bucky Sinister\u003c/a>‘s debut CD \u003cb>What Happens in Narnia, Stays in Narnia\u003c/b> is very, very funny, even as it challenges the boundaries of traditional stand-up. An accomplished author and poet, Sinister’s dense rambling stories avoid the setup-punchline format, but show a hilarious eye for absurd details told by a sarcastic athiest who has clearly seen quite a bit. Sinister’s latest book is \u003cb>Get Up: A 12-Step Guide to Recovery for Misfits, Freaks, and Weirdos\u003c/b>, and his stand-up material captures bizarre encounters in recovery with humor and wisdom. A longtime San Franciscan, he’s also got his fair share of distinctly San Francisco stories about bizarre local businesses and drug-addicted stalkers that are as colorfully strange as they are entertaining. (Listen to \u003ca href=\"/arts/programs/writersblock/episode.jsp?essid=5355\">Bucky’s reading\u003c/a> from \u003cb>Whiskey and Robots\u003c/b> on KQED’s \u003cb>The Writers’ Block\u003c/b>.)\u003c/p>\n\u003cp>With Weinbach’s Boomtime cohort \u003ca href=\"http://www.myspace.com/moshekasher\">Moshe Kasher\u003c/a>, absurdist duo \u003ca href=\"http://www.myspace.com/somethingwithgenitals\">Something with Genitals\u003c/a> and “naut-rock” group \u003ca href=\"http://www.myspace.com/the_pirate_band\">The Pirate Band\u003c/a> completing the bill, the show’s a great chance to see some very funny acts. The night starts at 9:00pm, and is $7.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Ben Van Houten is the Content Editor for \u003ca href=\"http://www.thebaybridged.com\">The Bay Bridged\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Much like its role in the worlds of film, music and art, the San Francisco Bay Area has had, and continues to have, an indelible impact on the world of comedy. Many entertainers now finding success under the alternative comedy umbrella once logged time in the San Francisco scene, including Patton Oswalt, Greg Proops, and Brian Posehn, but the lure of the LA entertainment industry frequently proves too great to resist. Still, a ton of talented folks live here in the Bay, and many have found an audience at \u003ca href=\"http://www.myspace.com/clubchuckles\">\u003cb>Club Chuckles\u003c/b>\u003c/a>.\u003c/p>\n\u003cp>Since December 2003, Club Chuckles has hosted an impressive variety of cutting edge local and out-of-town comedians monthly at the \u003ca href=\"http://www.hemlocktavern.com\">Hemlock Tavern\u003c/a>. It’s a non-traditional venue for comedy, appropriate to showcase some non-traditional acts, and on Friday, December 12th, the Hemlock hosts Club Chuckles’ “Five Year Anniversary Blowout,” featuring some of the Bay Area’s funniest performers. It’s a quality bill with several likely highlights.\u003c/p>\n\u003cp>One of the funniest and strangest comedians to come out of the Bay, \u003ca href=\"http://www.myspace.com/brentweinbach\">Brent Weinbach\u003c/a>‘s stage presence is simultaneously distancing and confrontational, a slight, hunched posture with two hands tightly gripped around the microphone. It’s an appropriate stance for material that frequently recreates awkward dialogues involving some unsettling characters who betray a lack of basic self-awareness. Things don’t just get uncomfortable, though. They also get hilariously weird, as Weinbach manages to impress a blind date with a offensive mockery of her heritage, or a student tells the comedian that his tight pants are “fucking up \u003ci>my\u003c/i> sperm count.” It isn’t much of a surprise that Brent Weinbach won the Andy Kaufman award at the 2007 Comedy Festival in Las Vegas, but it also isn’t surprising that for every several awards, there’s at least one entertainment industry official who doesn’t seem to “get” him (with his \u003ca href=\"http://www.brentweinbach.com/news\">web site documenting both\u003c/a>).\u003c/p>\n\u003cp>\u003ca href=\"http://www.myspace.com/buckysinister\">Bucky Sinister\u003c/a>‘s debut CD \u003cb>What Happens in Narnia, Stays in Narnia\u003c/b> is very, very funny, even as it challenges the boundaries of traditional stand-up. An accomplished author and poet, Sinister’s dense rambling stories avoid the setup-punchline format, but show a hilarious eye for absurd details told by a sarcastic athiest who has clearly seen quite a bit. Sinister’s latest book is \u003cb>Get Up: A 12-Step Guide to Recovery for Misfits, Freaks, and Weirdos\u003c/b>, and his stand-up material captures bizarre encounters in recovery with humor and wisdom. A longtime San Franciscan, he’s also got his fair share of distinctly San Francisco stories about bizarre local businesses and drug-addicted stalkers that are as colorfully strange as they are entertaining. (Listen to \u003ca href=\"/arts/programs/writersblock/episode.jsp?essid=5355\">Bucky’s reading\u003c/a> from \u003cb>Whiskey and Robots\u003c/b> on KQED’s \u003cb>The Writers’ Block\u003c/b>.)\u003c/p>\n\u003cp>With Weinbach’s Boomtime cohort \u003ca href=\"http://www.myspace.com/moshekasher\">Moshe Kasher\u003c/a>, absurdist duo \u003ca href=\"http://www.myspace.com/somethingwithgenitals\">Something with Genitals\u003c/a> and “naut-rock” group \u003ca href=\"http://www.myspace.com/the_pirate_band\">The Pirate Band\u003c/a> completing the bill, the show’s a great chance to see some very funny acts. The night starts at 9:00pm, and is $7.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "SF Sketchfest 2007",
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"content": "\u003cp>As popular as \u003cb>Mr. Show\u003c/b>, \u003cb>Pee-Wee’s Playhouse\u003c/b>, the \u003cb>Upright Citizens Brigade\u003c/b>, and \u003cb>Kids in the Hall\u003c/b> are in San Francisco, the \u003ca href=\"http://sfsketchfest.com/home/\" target=\"offsite\" rel=\"noopener\">San Francisco Sketchfest\u003c/a>, with performers from all of these groups, still squeaks by unnoticed by many in the area. The festival isn’t in any danger whatsoever; now in its sixth year, it’s more successful than ever. In fact, you’ll be lucky to get a ticket to any event day of show. However, there is still time to get tickets for many of \u003cb> SF Sketchfest\u003c/b>‘s upcoming events (the fest runs through January 28th). \u003ca href=\"http://sfsketchfest.com/tickets/\" target=\"offsite\" rel=\"noopener\">Get ticket information\u003c/a> (at sfsketchfest.com).\u003c/p>\n\u003cp>Since last Friday, when the festival started, I’ve attended one show and worked the door at three more. I’ve noticed the same people in line for multiple events and have seen more of the $200 festival passes than I thought I’d see. What we have here is a festival that is quickly becoming the \u003cb>Sundance\u003c/b> of alternative comedy, and so far it’s mostly the hardcore comedy fans that are paying attention.\u003c/p>\n\u003cp>Some of you may not know what I mean by “alternative comedy.” The origins of alternative comedy go back to LA in the early ’90s. Otherwise successful comics, after stints on shows as prestigious as \u003cb>Saturday Night Live\u003c/b>, left the stability of the comedy clubs to put on shows in other venues that were self-booked, self-promoted and performed by comedians. This was an “alternative” to both the business and the content of the comedy clubs.\u003c/p>\n\u003cp>Most comedy clubs have a structure that doesn’t waver — certain styles of comedy and content will go over in your standard club. In the tiny theater spaces, comics developed new styles and experimented with the form itself. The theater spaces also lent themselves to the then-barely-breathing art of sketch comedy.\u003c/p>\n\u003cp>With room to grow, sketch groups and a new school of comedians emerged into what is now thought of as the best era in American comedy. Along with new distribution methods of comedy such as MySpace and YouTube, there has never been this much access to this quality of comedians, and the top tier are here in San Francisco through January 28th.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The most unusual show I’ve seen thus far was \u003cb>Match Game Live\u003c/b>. If you’re familiar with the ’70s game show of the same name, it’s exactly what it sounds like. Filling in for the celebrity guests were David Cross, Maria Bamford, Doug Benson, Scott Aukerman, Paul F. Tompkins, and Danielle Koening. In the Gene Rayburn role was comedian Jimmy Pardo, whose crowd work and banter with the audience was top notch. As with other celebrity games such as \u003cb>Hollywood Squares\u003c/b>, it was more about the comedians than the contestants, who were picked randomly from the audience and were, at times, the dullest imaginable. I caught earlier live performances by most of the featured comedians, but it was a different kind of treat to see them in a more candid setting. \u003c/p>\n\u003cp>No show on the lineup will disappoint. Here are the ones I wouldn’t miss:\u003c/p>\n\u003cp>Monday, January 22\u003cbr>\u003cb>SF Sketchfest Tribute: Paul Reubens in conversation with Ben Fong-Torres\u003c/b>\u003cbr>Paul Reubens is better known as his iconic character, Pee Wee Herman. While you’re likely familiar with Pee Wee, Paul is also a fairly interesting character who rarely does interviews, much less live candid interviews such as this one with the one-time editor of \u003ci>Rolling Stone\u003c/i>.\u003c/p>\n\u003cp>Wednesday, January 24\u003cbr>\u003cb>Emerging Night: Richter Scale/ Rice and Beans/ Free Hooch/ Drennon Davis/ Local Heroes/ hosted by Moshe Kasher\u003c/b>\u003cbr>or\u003cbr>\u003cb>A Tribute to Mitch Hedberg\u003c/b>\u003cbr>This is a regular Sophie’s Choice of comedy!!! Both events start at 8pm. \u003cb>Emerging Night\u003c/b> will give you a chance to see these groups before they break big, with talented local solo acts Drennon Davis and Moshe Kasher. But over at Cobb’s it’s \u003cb>A Tribute to Mitch Hedberg\u003c/b>.\u003c/p>\n\u003cp>Mitch Hedberg was the king of the non sequitur. There’s really no one else like him, and his jokes were decidedly his own. He died of an overdose at the age of 37 in 2005. I’m not sure what exactly will be at the tribute, but expect un-aired footage and anecdotes from other comics who knew him.\u003c/p>\n\u003cp>Friday, January 26\u003cbr>\u003cb>UCB ASSSSCAT: Matt Besser, Ian Roberts, Matt Walsh, Sean Conroy with guest monologist Bob Odenkirk/ Straitjacket\u003c/b>\u003cbr>\u003cb>The Upright Citizens Brigade\u003c/b> only ran a few years on TV, but the episodes still stand up today on DVD. Since then, UCB members have started two theaters, one in New York, the other in LA. With them is Bob Odenkirk, who made his mark with \u003cb>Mr. Show\u003c/b>. What you’ll see is the UCB style improvisation, which is its own animal. Forget all the bad improv you’ve seen. UCB will blow that away. \u003c/p>\n\u003cp>Saturday, January 27\u003cbr>\u003cb>The Bruce McCulloch Project/ The 30 Cent Players\u003c/b>\u003cbr>Bruce McCulloch, of \u003cb>Kids in the Hall\u003c/b>, has his hand-picked crew to debut new sketches and writing. I’m thinking this could be the next group to hit television, if the chemistry gels. See them now in their early stages.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>SF Sketchfest\u003c/b> runs through January 28, 2006 at various San Francisco locations. \u003ca href=\"http://sfsketchfest.com/schedule/\" target=\"offsite\" rel=\"noopener\">See the full schedule\u003c/a> (at sfsketchfest.com)\u003c/p>\n\n",
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"excerpt": "As popular as \u003cb>Mr. Show\u003c/b>, \u003cb>Pee-Wee's Playhouse\u003c/b>, the \u003cb>Upright Citizens Brigade\u003c/b>, and \u003cb>Kids in the Hall\u003c/b> are in San Francisco, the \u003ca href=\"http://sfsketchfest.com/home/\" target=\"offsite\" rel=\"noopener\">San Francisco Sketchfest\u003c/a>, with performers from all of these groups, still squeaks by unnoticed by many in the area. The festival isn't in any danger whatsoever; now in its sixth year, it's more successful than ever. In fact, you'll be lucky to get a ticket to any event day of show. However, there is still time to get tickets for many of \u003cb> SF Sketchfest\u003c/b>'s upcoming events (the fest runs through January 28th). \u003ca href=\"http://sfsketchfest.com/tickets/\" target=\"offsite\" rel=\"noopener\">Get ticket information\u003c/a> (at sfsketchfest.com).",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As popular as \u003cb>Mr. Show\u003c/b>, \u003cb>Pee-Wee’s Playhouse\u003c/b>, the \u003cb>Upright Citizens Brigade\u003c/b>, and \u003cb>Kids in the Hall\u003c/b> are in San Francisco, the \u003ca href=\"http://sfsketchfest.com/home/\" target=\"offsite\" rel=\"noopener\">San Francisco Sketchfest\u003c/a>, with performers from all of these groups, still squeaks by unnoticed by many in the area. The festival isn’t in any danger whatsoever; now in its sixth year, it’s more successful than ever. In fact, you’ll be lucky to get a ticket to any event day of show. However, there is still time to get tickets for many of \u003cb> SF Sketchfest\u003c/b>‘s upcoming events (the fest runs through January 28th). \u003ca href=\"http://sfsketchfest.com/tickets/\" target=\"offsite\" rel=\"noopener\">Get ticket information\u003c/a> (at sfsketchfest.com).\u003c/p>\n\u003cp>Since last Friday, when the festival started, I’ve attended one show and worked the door at three more. I’ve noticed the same people in line for multiple events and have seen more of the $200 festival passes than I thought I’d see. What we have here is a festival that is quickly becoming the \u003cb>Sundance\u003c/b> of alternative comedy, and so far it’s mostly the hardcore comedy fans that are paying attention.\u003c/p>\n\u003cp>Some of you may not know what I mean by “alternative comedy.” The origins of alternative comedy go back to LA in the early ’90s. Otherwise successful comics, after stints on shows as prestigious as \u003cb>Saturday Night Live\u003c/b>, left the stability of the comedy clubs to put on shows in other venues that were self-booked, self-promoted and performed by comedians. This was an “alternative” to both the business and the content of the comedy clubs.\u003c/p>\n\u003cp>Most comedy clubs have a structure that doesn’t waver — certain styles of comedy and content will go over in your standard club. In the tiny theater spaces, comics developed new styles and experimented with the form itself. The theater spaces also lent themselves to the then-barely-breathing art of sketch comedy.\u003c/p>\n\u003cp>With room to grow, sketch groups and a new school of comedians emerged into what is now thought of as the best era in American comedy. Along with new distribution methods of comedy such as MySpace and YouTube, there has never been this much access to this quality of comedians, and the top tier are here in San Francisco through January 28th.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The most unusual show I’ve seen thus far was \u003cb>Match Game Live\u003c/b>. If you’re familiar with the ’70s game show of the same name, it’s exactly what it sounds like. Filling in for the celebrity guests were David Cross, Maria Bamford, Doug Benson, Scott Aukerman, Paul F. Tompkins, and Danielle Koening. In the Gene Rayburn role was comedian Jimmy Pardo, whose crowd work and banter with the audience was top notch. As with other celebrity games such as \u003cb>Hollywood Squares\u003c/b>, it was more about the comedians than the contestants, who were picked randomly from the audience and were, at times, the dullest imaginable. I caught earlier live performances by most of the featured comedians, but it was a different kind of treat to see them in a more candid setting. \u003c/p>\n\u003cp>No show on the lineup will disappoint. Here are the ones I wouldn’t miss:\u003c/p>\n\u003cp>Monday, January 22\u003cbr>\u003cb>SF Sketchfest Tribute: Paul Reubens in conversation with Ben Fong-Torres\u003c/b>\u003cbr>Paul Reubens is better known as his iconic character, Pee Wee Herman. While you’re likely familiar with Pee Wee, Paul is also a fairly interesting character who rarely does interviews, much less live candid interviews such as this one with the one-time editor of \u003ci>Rolling Stone\u003c/i>.\u003c/p>\n\u003cp>Wednesday, January 24\u003cbr>\u003cb>Emerging Night: Richter Scale/ Rice and Beans/ Free Hooch/ Drennon Davis/ Local Heroes/ hosted by Moshe Kasher\u003c/b>\u003cbr>or\u003cbr>\u003cb>A Tribute to Mitch Hedberg\u003c/b>\u003cbr>This is a regular Sophie’s Choice of comedy!!! Both events start at 8pm. \u003cb>Emerging Night\u003c/b> will give you a chance to see these groups before they break big, with talented local solo acts Drennon Davis and Moshe Kasher. But over at Cobb’s it’s \u003cb>A Tribute to Mitch Hedberg\u003c/b>.\u003c/p>\n\u003cp>Mitch Hedberg was the king of the non sequitur. There’s really no one else like him, and his jokes were decidedly his own. He died of an overdose at the age of 37 in 2005. I’m not sure what exactly will be at the tribute, but expect un-aired footage and anecdotes from other comics who knew him.\u003c/p>\n\u003cp>Friday, January 26\u003cbr>\u003cb>UCB ASSSSCAT: Matt Besser, Ian Roberts, Matt Walsh, Sean Conroy with guest monologist Bob Odenkirk/ Straitjacket\u003c/b>\u003cbr>\u003cb>The Upright Citizens Brigade\u003c/b> only ran a few years on TV, but the episodes still stand up today on DVD. Since then, UCB members have started two theaters, one in New York, the other in LA. With them is Bob Odenkirk, who made his mark with \u003cb>Mr. Show\u003c/b>. What you’ll see is the UCB style improvisation, which is its own animal. Forget all the bad improv you’ve seen. UCB will blow that away. \u003c/p>\n\u003cp>Saturday, January 27\u003cbr>\u003cb>The Bruce McCulloch Project/ The 30 Cent Players\u003c/b>\u003cbr>Bruce McCulloch, of \u003cb>Kids in the Hall\u003c/b>, has his hand-picked crew to debut new sketches and writing. I’m thinking this could be the next group to hit television, if the chemistry gels. See them now in their early stages.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>SF Sketchfest\u003c/b> runs through January 28, 2006 at various San Francisco locations. \u003ca href=\"http://sfsketchfest.com/schedule/\" target=\"offsite\" rel=\"noopener\">See the full schedule\u003c/a> (at sfsketchfest.com)\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Every final Wednesday of each month at The Make-Out Room, Paco Romane hosts a show called \u003cb>The Romane Event\u003c/b>, which features up-and-coming stand-up comedians. I headed to \u003cb>The Romane Event\u003c/b> prepared for an evening of laughter and lightness, forgetting that good comedy is often quite dark.\u003c/p>\n\u003cp>The Make-Out Room is a long, narrow space with a full bar along one side. Spots of light reflect from a disco ball, but The Make-Out’s interior is dark in more ways than one, its walls hung with antlers and the pelt of a very large bear. Behind the bar sits a well-lit aquarium filled with water, or perhaps formaldehyde. Submerged in its depths, a human head peers skeptically in the direction of the stage. On the night I attended the crowd seemed equally skeptical, and while Mr. Romane tried to warm us up we were slow to laugh, providing ragged applause.\u003c/p>\n\u003cp>As the evening progressed, I realized how difficult it is to make people laugh. Each comedian did his best to court the audience, to break down our reserves. I often found myself pitted between my desire (and need) to laugh and an odd resistance to doing so. If I’d met each of these comics at a party and they delivered their lines in casual conversation, I’d have been bowled over. But taking my cue from the crowd, I had a reaction more steeped in admiration than mirth. This because each performer bravely laid himself bare.\u003c/p>\n\u003cp>Most bare was Brent Duggan’s act, in which he relayed vivid stories about the cruel tricks his brother — and life — played on him as he was growing up. His delivery reminded me of De Niro’s character, Rupert Pupkin; NOT because Duggan is a Pupkinesque hack — Brent Duggan’s a talented and handsome man, a snappy dresser, and a riveting storyteller. It’s just that his jokes seem to be about subjects that are laughable only if the listener chooses to be as cruel as the stories themselves. While most comedy is rooted in suffering, perhaps today’s climate renders suffering a little too real, and the suffering Duggan refers to in his bit is not only psychological, but physical. Nevertheless, Duggan’s act was weirdly compelling, and though I didn’t find myself laughing, it certainly made me think.\u003c/p>\n\u003cp>During most of the evening, I found myself wondering about this brand of comedy. These days, it’s tough to root out laughter at its source. Anything too light-hearted leaves current audiences cold, but what’s real can be so shocking. Where’s the happy medium?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Perhaps it lies in fiction. The night of the show, other comedians inhabited characters of their own making — the audience warmed up more readily to this form. One man, who was introduced as The Devil, played songs backward to reveal the messages he’d hidden in them, e.g. to vote Republican, to not make the bed, and for women to bug their boyfriends about commitment. In essence, we were dethroning darkness by exposing his attempts at fooling us, and what a relief! My favorite comedian of the night, Paul Gulong, performed in the guise of an eccentric poet, a smarmy pseudo-intellectual in a shabby tweed sports coat. His shtick was to read ads from the “missed connections” column of craigslist, verbatim, using the affected enunciations and gestures of a bad performance poet. In this context, messages such as “Spoke To You At IKEA” were indeed hilarious, probably because he took what’s earnest and sincere in these expressions of longing to ridiculous heights. We were really laughing at our own missed connections, and by channeling messages of longing, we could see how overblown our unfulfilled desires can be. Once again, darkness was dethroned.\u003c/p>\n\u003cp>Then there was Brian Malow, the most articulate of all the performers. His opening line reveals a kind of pain I think most of us recognize, and it’s brilliantly worded: “I’m not a doctor,” he says, “but I play one in the broken dreams of my parents.” Our parents’ expectations are funny because we can generally agree that they don’t take into account the flawed people we are: they’re a grandiose fiction. Once shattered, what’s left behind is the real human laid bare, and bareness reflects a warmer, gentler light than grandiosity.\u003c/p>\n\u003cp>If you choose to attend \u003cb>The Romane Event\u003c/b> — and I recommend that you do — check your skepticism at the door. Show up early and have a beer. Introduce yourself to a nice-looking stranger. In this frame of mind, you’ll best be able to appreciate that the person on stage is trying very hard to make you laugh, often by turning human suffering inside-out. It’s a tall order, what these comics are attempting. But it’s absolutely noble.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Catch \u003cb>The Romane Event\u003c/b> the last Wednesday of every month at The Make Out Room, 3225 22nd Street, San Francisco.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every final Wednesday of each month at The Make-Out Room, Paco Romane hosts a show called \u003cb>The Romane Event\u003c/b>, which features up-and-coming stand-up comedians. I headed to \u003cb>The Romane Event\u003c/b> prepared for an evening of laughter and lightness, forgetting that good comedy is often quite dark.\u003c/p>\n\u003cp>The Make-Out Room is a long, narrow space with a full bar along one side. Spots of light reflect from a disco ball, but The Make-Out’s interior is dark in more ways than one, its walls hung with antlers and the pelt of a very large bear. Behind the bar sits a well-lit aquarium filled with water, or perhaps formaldehyde. Submerged in its depths, a human head peers skeptically in the direction of the stage. On the night I attended the crowd seemed equally skeptical, and while Mr. Romane tried to warm us up we were slow to laugh, providing ragged applause.\u003c/p>\n\u003cp>As the evening progressed, I realized how difficult it is to make people laugh. Each comedian did his best to court the audience, to break down our reserves. I often found myself pitted between my desire (and need) to laugh and an odd resistance to doing so. If I’d met each of these comics at a party and they delivered their lines in casual conversation, I’d have been bowled over. But taking my cue from the crowd, I had a reaction more steeped in admiration than mirth. This because each performer bravely laid himself bare.\u003c/p>\n\u003cp>Most bare was Brent Duggan’s act, in which he relayed vivid stories about the cruel tricks his brother — and life — played on him as he was growing up. His delivery reminded me of De Niro’s character, Rupert Pupkin; NOT because Duggan is a Pupkinesque hack — Brent Duggan’s a talented and handsome man, a snappy dresser, and a riveting storyteller. It’s just that his jokes seem to be about subjects that are laughable only if the listener chooses to be as cruel as the stories themselves. While most comedy is rooted in suffering, perhaps today’s climate renders suffering a little too real, and the suffering Duggan refers to in his bit is not only psychological, but physical. Nevertheless, Duggan’s act was weirdly compelling, and though I didn’t find myself laughing, it certainly made me think.\u003c/p>\n\u003cp>During most of the evening, I found myself wondering about this brand of comedy. These days, it’s tough to root out laughter at its source. Anything too light-hearted leaves current audiences cold, but what’s real can be so shocking. Where’s the happy medium?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Perhaps it lies in fiction. The night of the show, other comedians inhabited characters of their own making — the audience warmed up more readily to this form. One man, who was introduced as The Devil, played songs backward to reveal the messages he’d hidden in them, e.g. to vote Republican, to not make the bed, and for women to bug their boyfriends about commitment. In essence, we were dethroning darkness by exposing his attempts at fooling us, and what a relief! My favorite comedian of the night, Paul Gulong, performed in the guise of an eccentric poet, a smarmy pseudo-intellectual in a shabby tweed sports coat. His shtick was to read ads from the “missed connections” column of craigslist, verbatim, using the affected enunciations and gestures of a bad performance poet. In this context, messages such as “Spoke To You At IKEA” were indeed hilarious, probably because he took what’s earnest and sincere in these expressions of longing to ridiculous heights. We were really laughing at our own missed connections, and by channeling messages of longing, we could see how overblown our unfulfilled desires can be. Once again, darkness was dethroned.\u003c/p>\n\u003cp>Then there was Brian Malow, the most articulate of all the performers. His opening line reveals a kind of pain I think most of us recognize, and it’s brilliantly worded: “I’m not a doctor,” he says, “but I play one in the broken dreams of my parents.” Our parents’ expectations are funny because we can generally agree that they don’t take into account the flawed people we are: they’re a grandiose fiction. Once shattered, what’s left behind is the real human laid bare, and bareness reflects a warmer, gentler light than grandiosity.\u003c/p>\n\u003cp>If you choose to attend \u003cb>The Romane Event\u003c/b> — and I recommend that you do — check your skepticism at the door. Show up early and have a beer. Introduce yourself to a nice-looking stranger. In this frame of mind, you’ll best be able to appreciate that the person on stage is trying very hard to make you laugh, often by turning human suffering inside-out. It’s a tall order, what these comics are attempting. But it’s absolutely noble.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Catch \u003cb>The Romane Event\u003c/b> the last Wednesday of every month at The Make Out Room, 3225 22nd Street, San Francisco.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Seven years ago, my roommate Jenny stumbled across my high school diary — painfully obvious as a high school diary because it had every band an arty 15 year old in 1988 had ever heard of scrawled all over the outside of it (Love & Rockets…Tones on Tail…The Smiths!) — and began conducting dramatic readings from it to dinner guests on a regular basis. Despite my initial protests (did I really want everyone knowing about my first grope session at a New Order concert?), I had to admit: it was entertainment gold. Nothing is more universally hilarious than the juicy tortured prose of teenage angst.\u003c/p>\n\u003cp>Taking this premise and running with it is David Nadelberg. He’s created \u003cb>Mortified\u003c/b>, a series of monthly performances in several different cities of actual people reading their actual junior high/high school/college diaries, poetry, notes and lyrics. At first I balked at the show’s premise — it sounded potentially treacle-y in a Zach Braff sort of way — but my first \u003cb>Mortified\u003c/b> was the best thing I’d been to since that fateful New Order concert. I’ve now been to a couple of them. The most recent one was last Monday at the Make-Out Room and I can say that while the shows may waver in hilariousness, they remain consistent in their heavy assault of sheer cathartic value. You’ve really gone through something with the performers by the time the night is over.\u003c/p>\n\u003cp>Some of the performances are cringeful. The highlight of last Monday’s show was the diary a woman kept during her very naïve freshman year in college — she had been a cheerleader in high school in Indiana and an assistant coach was now pursuing her, even though she was now in college in Ohio. “Are you still tiny and pretty?” he’d asked her, a line that rings so obviously creepy now, but at the time, it blew her mind. When she came home to visit, he romanced her with romantic evenings spent looking at pictures of games he’d coached and showered her with compliments like, “all the assistant coaches think you’re top shelf.” After they had sex, he inevitably dumped her and, in response, she wrote him a 50+ stanza poem “in a language he would understand” with lines like (I’m paraphrasing) “the game is over and the crowd is bored/you’re not the victor until you’ve scored.”\u003c/p>\n\u003cp>At a peformance a few months ago, a small, Jewish guy was up on stage giving us background on how the lyrics to the song he was about to peform (which he wrote at 13) were heavily influenced by his heroes, Mötley Crüe, but he had grown up in the Marina and had only a vague idea of the Crüe’s fast-lane street life of lipstick, fish-nets and cocaine. The result was a poignant rhyming artifact of a thirteen year old’s idea of “get down on your knees” sexy. Again, I paraphrase: “Suck it, suck it, suck it, bitch/I got the scratch only you can itch.”\u003c/p>\n\u003cp>Angstier readers yield an amazing string of descriptive, angry adjectives — “everyone is a bunch of retarded, \u003cb>Blossom\u003c/b>-watching, stirrup-pant wearing assholes!!” A bitter poem read at one \u003cb>Mortified\u003c/b> talked about the psychedelicized, Rastafarian reality of love being like a bunk bed, which is so totally deep.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The best \u003cb>Mortified\u003c/b> I’ve seen had a theme of God and Horny. The diary entries were written by earnest, conflicted teenagers who were so sincere in their love for Jesus — they just loved him sooooooo much — but they also could not wait to give Josh a blowjob at the party on Saturday. This particular \u003cb>Mortified\u003c/b> featured the bizarre, left field memoir of a Jesus-loving Amazonian girl who described running naked through a local field early in the morning, laying down breasts-first and thinking of all the Native Americans who had done this before her. Her diary made me realize that I had never known a liberated, free spirit like her when I was a teenager, but I wish I had.\u003c/p>\n\u003cp>\u003cb>Mortified\u003c/b> peformers have a whiff of drama geek about them, but from the diary entries and poetry they read, you come to learn that drama geeks are people too. Also, like the practice of diary-writing itself, \u003cb>Mortified\u003c/b> tends to be heavily female — so much so that Nadelberg himself was the only male reading at last Monday’s show (as I imagine he has to do when the shows are short on dudes) and there’s a plea on their website for male readers. But, since everyone loves a good night of Schaudenfraude, the audiences are a healthy mix of genders. \u003cb>Mortified\u003c/b> is catching on, too. The production has had exposure on NPR and \u003ci>Newsweek\u003c/i> and has a book coming out in November — so if you plan on dusting off your Cure show reminiscences for some public humiliation, now would be a good time to do it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The next San Francisco \u003cb>Mortified\u003c/b> is Friday, October 20 and Monday, October 23, 8pm at the Make Out Room. \u003ca href=\"http://www.getmortified.com/tix.html\" target=\"offsite\" rel=\"noopener\">Purchase tickets online.\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Seven years ago, my roommate Jenny stumbled across my high school diary — painfully obvious as a high school diary because it had every band an arty 15 year old in 1988 had ever heard of scrawled all over the outside of it (Love & Rockets…Tones on Tail…The Smiths!) — and began conducting dramatic readings from it to dinner guests on a regular basis. Despite my initial protests (did I really want everyone knowing about my first grope session at a New Order concert?), I had to admit: it was entertainment gold. Nothing is more universally hilarious than the juicy tortured prose of teenage angst.\u003c/p>\n\u003cp>Taking this premise and running with it is David Nadelberg. He’s created \u003cb>Mortified\u003c/b>, a series of monthly performances in several different cities of actual people reading their actual junior high/high school/college diaries, poetry, notes and lyrics. At first I balked at the show’s premise — it sounded potentially treacle-y in a Zach Braff sort of way — but my first \u003cb>Mortified\u003c/b> was the best thing I’d been to since that fateful New Order concert. I’ve now been to a couple of them. The most recent one was last Monday at the Make-Out Room and I can say that while the shows may waver in hilariousness, they remain consistent in their heavy assault of sheer cathartic value. You’ve really gone through something with the performers by the time the night is over.\u003c/p>\n\u003cp>Some of the performances are cringeful. The highlight of last Monday’s show was the diary a woman kept during her very naïve freshman year in college — she had been a cheerleader in high school in Indiana and an assistant coach was now pursuing her, even though she was now in college in Ohio. “Are you still tiny and pretty?” he’d asked her, a line that rings so obviously creepy now, but at the time, it blew her mind. When she came home to visit, he romanced her with romantic evenings spent looking at pictures of games he’d coached and showered her with compliments like, “all the assistant coaches think you’re top shelf.” After they had sex, he inevitably dumped her and, in response, she wrote him a 50+ stanza poem “in a language he would understand” with lines like (I’m paraphrasing) “the game is over and the crowd is bored/you’re not the victor until you’ve scored.”\u003c/p>\n\u003cp>At a peformance a few months ago, a small, Jewish guy was up on stage giving us background on how the lyrics to the song he was about to peform (which he wrote at 13) were heavily influenced by his heroes, Mötley Crüe, but he had grown up in the Marina and had only a vague idea of the Crüe’s fast-lane street life of lipstick, fish-nets and cocaine. The result was a poignant rhyming artifact of a thirteen year old’s idea of “get down on your knees” sexy. Again, I paraphrase: “Suck it, suck it, suck it, bitch/I got the scratch only you can itch.”\u003c/p>\n\u003cp>Angstier readers yield an amazing string of descriptive, angry adjectives — “everyone is a bunch of retarded, \u003cb>Blossom\u003c/b>-watching, stirrup-pant wearing assholes!!” A bitter poem read at one \u003cb>Mortified\u003c/b> talked about the psychedelicized, Rastafarian reality of love being like a bunk bed, which is so totally deep.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The best \u003cb>Mortified\u003c/b> I’ve seen had a theme of God and Horny. The diary entries were written by earnest, conflicted teenagers who were so sincere in their love for Jesus — they just loved him sooooooo much — but they also could not wait to give Josh a blowjob at the party on Saturday. This particular \u003cb>Mortified\u003c/b> featured the bizarre, left field memoir of a Jesus-loving Amazonian girl who described running naked through a local field early in the morning, laying down breasts-first and thinking of all the Native Americans who had done this before her. Her diary made me realize that I had never known a liberated, free spirit like her when I was a teenager, but I wish I had.\u003c/p>\n\u003cp>\u003cb>Mortified\u003c/b> peformers have a whiff of drama geek about them, but from the diary entries and poetry they read, you come to learn that drama geeks are people too. Also, like the practice of diary-writing itself, \u003cb>Mortified\u003c/b> tends to be heavily female — so much so that Nadelberg himself was the only male reading at last Monday’s show (as I imagine he has to do when the shows are short on dudes) and there’s a plea on their website for male readers. But, since everyone loves a good night of Schaudenfraude, the audiences are a healthy mix of genders. \u003cb>Mortified\u003c/b> is catching on, too. The production has had exposure on NPR and \u003ci>Newsweek\u003c/i> and has a book coming out in November — so if you plan on dusting off your Cure show reminiscences for some public humiliation, now would be a good time to do it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The next San Francisco \u003cb>Mortified\u003c/b> is Friday, October 20 and Monday, October 23, 8pm at the Make Out Room. \u003ca href=\"http://www.getmortified.com/tix.html\" target=\"offsite\" rel=\"noopener\">Purchase tickets online.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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 />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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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",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"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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"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.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/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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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"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.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"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",
"subscribe": {
"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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"rss": "https://feeds.npr.org/510313/podcast.xml"
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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",
"imageAlt": "KQED Hyphenación",
"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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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"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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"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": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"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",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"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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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"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": {
"site": "news",
"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.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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