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"content": "\u003cfigure id=\"attachment_13905301\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/MortSahl.fullsize-1020x1266.jpg\" alt=\"Comedian Mort Sahl cracks a joke at a press conference in London on July 10, 1961.\" width=\"640\" height=\"794\" class=\"size-large wp-image-13905301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/MortSahl.fullsize-1020x1266.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/MortSahl.fullsize-800x993.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/MortSahl.fullsize-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/MortSahl.fullsize-768x953.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/MortSahl.fullsize-1238x1536.jpg 1238w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/MortSahl.fullsize.jpg 1400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Mort Sahl cracks a joke at a press conference in London on July 10, 1961.\u003cbr> \u003ccite>(Keystone/Hulton Archive/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Satirist Mort Sahl, who helped revolutionize stand-up comedy during the Cold War with his running commentary on politicians and current events and became a favorite of a new, restive generation of Americans, died Tuesday. He was 94.\u003c/p>\n\u003cp>His friend Lucy Mercer said that he died “peacefully” at his home in Mill Valley, California. The cause was “old age,” she said.\u003c/p>\n\u003cp>During an era when many comedians dressed in tuxedos and told mother-in-law jokes, Sahl faced his audiences in the ’50s and ’60s wearing slacks, a sweater and an unbuttoned collar and carrying a rolled-up newspaper on which he had pasted notes for his act. Reading news items as if seated across from you at the kitchen table, he made his inevitably cutting comments, often joining the laughter with a horsey bellow of his own and ending his routines by inquiring: “Is there any group I haven’t offended yet?”\u003c/p>\n\u003cp>“Every comedian who is not doing wife jokes has to thank him for that,” actor-comedian Albert Brooks told The Associated Press in 2007. “He really was the first, even before Lenny Bruce, in terms of talking about stuff, not just doing punch lines.”\u003c/p>\n\u003cp>Sahl took pride in having mocked every president from Dwight Eisenhower to Donald Trump, although he acknowledged he privately admired Democrat John F. Kennedy and counted Republican Ronald Reagan among his closest friends. Of President George W. Bush, he observed: “He’s born again, you know. Which would raise the inevitable question: If you were given the unusual opportunity to be born again, why would you come back as George Bush?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sahl became famous in 1953 at San Francisco’s hungry i (the i stood for intellectual), the perfect place for a comedian of his type. The city was a meeting ground for beatniks and college activists, and they crowded into the tiny club to hear someone who spoke to their disdain for the status quo. Word spread quickly about the young comedian with the distinctive style. Soon Sahl was earning $7,500 a week at nightclubs across the nation and appearing on television with Steve Allen and Jack Paar. He \u003ca href=\"http://content.time.com/time/covers/0,16641,19600815,00.html\" rel=\"noopener noreferrer\" target=\"_blank\">made the cover of Time magazine\u003c/a> in 1960 and was profiled in The New Yorker.\u003c/p>\n\u003cfigure id=\"attachment_13905300\" class=\"wp-caption aligncenter\" style=\"max-width: 485px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/MortSahl1960.jpg\" alt=\"Mort Sahl's albums for the Verve label, including 'Mort Sahl 1960 or Look Forward in Anger,' shared a sensibility with the label's jazz artists.\" width=\"485\" height=\"476\" class=\"size-full wp-image-13905300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/MortSahl1960.jpg 485w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/MortSahl1960-160x157.jpg 160w\" sizes=\"(max-width: 485px) 100vw, 485px\">\u003cfigcaption class=\"wp-caption-text\">Mort Sahl’s albums for the Verve label, including ‘Mort Sahl 1960 or Look Forward in Anger,’ shared a sensibility with the label’s jazz artists. \u003ccite>(Verve Records/MGM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A new generation of comedians, including Bill Cosby, George Carlin and the team of Mike Nichols and Elaine May, was inspired by Sahl. David Letterman continued the iconoclastic tradition, and more recently Jon Stewart, Stephen Colbert and John Oliver. Woody Allen would liken his work to the jazz of Charlie Parker and reviewers compared him to Will Rogers, who had tweaked politicians in a gentler manner.\u003c/p>\n\u003cp>“I don’t have the image of myself as a comedian,” Sahl himself said. “I never said I was one. I just sort of tell the truth and everybody breaks up along the way.”\u003c/p>\n\u003cp>Sahl was cast as a wisecracking GI in two war movies, \u003cem>In Love and War\u003c/em> (1958) and \u003cem>All the Young Men\u003c/em> (1960). He starred in his own TV special. His comedy albums on the jazz record label Verve became best sellers. At the Academy Awards in 1959, he was co-host along with Bob Hope, Laurence Olivier, Jerry Lewis and others. Fearing he would seem to be joining the establishment, Sahl cracked: “We’ve just lost the college crowd; all across the country they’re yelling, ‘Sellout!’”\u003c/p>\n\u003cp>[aside label='More Mort Sahl' link1='https://www.npr.org/templates/story/story.php?storyId=93736024,Mort Sahl on Fresh Air']In the 1980s he frequently ridiculed his friend Reagan, but he said the president was never offended.\u003c/p>\n\u003cp>“If you’re his friend, it doesn’t matter if you’re an escaped con,” Sahl once said of Reagan. Democrats, he added, were often not as forgiving. In the 1990s, Sahl had fallen out of favor with them when he complained that President Bill Clinton’s only lasting legacy would be his affair with White House intern Monica Lewinsky.\u003c/p>\n\u003cp>“A lot of people I have met in the Democratic Party are extremely expedient,” he said. “Once it’s over, they don’t want to know you. Of course, that’s not generic to the Democrats.”\u003c/p>\n\u003cp>Sahl thought so highly of Kennedy, however, that he even wrote jokes for him on the campaign trail, including one which inspired JFK’s quip at his own expense — about a telegram from his wealthy father. “Don’t buy a single more vote than is necessary. I’ll be d—ed if I’m going to pay for a landslide.”\u003c/p>\n\u003cp>But when Kennedy was assassinated in 1963, Sahl was devastated and the tragedy foreshadowed a decline in the comedian’s fortunes that lasted for years. He quickly became convinced that Kennedy had been killed as part of a CIA plot and he accused the government of staging a massive cover-up. He devoted much of his monologues to reading long passages from the report by the government’s Warren Commission, which had been appointed to investigate the assassination. Audiences stopped laughing and his bookings plummeted.\u003c/p>\n\u003cp>Sahl also suffered a personal tragedy in 1996 when his only child, Morton Jr., died at age 19. Ten years later, the subject was so raw that mention of his son’s name could bring him to tears.\u003c/p>\n\u003cp>“My kid was like a more human version of me,” he once said.\u003c/p>\n\u003cfigure id=\"attachment_13905302\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/1000-800x581.jpg\" alt='Comedian Mort Sahl poses for photographs at the 80th Birthday \"Sahl-ute\" honoring him, in Los Angeles on June 28, 2007. Sahl, who helped revolutionize stand-up comedy during the Cold War with his running commentary on politicians and current events died Tuesday, Oct. 26. 2021. He was 94. His friend Lucy Mercer said that he died \"peacefully\" at his home in Mill Valley, Calif. ' width=\"800\" height=\"581\" class=\"size-medium wp-image-13905302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/1000-800x581.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/1000-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/1000-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/1000.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Mort Sahl poses for photographs at the 80th Birthday “Sahl-ute” honoring him, in Los Angeles on June 28, 2007. Sahl, who helped revolutionize stand-up comedy during the Cold War with his running commentary on politicians and current events died Tuesday, Oct. 26. 2021. He was 94. His friend Lucy Mercer said that he died “peacefully” at his home in Mill Valley, Calif. \u003ccite>(AP Photo/Ann Johansson, File)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Through the tough times, he continued to work the college circuit and small clubs. Although he never regained his former stature, he eventually returned to making a comfortable living with comedy\u003c/p>\n\u003cp>He continued to carry his newspaper on stage with him, although as the 21st century dawned he joked that he should probably have replaced it with a laptop.\u003c/p>\n\u003cp>At age 80 he also began teaching a class in critical thinking at Southern California’s prestigious Claremont McKenna College.\u003c/p>\n\u003cp>It was a return to the academic life Sahl had known decades earlier when he earned a degree in urban planning from the University of Southern California in 1950.\u003c/p>\n\u003cp>Putting plans for graduate study on hold, he decided to make money writing jokes for comedians. He took to the stage himself, he once said, when he discovered the ones he was writing for were “too dumb” to get the material.\u003c/p>\n\u003cp>Morton Lyon Sahl was born on May 11, 1927, in Montreal, to a Canadian mother and a New York father who managed a tobacco shop. The family moved to the United States where Sahl’s father, Harry, worked for the Department of Justice in various cities.\u003c/p>\n\u003cp>They eventually settled in Los Angeles, where young Morton joined his high school ROTC program and excelled at speech. His mother said he had started to talk at 7 months and by age 10 already spoke like a man of 30.\u003c/p>\n\u003cp>After high school, Sahl joined the Air Force, spending 31 months at a remote Alaskan airfield where he edited the post newspaper, Poop from the Group. Discharged in 1947, he entered college.\u003c/p>\n\u003cp>He took on a number of jobs before his girlfriend, Sue Berber, persuaded him to audition for the hungry i in 1953.\u003c/p>\n\u003cp>The couple married two years later but divorced in 1957. Sahl married his second wife, former Playboy Playmate China Lee, in 1967. They also divorced.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Late Associated Press writer Bob Thomas contributed biographical information to this report. AP National Writer Hillel Italie and retired Associated Press writer John Rogers also contributed.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sahl became famous in 1953 at San Francisco’s hungry i (the i stood for intellectual), the perfect place for a comedian of his type. The city was a meeting ground for beatniks and college activists, and they crowded into the tiny club to hear someone who spoke to their disdain for the status quo. Word spread quickly about the young comedian with the distinctive style. Soon Sahl was earning $7,500 a week at nightclubs across the nation and appearing on television with Steve Allen and Jack Paar. He \u003ca href=\"http://content.time.com/time/covers/0,16641,19600815,00.html\" rel=\"noopener noreferrer\" target=\"_blank\">made the cover of Time magazine\u003c/a> in 1960 and was profiled in The New Yorker.\u003c/p>\n\u003cfigure id=\"attachment_13905300\" class=\"wp-caption aligncenter\" style=\"max-width: 485px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/MortSahl1960.jpg\" alt=\"Mort Sahl's albums for the Verve label, including 'Mort Sahl 1960 or Look Forward in Anger,' shared a sensibility with the label's jazz artists.\" width=\"485\" height=\"476\" class=\"size-full wp-image-13905300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/MortSahl1960.jpg 485w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/MortSahl1960-160x157.jpg 160w\" sizes=\"(max-width: 485px) 100vw, 485px\">\u003cfigcaption class=\"wp-caption-text\">Mort Sahl’s albums for the Verve label, including ‘Mort Sahl 1960 or Look Forward in Anger,’ shared a sensibility with the label’s jazz artists. \u003ccite>(Verve Records/MGM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A new generation of comedians, including Bill Cosby, George Carlin and the team of Mike Nichols and Elaine May, was inspired by Sahl. David Letterman continued the iconoclastic tradition, and more recently Jon Stewart, Stephen Colbert and John Oliver. Woody Allen would liken his work to the jazz of Charlie Parker and reviewers compared him to Will Rogers, who had tweaked politicians in a gentler manner.\u003c/p>\n\u003cp>“I don’t have the image of myself as a comedian,” Sahl himself said. “I never said I was one. I just sort of tell the truth and everybody breaks up along the way.”\u003c/p>\n\u003cp>Sahl was cast as a wisecracking GI in two war movies, \u003cem>In Love and War\u003c/em> (1958) and \u003cem>All the Young Men\u003c/em> (1960). He starred in his own TV special. His comedy albums on the jazz record label Verve became best sellers. At the Academy Awards in 1959, he was co-host along with Bob Hope, Laurence Olivier, Jerry Lewis and others. Fearing he would seem to be joining the establishment, Sahl cracked: “We’ve just lost the college crowd; all across the country they’re yelling, ‘Sellout!’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the 1980s he frequently ridiculed his friend Reagan, but he said the president was never offended.\u003c/p>\n\u003cp>“If you’re his friend, it doesn’t matter if you’re an escaped con,” Sahl once said of Reagan. Democrats, he added, were often not as forgiving. In the 1990s, Sahl had fallen out of favor with them when he complained that President Bill Clinton’s only lasting legacy would be his affair with White House intern Monica Lewinsky.\u003c/p>\n\u003cp>“A lot of people I have met in the Democratic Party are extremely expedient,” he said. “Once it’s over, they don’t want to know you. Of course, that’s not generic to the Democrats.”\u003c/p>\n\u003cp>Sahl thought so highly of Kennedy, however, that he even wrote jokes for him on the campaign trail, including one which inspired JFK’s quip at his own expense — about a telegram from his wealthy father. “Don’t buy a single more vote than is necessary. I’ll be d—ed if I’m going to pay for a landslide.”\u003c/p>\n\u003cp>But when Kennedy was assassinated in 1963, Sahl was devastated and the tragedy foreshadowed a decline in the comedian’s fortunes that lasted for years. He quickly became convinced that Kennedy had been killed as part of a CIA plot and he accused the government of staging a massive cover-up. He devoted much of his monologues to reading long passages from the report by the government’s Warren Commission, which had been appointed to investigate the assassination. Audiences stopped laughing and his bookings plummeted.\u003c/p>\n\u003cp>Sahl also suffered a personal tragedy in 1996 when his only child, Morton Jr., died at age 19. Ten years later, the subject was so raw that mention of his son’s name could bring him to tears.\u003c/p>\n\u003cp>“My kid was like a more human version of me,” he once said.\u003c/p>\n\u003cfigure id=\"attachment_13905302\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/1000-800x581.jpg\" alt='Comedian Mort Sahl poses for photographs at the 80th Birthday \"Sahl-ute\" honoring him, in Los Angeles on June 28, 2007. Sahl, who helped revolutionize stand-up comedy during the Cold War with his running commentary on politicians and current events died Tuesday, Oct. 26. 2021. He was 94. His friend Lucy Mercer said that he died \"peacefully\" at his home in Mill Valley, Calif. ' width=\"800\" height=\"581\" class=\"size-medium wp-image-13905302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/1000-800x581.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/1000-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/1000-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/1000.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Mort Sahl poses for photographs at the 80th Birthday “Sahl-ute” honoring him, in Los Angeles on June 28, 2007. Sahl, who helped revolutionize stand-up comedy during the Cold War with his running commentary on politicians and current events died Tuesday, Oct. 26. 2021. He was 94. His friend Lucy Mercer said that he died “peacefully” at his home in Mill Valley, Calif. \u003ccite>(AP Photo/Ann Johansson, File)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Through the tough times, he continued to work the college circuit and small clubs. Although he never regained his former stature, he eventually returned to making a comfortable living with comedy\u003c/p>\n\u003cp>He continued to carry his newspaper on stage with him, although as the 21st century dawned he joked that he should probably have replaced it with a laptop.\u003c/p>\n\u003cp>At age 80 he also began teaching a class in critical thinking at Southern California’s prestigious Claremont McKenna College.\u003c/p>\n\u003cp>It was a return to the academic life Sahl had known decades earlier when he earned a degree in urban planning from the University of Southern California in 1950.\u003c/p>\n\u003cp>Putting plans for graduate study on hold, he decided to make money writing jokes for comedians. He took to the stage himself, he once said, when he discovered the ones he was writing for were “too dumb” to get the material.\u003c/p>\n\u003cp>Morton Lyon Sahl was born on May 11, 1927, in Montreal, to a Canadian mother and a New York father who managed a tobacco shop. The family moved to the United States where Sahl’s father, Harry, worked for the Department of Justice in various cities.\u003c/p>\n\u003cp>They eventually settled in Los Angeles, where young Morton joined his high school ROTC program and excelled at speech. His mother said he had started to talk at 7 months and by age 10 already spoke like a man of 30.\u003c/p>\n\u003cp>After high school, Sahl joined the Air Force, spending 31 months at a remote Alaskan airfield where he edited the post newspaper, Poop from the Group. Discharged in 1947, he entered college.\u003c/p>\n\u003cp>He took on a number of jobs before his girlfriend, Sue Berber, persuaded him to audition for the hungry i in 1953.\u003c/p>\n\u003cp>The couple married two years later but divorced in 1957. Sahl married his second wife, former Playboy Playmate China Lee, in 1967. They also divorced.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Late Associated Press writer Bob Thomas contributed biographical information to this report. AP National Writer Hillel Italie and retired Associated Press writer John Rogers also contributed.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "For Dave Chappelle, Punchlines Are Dares. His New Special, 'The Closer,' Goes Too Far",
"headTitle": "For Dave Chappelle, Punchlines Are Dares. His New Special, ‘The Closer,’ Goes Too Far | KQED",
"content": "\u003cp>Dave Chappelle does not make it easy.\u003c/p>\n\u003cp>He is one of the most brilliant standup comics in the business. But he also makes a sport of challenging his audience—putting ideas in front of them he knows are uncomfortable and unpalatable to those invested in modern notions of how to talk about feminism, gender, sexual orientation and race.\u003c/p>\n\u003cp>Sometimes, he does it to make a larger point. But at times—especially during his latest special for Netflix, \u003cem>The Closer—\u003c/em>he also seems to have a daredevil’s relish for going to dangerous places onstage and eventually winning his audience over. Regardless of what he’s actually saying.\u003c/p>\n\u003cp>Of course, these days, the fix is in. Considered the Greatest Of All Time among many comedy fans—Chappelle says it about himself, wryly, toward the end of the special—\u003cem>The Closer\u003c/em> finds him surrounded by an enthusiastic audience in Detroit ready to go wherever he takes them.\u003c/p>\n\u003cp>That much is obvious, early in the special, where he talks about an idea for a film centered on an ancient civilization which discovered space travel, left the planet and then came back, determined to claim the Earth for their own. His punch line is the title for the film: Space Jews.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even the adoring audience in Detroit took a breath on that one. “It’s gonna get worse than that,” Chappelle retorts, laughing. But I’m not sure it did. Because that was pretty awful.\u003c/p>\n\u003cp>Coming from Chapelle, a joke like that felt like a dare. He knows, in the moment, that such a punchline will briefly break the spell he has on the audience; make them rethink their allegiance to him, at least for a second. And he’ll have to work a little to get them back on his team again—which he does.\u003c/p>\n\u003cp>(He also knows reviewers like me will quote the joke and criticize him for it, which I am. I don’t really care what point he’s trying to make; a joke which sounds like anti-Semitism gets a hard pass from me.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=i1UEj_6T1RE\u003c/p>\n\u003cp>And the message Chapelle has for those who have criticized him about transphobic, homophobic or any other phobic jokes, seems to be: race trumps all.\u003c/p>\n\u003cp>This idea surfaces when he talks about rapper DaBaby, who was \u003ca href=\"https://www.npr.org/2021/08/04/1024300194/dababy-homophobic-comments-apology-dropped-lollapalooza\" target=\"_blank\" rel=\"noopener noreferrer\">pilloried publicly\u003c/a> for making homophobic comments during a concert in July. Chappelle jokes DaBaby “punched the LGBTQ community right in the AIDS” before recalling a 2018 incident where the rapper was involved in a fight inside a North Carolina Walmart where another person was shot and killed.\u003c/p>\n\u003cp>“In our country, you can shoot and kill a n—-,” Chappelle says. “But you better not hurt a gay person’s feelings.”\u003c/p>\n\u003cp>[aside postid='pop_22685']What Chappelle doesn’t say, is that DaBaby claims he was defending himself against two men who tried to rob him and his family in the store. Eventually, he was \u003ca href=\"https://web.archive.org/web/20200518074444/https://www.charlotteobserver.com/entertainment/celebrities/article232069397.html\" target=\"_blank\" rel=\"noopener noreferrer\">found guilty of a misdemeanor charge\u003c/a>—carrying a concealed weapon—though the family of the 19-year-old who died insists that DaBaby started the fight.\u003c/p>\n\u003cp>In \u003cem>The Closer\u003c/em>, Chappelle eventually says he’s jealous of the progress the gay rights movement has made in America. “If slaves had oil and booty shorts on, we might have been free 100 years sooner,” he cracks.\u003c/p>\n\u003cp>But lines like that assume that the struggle over oppression is a zero sum game—that, because some gay people have access to white privilege in America, that all their concerns about stereotyping and marginalization are hollow and subordinate to what Black people face.\u003c/p>\n\u003cp>It ignores the fact that there are plenty of non-white gay people who face oppression both for their sexual orientation and their race. And, of course, opposing these public statements of homophobia isn’t just about making gay people feel better; it’s about keeping the anger and prejudice behind those words from becoming widely acceptable or turning into action.\u003c/p>\n\u003cp>Too often in \u003cem>The Closer\u003c/em>, it just sounds like Chappelle is using white privilege to excuse his own homophobia and transphobia.\u003c/p>\n\u003cp>[aside postid='arts_13901069']Because Chappelle is brilliant, his words about DaBaby make an important point; it is sad that more people know about DaBaby’s homophobic comments than his involvement in this deadly encounter. But there is more to the story outside his simplistic framing, which seems designed to excuse some pretty hurtful words.\u003c/p>\n\u003cp>“Gay people are minorities until they need to be white again,” Chappelle says, as the capper to a different story about his conflict with a white man at a nightclub who called police. The comic says the man he nearly fought was gay.\u003c/p>\n\u003cp>And yes, we know what calling the police on a Black man can mean in a post-George Floyd world. But if some belligerent jerk was confronting me in a nightclub, I’d probably call the cops, regardless of the race of the jerk. And Chappelle refuses to consider this possibility.\u003c/p>\n\u003cp>He goes on to joke that for years, he thought the word feminism meant “frumpy b—-.” That the #metoo movement was “silly” because wealthy women in Hollywood didn’t fire their agents and uplift women working in the mailroom. That, just when he figured out how to nail white people on their racism, some white people changed the game by declaring they were changing genders.\u003c/p>\n\u003cp>Chappelle recalls how he once asked why it was easier for Caitlyn Jenner to transition in public than for Cassius Clay to change his name to Muhammad Ali, ignoring the obvious answer: Ali adopted his name 50 years earlier. Thankfully, times also eventually change.\u003c/p>\n\u003cp>The fact is, these are all complicated topics, tough to encapsulate in a single punch line or anecdote. And watching Chappelle talk about them is like watching somebody use a chain saw as a letter opener.\u003c/p>\n\u003cp>[aside postid='arts_10513169']Worse, it is obvious during \u003cem>The Closer\u003c/em> that Chappelle cannot stand dealing with people who confront him over his more controversial jokes. More than once, he relays a story about someone getting in his face about how he has talked about women, gay people or transgender people, accusing him of “punching down.”\u003c/p>\n\u003cp>Chappelle may craft his monologues to make the audience think. But that doesn’t mean he necessarily wants much of a dialogue, especially with people who don’t like his ideas.\u003c/p>\n\u003cp>\u003cem>The Closer \u003c/em>ends with a poignant story about transgender comic Daphne Dorman, whom he befriended and allowed to open for him during a club appearance in San Francisco back in 2019. Dorman \u003ca href=\"https://www.inquirer.com/news/daphne-dorman-suicide-dave-chappelle-netflix-sticks-and-stones-20191014.html\" target=\"_blank\" rel=\"noopener noreferrer\">died by suicide \u003c/a>that same year; Chappelle says she took a lot of criticism online for defending him against allegations he was transphobic and denying he was “punching down” in his material.\u003c/p>\n\u003cp>Earlier, Chappelle says this performance, his sixth special with Netflix, will be his last in a while. He also says he won’t joke about LGBTQ topics any more.\u003c/p>\n\u003cp>“I’m done talking about it,” he says toward the end of \u003cem>The Closer\u003c/em>. “All I ask of your community, with all humility: Will you please stop punching down on my people?”\u003c/p>\n\u003cp>That line, with all of its terrible assumptions about who “your community” is and who “my people” are, just made me terribly angry and disappointed. Because untangling homophobia, transphobia, racism and white privilege requires a lot more effort and understanding than Chappelle makes here.\u003c/p>\n\u003cp>But if I was gay and heard a line like that from a wealthy, Emmy-winning comic at the end of a special that millions of his fans will likely watch and cosign, I’d probably have a simpler response:\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>You first.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=For+Dave+Chappelle%2C+punchlines+are+dares.+His+new+special%2C+%27The+Closer%2C%27+goes+too+far&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dave Chappelle does not make it easy.\u003c/p>\n\u003cp>He is one of the most brilliant standup comics in the business. But he also makes a sport of challenging his audience—putting ideas in front of them he knows are uncomfortable and unpalatable to those invested in modern notions of how to talk about feminism, gender, sexual orientation and race.\u003c/p>\n\u003cp>Sometimes, he does it to make a larger point. But at times—especially during his latest special for Netflix, \u003cem>The Closer—\u003c/em>he also seems to have a daredevil’s relish for going to dangerous places onstage and eventually winning his audience over. Regardless of what he’s actually saying.\u003c/p>\n\u003cp>Of course, these days, the fix is in. Considered the Greatest Of All Time among many comedy fans—Chappelle says it about himself, wryly, toward the end of the special—\u003cem>The Closer\u003c/em> finds him surrounded by an enthusiastic audience in Detroit ready to go wherever he takes them.\u003c/p>\n\u003cp>That much is obvious, early in the special, where he talks about an idea for a film centered on an ancient civilization which discovered space travel, left the planet and then came back, determined to claim the Earth for their own. His punch line is the title for the film: Space Jews.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even the adoring audience in Detroit took a breath on that one. “It’s gonna get worse than that,” Chappelle retorts, laughing. But I’m not sure it did. Because that was pretty awful.\u003c/p>\n\u003cp>Coming from Chapelle, a joke like that felt like a dare. He knows, in the moment, that such a punchline will briefly break the spell he has on the audience; make them rethink their allegiance to him, at least for a second. And he’ll have to work a little to get them back on his team again—which he does.\u003c/p>\n\u003cp>(He also knows reviewers like me will quote the joke and criticize him for it, which I am. I don’t really care what point he’s trying to make; a joke which sounds like anti-Semitism gets a hard pass from me.)\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/i1UEj_6T1RE'\n title='//www.youtube.com/embed/i1UEj_6T1RE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And the message Chapelle has for those who have criticized him about transphobic, homophobic or any other phobic jokes, seems to be: race trumps all.\u003c/p>\n\u003cp>This idea surfaces when he talks about rapper DaBaby, who was \u003ca href=\"https://www.npr.org/2021/08/04/1024300194/dababy-homophobic-comments-apology-dropped-lollapalooza\" target=\"_blank\" rel=\"noopener noreferrer\">pilloried publicly\u003c/a> for making homophobic comments during a concert in July. Chappelle jokes DaBaby “punched the LGBTQ community right in the AIDS” before recalling a 2018 incident where the rapper was involved in a fight inside a North Carolina Walmart where another person was shot and killed.\u003c/p>\n\u003cp>“In our country, you can shoot and kill a n—-,” Chappelle says. “But you better not hurt a gay person’s feelings.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>What Chappelle doesn’t say, is that DaBaby claims he was defending himself against two men who tried to rob him and his family in the store. Eventually, he was \u003ca href=\"https://web.archive.org/web/20200518074444/https://www.charlotteobserver.com/entertainment/celebrities/article232069397.html\" target=\"_blank\" rel=\"noopener noreferrer\">found guilty of a misdemeanor charge\u003c/a>—carrying a concealed weapon—though the family of the 19-year-old who died insists that DaBaby started the fight.\u003c/p>\n\u003cp>In \u003cem>The Closer\u003c/em>, Chappelle eventually says he’s jealous of the progress the gay rights movement has made in America. “If slaves had oil and booty shorts on, we might have been free 100 years sooner,” he cracks.\u003c/p>\n\u003cp>But lines like that assume that the struggle over oppression is a zero sum game—that, because some gay people have access to white privilege in America, that all their concerns about stereotyping and marginalization are hollow and subordinate to what Black people face.\u003c/p>\n\u003cp>It ignores the fact that there are plenty of non-white gay people who face oppression both for their sexual orientation and their race. And, of course, opposing these public statements of homophobia isn’t just about making gay people feel better; it’s about keeping the anger and prejudice behind those words from becoming widely acceptable or turning into action.\u003c/p>\n\u003cp>Too often in \u003cem>The Closer\u003c/em>, it just sounds like Chappelle is using white privilege to excuse his own homophobia and transphobia.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Because Chappelle is brilliant, his words about DaBaby make an important point; it is sad that more people know about DaBaby’s homophobic comments than his involvement in this deadly encounter. But there is more to the story outside his simplistic framing, which seems designed to excuse some pretty hurtful words.\u003c/p>\n\u003cp>“Gay people are minorities until they need to be white again,” Chappelle says, as the capper to a different story about his conflict with a white man at a nightclub who called police. The comic says the man he nearly fought was gay.\u003c/p>\n\u003cp>And yes, we know what calling the police on a Black man can mean in a post-George Floyd world. But if some belligerent jerk was confronting me in a nightclub, I’d probably call the cops, regardless of the race of the jerk. And Chappelle refuses to consider this possibility.\u003c/p>\n\u003cp>He goes on to joke that for years, he thought the word feminism meant “frumpy b—-.” That the #metoo movement was “silly” because wealthy women in Hollywood didn’t fire their agents and uplift women working in the mailroom. That, just when he figured out how to nail white people on their racism, some white people changed the game by declaring they were changing genders.\u003c/p>\n\u003cp>Chappelle recalls how he once asked why it was easier for Caitlyn Jenner to transition in public than for Cassius Clay to change his name to Muhammad Ali, ignoring the obvious answer: Ali adopted his name 50 years earlier. Thankfully, times also eventually change.\u003c/p>\n\u003cp>The fact is, these are all complicated topics, tough to encapsulate in a single punch line or anecdote. And watching Chappelle talk about them is like watching somebody use a chain saw as a letter opener.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Worse, it is obvious during \u003cem>The Closer\u003c/em> that Chappelle cannot stand dealing with people who confront him over his more controversial jokes. More than once, he relays a story about someone getting in his face about how he has talked about women, gay people or transgender people, accusing him of “punching down.”\u003c/p>\n\u003cp>Chappelle may craft his monologues to make the audience think. But that doesn’t mean he necessarily wants much of a dialogue, especially with people who don’t like his ideas.\u003c/p>\n\u003cp>\u003cem>The Closer \u003c/em>ends with a poignant story about transgender comic Daphne Dorman, whom he befriended and allowed to open for him during a club appearance in San Francisco back in 2019. Dorman \u003ca href=\"https://www.inquirer.com/news/daphne-dorman-suicide-dave-chappelle-netflix-sticks-and-stones-20191014.html\" target=\"_blank\" rel=\"noopener noreferrer\">died by suicide \u003c/a>that same year; Chappelle says she took a lot of criticism online for defending him against allegations he was transphobic and denying he was “punching down” in his material.\u003c/p>\n\u003cp>Earlier, Chappelle says this performance, his sixth special with Netflix, will be his last in a while. He also says he won’t joke about LGBTQ topics any more.\u003c/p>\n\u003cp>“I’m done talking about it,” he says toward the end of \u003cem>The Closer\u003c/em>. “All I ask of your community, with all humility: Will you please stop punching down on my people?”\u003c/p>\n\u003cp>That line, with all of its terrible assumptions about who “your community” is and who “my people” are, just made me terribly angry and disappointed. Because untangling homophobia, transphobia, racism and white privilege requires a lot more effort and understanding than Chappelle makes here.\u003c/p>\n\u003cp>But if I was gay and heard a line like that from a wealthy, Emmy-winning comic at the end of a special that millions of his fans will likely watch and cosign, I’d probably have a simpler response:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Comedian Norm Macdonald, a beloved \u003cem>Saturday Night Live \u003c/em>cast member in the 1990s, has died. His management company confirmed that the 61-year-old had battled cancer for nine years.\u003c/p>\n\u003cp>“He was most proud of his comedy,” his producing partner and friend Lori Jo Hoekstra \u003ca href=\"https://deadline.com/2021/09/norm-macdonald-dead-obituary-comedian-saturday-night-live-weekend-update-anchor-was-61-1234833212/\">told \u003cem>Deadline\u003c/em>\u003c/a>. “Norm was a pure comic. He once wrote that ‘a joke should catch someone by surprise, it should never pander.’ He certainly never pandered. Norm will be missed terribly.”\u003c/p>\n\u003cp>\u003cem>SNL \u003c/em>fans may remember Macdonald as an anchor on the show’s “Weekend Update” segments. He was known for his impressions, particularly that of Burt Reynolds. In his signature droll manner, he lampooned former superstar Michael Jackson and former football star and actor O.J. Simpson throughout his murder trial. Macdonald later said he was pressured by network executives to stop blasting Simpson as a murderer, and he attributed getting fired from the show for his refusal to stop.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bEghu90QJH4\u003c/p>\n\u003cp>After \u003cem>SNL\u003c/em>, Macdonald had his own comedy series, \u003cem>The Norm Show\u003c/em>, where he played an NHL player who had to perform community service after being busted for gambling and tax evasion. He also had \u003ca href=\"https://www.wbur.org/hereandnow/2018/09/14/norm-macdonald-has-a-show\">his own talk show\u003c/a>,\u003cem> Norm Macdonald Has a Show\u003c/em>, on Netflix. His memorable 1990s appearances on \u003ca href=\"https://www.youtube.com/watch?v=1-MJy7w69EU&t=7s\" target=\"_blank\" rel=\"noopener noreferrer\">late-night shows like \u003cem>The Conan O’Brien Show\u003c/em>\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=Z3PP_SWHUQQ\" target=\"_blank\" rel=\"noopener noreferrer\">daytime shows like \u003cem>The View\u003c/em>\u003c/a> enjoyed a resurrection in the past decade on YouTube.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Macdonald was born in Quebec City in 1959, and started his career doing standup in Canadian comedy clubs, where he developed his deadpan style. After competing on \u003cem>Star Search\u003c/em> in 1990, he was hired to write for \u003cem>The Dennis Miller Show, \u003c/em>then the sitcom \u003cem>Roseanne\u003c/em>. Macdonald had a recurring role on the show \u003cem>The Middle\u003c/em>. He also appeared in films such as \u003cem>Dirty Work\u003c/em> and \u003cem>The People vs. Larry Flynt\u003c/em>, and he was the voice of Lucky the Dog in the Eddie Murphy comedy \u003cem>Dr. Dolittle.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Comedian+Norm+Macdonald+Has+Died+At+61&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Comedian Norm Macdonald, a beloved \u003cem>Saturday Night Live \u003c/em>cast member in the 1990s, has died. His management company confirmed that the 61-year-old had battled cancer for nine years.\u003c/p>\n\u003cp>“He was most proud of his comedy,” his producing partner and friend Lori Jo Hoekstra \u003ca href=\"https://deadline.com/2021/09/norm-macdonald-dead-obituary-comedian-saturday-night-live-weekend-update-anchor-was-61-1234833212/\">told \u003cem>Deadline\u003c/em>\u003c/a>. “Norm was a pure comic. He once wrote that ‘a joke should catch someone by surprise, it should never pander.’ He certainly never pandered. Norm will be missed terribly.”\u003c/p>\n\u003cp>\u003cem>SNL \u003c/em>fans may remember Macdonald as an anchor on the show’s “Weekend Update” segments. He was known for his impressions, particularly that of Burt Reynolds. In his signature droll manner, he lampooned former superstar Michael Jackson and former football star and actor O.J. Simpson throughout his murder trial. Macdonald later said he was pressured by network executives to stop blasting Simpson as a murderer, and he attributed getting fired from the show for his refusal to stop.\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/bEghu90QJH4'\n title='//www.youtube.com/embed/bEghu90QJH4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After \u003cem>SNL\u003c/em>, Macdonald had his own comedy series, \u003cem>The Norm Show\u003c/em>, where he played an NHL player who had to perform community service after being busted for gambling and tax evasion. He also had \u003ca href=\"https://www.wbur.org/hereandnow/2018/09/14/norm-macdonald-has-a-show\">his own talk show\u003c/a>,\u003cem> Norm Macdonald Has a Show\u003c/em>, on Netflix. His memorable 1990s appearances on \u003ca href=\"https://www.youtube.com/watch?v=1-MJy7w69EU&t=7s\" target=\"_blank\" rel=\"noopener noreferrer\">late-night shows like \u003cem>The Conan O’Brien Show\u003c/em>\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=Z3PP_SWHUQQ\" target=\"_blank\" rel=\"noopener noreferrer\">daytime shows like \u003cem>The View\u003c/em>\u003c/a> enjoyed a resurrection in the past decade on YouTube.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Macdonald was born in Quebec City in 1959, and started his career doing standup in Canadian comedy clubs, where he developed his deadpan style. After competing on \u003cem>Star Search\u003c/em> in 1990, he was hired to write for \u003cem>The Dennis Miller Show, \u003c/em>then the sitcom \u003cem>Roseanne\u003c/em>. Macdonald had a recurring role on the show \u003cem>The Middle\u003c/em>. He also appeared in films such as \u003cem>Dirty Work\u003c/em> and \u003cem>The People vs. Larry Flynt\u003c/em>, and he was the voice of Lucky the Dog in the Eddie Murphy comedy \u003cem>Dr. Dolittle.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Comedian+Norm+Macdonald+Has+Died+At+61&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Desi Comedy Fest Aims to Unify South Asians Through Laughter",
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"content": "\u003cp>For about a decade now, South Asia and its diaspora have been experiencing a \u003ca href=\"https://deadant.co/a-brief-history-of-indian-standup-the-early-years-supercut/\">live comedy boom\u003c/a>. YouTube sets and Netflix India specials have popularized the once exotic act of stand-up for a Desi audience and launched the careers of a generation of young, hungry comics.\u003c/p>\n\u003cp>[aside postid='arts_13891739']The attention on live Desi comedy hasn’t come without consequences: recent \u003ca href=\"https://www.latimes.com/world-nation/story/2021-02-05/india-comedian-free-speech-munawar-faruqui\">high-profile court cases and arrests\u003c/a> of comedians who wade into religious or political issues have dramatized the fault lines that rip apart South Asia today. Bridging that divide is the reason Samson Koletkar, an Indian Jewish comedian, co-founded the annual Desi Comedy Fest with fellow comedian Abhay N in the first place.\u003c/p>\n\u003cp>“We all like to laugh. We have some common things that we can laugh about,” says Koletkar. As a further symbol of solidarity, he chose the dates of Independence of Pakistan and India, August 14th and 15th, to host the stand-up nights.\u003c/p>\n\u003cp>Now in its eighth year, the festival’s mission has grown beyond its initial purview. “When we started in the beginning, it was all about Indian and Pakistani comics. Then we started finding and booking Sri Lankan, Bangladeshi, Afghani, Iranian. We sort of expanded all over, even picked up Middle Eastern comics, East Asian comics. And we sort of kept diversifying, because what we eventually realized is there is a lot of diversity within ‘South Asian.’ There’s a lot of mixes.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GOz-53FTTDI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The 16-comic strong line-up for this year’s Desi Comedy Fest reflects that commitment to diversity. Ayanna Dookie is Indo-Trinidadian-American, Feraz Ozel is Pakistani- and Afghani-American, Sofie Khan is Pakistani-Mexican-American, just to name a few among the multicultural, multihyphenated assemblage.\u003c/p>\n\u003cp>[aside postid='arts_13838636']None are household names yet, but that’s exactly what appeals to Koletkar. “What we are focused on are the comics who are still underground, who are under the radar. You’ve seen them on Comedy Central. They’ve won competitions and performed around the world. They write for late night. They’re really good working comics, it’s just that they haven’t broken through.”\u003c/p>\n\u003cp>In previous years, Desi Comedy Fest was a week-long bonanza with shows up and down the Bay Area. During the pandemic, Koletkar has been forced to scale back operations to two socially distanced, outdoor venues: Gasser Garden in San Francisco and the India Community Center in Milpitas.\u003c/p>\n\u003cp>As for ticket sales during a pandemic, “the response has been slower than usual,” Koletkar says, though Friday’s shows have already sold out. “People are skeptical. We get that. So we’re trying to just do it and keep the fun going. This year is all about keeping our sanity, and then hopefully things get better and we can go back to the big fest again.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Desi Comedy Fest runs from Aug. 13–15 in San Francisco and Milpitas. Masks and proof of vaccination required for entry. \u003ca href=\"https://www.desicomedyfest.com/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For about a decade now, South Asia and its diaspora have been experiencing a \u003ca href=\"https://deadant.co/a-brief-history-of-indian-standup-the-early-years-supercut/\">live comedy boom\u003c/a>. YouTube sets and Netflix India specials have popularized the once exotic act of stand-up for a Desi audience and launched the careers of a generation of young, hungry comics.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The attention on live Desi comedy hasn’t come without consequences: recent \u003ca href=\"https://www.latimes.com/world-nation/story/2021-02-05/india-comedian-free-speech-munawar-faruqui\">high-profile court cases and arrests\u003c/a> of comedians who wade into religious or political issues have dramatized the fault lines that rip apart South Asia today. Bridging that divide is the reason Samson Koletkar, an Indian Jewish comedian, co-founded the annual Desi Comedy Fest with fellow comedian Abhay N in the first place.\u003c/p>\n\u003cp>“We all like to laugh. We have some common things that we can laugh about,” says Koletkar. As a further symbol of solidarity, he chose the dates of Independence of Pakistan and India, August 14th and 15th, to host the stand-up nights.\u003c/p>\n\u003cp>Now in its eighth year, the festival’s mission has grown beyond its initial purview. “When we started in the beginning, it was all about Indian and Pakistani comics. Then we started finding and booking Sri Lankan, Bangladeshi, Afghani, Iranian. We sort of expanded all over, even picked up Middle Eastern comics, East Asian comics. And we sort of kept diversifying, because what we eventually realized is there is a lot of diversity within ‘South Asian.’ There’s a lot of mixes.”\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/GOz-53FTTDI'\n title='//www.youtube.com/embed/GOz-53FTTDI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The 16-comic strong line-up for this year’s Desi Comedy Fest reflects that commitment to diversity. Ayanna Dookie is Indo-Trinidadian-American, Feraz Ozel is Pakistani- and Afghani-American, Sofie Khan is Pakistani-Mexican-American, just to name a few among the multicultural, multihyphenated assemblage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>None are household names yet, but that’s exactly what appeals to Koletkar. “What we are focused on are the comics who are still underground, who are under the radar. You’ve seen them on Comedy Central. They’ve won competitions and performed around the world. They write for late night. They’re really good working comics, it’s just that they haven’t broken through.”\u003c/p>\n\u003cp>In previous years, Desi Comedy Fest was a week-long bonanza with shows up and down the Bay Area. During the pandemic, Koletkar has been forced to scale back operations to two socially distanced, outdoor venues: Gasser Garden in San Francisco and the India Community Center in Milpitas.\u003c/p>\n\u003cp>As for ticket sales during a pandemic, “the response has been slower than usual,” Koletkar says, though Friday’s shows have already sold out. “People are skeptical. We get that. So we’re trying to just do it and keep the fun going. This year is all about keeping our sanity, and then hopefully things get better and we can go back to the big fest again.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Desi Comedy Fest runs from Aug. 13–15 in San Francisco and Milpitas. Masks and proof of vaccination required for entry. \u003ca href=\"https://www.desicomedyfest.com/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "What's Making Us Happy: A Guide For Your Weekend Watching, Listening and Reading",
"headTitle": "What’s Making Us Happy: A Guide For Your Weekend Watching, Listening and Reading | KQED",
"content": "\u003cp>It’s been a hot week full of court documents and news drops. And now, we’re ready for a calmer and cooler break with time to breathe. And fortunately, we’ve got recommendations for podcasts, binge-able television and good reading for your holiday weekend.\u003c/p>\n\u003ch3>\u003ca href=\"https://www.netflix.com/title/80991848\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sex/Life,\u003c/em>\u003c/a> Netflix\u003c/h3>\n\u003cp>Netflix has a show called \u003cem>Sex/Life \u003c/em>and the reason I am interested in it is that it is yet another example of Netflix’s strange positioning in the streaming wars. It’s sort of like if you took\u003cem> Fifty Shades of Grey \u003c/em>but actually put sex in it, but then also overlaid a Lifetime movie on that. It has that feeling of softcore Showtime from the ’80s. It’s funny as hell, and campy, and silly… and you know, they don’t make movies like that anymore—your \u003ca href=\"https://www.imdb.com/title/tt0108162/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sliver\u003c/em>s \u003c/a>and your \u003ca href=\"https://www.imdb.com/title/tt0103772/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Basic Instinct\u003c/em>s\u003c/a>—your sex thriller or your disaffected housewife infidelity film.\u003c/p>\n\u003cp>The ’90s had a whole world of that and Netflix is weirdly jumping in that pool and maybe that’s not such a bad thing. Maybe streaming is bringing back a diversity of programming—like all these little genres that kind of fell away under the Marvel steamroller. So I can’t recommend \u003cem>Sex/Life,\u003c/em> necessarily—but I’m happy that the streaming wars are still bringing us new things. I like that we’re in that moment. \u003cem>– Audie Cornish\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x580mowu5Gs\u003c/p>\n\u003ch3>The Jean Smart Renaissance\u003c/h3>\n\u003cp>What’s making me happy is the Jean Smart-ification of HBO. The fact that she stars in the amazing comedy\u003ca href=\"https://www.npr.org/2021/05/13/996117911/hacks-a-comedic-generational-divide-gets-bridged-jean-smartly\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>Hacks.\u003c/em>\u003c/a> She’s got a juicy, completely different role in the drama \u003ca href=\"https://www.npr.org/2021/05/30/1001577416/mare-of-easttown-your-finale-questions-answered\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mare of Easttown\u003c/em>\u003c/a>. She killed it in \u003ca href=\"https://www.npr.org/2019/10/18/770754377/who-watches-this-watchmen-i-will-and-you-should\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Watchmen\u003c/em>\u003c/a>. Jean Smart has been doing the work for decades. I was a fan back in the \u003cem>Designing Women\u003c/em> days. She was incredible in the season of \u003cem>Fargo\u003c/em> where she played the mother of a Jewish organized crime family. She is \u003cem>such\u003c/em> a good actor with such a wide range. And right now she’s everywhere and I’m thrilled about it. Give me more Jean Smart—comedy, drama, thriller. I don’t care. All of it. I’ll take it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There is an \u003ca href=\"https://www.youtube.com/watch?v=MT1qxLIMW8Y&t=81s\" target=\"_blank\" rel=\"noopener noreferrer\">amazing YouTube video\u003c/a> in which the comedian Megan Stalter—who has a bit part in\u003cem> Hacks\u003c/em> and is also having a moment—interviews all the members of the cast of \u003cem>Hacks\u003c/em> and just bulldozes them and does her thing and there is a genius moment where she’s interviewing Jean Smart and it becomes clear that she is confusing Jean Smart with Kim Cattrall from \u003cem>Sex in the City\u003c/em>. And to see Jean Smart’s reaction in the moment, it’s perfect comedy.\u003cem> — Ari Shapiro\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QpE4893PxqE\u003c/p>\n\u003ch3>\u003ca href=\"https://www.instagram.com/jay.nedaj/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">@jay.nedaj\u003c/a> on Instagram\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/h3>\n\u003cp>There’s this guy named Jay Nedaj on Instagram. He has this cornucopia of wigs and outfits, and I came across this video he did where he was reenacting ’90s girl group videos and all the tropes of those videos—the wind blowing the hair and the shifting, the posing they do in \u003ca href=\"https://www.youtube.com/watch?v=sQgd6MccwZc\" target=\"_blank\" rel=\"noopener noreferrer\">“Say My Name.”\u003c/a>\u003c/p>\n\u003cp>Lately he has been doing these great videos, to try and get the attention of Beyoncé. He is just taking clips from her various live performances and he’s in his living room—sometimes his dog is in the background just being like, “What are you doing?” And he’s just lip-syncing these moments.\u003c/p>\n\u003cp>It really just makes my heart warm. I love seeing all of the different outfits and the commitment. It’s desperate and it’s also just filled with so much love. I highly recommend if you’re a Beyoncé fan and also love random parodies of Black movies and TV shows and Black music—follow\u003ca href=\"https://www.instagram.com/jay.nedaj/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\"> Jay.nedaj. \u003c/a>\u003cem>— Aisha Harris\u003c/em>\u003c/p>\n\u003cp>https://www.instagram.com/p/CQuf18ajNIr/\u003c/p>\n\u003ch3>New ways to discover music at NPR.org and Arooj Aftab’s album, \u003cem>Vulture Prince\u003c/em>\u003c/h3>\n\u003cp>NPR Music just launched a new blog called\u003ca href=\"https://www.npr.org/series/1002643619/now-playing\" target=\"_blank\" rel=\"noopener noreferrer\"> Now Playing \u003c/a>where you can get quick recommendations of new songs. We’re trying to take the fire hydrant of new music and turn it into a fire hose of new music. I’ve been contributing to that—everybody at NPR Music has—and there’s tons of great music there already.\u003c/p>\n\u003cp>We also just launched a package with \u003ca href=\"https://www.npr.org/2021/06/30/1011549351/npr-musics-favorite-albums-of-2021-so-far\" target=\"_blank\" rel=\"noopener noreferrer\">the best music of the year so far, \u003c/a>which gave me a chance to finally write about my favorite album of 2021—\u003cem>Vulture Prince \u003c/em>from \u003ca href=\"https://www.npr.org/artists/989059064/arooj-aftab\" target=\"_blank\" rel=\"noopener noreferrer\">Arooj Aftab\u003c/a>. She was born in Pakistan, and is based in Brooklyn, and she’s kind of reimagined South Asian music. She grew up listening to singers like\u003ca href=\"https://www.npr.org/artists/15892051/nusrat-fateh-ali-khan\" target=\"_blank\" rel=\"noopener noreferrer\"> Nusrat Fateh Ali Khan\u003c/a>, and she creates these absolutely hypnotic and breathtaking songs. I have been marinating in this album for days, and days, and days now. —\u003cem> Stephen Thompson\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oCUFC-ULdOk\u003c/p>\n\u003ch3>And a couple more bonus picks from Linda Holmes:\u003c/h3>\n\u003cp>\u003ca href=\"https://theplotthickens.tcm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>\u003cstrong>The Plot Thickens\u003c/strong>\u003c/em>\u003c/a>\u003cstrong> podcast, with Julie Salamon\u003cbr>\n\u003c/strong>Julie Salamon’s book \u003cem>The Devil’s Candy\u003c/em>, about the making of the movie \u003cem>The Bonfire of the Vanities\u003c/em>, is a favorite of mine. I was delighted to hear that Salamon herself was making and narrating a new season of the Turner Classic Movies podcast \u003ca href=\"https://podcasts.apple.com/us/podcast/the-plot-thickens/id1504732282\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Plot Thickens\u003c/em>\u003c/a>, which tells the story in podcast form. The first episode is entertaining—and just as juicy as the book.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/Ryan_Ken_Acts\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>@Ryan_Ken_Acts\u003c/strong>\u003c/a>\u003cstrong> on Twitter\u003c/strong>\u003cbr>\nOne of my favorite recent Twitter follows is \u003ca href=\"https://twitter.com/Ryan_Ken_Acts?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\" target=\"_blank\" rel=\"noopener noreferrer\">Ryan Ken\u003c/a>, a master of the “looks easy to get right, is actually hard to get right” captioned video comedy format. Their stuff is often not just funny, but provocative and insightful.\u003c/p>\n\u003cp>\u003ca href=\"https://www.hbomax.com/series/urn:hbo:series:GYNHTDQuvpMLCewEAAAAG\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>All That Glitters,\u003c/em>\u003c/strong>\u003c/a>\u003cstrong> HBO Max\u003c/strong>\u003cem>\u003cbr>\n\u003c/em>Last weekend, I binge-watched the HBO Max (originally BBC) show \u003cem>All That Glitters\u003c/em>, which is meant to be the jewelry-making equivalent of \u003cem>The Great British Baking Show \u003c/em>or \u003cem>The Great Pottery Throw Down \u003c/em>or the glass-blowing show \u003cem>Blown Away\u003c/em>. While it didn’t thrill me quite as much as some comparable programs do, it was a very enjoyable afternoon of viewing, and I know a lot more about bracelets than I used to.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MBPzxmxf9ig\u003c/p>\n\u003cp>\u003ca href=\"https://www.esquire.com/entertainment/tv/a36894026/john-benjamin-hickey-pride-interview/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>“John Benjamin Hickey Is Still Figuring Out What It Means to Be an ‘Elder’ “\u003c/strong>\u003c/a>\u003cstrong> by Dave Holmes, \u003c/strong>\u003cem>\u003cstrong>Esquire\u003c/strong>\u003c/em>\u003cbr>\nThe terrific actor John Benjamin Hickey \u003ca href=\"https://www.esquire.com/entertainment/tv/a36894026/john-benjamin-hickey-pride-interview/\" target=\"_blank\" rel=\"noopener noreferrer\">talked to the terrific writer\u003c/a> Dave Holmes for \u003cem>Esquire\u003c/em> about getting older as a gay man, and their conversation is a great read.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>There’s more where this came from! Five days a week, \u003c/strong>\u003ca href=\"https://www.npr.org/podcasts/510282/pop-culture-happy-hour\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Pop Culture Happy Hour\u003c/strong>\u003c/a>\u003cstrong> serves you recommendations and commentary on the buzziest movies, TV, music, books, videogames and more. \u003c/strong>\u003ca href=\"https://www.npr.org/podcasts/510282/pop-culture-happy-hour\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Subscribe here >>\u003c/strong>\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What%27s+Making+Us+Happy%3A+A+Guide+For+Your+Weekend+Watching%2C+Listening+And+Reading&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been a hot week full of court documents and news drops. And now, we’re ready for a calmer and cooler break with time to breathe. And fortunately, we’ve got recommendations for podcasts, binge-able television and good reading for your holiday weekend.\u003c/p>\n\u003ch3>\u003ca href=\"https://www.netflix.com/title/80991848\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sex/Life,\u003c/em>\u003c/a> Netflix\u003c/h3>\n\u003cp>Netflix has a show called \u003cem>Sex/Life \u003c/em>and the reason I am interested in it is that it is yet another example of Netflix’s strange positioning in the streaming wars. It’s sort of like if you took\u003cem> Fifty Shades of Grey \u003c/em>but actually put sex in it, but then also overlaid a Lifetime movie on that. It has that feeling of softcore Showtime from the ’80s. It’s funny as hell, and campy, and silly… and you know, they don’t make movies like that anymore—your \u003ca href=\"https://www.imdb.com/title/tt0108162/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Sliver\u003c/em>s \u003c/a>and your \u003ca href=\"https://www.imdb.com/title/tt0103772/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Basic Instinct\u003c/em>s\u003c/a>—your sex thriller or your disaffected housewife infidelity film.\u003c/p>\n\u003cp>The ’90s had a whole world of that and Netflix is weirdly jumping in that pool and maybe that’s not such a bad thing. Maybe streaming is bringing back a diversity of programming—like all these little genres that kind of fell away under the Marvel steamroller. So I can’t recommend \u003cem>Sex/Life,\u003c/em> necessarily—but I’m happy that the streaming wars are still bringing us new things. I like that we’re in that moment. \u003cem>– Audie Cornish\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/x580mowu5Gs'\n title='//www.youtube.com/embed/x580mowu5Gs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>The Jean Smart Renaissance\u003c/h3>\n\u003cp>What’s making me happy is the Jean Smart-ification of HBO. The fact that she stars in the amazing comedy\u003ca href=\"https://www.npr.org/2021/05/13/996117911/hacks-a-comedic-generational-divide-gets-bridged-jean-smartly\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>Hacks.\u003c/em>\u003c/a> She’s got a juicy, completely different role in the drama \u003ca href=\"https://www.npr.org/2021/05/30/1001577416/mare-of-easttown-your-finale-questions-answered\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mare of Easttown\u003c/em>\u003c/a>. She killed it in \u003ca href=\"https://www.npr.org/2019/10/18/770754377/who-watches-this-watchmen-i-will-and-you-should\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Watchmen\u003c/em>\u003c/a>. Jean Smart has been doing the work for decades. I was a fan back in the \u003cem>Designing Women\u003c/em> days. She was incredible in the season of \u003cem>Fargo\u003c/em> where she played the mother of a Jewish organized crime family. She is \u003cem>such\u003c/em> a good actor with such a wide range. And right now she’s everywhere and I’m thrilled about it. Give me more Jean Smart—comedy, drama, thriller. I don’t care. All of it. I’ll take it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There is an \u003ca href=\"https://www.youtube.com/watch?v=MT1qxLIMW8Y&t=81s\" target=\"_blank\" rel=\"noopener noreferrer\">amazing YouTube video\u003c/a> in which the comedian Megan Stalter—who has a bit part in\u003cem> Hacks\u003c/em> and is also having a moment—interviews all the members of the cast of \u003cem>Hacks\u003c/em> and just bulldozes them and does her thing and there is a genius moment where she’s interviewing Jean Smart and it becomes clear that she is confusing Jean Smart with Kim Cattrall from \u003cem>Sex in the City\u003c/em>. And to see Jean Smart’s reaction in the moment, it’s perfect comedy.\u003cem> — Ari Shapiro\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/QpE4893PxqE'\n title='//www.youtube.com/embed/QpE4893PxqE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003ca href=\"https://www.instagram.com/jay.nedaj/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">@jay.nedaj\u003c/a> on Instagram\u003cstrong>\u003cbr>\n\u003c/strong>\u003c/h3>\n\u003cp>There’s this guy named Jay Nedaj on Instagram. He has this cornucopia of wigs and outfits, and I came across this video he did where he was reenacting ’90s girl group videos and all the tropes of those videos—the wind blowing the hair and the shifting, the posing they do in \u003ca href=\"https://www.youtube.com/watch?v=sQgd6MccwZc\" target=\"_blank\" rel=\"noopener noreferrer\">“Say My Name.”\u003c/a>\u003c/p>\n\u003cp>Lately he has been doing these great videos, to try and get the attention of Beyoncé. He is just taking clips from her various live performances and he’s in his living room—sometimes his dog is in the background just being like, “What are you doing?” And he’s just lip-syncing these moments.\u003c/p>\n\u003cp>It really just makes my heart warm. I love seeing all of the different outfits and the commitment. It’s desperate and it’s also just filled with so much love. I highly recommend if you’re a Beyoncé fan and also love random parodies of Black movies and TV shows and Black music—follow\u003ca href=\"https://www.instagram.com/jay.nedaj/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\"> Jay.nedaj. \u003c/a>\u003cem>— Aisha Harris\u003c/em>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch3>New ways to discover music at NPR.org and Arooj Aftab’s album, \u003cem>Vulture Prince\u003c/em>\u003c/h3>\n\u003cp>NPR Music just launched a new blog called\u003ca href=\"https://www.npr.org/series/1002643619/now-playing\" target=\"_blank\" rel=\"noopener noreferrer\"> Now Playing \u003c/a>where you can get quick recommendations of new songs. We’re trying to take the fire hydrant of new music and turn it into a fire hose of new music. I’ve been contributing to that—everybody at NPR Music has—and there’s tons of great music there already.\u003c/p>\n\u003cp>We also just launched a package with \u003ca href=\"https://www.npr.org/2021/06/30/1011549351/npr-musics-favorite-albums-of-2021-so-far\" target=\"_blank\" rel=\"noopener noreferrer\">the best music of the year so far, \u003c/a>which gave me a chance to finally write about my favorite album of 2021—\u003cem>Vulture Prince \u003c/em>from \u003ca href=\"https://www.npr.org/artists/989059064/arooj-aftab\" target=\"_blank\" rel=\"noopener noreferrer\">Arooj Aftab\u003c/a>. She was born in Pakistan, and is based in Brooklyn, and she’s kind of reimagined South Asian music. She grew up listening to singers like\u003ca href=\"https://www.npr.org/artists/15892051/nusrat-fateh-ali-khan\" target=\"_blank\" rel=\"noopener noreferrer\"> Nusrat Fateh Ali Khan\u003c/a>, and she creates these absolutely hypnotic and breathtaking songs. I have been marinating in this album for days, and days, and days now. —\u003cem> Stephen Thompson\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/oCUFC-ULdOk'\n title='//www.youtube.com/embed/oCUFC-ULdOk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>And a couple more bonus picks from Linda Holmes:\u003c/h3>\n\u003cp>\u003ca href=\"https://theplotthickens.tcm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>\u003cstrong>The Plot Thickens\u003c/strong>\u003c/em>\u003c/a>\u003cstrong> podcast, with Julie Salamon\u003cbr>\n\u003c/strong>Julie Salamon’s book \u003cem>The Devil’s Candy\u003c/em>, about the making of the movie \u003cem>The Bonfire of the Vanities\u003c/em>, is a favorite of mine. I was delighted to hear that Salamon herself was making and narrating a new season of the Turner Classic Movies podcast \u003ca href=\"https://podcasts.apple.com/us/podcast/the-plot-thickens/id1504732282\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Plot Thickens\u003c/em>\u003c/a>, which tells the story in podcast form. The first episode is entertaining—and just as juicy as the book.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/Ryan_Ken_Acts\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>@Ryan_Ken_Acts\u003c/strong>\u003c/a>\u003cstrong> on Twitter\u003c/strong>\u003cbr>\nOne of my favorite recent Twitter follows is \u003ca href=\"https://twitter.com/Ryan_Ken_Acts?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\" target=\"_blank\" rel=\"noopener noreferrer\">Ryan Ken\u003c/a>, a master of the “looks easy to get right, is actually hard to get right” captioned video comedy format. Their stuff is often not just funny, but provocative and insightful.\u003c/p>\n\u003cp>\u003ca href=\"https://www.hbomax.com/series/urn:hbo:series:GYNHTDQuvpMLCewEAAAAG\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>\u003cem>All That Glitters,\u003c/em>\u003c/strong>\u003c/a>\u003cstrong> HBO Max\u003c/strong>\u003cem>\u003cbr>\n\u003c/em>Last weekend, I binge-watched the HBO Max (originally BBC) show \u003cem>All That Glitters\u003c/em>, which is meant to be the jewelry-making equivalent of \u003cem>The Great British Baking Show \u003c/em>or \u003cem>The Great Pottery Throw Down \u003c/em>or the glass-blowing show \u003cem>Blown Away\u003c/em>. While it didn’t thrill me quite as much as some comparable programs do, it was a very enjoyable afternoon of viewing, and I know a lot more about bracelets than I used to.\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/MBPzxmxf9ig'\n title='//www.youtube.com/embed/MBPzxmxf9ig'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://www.esquire.com/entertainment/tv/a36894026/john-benjamin-hickey-pride-interview/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>“John Benjamin Hickey Is Still Figuring Out What It Means to Be an ‘Elder’ “\u003c/strong>\u003c/a>\u003cstrong> by Dave Holmes, \u003c/strong>\u003cem>\u003cstrong>Esquire\u003c/strong>\u003c/em>\u003cbr>\nThe terrific actor John Benjamin Hickey \u003ca href=\"https://www.esquire.com/entertainment/tv/a36894026/john-benjamin-hickey-pride-interview/\" target=\"_blank\" rel=\"noopener noreferrer\">talked to the terrific writer\u003c/a> Dave Holmes for \u003cem>Esquire\u003c/em> about getting older as a gay man, and their conversation is a great read.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>There’s more where this came from! Five days a week, \u003c/strong>\u003ca href=\"https://www.npr.org/podcasts/510282/pop-culture-happy-hour\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Pop Culture Happy Hour\u003c/strong>\u003c/a>\u003cstrong> serves you recommendations and commentary on the buzziest movies, TV, music, books, videogames and more. \u003c/strong>\u003ca href=\"https://www.npr.org/podcasts/510282/pop-culture-happy-hour\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Subscribe here >>\u003c/strong>\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What%27s+Making+Us+Happy%3A+A+Guide+For+Your+Weekend+Watching%2C+Listening+And+Reading&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "After 28 Quirky Years, Conan O'Brien is Leaving Late Night",
"headTitle": "After 28 Quirky Years, Conan O’Brien is Leaving Late Night | KQED",
"content": "\u003cp>Conan O’Brien keeps saying this goodbye is a good thing.\u003c/p>\n\u003cp>After 28 years as a late night talk show host, spanning three different shows on two networks, he leaves the nightly grind tonight. He’ll sign off from his TBS show \u003cem>Conan\u003c/em>, presumably for good.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x8_KsatcC8c&t=1s\u003c/p>\n\u003cp>But in watching a run of half-hour episodes leading up to tonight’s finale, it seems there’s something else going on underneath the smiles, nostalgia and good times.\u003c/p>\n\u003cp>Featuring a roster of longtime pals, the final episodes can’t help feeling a little like a wake—if a fun and good-natured one. Seth Rogen let it slip that he was about 12 years old when he first watched O’Brien on TV back in the mid ’90s; another sign of how influential the host has been for a generation of comics in ways that are rarely credited.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This is the kind of thing you do when you know it’s over for you,” O’Brien joked during Rogen’s visit, as he lit up a joint that the actor and cannabis entrepreneur brought with him.\u003c/p>\n\u003cp>Given that O’Brien will soon lose his status as late night’s longest tenured current host, it was easy to read a double meaning in that moment.\u003c/p>\n\u003ch3>TV’s late night misfit\u003c/h3>\n\u003cp>To me, despite his longevity, Conan O’Brien has always seemed like a host who never fit in easily on television—perhaps, at least in part, by design.\u003c/p>\n\u003cp>His history with \u003cem>Conan\u003c/em> on TBS seems a poignant example. Created in 2010 as his landing spot after getting maneuvered out of hosting NBC’s\u003cem> Tonight Show\u003c/em>, the then-hour long show developed a robust online presence and filmed episodes in Cuba, Armenia and South Korea, evolving into his \u003ca href=\"https://teamcoco.com/conanwithoutborders\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Conan Without Borders\u003c/em>\u003c/a> specials.\u003c/p>\n\u003cp>[aside postid='arts_13867505']But it never developed Nielsen ratings to match what O’Brien could access on a broadcast network (The Wrap website \u003ca href=\"https://www.thewrap.com/conan-tv-ratings-down-final-show-canceled/\" target=\"_blank\" rel=\"noopener noreferrer\">reported this week\u003c/a> \u003cem>Conan\u003c/em>‘s ratings have declined 29 percent during the current TV season, averaging about 282,000 viewers a night). Instead, the show has leaned into creating online content for fans to consume on YouTube and through his website, mirroring how many viewers now seem to connect with talk show content.\u003c/p>\n\u003cp>\u003cem>Conan\u003c/em> went on hiatus in 2018, coming back months later as a stripped-down half-hour show without a band. Now, O’Brien is leaving TBS altogether, with plans to debut a weekly variety show on corporate sibling HBO Max. He’s also got loads of multimedia projects going under his \u003ca href=\"https://teamcoco.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Team Coco banner\u003c/a>, including podcasts (\u003cem>Conan O’Brien Needs a Friend, Literally with Rob Lowe\u003c/em>), stand-up specials from other comics, merchandising and more.\u003c/p>\n\u003cp>O’Brien told WHYY’s \u003cem>Fresh Air\u003c/em> \u003ca href=\"https://www.npr.org/2020/11/26/938521404/conan-obrien-on-late-night-tv-all-i-ever-wanted-to-do-was-make-people-laugh\" target=\"_blank\" rel=\"noopener noreferrer\">back in 2019\u003c/a> that “what I don’t want to do is sleepwalk my way through my career at this stage,” hinting at a restless spirit which has powered many of his recent projects.\u003c/p>\n\u003cp>Still, this transition feels like an odd combination of O’Brien leaving late night TV as the genre leaves him. His smartly silly comedy—disconnected from politics, celebrity worship or anything resembling showbiz cool—is now beloved by a sliver of the TV audience too small to sustain a regular gig, even on standard cable.\u003c/p>\n\u003cp>Even as new voices like Amber Ruffin, Desus and Mero and Ziwe try to reinvent late night talk for a new generation, O’Brien is headed for the exit, seemingly eager to redefine himself before the industry does it for him.\u003c/p>\n\u003ch3>Carving and sustaining a distinctive voice\u003c/h3>\n\u003cp>[aside postid='pop_112397']I remember that O’Brien also didn’t seem to quite fit in when he first entered the late night talk arena way back in 1993, taking over NBC’s \u003cem>Late Night\u003c/em> show after David Letterman left for CBS.\u003c/p>\n\u003cp>Despite stints as a writer on both \u003cem>The Simpsons\u003c/em> and \u003cem>Saturday Night Live\u003c/em>, O’Brien seemed an untested talent back then who hadn’t built his persona in public, like the former standup comics who hosted all the other late night talk shows.\u003c/p>\n\u003cp>It took years for his version of \u003cem>Late Night\u003c/em> to gel, as the network initially hedged its bets by refusing to give him a long-term contract. Airing at 12:30 p.m., he was on the fringe of late night, speaking mostly to college students and insomniacs long before video clips on the internet could spread awareness beyond those who watched it on NBC.\u003c/p>\n\u003cp>His version of \u003cem>Late Night\u003c/em> eventually won over critics and the public, fueled by quirky bits like a guy in a bear suit who couldn’t stop fondling himself dubbed the “Masturbating Bear.” But when it came time for O’Brien to take over the venerated \u003cem>Tonight Show\u003c/em> from Jay Leno many years later in 2009, the cutthroat politics of late night TV intervened.\u003c/p>\n\u003cp>Leno didn’t actually leave NBC when O’Brien moved up. Instead, Leno got the network to give him a primetime show at 10 p.m. Ratings for both Leno and O’Brien cratered; months later, O’Brien was leaving NBC with a payout reportedly north of $30 million.\u003c/p>\n\u003cp>It’s worth noting that, along with his own talents—including rapid-fire wit and fearlessness as a performer—O’Brien has had some outside help crafting his unique showbiz journey.\u003c/p>\n\u003cp>[aside postid='arts_10138746']After \u003cem>Saturday Night Live\u003c/em> empresario Lorne Michaels picked O’Brien to take over \u003cem>Late Night\u003c/em>, I marveled at how much time NBC gave him to pull that show together. When O’Brien needed a place to land after leaving the \u003cem>Tonight Show\u003c/em>, TBS convinced George Lopez to move his existing talk show back one hour to midnight and make room for Conan. (The midnight edition of \u003cem>Lopez Tonight\u003c/em> would be canceled less than a year later, ending the journey for a pioneering Latino late night TV host).\u003c/p>\n\u003cp>I always wondered where late night TV diversity would be if hosts of color got similar support in the past.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>These days, despite nearly three decades in the trenches of late night TV, it’s tough to zero in on the legacy O’Brien will leave. In the end, it may just be the story of an irrepressible talent who always found a way to shine wherever he landed, fueled by his own quirky comedy sense and relentless drive, regardless of what was going on around him.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=After+28+Quirky+Years%2C+Conan+O%27Brien+Is+Leaving+Late+Night&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Conan O’Brien keeps saying this goodbye is a good thing.\u003c/p>\n\u003cp>After 28 years as a late night talk show host, spanning three different shows on two networks, he leaves the nightly grind tonight. He’ll sign off from his TBS show \u003cem>Conan\u003c/em>, presumably for good.\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/x8_KsatcC8c'\n title='//www.youtube.com/embed/x8_KsatcC8c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But in watching a run of half-hour episodes leading up to tonight’s finale, it seems there’s something else going on underneath the smiles, nostalgia and good times.\u003c/p>\n\u003cp>Featuring a roster of longtime pals, the final episodes can’t help feeling a little like a wake—if a fun and good-natured one. Seth Rogen let it slip that he was about 12 years old when he first watched O’Brien on TV back in the mid ’90s; another sign of how influential the host has been for a generation of comics in ways that are rarely credited.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This is the kind of thing you do when you know it’s over for you,” O’Brien joked during Rogen’s visit, as he lit up a joint that the actor and cannabis entrepreneur brought with him.\u003c/p>\n\u003cp>Given that O’Brien will soon lose his status as late night’s longest tenured current host, it was easy to read a double meaning in that moment.\u003c/p>\n\u003ch3>TV’s late night misfit\u003c/h3>\n\u003cp>To me, despite his longevity, Conan O’Brien has always seemed like a host who never fit in easily on television—perhaps, at least in part, by design.\u003c/p>\n\u003cp>His history with \u003cem>Conan\u003c/em> on TBS seems a poignant example. Created in 2010 as his landing spot after getting maneuvered out of hosting NBC’s\u003cem> Tonight Show\u003c/em>, the then-hour long show developed a robust online presence and filmed episodes in Cuba, Armenia and South Korea, evolving into his \u003ca href=\"https://teamcoco.com/conanwithoutborders\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Conan Without Borders\u003c/em>\u003c/a> specials.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But it never developed Nielsen ratings to match what O’Brien could access on a broadcast network (The Wrap website \u003ca href=\"https://www.thewrap.com/conan-tv-ratings-down-final-show-canceled/\" target=\"_blank\" rel=\"noopener noreferrer\">reported this week\u003c/a> \u003cem>Conan\u003c/em>‘s ratings have declined 29 percent during the current TV season, averaging about 282,000 viewers a night). Instead, the show has leaned into creating online content for fans to consume on YouTube and through his website, mirroring how many viewers now seem to connect with talk show content.\u003c/p>\n\u003cp>\u003cem>Conan\u003c/em> went on hiatus in 2018, coming back months later as a stripped-down half-hour show without a band. Now, O’Brien is leaving TBS altogether, with plans to debut a weekly variety show on corporate sibling HBO Max. He’s also got loads of multimedia projects going under his \u003ca href=\"https://teamcoco.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Team Coco banner\u003c/a>, including podcasts (\u003cem>Conan O’Brien Needs a Friend, Literally with Rob Lowe\u003c/em>), stand-up specials from other comics, merchandising and more.\u003c/p>\n\u003cp>O’Brien told WHYY’s \u003cem>Fresh Air\u003c/em> \u003ca href=\"https://www.npr.org/2020/11/26/938521404/conan-obrien-on-late-night-tv-all-i-ever-wanted-to-do-was-make-people-laugh\" target=\"_blank\" rel=\"noopener noreferrer\">back in 2019\u003c/a> that “what I don’t want to do is sleepwalk my way through my career at this stage,” hinting at a restless spirit which has powered many of his recent projects.\u003c/p>\n\u003cp>Still, this transition feels like an odd combination of O’Brien leaving late night TV as the genre leaves him. His smartly silly comedy—disconnected from politics, celebrity worship or anything resembling showbiz cool—is now beloved by a sliver of the TV audience too small to sustain a regular gig, even on standard cable.\u003c/p>\n\u003cp>Even as new voices like Amber Ruffin, Desus and Mero and Ziwe try to reinvent late night talk for a new generation, O’Brien is headed for the exit, seemingly eager to redefine himself before the industry does it for him.\u003c/p>\n\u003ch3>Carving and sustaining a distinctive voice\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I remember that O’Brien also didn’t seem to quite fit in when he first entered the late night talk arena way back in 1993, taking over NBC’s \u003cem>Late Night\u003c/em> show after David Letterman left for CBS.\u003c/p>\n\u003cp>Despite stints as a writer on both \u003cem>The Simpsons\u003c/em> and \u003cem>Saturday Night Live\u003c/em>, O’Brien seemed an untested talent back then who hadn’t built his persona in public, like the former standup comics who hosted all the other late night talk shows.\u003c/p>\n\u003cp>It took years for his version of \u003cem>Late Night\u003c/em> to gel, as the network initially hedged its bets by refusing to give him a long-term contract. Airing at 12:30 p.m., he was on the fringe of late night, speaking mostly to college students and insomniacs long before video clips on the internet could spread awareness beyond those who watched it on NBC.\u003c/p>\n\u003cp>His version of \u003cem>Late Night\u003c/em> eventually won over critics and the public, fueled by quirky bits like a guy in a bear suit who couldn’t stop fondling himself dubbed the “Masturbating Bear.” But when it came time for O’Brien to take over the venerated \u003cem>Tonight Show\u003c/em> from Jay Leno many years later in 2009, the cutthroat politics of late night TV intervened.\u003c/p>\n\u003cp>Leno didn’t actually leave NBC when O’Brien moved up. Instead, Leno got the network to give him a primetime show at 10 p.m. Ratings for both Leno and O’Brien cratered; months later, O’Brien was leaving NBC with a payout reportedly north of $30 million.\u003c/p>\n\u003cp>It’s worth noting that, along with his own talents—including rapid-fire wit and fearlessness as a performer—O’Brien has had some outside help crafting his unique showbiz journey.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>After \u003cem>Saturday Night Live\u003c/em> empresario Lorne Michaels picked O’Brien to take over \u003cem>Late Night\u003c/em>, I marveled at how much time NBC gave him to pull that show together. When O’Brien needed a place to land after leaving the \u003cem>Tonight Show\u003c/em>, TBS convinced George Lopez to move his existing talk show back one hour to midnight and make room for Conan. (The midnight edition of \u003cem>Lopez Tonight\u003c/em> would be canceled less than a year later, ending the journey for a pioneering Latino late night TV host).\u003c/p>\n\u003cp>I always wondered where late night TV diversity would be if hosts of color got similar support in the past.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These days, despite nearly three decades in the trenches of late night TV, it’s tough to zero in on the legacy O’Brien will leave. In the end, it may just be the story of an irrepressible talent who always found a way to shine wherever he landed, fueled by his own quirky comedy sense and relentless drive, regardless of what was going on around him.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=After+28+Quirky+Years%2C+Conan+O%27Brien+Is+Leaving+Late+Night&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Bo Burnham's 'Inside' is a Musical Fantasy About Terrible Realities",
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"content": "\u003cp>Bo Burnham made his new Netflix special, \u003cem>Inside\u003c/em>, for an audience, of course. It wouldn’t be on Netflix otherwise. But as he suggests, he perhaps made it for another reason, too: This was the only way he could think of to survive more than a year of isolation.\u003c/p>\n\u003cp>Burnham has done a lot of stand-up, but he’s also spoken about the way it used to give him panic attacks. For the last several years, he’s become more prominent for other things. His first feature as a writer and director, \u003cem>Eighth Grade\u003c/em>, came out of nowhere for people who only knew him from stand-up, earning a haul of awards and nominations. His performance in \u003cem>Promising Young Woman \u003c/em>was skilled and surprising. He’s set to play Larry Bird in an \u003ca href=\"https://variety.com/2021/tv/news/bo-burnham-larry-bird-hbo-los-angeles-lakers-series-1234937465/\" target=\"_blank\" rel=\"noopener noreferrer\">upcoming HBO series\u003c/a>. (That he’s 6’5″ is something I never noticed until \u003cem>Promising Young Woman\u003c/em>.)\u003c/p>\n\u003cp>[aside postid='arts_13886679']\u003cem>Inside \u003c/em>is chaos, at first glance: Burnham is in one room, working alone to make the special, performing a series of silly songs about Instagram and the internet and “problematic” men, using a disco ball and colored lights to dress up the plain space. He slam-cuts between footage of himself sitting at a keyboard singing (he’s both a good singer and a terrific writer of catchy pop hooks!) and footage of himself in a near-catatonic state, as his hair and beard get longer and scragglier. He says it took over a year to film, and you can see that year in his face and in his outright exhaustion. Almost none of it is stand-up, although he occasionally begins to do traditional comedy and finds that it turns sour or uninspired, and that it makes no sense without an audience to laugh at it.\u003c/p>\n\u003cp>How to receive this special is complicated by the fact that Burnham is a writer, of course, and this is not a documentary but an exceptionally well-written piece of theater. (The term “tour de force” has been cheapened by overly broad application, but here, I’d allow it.) Lines between truth and fiction are blurry. He talks about his panic attacks and how they pulled him out of stand-up, which is something he’s disclosed in interviews, including a \u003ca href=\"https://www.newyorker.com/magazine/2018/07/02/bo-burnhams-age-of-anxiety\" target=\"_blank\" rel=\"noopener noreferrer\">very good \u003cem>New Yorker\u003c/em> profile\u003c/a>. But there are also sequences shot as if they’re spontaneous even though they aren’t, so it’s not a vérité video diary.\u003c/p>\n\u003cp>What it does so successfully is capture the unquiet isolated mind. As I watched it—having spent more than a year almost completely alone with my dog—I kept feeling it buzz uncomfortably close, as if it were telling secrets about how isolation feels that were supposed to remain secrets. The Burnham you see alone in his house was not a literal translation of my own experience, by any means. I did not wind up unable to get out of bed, or stuck in one room, or feeling myself go to pieces in quite the way this represents. But the more I thought about it, the more I realized: \u003cem>This is a picture of what the inside of my head felt like for a year.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Hio87bsTopM\u003c/p>\n\u003cp>What feels eerily familiar is the way the version of Bo Burnham we see here is struggling with a completely unfamiliar and unexpected happening by trying to balance two impulses. One is to stay in bed, stay in the dark, stay alone. The other is to create, create, create, stay busy, and make jokes. How many jokes do you make about having had no human contact and losing (in his case) access to audiences and work, and how much do you candidly acknowledge that you have no idea how long you can go on like this? That’s familiar to me. It might be familiar to anyone who decided to garden or make sourdough bread or learn a language or do anything else that represents a mind at work and at play and not in freefall.\u003c/p>\n\u003cp>Burnham has made the first piece of pandemic culture that I would show to someone in 20 years and say, “I’m not a comedian and I can’t write songs, but the inside of my head was like this guy sitting at a keyboard in his underpants trying desperately not to lose it.”\u003c/p>\n\u003cp>[aside postid='arts_13892543']None of this resonance, though, would carry you through an hour and a half running time if the actual segments weren’t any good. Quite a few of them are explorations of well-covered territory, like the mockery of white women’s Instagram setups, But you can’t help but hand it to him: He does it with a lot of panache. He has studied a \u003cem>lot \u003c/em>of white women’s Instagram setups. Similarly, a lot of people have done comedy about the wildness of the online experience, but Burnham’s big number that makes him both a gentle pop evangelist for its potential and a creepy patter-song hustler is one of the best executions of it I can remember.\u003c/p>\n\u003cp>There are songs here that sound like Hozier to me, and like Harvey Danger, and there are videos that look spookily similar to videos that really exist. The pastiche is hugely skillful, particularly for something that sprung from one brain as it paced and climbed the walls.\u003c/p>\n\u003cp>Theater that stubbornly walks a line between irony and sincerity, between intimacy and distance, is a complicated form. Sometimes, the very push-pull of “Am I kidding or not?” is expected to be so satisfying and complicating that the content itself forgets to make a point. Undercutting yourself with knowing self-deprecation, as Burnham often does, is wearying—even exhausting—unless the work that you’re doing is precisely on point and the thinking behind it has stark clarity. If someone described this special and explained that Bo Burnham does both a song about being a white guy who won’t shut up \u003cem>and \u003c/em>a song sending up the idea of the “problematic” figure, it would be quite reasonable to suspect that he’s disappeared up his own comedic innards, trying to substitute irony and metacommentary about comedy and celebrity for having anything to say.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>That’s not the case. There’s something profound and unnerving about this piece that speaks to the careening and difficult thoughts that I think haunted a particular kind of person for well over a year. It’s fortunate that he thought to start working when a special probably seemed more like a side project to keep busy. By the end, it’s quite a bit more than that.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bo+Burnham%27s+%27Inside%27+Is+A+Musical+Fantasy+About+Terrible+Realities&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bo Burnham made his new Netflix special, \u003cem>Inside\u003c/em>, for an audience, of course. It wouldn’t be on Netflix otherwise. But as he suggests, he perhaps made it for another reason, too: This was the only way he could think of to survive more than a year of isolation.\u003c/p>\n\u003cp>Burnham has done a lot of stand-up, but he’s also spoken about the way it used to give him panic attacks. For the last several years, he’s become more prominent for other things. His first feature as a writer and director, \u003cem>Eighth Grade\u003c/em>, came out of nowhere for people who only knew him from stand-up, earning a haul of awards and nominations. His performance in \u003cem>Promising Young Woman \u003c/em>was skilled and surprising. He’s set to play Larry Bird in an \u003ca href=\"https://variety.com/2021/tv/news/bo-burnham-larry-bird-hbo-los-angeles-lakers-series-1234937465/\" target=\"_blank\" rel=\"noopener noreferrer\">upcoming HBO series\u003c/a>. (That he’s 6’5″ is something I never noticed until \u003cem>Promising Young Woman\u003c/em>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Inside \u003c/em>is chaos, at first glance: Burnham is in one room, working alone to make the special, performing a series of silly songs about Instagram and the internet and “problematic” men, using a disco ball and colored lights to dress up the plain space. He slam-cuts between footage of himself sitting at a keyboard singing (he’s both a good singer and a terrific writer of catchy pop hooks!) and footage of himself in a near-catatonic state, as his hair and beard get longer and scragglier. He says it took over a year to film, and you can see that year in his face and in his outright exhaustion. Almost none of it is stand-up, although he occasionally begins to do traditional comedy and finds that it turns sour or uninspired, and that it makes no sense without an audience to laugh at it.\u003c/p>\n\u003cp>How to receive this special is complicated by the fact that Burnham is a writer, of course, and this is not a documentary but an exceptionally well-written piece of theater. (The term “tour de force” has been cheapened by overly broad application, but here, I’d allow it.) Lines between truth and fiction are blurry. He talks about his panic attacks and how they pulled him out of stand-up, which is something he’s disclosed in interviews, including a \u003ca href=\"https://www.newyorker.com/magazine/2018/07/02/bo-burnhams-age-of-anxiety\" target=\"_blank\" rel=\"noopener noreferrer\">very good \u003cem>New Yorker\u003c/em> profile\u003c/a>. But there are also sequences shot as if they’re spontaneous even though they aren’t, so it’s not a vérité video diary.\u003c/p>\n\u003cp>What it does so successfully is capture the unquiet isolated mind. As I watched it—having spent more than a year almost completely alone with my dog—I kept feeling it buzz uncomfortably close, as if it were telling secrets about how isolation feels that were supposed to remain secrets. The Burnham you see alone in his house was not a literal translation of my own experience, by any means. I did not wind up unable to get out of bed, or stuck in one room, or feeling myself go to pieces in quite the way this represents. But the more I thought about it, the more I realized: \u003cem>This is a picture of what the inside of my head felt like for a year.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Hio87bsTopM'\n title='//www.youtube.com/embed/Hio87bsTopM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What feels eerily familiar is the way the version of Bo Burnham we see here is struggling with a completely unfamiliar and unexpected happening by trying to balance two impulses. One is to stay in bed, stay in the dark, stay alone. The other is to create, create, create, stay busy, and make jokes. How many jokes do you make about having had no human contact and losing (in his case) access to audiences and work, and how much do you candidly acknowledge that you have no idea how long you can go on like this? That’s familiar to me. It might be familiar to anyone who decided to garden or make sourdough bread or learn a language or do anything else that represents a mind at work and at play and not in freefall.\u003c/p>\n\u003cp>Burnham has made the first piece of pandemic culture that I would show to someone in 20 years and say, “I’m not a comedian and I can’t write songs, but the inside of my head was like this guy sitting at a keyboard in his underpants trying desperately not to lose it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>None of this resonance, though, would carry you through an hour and a half running time if the actual segments weren’t any good. Quite a few of them are explorations of well-covered territory, like the mockery of white women’s Instagram setups, But you can’t help but hand it to him: He does it with a lot of panache. He has studied a \u003cem>lot \u003c/em>of white women’s Instagram setups. Similarly, a lot of people have done comedy about the wildness of the online experience, but Burnham’s big number that makes him both a gentle pop evangelist for its potential and a creepy patter-song hustler is one of the best executions of it I can remember.\u003c/p>\n\u003cp>There are songs here that sound like Hozier to me, and like Harvey Danger, and there are videos that look spookily similar to videos that really exist. The pastiche is hugely skillful, particularly for something that sprung from one brain as it paced and climbed the walls.\u003c/p>\n\u003cp>Theater that stubbornly walks a line between irony and sincerity, between intimacy and distance, is a complicated form. Sometimes, the very push-pull of “Am I kidding or not?” is expected to be so satisfying and complicating that the content itself forgets to make a point. Undercutting yourself with knowing self-deprecation, as Burnham often does, is wearying—even exhausting—unless the work that you’re doing is precisely on point and the thinking behind it has stark clarity. If someone described this special and explained that Bo Burnham does both a song about being a white guy who won’t shut up \u003cem>and \u003c/em>a song sending up the idea of the “problematic” figure, it would be quite reasonable to suspect that he’s disappeared up his own comedic innards, trying to substitute irony and metacommentary about comedy and celebrity for having anything to say.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s not the case. There’s something profound and unnerving about this piece that speaks to the careening and difficult thoughts that I think haunted a particular kind of person for well over a year. It’s fortunate that he thought to start working when a special probably seemed more like a side project to keep busy. By the end, it’s quite a bit more than that.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bo+Burnham%27s+%27Inside%27+Is+A+Musical+Fantasy+About+Terrible+Realities&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "What's Reopened in the Bay Area? Your Updated Guide to Movies, Art, Music and More",
"headTitle": "What’s Reopened in the Bay Area? Your Updated Guide to Movies, Art, Music and More | KQED",
"content": "\u003cp>With vaccinations rolling along and Bay Area counties moving out of restrictive tiers, we’re seeing more and more reopenings of movie theaters, museums, attractions and even live music.\u003c/p>\n\u003cp>Below is a regularly updated list of what we know is open. Check back for updates to guide your weekend planning, and as always, adhere to your county’s mandates and guidance for COVID-19.\u003c/p>\n\u003cp>\u003cem>Note: Hours and policies may be different than what you were used to pre-pandemic. Some venues may require \u003ca href=\"https://www.kqed.org/news/11867934/covid-vaccine-passports-how-they-could-work-when-you-might-need-one\" target=\"_blank\" rel=\"noopener noreferrer\">proof of vaccine\u003c/a>. It’s advisable to follow the links to each venue’s website for more details. \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>UPDATE: As of June 15, we will no longer be adding to this list. With California’s COVID restrictions mostly lifted, it is now more newsworthy if something is closed than if it’s reopened. Even live music and theatre are starting to trickle back. Congratulations to us all for making it through the long, lonely arts dry spell.—Ed. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Jump To\u003c/strong>: \u003cstrong>\u003ca href=\"#museums\">Museums\u003c/a>\u003c/strong> | \u003cstrong>\u003ca href=\"#music\">Live Music\u003c/a>\u003c/strong> | \u003cstrong>\u003ca href=\"#movies\">Movie Theaters\u003c/a>\u003c/strong> | \u003cstrong>\u003ca href=\"#theatre\">Live Theatre\u003c/a>\u003c/strong> | \u003cstrong>\u003ca href=\"#sports\">Sports\u003c/a>\u003c/strong> | \u003cstrong>\u003ca href=\"#other\">Other\u003c/a>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[hearken id=”8284″ src=”https://modules.wearehearken.com/kqed/embed/8284.js”]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13894619\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/stubs1-800x127.jpg\" alt=\"\" width=\"800\" height=\"127\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-800x127.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-1020x162.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-160x25.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-768x122.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1.jpg 1122w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003ca id=\"museums\">\u003c/a>\u003c/p>\n\u003ch1>Museums and Art Centers\u003c/h1>\n\u003cp>\u003cstrong>Open Now\u003c/strong>\u003cbr>\n\u003ca href=\"https://asianart.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Asian Art Museum\u003c/a>\u003cbr>\n\u003ca href=\"https://bampfa.org/\" target=\"_blank\" rel=\"noopener noreferrer\">BAMPFA\u003c/a>\u003cbr>\n\u003ca href=\"https://www.bedfordgallery.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Bedford Gallery, Walnut Creek\u003c/a>\u003cbr>\n\u003ca href=\"https://www.berkeleyartcenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Berkeley Art Center\u003c/a>\u003cbr>\n\u003ca href=\"https://museum.stanford.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Cantor Arts Center and the Anderson Collection\u003c/a>, Stanford University\u003cbr>\n\u003ca href=\"https://schulzmuseum.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Charles M. Schulz Museum\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cccsf.us/\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Culture Center\u003c/a>\u003cbr>\n\u003ca href=\"https://deyoung.famsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">de Young Museum\u003c/a>\u003cbr>\n\u003ca href=\"https://www.calacademy.org/\" target=\"_blank\" rel=\"noopener noreferrer\">California Academy of Sciences\u003c/a>\u003cbr>\n\u003ca href=\"https://californiahistoricalsociety.org/\" target=\"_blank\" rel=\"noopener noreferrer\">California Historical Society\u003c/a>\u003cbr>\n\u003ca href=\"https://conservatoryofflowers.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Conservatory of Flowers, San Francisco\u003c/a>\u003cbr>\n\u003ca href=\"https://www.thecjm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Contemporary Jewish Museum\u003c/a>\u003cbr>\n\u003ca href=\"https://www.dirosaart.org/\" target=\"_blank\" rel=\"noopener noreferrer\">di Rosa\u003c/a>\u003cbr>\n\u003ca href=\"https://www.icasanjose.org/\" target=\"_blank\" rel=\"noopener noreferrer\">ICA San Jose\u003c/a>\u003cbr>\n\u003ca href=\"https://legionofhonor.famsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Legion of Honor\u003c/a>\u003cbr>\n\u003ca href=\"https://www.mcevoyarts.org/\" target=\"_blank\" rel=\"noopener noreferrer\">McEvoy Foundation for the Arts\u003c/a> (reservation required)\u003cbr>\n\u003ca href=\"https://www.numulosgatos.org/\" rel=\"noopener noreferrer\" target=\"_blank\">New Museum Los Gatos\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cityofpaloalto.org/Departments/Community-Services/Arts-Sciences/Palo-Alto-Art-Center\" rel=\"noopener noreferrer\" target=\"_blank\">Palo Alto Art Center\u003c/a>\u003cbr>\n\u003ca href=\"https://sfmcd.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Museum of Craft and Design\u003c/a>\u003cbr>\n\u003ca href=\"https://richmondmuseum.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Richmond Museum of History & Culture\u003c/a>\u003cbr>\n\u003ca href=\"https://www.sfmoma.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Museum of Modern Art\u003c/a>\u003cbr>\n\u003ca href=\"https://sjmusart.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Museum of Art\u003c/a>\u003cbr>\n\u003ca href=\"https://www.sjquiltmuseum.org/\" rel=\"noopener noreferrer\" target=\"_blank\">San Jose Museum of Quilts & Textiles\u003c/a>\u003cbr>\n\u003ca href=\"https://somarts.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SOMArts\u003c/a>\u003cbr>\n\u003ca href=\"https://svma.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Sonoma Valley Museum of Art\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Opening Soon\u003c/strong>\u003cbr>\n\u003ca href=\"https://museumca.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Museum of California\u003c/a> – opening June 18\u003cbr>\n\u003ca href=\"https://www.exploratorium.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Exploratorium\u003c/a> – opening July 1\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13894618\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Stubs2-800x133.jpg\" alt=\"\" width=\"800\" height=\"133\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-800x133.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-1020x169.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-160x27.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-768x127.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2.jpg 1122w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003ca id=\"music\">\u003c/a>\u003c/p>\n\u003ch1>Live Music\u003c/h1>\n\u003cp>\u003cem>Most live music is currently outdoors; we’re noticing a general return to large indoor concerts starting in August–September. \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Open Now\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.audium.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Audium\u003c/a>\u003cbr>\n\u003ca href=\"https://backroommusic.com/events\" target=\"_blank\" rel=\"noopener noreferrer\">The Back Room\u003c/a> in Berkeley – Outdoor live music\u003cbr>\n\u003ca href=\"https://www.bluenotenapa.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Note Napa\u003c/a> – Concerts being held outdoors starting in May at Charles Krug Winery\u003cbr>\n\u003ca href=\"https://thechapelsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Chapel\u003c/a> – Outdoor shows with dinner\u003cbr>\n\u003ca href=\"https://www.feinsteinssf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Feinstein’s at the Nikko\u003c/a>\u003cbr>\n\u003ca href=\"https://www.hopmonk.com/livemusic\" target=\"_blank\" rel=\"noopener noreferrer\">Hopmonk Tavern\u003c/a> – Outdoor music in Sebastopol, Sonoma and Novato\u003cbr>\n\u003ca href=\"https://mrtipplessf.com/calendar/\" target=\"_blank\" rel=\"noopener noreferrer\">Mr. Tipple’s Jazz Studio\u003c/a> – Live jazz Thursday-Saturday\u003cbr>\n\u003ca href=\"https://www.kqed.org/arts/13896318/sf-symphony-returns-to-in-person-concerts-in-may\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Symphony\u003c/a>\u003cbr>\n\u003ca href=\"https://www.hopmonk.com/twin-oaks\" target=\"_blank\" rel=\"noopener noreferrer\">Twin Oaks Roadhouse\u003c/a> – Outdoor music in Penngrove\u003cbr>\n\u003ca href=\"https://theuctheatre.org/\" target=\"_blank\" rel=\"noopener noreferrer\">UC Theatre\u003c/a> – Outdoor music every Friday and Saturday night\u003c/p>\n\u003cp>\u003cstrong>Coming Soon\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.sterngrove.org/\">Stern Grove Festival\u003c/a> – returning June 20 for summer 2021; lineup announced soon\u003cbr>\n\u003ca href=\"https://secondskyfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Porter Robinson’s Second Sky Festival\u003c/a> – returning Sept. 18 and 19 in Berkeley\u003cbr>\n\u003ca href=\"https://www.oaklandsymphony.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Symphony\u003c/a> – Opening Oct. 15\u003cbr>\n\u003ca href=\"https://www.operasj.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Opera San Jose\u003c/a> – Returns Sept. 30\u003cbr>\n\u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Outside Lands\u003c/a> – returning Halloween weekend; tickets sold out\u003cbr>\n\u003ca href=\"https://www.oxbowriverstage.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Oxbow Riverstage\u003c/a>, Downtown Napa – Shows resume Aug. 14\u003cbr>\n\u003ca href=\"https://live.stanford.edu/venues/frost-amphitheater\" target=\"_blank\" rel=\"noopener noreferrer\">Frost Amphitheater\u003c/a> – live performances resume July 1\u003cbr>\n\u003ca href=\"https://yoshis.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Yoshi’s\u003c/a> – club is reopening for live music starting July 9 \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13894617\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/stubs4-800x137.jpg\" alt=\"\" width=\"800\" height=\"137\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs4-800x137.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs4-1020x175.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs4-160x27.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs4-768x131.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs4.jpg 1122w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003ca id=\"movies\">\u003c/a>\u003c/p>\n\u003ch1>Movie Theaters\u003c/h1>\n\u003cp>\u003cstrong>Open Now\u003c/strong>\u003cbr>\n\u003cstrong>San Francisco\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/san-francisco/amc-kabuki-8\" target=\"_blank\" rel=\"noopener noreferrer\">AMC Kabuki 8 in Japantown, San Francisco\u003c/a>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/san-francisco/amc-metreon-16\" target=\"_blank\" rel=\"noopener noreferrer\">AMC Metreon 16, San Francisco\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemasf.com/balboa\" target=\"_blank\" rel=\"noopener noreferrer\">Balboa Theater\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-san-francisco/century-san-francisco-centre-9-and-xd\" target=\"_blank\" rel=\"noopener noreferrer\">Century San Francisco Centre 9\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-daly-city/century-20-daly-city-and-xd-and-imax\" target=\"_blank\" rel=\"noopener noreferrer\">Century 20 Daly City\u003c/a>\u003cbr>\n\u003ca href=\"https://www.landmarktheatres.com/san-francisco/embarcadero-center-cinema\" target=\"_blank\" rel=\"noopener noreferrer\">Embarcadero Center Cinema in San Francisco\u003c/a>\u003cbr>\n\u003ca href=\"https://fortmason.org/event/flix/\" target=\"_blank\" rel=\"noopener noreferrer\">Fort Mason Flix in San Francisco\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>East Bay\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/oakland/amc-bay-street-16\" target=\"_blank\" rel=\"noopener noreferrer\">AMC Bay Street 16, Emeryville\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-hayward/century-at-hayward\" target=\"_blank\" rel=\"noopener noreferrer\">Century at Hayward\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-san-leandro/century-16-bayfair-mall\" target=\"_blank\" rel=\"noopener noreferrer\">Century 16 Bayfair Mall\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-hayward/century-southland-mall\" target=\"_blank\" rel=\"noopener noreferrer\">Century Southland Mall in Hayward\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-union-city/century-25-union-landing-and-xd\" target=\"_blank\" rel=\"noopener noreferrer\">Century 25 Union Landing in Union City\u003c/a>\u003cbr>\n\u003ca href=\"http://www.renaissancerialto.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Grand Lake Theater\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemawest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Livermore 13 Cinema\u003c/a>\u003cbr>\n\u003ca href=\"https://www.westwinddi.com/locations/solano\" target=\"_blank\" rel=\"noopener noreferrer\">West Wind Solano Drive-In in Concord\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemawest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Veranda Luxe Cinema in Concord\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>South Bay/Penninsula\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/san-francisco/amc-newpark-12\" target=\"_blank\" rel=\"noopener noreferrer\">AMC NewPark 12, Newark\u003c/a>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/san-jose/amc-mercado-20\" target=\"_blank\" rel=\"noopener noreferrer\">AMC Mercado 20, San Jose\u003c/a>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/san-francisco/amc-dine-in-sunnyvale-12\" target=\"_blank\" rel=\"noopener noreferrer\">AMC Dine-In Sunnyvale 12, Sunnyvale\u003c/a>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/san-jose/amc-saratoga-14\" target=\"_blank\" rel=\"noopener noreferrer\">AMC Saratoga 14, San Jose\u003c/a>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/san-jose/amc-eastridge-15\" target=\"_blank\" rel=\"noopener noreferrer\">AMC Eastridge 15, San Jose\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-san-mateo/century-12-san-mateo\" target=\"_blank\" rel=\"noopener noreferrer\">Century 12 San Mateo\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-redwood-city/redwood-downtown-20-and-xd\" target=\"_blank\" rel=\"noopener noreferrer\">Redwood Downtown 20 in Redwood City\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-san-bruno/century-at-tanforan-and-xd\" target=\"_blank\" rel=\"noopener noreferrer\">Century at Tanforan in San Bruno\u003c/a>\u003cbr>\n\u003ca href=\"https://www.westwinddi.com/locations/capitol\" target=\"_blank\" rel=\"noopener noreferrer\">West Wind Capitol Drive-In in San Jose\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>North Bay\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.cinemawest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Boulevard 14 Cinemas in Petaluma\u003c/a>\u003cbr>\n\u003ca href=\"https://www.santarosacinemas.com/roxy-14\" target=\"_blank\" rel=\"noopener noreferrer\">Roxy Stadium 14 in Santa Rosa\u003c/a>\u003cbr>\n\u003ca href=\"https://www.sebastianitheatre.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sebastiani Theatre in Sonoma\u003c/a>\u003cbr>\n\u003ca href=\"https://www.santarosacinemas.com/summerfield\" target=\"_blank\" rel=\"noopener noreferrer\">Summerfield Cinemas in Santa Rosa\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-novato/century-rowland-plaza\" target=\"_blank\" rel=\"noopener noreferrer\">Century Rowland Plaza in Novato\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-san-rafael/century-northgate\" target=\"_blank\" rel=\"noopener noreferrer\">Century Northgate in San Rafael\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-vallejo/century-14-vallejo\" target=\"_blank\" rel=\"noopener noreferrer\">Century 14 Vallejo\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-napa/century-napa-valley-and-xd\" target=\"_blank\" rel=\"noopener noreferrer\">Century Napa Valley\u003c/a>\u003cbr>\n\u003ca href=\"https://www.readingcinemasus.com/rohnertpark\" target=\"_blank\" rel=\"noopener noreferrer\">Reading Cinemas Rohnert Park\u003c/a>\u003cbr>\n\u003ca href=\"https://www.regmovies.com/theatres/regal-jack-london/1808#/buy-tickets-by-cinema?in-cinema=1808&at=2021-05-21&view-mode=list\" rel=\"noopener noreferrer\" target=\"_blank\">Regal Jack London\u003c/a>\u003cbr>\n\u003ca href=\"https://www.regmovies.com/theatres/regal-ua-berkeley/1172#/buy-tickets-by-cinema?in-cinema=1172&at=2021-05-21&view-mode=list\" rel=\"noopener noreferrer\" target=\"_blank\">Regal UA Berkeley\u003c/a>\u003cbr>\n\u003ca href=\"https://www.regmovies.com/theatres/regal-stonestown-galleria-screenx-4dx-rpx/1464#/buy-tickets-by-cinema?in-cinema=1464&view-mode=list\" rel=\"noopener noreferrer\" target=\"_blank\">Regal Stonestown\u003c/a>\u003cbr>\n\u003ca href=\"https://rialtocinemas.com/index.php?location=elmwood\" target=\"_blank\" rel=\"noopener noreferrer\">Rialto Cinemas Elmwood\u003c/a>\u003cbr>\n\u003ca href=\"https://rialtocinemas.com/index.php?location=sebastopol\" target=\"_blank\" rel=\"noopener noreferrer\">Rialto Cinemas Sebastopol\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13894616\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/stubs3-800x130.jpg\" alt=\"\" width=\"800\" height=\"130\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs3-800x130.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs3-1020x166.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs3-160x26.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs3-768x125.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs3.jpg 1122w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003ca id=\"theatre\">\u003c/a>\u003c/p>\n\u003ch1>Live Theatre\u003c/h1>\n\u003cp>\u003ca href=\"https://www.broadwaysf.com/Online/default.asp\" rel=\"noopener noreferrer\" target=\"_blank\">Golden Gate Theatre\u003c/a> – in-person performances resume Oct. 13 with \u003cem>Jesus Christ Superstar\u003c/em>\u003cbr>\n\u003ca href=\"https://www.broadwaysf.com/Online/default.asp\" rel=\"noopener noreferrer\" target=\"_blank\">Orpheum Theatre\u003c/a> – in-person performances resume Nov. 3 with \u003cem>My Fair Lady\u003c/em>\u003cbr>\n\u003ca href=\"https://www.sfplayhouse.org/sfph/\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco Playhouse\u003c/a> – in-person performances resume June 8 with \u003cem>Hold These Truths\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13894619\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/stubs1-800x127.jpg\" alt=\"\" width=\"800\" height=\"127\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-800x127.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-1020x162.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-160x25.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-768x122.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1.jpg 1122w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003ca id=\"sports\">\u003c/a>\u003c/p>\n\u003ch1>Sports\u003c/h1>\n\u003cp>\u003cstrong>Available Now\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.nba.com/warriors/tickets/single\" target=\"_blank\" rel=\"noopener noreferrer\">Golden State Warriors \u003c/a>– Single-game tickets available now; negative test result or proof of vaccination required for entry\u003cbr>\n\u003ca href=\"https://www.mlb.com/athletics/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland A’s\u003c/a> – Regular single-game tickets on sale now\u003cbr>\n\u003ca href=\"https://www.oaklandrootssc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Roots\u003c/a> – Home games start in June, \u003ca href=\"https://www.oaklandrootssc.com/tickets\" target=\"_blank\" rel=\"noopener noreferrer\">tickets sold in membership groups\u003c/a>\u003cbr>\n\u003ca href=\"https://www.mlb.com/giants/tickets\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Giants\u003c/a> – Regular single-game tickets on sale now (\u003ca href=\"https://www.mlb.com/giants/fans/safety\" target=\"_blank\" rel=\"noopener noreferrer\">proof of vaccination or negative test result\u003c/a> no longer required for entry)\u003c/p>\n\u003cp>\u003cstrong>Coming Soon\u003c/strong>\u003cbr>\n\u003ca href=\"https://santacruz.gleague.nba.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Cruz Warriors\u003c/a> – Single-game ticket info coming soon\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13894618\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Stubs2-800x133.jpg\" alt=\"\" width=\"800\" height=\"133\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-800x133.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-1020x169.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-160x27.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-768x127.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2.jpg 1122w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003ca id=\"other\">\u003c/a>\u003c/p>\n\u003ch1>Other\u003c/h1>\n\u003cp>\u003cstrong>Open Now\u003c/strong>\u003cbr>\n\u003ca href=\"https://bayareadiscoverymuseum.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Area Discovery Museum\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cdm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Children’s Discovery Museum of San Jose\u003c/a>\u003cbr>\n\u003ca href=\"https://fairyland.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Children’s Fairyland\u003c/a> in Oakland\u003cbr>\n\u003ca href=\"https://www.gilroygardens.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Gilroy Gardens\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cagreatamerica.com\" target=\"_blank\" rel=\"noopener noreferrer\">Great America\u003c/a> in Santa Clara\u003cbr>\n\u003ca href=\"https://happyhollow.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Happy Hollow Park and Zoo\u003c/a> in San Jose\u003cbr>\n\u003ca href=\"https://www.montereybayaquarium.org/visit/welcome-back\" target=\"_blank\" rel=\"noopener noreferrer\">Monterey Bay Aquarium\u003c/a>\u003cbr>\n\u003ca href=\"https://www.oaklandzoo.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Zoo\u003c/a>\u003cbr>\n\u003ca href=\"https://www.facebook.com/queerfirstfridays/\" target=\"_blank\" rel=\"noopener noreferrer\">Queer First Fridays\u003c/a>\u003cbr>\n\u003ca href=\"https://sfpl.org/sfpl-to-go/browse-bounce\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Public Library\u003c/a> – Main Branch, Chinatown Branch, Mission Bay Branch\u003cbr>\n\u003ca href=\"http://www.sfzoo.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Zoo\u003c/a>\u003cbr>\n\u003ca href=\"https://beachboardwalk.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Cruz Beach Boardwalk\u003c/a>\u003cbr>\n\u003ca href=\"https://www.sixflags.com/discoverykingdom/attractions/marine-world-experience\" target=\"_blank\" rel=\"noopener noreferrer\">Six Flags Discovery Kingdom in Vallejo\u003c/a>\u003cbr>\n\u003ca href=\"https://www.skystarwheel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">SkyStar Wheel\u003c/a> in Golden Gate Park\u003cbr>\n\u003ca href=\"https://www.smuinballet.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SMUIN Ballet\u003c/a> – Outdoor performances start May 14\u003cbr>\n\u003ca href=\"https://www.stagecoachgreens.com/cms/\" target=\"_blank\" rel=\"noopener noreferrer\">Stagecoach Greens\u003c/a> – Outdoor mini golf\u003cbr>\n\u003ca href=\"http://www.subparminigolf.com/booking2.html\" target=\"_blank\" rel=\"noopener noreferrer\">Subpar\u003c/a> – Indoor mini golf\u003cbr>\n\u003ca href=\"https://www.thetech.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Tech Interactive\u003c/a>\u003cbr>\n\u003ca href=\"https://www.urbanputt.com/location/san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">Urban Putt\u003c/a> – Indoor mini golf and dining\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Coming Soon\u003c/strong>\u003cbr>\n\u003ca href=\"https://sfpl.org/sfpl-to-go/browse-bounce\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Public Library\u003c/a> – Ortega, Richmond, Visitacion Valley (June 21); Excelsior (June 22)\u003cbr>\n\u003ca href=\"https://comedyday.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Comedy Day\u003c/a> in Golden Gate Park – Scheduled for Sept. 12\u003cbr>\n\u003ca href=\"https://oaklandballet.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Ballet\u003c/a> – Opening Oct. 29\u003cbr>\n\u003ca href=\"https://www.sanmateocountyfair.com/\" target=\"_blank\" rel=\"noopener noreferrer\">San Mateo County Fair\u003c/a> – Returning June 5-13\u003c/p>\n\n",
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"excerpt": "See our updated list of the Bay Area's reopened arts, events and cultural experiences.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With vaccinations rolling along and Bay Area counties moving out of restrictive tiers, we’re seeing more and more reopenings of movie theaters, museums, attractions and even live music.\u003c/p>\n\u003cp>Below is a regularly updated list of what we know is open. Check back for updates to guide your weekend planning, and as always, adhere to your county’s mandates and guidance for COVID-19.\u003c/p>\n\u003cp>\u003cem>Note: Hours and policies may be different than what you were used to pre-pandemic. Some venues may require \u003ca href=\"https://www.kqed.org/news/11867934/covid-vaccine-passports-how-they-could-work-when-you-might-need-one\" target=\"_blank\" rel=\"noopener noreferrer\">proof of vaccine\u003c/a>. It’s advisable to follow the links to each venue’s website for more details. \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>UPDATE: As of June 15, we will no longer be adding to this list. With California’s COVID restrictions mostly lifted, it is now more newsworthy if something is closed than if it’s reopened. Even live music and theatre are starting to trickle back. Congratulations to us all for making it through the long, lonely arts dry spell.—Ed. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Jump To\u003c/strong>: \u003cstrong>\u003ca href=\"#museums\">Museums\u003c/a>\u003c/strong> | \u003cstrong>\u003ca href=\"#music\">Live Music\u003c/a>\u003c/strong> | \u003cstrong>\u003ca href=\"#movies\">Movie Theaters\u003c/a>\u003c/strong> | \u003cstrong>\u003ca href=\"#theatre\">Live Theatre\u003c/a>\u003c/strong> | \u003cstrong>\u003ca href=\"#sports\">Sports\u003c/a>\u003c/strong> | \u003cstrong>\u003ca href=\"#other\">Other\u003c/a>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13894619\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/stubs1-800x127.jpg\" alt=\"\" width=\"800\" height=\"127\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-800x127.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-1020x162.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-160x25.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-768x122.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1.jpg 1122w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003ca id=\"museums\">\u003c/a>\u003c/p>\n\u003ch1>Museums and Art Centers\u003c/h1>\n\u003cp>\u003cstrong>Open Now\u003c/strong>\u003cbr>\n\u003ca href=\"https://asianart.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Asian Art Museum\u003c/a>\u003cbr>\n\u003ca href=\"https://bampfa.org/\" target=\"_blank\" rel=\"noopener noreferrer\">BAMPFA\u003c/a>\u003cbr>\n\u003ca href=\"https://www.bedfordgallery.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Bedford Gallery, Walnut Creek\u003c/a>\u003cbr>\n\u003ca href=\"https://www.berkeleyartcenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Berkeley Art Center\u003c/a>\u003cbr>\n\u003ca href=\"https://museum.stanford.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Cantor Arts Center and the Anderson Collection\u003c/a>, Stanford University\u003cbr>\n\u003ca href=\"https://schulzmuseum.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Charles M. Schulz Museum\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cccsf.us/\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Culture Center\u003c/a>\u003cbr>\n\u003ca href=\"https://deyoung.famsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">de Young Museum\u003c/a>\u003cbr>\n\u003ca href=\"https://www.calacademy.org/\" target=\"_blank\" rel=\"noopener noreferrer\">California Academy of Sciences\u003c/a>\u003cbr>\n\u003ca href=\"https://californiahistoricalsociety.org/\" target=\"_blank\" rel=\"noopener noreferrer\">California Historical Society\u003c/a>\u003cbr>\n\u003ca href=\"https://conservatoryofflowers.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Conservatory of Flowers, San Francisco\u003c/a>\u003cbr>\n\u003ca href=\"https://www.thecjm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Contemporary Jewish Museum\u003c/a>\u003cbr>\n\u003ca href=\"https://www.dirosaart.org/\" target=\"_blank\" rel=\"noopener noreferrer\">di Rosa\u003c/a>\u003cbr>\n\u003ca href=\"https://www.icasanjose.org/\" target=\"_blank\" rel=\"noopener noreferrer\">ICA San Jose\u003c/a>\u003cbr>\n\u003ca href=\"https://legionofhonor.famsf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Legion of Honor\u003c/a>\u003cbr>\n\u003ca href=\"https://www.mcevoyarts.org/\" target=\"_blank\" rel=\"noopener noreferrer\">McEvoy Foundation for the Arts\u003c/a> (reservation required)\u003cbr>\n\u003ca href=\"https://www.numulosgatos.org/\" rel=\"noopener noreferrer\" target=\"_blank\">New Museum Los Gatos\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cityofpaloalto.org/Departments/Community-Services/Arts-Sciences/Palo-Alto-Art-Center\" rel=\"noopener noreferrer\" target=\"_blank\">Palo Alto Art Center\u003c/a>\u003cbr>\n\u003ca href=\"https://sfmcd.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Museum of Craft and Design\u003c/a>\u003cbr>\n\u003ca href=\"https://richmondmuseum.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Richmond Museum of History & Culture\u003c/a>\u003cbr>\n\u003ca href=\"https://www.sfmoma.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Museum of Modern Art\u003c/a>\u003cbr>\n\u003ca href=\"https://sjmusart.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Jose Museum of Art\u003c/a>\u003cbr>\n\u003ca href=\"https://www.sjquiltmuseum.org/\" rel=\"noopener noreferrer\" target=\"_blank\">San Jose Museum of Quilts & Textiles\u003c/a>\u003cbr>\n\u003ca href=\"https://somarts.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SOMArts\u003c/a>\u003cbr>\n\u003ca href=\"https://svma.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Sonoma Valley Museum of Art\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Opening Soon\u003c/strong>\u003cbr>\n\u003ca href=\"https://museumca.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Museum of California\u003c/a> – opening June 18\u003cbr>\n\u003ca href=\"https://www.exploratorium.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Exploratorium\u003c/a> – opening July 1\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13894618\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Stubs2-800x133.jpg\" alt=\"\" width=\"800\" height=\"133\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-800x133.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-1020x169.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-160x27.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-768x127.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2.jpg 1122w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003ca id=\"music\">\u003c/a>\u003c/p>\n\u003ch1>Live Music\u003c/h1>\n\u003cp>\u003cem>Most live music is currently outdoors; we’re noticing a general return to large indoor concerts starting in August–September. \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Open Now\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.audium.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Audium\u003c/a>\u003cbr>\n\u003ca href=\"https://backroommusic.com/events\" target=\"_blank\" rel=\"noopener noreferrer\">The Back Room\u003c/a> in Berkeley – Outdoor live music\u003cbr>\n\u003ca href=\"https://www.bluenotenapa.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Blue Note Napa\u003c/a> – Concerts being held outdoors starting in May at Charles Krug Winery\u003cbr>\n\u003ca href=\"https://thechapelsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Chapel\u003c/a> – Outdoor shows with dinner\u003cbr>\n\u003ca href=\"https://www.feinsteinssf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Feinstein’s at the Nikko\u003c/a>\u003cbr>\n\u003ca href=\"https://www.hopmonk.com/livemusic\" target=\"_blank\" rel=\"noopener noreferrer\">Hopmonk Tavern\u003c/a> – Outdoor music in Sebastopol, Sonoma and Novato\u003cbr>\n\u003ca href=\"https://mrtipplessf.com/calendar/\" target=\"_blank\" rel=\"noopener noreferrer\">Mr. Tipple’s Jazz Studio\u003c/a> – Live jazz Thursday-Saturday\u003cbr>\n\u003ca href=\"https://www.kqed.org/arts/13896318/sf-symphony-returns-to-in-person-concerts-in-may\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Symphony\u003c/a>\u003cbr>\n\u003ca href=\"https://www.hopmonk.com/twin-oaks\" target=\"_blank\" rel=\"noopener noreferrer\">Twin Oaks Roadhouse\u003c/a> – Outdoor music in Penngrove\u003cbr>\n\u003ca href=\"https://theuctheatre.org/\" target=\"_blank\" rel=\"noopener noreferrer\">UC Theatre\u003c/a> – Outdoor music every Friday and Saturday night\u003c/p>\n\u003cp>\u003cstrong>Coming Soon\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.sterngrove.org/\">Stern Grove Festival\u003c/a> – returning June 20 for summer 2021; lineup announced soon\u003cbr>\n\u003ca href=\"https://secondskyfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Porter Robinson’s Second Sky Festival\u003c/a> – returning Sept. 18 and 19 in Berkeley\u003cbr>\n\u003ca href=\"https://www.oaklandsymphony.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Symphony\u003c/a> – Opening Oct. 15\u003cbr>\n\u003ca href=\"https://www.operasj.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Opera San Jose\u003c/a> – Returns Sept. 30\u003cbr>\n\u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Outside Lands\u003c/a> – returning Halloween weekend; tickets sold out\u003cbr>\n\u003ca href=\"https://www.oxbowriverstage.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Oxbow Riverstage\u003c/a>, Downtown Napa – Shows resume Aug. 14\u003cbr>\n\u003ca href=\"https://live.stanford.edu/venues/frost-amphitheater\" target=\"_blank\" rel=\"noopener noreferrer\">Frost Amphitheater\u003c/a> – live performances resume July 1\u003cbr>\n\u003ca href=\"https://yoshis.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Yoshi’s\u003c/a> – club is reopening for live music starting July 9 \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13894617\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/stubs4-800x137.jpg\" alt=\"\" width=\"800\" height=\"137\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs4-800x137.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs4-1020x175.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs4-160x27.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs4-768x131.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs4.jpg 1122w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003ca id=\"movies\">\u003c/a>\u003c/p>\n\u003ch1>Movie Theaters\u003c/h1>\n\u003cp>\u003cstrong>Open Now\u003c/strong>\u003cbr>\n\u003cstrong>San Francisco\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/san-francisco/amc-kabuki-8\" target=\"_blank\" rel=\"noopener noreferrer\">AMC Kabuki 8 in Japantown, San Francisco\u003c/a>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/san-francisco/amc-metreon-16\" target=\"_blank\" rel=\"noopener noreferrer\">AMC Metreon 16, San Francisco\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemasf.com/balboa\" target=\"_blank\" rel=\"noopener noreferrer\">Balboa Theater\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-san-francisco/century-san-francisco-centre-9-and-xd\" target=\"_blank\" rel=\"noopener noreferrer\">Century San Francisco Centre 9\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-daly-city/century-20-daly-city-and-xd-and-imax\" target=\"_blank\" rel=\"noopener noreferrer\">Century 20 Daly City\u003c/a>\u003cbr>\n\u003ca href=\"https://www.landmarktheatres.com/san-francisco/embarcadero-center-cinema\" target=\"_blank\" rel=\"noopener noreferrer\">Embarcadero Center Cinema in San Francisco\u003c/a>\u003cbr>\n\u003ca href=\"https://fortmason.org/event/flix/\" target=\"_blank\" rel=\"noopener noreferrer\">Fort Mason Flix in San Francisco\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>East Bay\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/oakland/amc-bay-street-16\" target=\"_blank\" rel=\"noopener noreferrer\">AMC Bay Street 16, Emeryville\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-hayward/century-at-hayward\" target=\"_blank\" rel=\"noopener noreferrer\">Century at Hayward\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-san-leandro/century-16-bayfair-mall\" target=\"_blank\" rel=\"noopener noreferrer\">Century 16 Bayfair Mall\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-hayward/century-southland-mall\" target=\"_blank\" rel=\"noopener noreferrer\">Century Southland Mall in Hayward\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-union-city/century-25-union-landing-and-xd\" target=\"_blank\" rel=\"noopener noreferrer\">Century 25 Union Landing in Union City\u003c/a>\u003cbr>\n\u003ca href=\"http://www.renaissancerialto.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Grand Lake Theater\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemawest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Livermore 13 Cinema\u003c/a>\u003cbr>\n\u003ca href=\"https://www.westwinddi.com/locations/solano\" target=\"_blank\" rel=\"noopener noreferrer\">West Wind Solano Drive-In in Concord\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemawest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Veranda Luxe Cinema in Concord\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>South Bay/Penninsula\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/san-francisco/amc-newpark-12\" target=\"_blank\" rel=\"noopener noreferrer\">AMC NewPark 12, Newark\u003c/a>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/san-jose/amc-mercado-20\" target=\"_blank\" rel=\"noopener noreferrer\">AMC Mercado 20, San Jose\u003c/a>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/san-francisco/amc-dine-in-sunnyvale-12\" target=\"_blank\" rel=\"noopener noreferrer\">AMC Dine-In Sunnyvale 12, Sunnyvale\u003c/a>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/san-jose/amc-saratoga-14\" target=\"_blank\" rel=\"noopener noreferrer\">AMC Saratoga 14, San Jose\u003c/a>\u003cbr>\n\u003ca href=\"https://www.amctheatres.com/movie-theatres/san-jose/amc-eastridge-15\" target=\"_blank\" rel=\"noopener noreferrer\">AMC Eastridge 15, San Jose\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-san-mateo/century-12-san-mateo\" target=\"_blank\" rel=\"noopener noreferrer\">Century 12 San Mateo\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-redwood-city/redwood-downtown-20-and-xd\" target=\"_blank\" rel=\"noopener noreferrer\">Redwood Downtown 20 in Redwood City\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-san-bruno/century-at-tanforan-and-xd\" target=\"_blank\" rel=\"noopener noreferrer\">Century at Tanforan in San Bruno\u003c/a>\u003cbr>\n\u003ca href=\"https://www.westwinddi.com/locations/capitol\" target=\"_blank\" rel=\"noopener noreferrer\">West Wind Capitol Drive-In in San Jose\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>North Bay\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.cinemawest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Boulevard 14 Cinemas in Petaluma\u003c/a>\u003cbr>\n\u003ca href=\"https://www.santarosacinemas.com/roxy-14\" target=\"_blank\" rel=\"noopener noreferrer\">Roxy Stadium 14 in Santa Rosa\u003c/a>\u003cbr>\n\u003ca href=\"https://www.sebastianitheatre.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sebastiani Theatre in Sonoma\u003c/a>\u003cbr>\n\u003ca href=\"https://www.santarosacinemas.com/summerfield\" target=\"_blank\" rel=\"noopener noreferrer\">Summerfield Cinemas in Santa Rosa\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-novato/century-rowland-plaza\" target=\"_blank\" rel=\"noopener noreferrer\">Century Rowland Plaza in Novato\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-san-rafael/century-northgate\" target=\"_blank\" rel=\"noopener noreferrer\">Century Northgate in San Rafael\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-vallejo/century-14-vallejo\" target=\"_blank\" rel=\"noopener noreferrer\">Century 14 Vallejo\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cinemark.com/theatres/ca-napa/century-napa-valley-and-xd\" target=\"_blank\" rel=\"noopener noreferrer\">Century Napa Valley\u003c/a>\u003cbr>\n\u003ca href=\"https://www.readingcinemasus.com/rohnertpark\" target=\"_blank\" rel=\"noopener noreferrer\">Reading Cinemas Rohnert Park\u003c/a>\u003cbr>\n\u003ca href=\"https://www.regmovies.com/theatres/regal-jack-london/1808#/buy-tickets-by-cinema?in-cinema=1808&at=2021-05-21&view-mode=list\" rel=\"noopener noreferrer\" target=\"_blank\">Regal Jack London\u003c/a>\u003cbr>\n\u003ca href=\"https://www.regmovies.com/theatres/regal-ua-berkeley/1172#/buy-tickets-by-cinema?in-cinema=1172&at=2021-05-21&view-mode=list\" rel=\"noopener noreferrer\" target=\"_blank\">Regal UA Berkeley\u003c/a>\u003cbr>\n\u003ca href=\"https://www.regmovies.com/theatres/regal-stonestown-galleria-screenx-4dx-rpx/1464#/buy-tickets-by-cinema?in-cinema=1464&view-mode=list\" rel=\"noopener noreferrer\" target=\"_blank\">Regal Stonestown\u003c/a>\u003cbr>\n\u003ca href=\"https://rialtocinemas.com/index.php?location=elmwood\" target=\"_blank\" rel=\"noopener noreferrer\">Rialto Cinemas Elmwood\u003c/a>\u003cbr>\n\u003ca href=\"https://rialtocinemas.com/index.php?location=sebastopol\" target=\"_blank\" rel=\"noopener noreferrer\">Rialto Cinemas Sebastopol\u003c/a>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13894616\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/stubs3-800x130.jpg\" alt=\"\" width=\"800\" height=\"130\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs3-800x130.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs3-1020x166.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs3-160x26.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs3-768x125.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs3.jpg 1122w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003ca id=\"theatre\">\u003c/a>\u003c/p>\n\u003ch1>Live Theatre\u003c/h1>\n\u003cp>\u003ca href=\"https://www.broadwaysf.com/Online/default.asp\" rel=\"noopener noreferrer\" target=\"_blank\">Golden Gate Theatre\u003c/a> – in-person performances resume Oct. 13 with \u003cem>Jesus Christ Superstar\u003c/em>\u003cbr>\n\u003ca href=\"https://www.broadwaysf.com/Online/default.asp\" rel=\"noopener noreferrer\" target=\"_blank\">Orpheum Theatre\u003c/a> – in-person performances resume Nov. 3 with \u003cem>My Fair Lady\u003c/em>\u003cbr>\n\u003ca href=\"https://www.sfplayhouse.org/sfph/\" rel=\"noopener noreferrer\" target=\"_blank\">San Francisco Playhouse\u003c/a> – in-person performances resume June 8 with \u003cem>Hold These Truths\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13894619\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/stubs1-800x127.jpg\" alt=\"\" width=\"800\" height=\"127\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-800x127.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-1020x162.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-160x25.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1-768x122.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/stubs1.jpg 1122w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003ca id=\"sports\">\u003c/a>\u003c/p>\n\u003ch1>Sports\u003c/h1>\n\u003cp>\u003cstrong>Available Now\u003c/strong>\u003cbr>\n\u003ca href=\"https://www.nba.com/warriors/tickets/single\" target=\"_blank\" rel=\"noopener noreferrer\">Golden State Warriors \u003c/a>– Single-game tickets available now; negative test result or proof of vaccination required for entry\u003cbr>\n\u003ca href=\"https://www.mlb.com/athletics/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland A’s\u003c/a> – Regular single-game tickets on sale now\u003cbr>\n\u003ca href=\"https://www.oaklandrootssc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Roots\u003c/a> – Home games start in June, \u003ca href=\"https://www.oaklandrootssc.com/tickets\" target=\"_blank\" rel=\"noopener noreferrer\">tickets sold in membership groups\u003c/a>\u003cbr>\n\u003ca href=\"https://www.mlb.com/giants/tickets\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Giants\u003c/a> – Regular single-game tickets on sale now (\u003ca href=\"https://www.mlb.com/giants/fans/safety\" target=\"_blank\" rel=\"noopener noreferrer\">proof of vaccination or negative test result\u003c/a> no longer required for entry)\u003c/p>\n\u003cp>\u003cstrong>Coming Soon\u003c/strong>\u003cbr>\n\u003ca href=\"https://santacruz.gleague.nba.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Cruz Warriors\u003c/a> – Single-game ticket info coming soon\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13894618\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Stubs2-800x133.jpg\" alt=\"\" width=\"800\" height=\"133\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-800x133.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-1020x169.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-160x27.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2-768x127.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Stubs2.jpg 1122w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003ca id=\"other\">\u003c/a>\u003c/p>\n\u003ch1>Other\u003c/h1>\n\u003cp>\u003cstrong>Open Now\u003c/strong>\u003cbr>\n\u003ca href=\"https://bayareadiscoverymuseum.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Bay Area Discovery Museum\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cdm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Children’s Discovery Museum of San Jose\u003c/a>\u003cbr>\n\u003ca href=\"https://fairyland.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Children’s Fairyland\u003c/a> in Oakland\u003cbr>\n\u003ca href=\"https://www.gilroygardens.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Gilroy Gardens\u003c/a>\u003cbr>\n\u003ca href=\"https://www.cagreatamerica.com\" target=\"_blank\" rel=\"noopener noreferrer\">Great America\u003c/a> in Santa Clara\u003cbr>\n\u003ca href=\"https://happyhollow.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Happy Hollow Park and Zoo\u003c/a> in San Jose\u003cbr>\n\u003ca href=\"https://www.montereybayaquarium.org/visit/welcome-back\" target=\"_blank\" rel=\"noopener noreferrer\">Monterey Bay Aquarium\u003c/a>\u003cbr>\n\u003ca href=\"https://www.oaklandzoo.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Zoo\u003c/a>\u003cbr>\n\u003ca href=\"https://www.facebook.com/queerfirstfridays/\" target=\"_blank\" rel=\"noopener noreferrer\">Queer First Fridays\u003c/a>\u003cbr>\n\u003ca href=\"https://sfpl.org/sfpl-to-go/browse-bounce\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Public Library\u003c/a> – Main Branch, Chinatown Branch, Mission Bay Branch\u003cbr>\n\u003ca href=\"http://www.sfzoo.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Zoo\u003c/a>\u003cbr>\n\u003ca href=\"https://beachboardwalk.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Cruz Beach Boardwalk\u003c/a>\u003cbr>\n\u003ca href=\"https://www.sixflags.com/discoverykingdom/attractions/marine-world-experience\" target=\"_blank\" rel=\"noopener noreferrer\">Six Flags Discovery Kingdom in Vallejo\u003c/a>\u003cbr>\n\u003ca href=\"https://www.skystarwheel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">SkyStar Wheel\u003c/a> in Golden Gate Park\u003cbr>\n\u003ca href=\"https://www.smuinballet.org/\" target=\"_blank\" rel=\"noopener noreferrer\">SMUIN Ballet\u003c/a> – Outdoor performances start May 14\u003cbr>\n\u003ca href=\"https://www.stagecoachgreens.com/cms/\" target=\"_blank\" rel=\"noopener noreferrer\">Stagecoach Greens\u003c/a> – Outdoor mini golf\u003cbr>\n\u003ca href=\"http://www.subparminigolf.com/booking2.html\" target=\"_blank\" rel=\"noopener noreferrer\">Subpar\u003c/a> – Indoor mini golf\u003cbr>\n\u003ca href=\"https://www.thetech.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Tech Interactive\u003c/a>\u003cbr>\n\u003ca href=\"https://www.urbanputt.com/location/san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">Urban Putt\u003c/a> – Indoor mini golf and dining\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Coming Soon\u003c/strong>\u003cbr>\n\u003ca href=\"https://sfpl.org/sfpl-to-go/browse-bounce\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Public Library\u003c/a> – Ortega, Richmond, Visitacion Valley (June 21); Excelsior (June 22)\u003cbr>\n\u003ca href=\"https://comedyday.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Comedy Day\u003c/a> in Golden Gate Park – Scheduled for Sept. 12\u003cbr>\n\u003ca href=\"https://oaklandballet.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Ballet\u003c/a> – Opening Oct. 29\u003cbr>\n\u003ca href=\"https://www.sanmateocountyfair.com/\" target=\"_blank\" rel=\"noopener noreferrer\">San Mateo County Fair\u003c/a> – Returning June 5-13\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Paul Mooney, a boundary-pushing comedian who was Richard Pryor’s longtime writing partner and whose sage, incisive musings on racism and American life made him a revered figure in stand-up, has died. He was 79.\u003c/p>\n\u003cp>Cassandra Williams, Mooney’s publicist, said he died Wednesday morning at his home in Oakland, California, from a heart attack.\u003c/p>\n\u003cp>Mooney’s friendship and collaboration with Pryor began in 1968 and lasted until Pryor’s death in 2005. Together, working behind the scenes on shows like \u003cem>Sanford and Son\u003c/em>, they confronted racism perhaps more directly than it ever had been before onstage. Mooney chronicled their partnership in his 2007 memoir \u003cem>Black Is the New White\u003c/em>.\u003c/p>\n\u003cp>Often referred to as the “godfather of modern Black comedy,” Mooney wasn’t as widely known as Pryor, but his influence on comedy was ubiquitous. As head writer on \u003cem>In Living Color\u003c/em>, Mooney helped create and inspire the Homey D. Clown character. He played the future-foretelling Negrodamus on \u003cem>Chappelle’s Show\u003c/em>.\u003c/p>\n\u003cp>Mooney was also an actor who played Sam Cooke in 1978′s \u003cem>The Buddy Holly Story\u003c/em> and Junebug in Spike Lee’s 2000 film \u003cem>Bamboozled\u003c/em>. In recent years, he performed frequently on Bay Area stages, such as the Berkeley Black Repertory Theatre. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mooney was born in Louisiana. In 2009, he told NPR he got his sense of humor from his grandmother. “My grandmother was very funny… She used to sleep with a hammer, you know. So she was a funny person,” he said.\u003c/p>\n\u003cp>In 2006, Mooney talked to NPR about his decision to stop using the “n” word in his stand-up. It happened after his friend, Seinfeld star Michael Richards, unleashed the word on a crowd of hecklers during a show. Mooney told NPR, “When I saw the video, I mean, I’m not easily shocked—I went into shock.” He went on to say, “I was outside of myself looking at me and looking at the word and it was such a weapon. It was such a nuclear – like it was a weapon. It was just – I don’t ever want anybody to have that power again.”\u003c/p>\n\u003cp>Mooney might not have been as famous as his friends and peers like Eddie Murphy and Dave Chappelle, but his influence on comedy runs deep. \u003c/p>\n\u003cp>Filmmaker Ava Duvernay called Mooney “a comedy giant.”\u003c/p>\n\u003cp>“I recall listening to his RACE album in college and how formative it was. Yeah, the jokes. But more so, the freedom. He spoke freely and fearlessly about feelings and experiences others found difficult to express. May he be truly free now. Rest, sir.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Reporting by Jake Coyle, Associated Press; Elizabeth Blair, NPR; and Gabe Meline, KQED.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Paul Mooney, a boundary-pushing comedian who was Richard Pryor’s longtime writing partner and whose sage, incisive musings on racism and American life made him a revered figure in stand-up, has died. He was 79.\u003c/p>\n\u003cp>Cassandra Williams, Mooney’s publicist, said he died Wednesday morning at his home in Oakland, California, from a heart attack.\u003c/p>\n\u003cp>Mooney’s friendship and collaboration with Pryor began in 1968 and lasted until Pryor’s death in 2005. Together, working behind the scenes on shows like \u003cem>Sanford and Son\u003c/em>, they confronted racism perhaps more directly than it ever had been before onstage. Mooney chronicled their partnership in his 2007 memoir \u003cem>Black Is the New White\u003c/em>.\u003c/p>\n\u003cp>Often referred to as the “godfather of modern Black comedy,” Mooney wasn’t as widely known as Pryor, but his influence on comedy was ubiquitous. As head writer on \u003cem>In Living Color\u003c/em>, Mooney helped create and inspire the Homey D. Clown character. He played the future-foretelling Negrodamus on \u003cem>Chappelle’s Show\u003c/em>.\u003c/p>\n\u003cp>Mooney was also an actor who played Sam Cooke in 1978′s \u003cem>The Buddy Holly Story\u003c/em> and Junebug in Spike Lee’s 2000 film \u003cem>Bamboozled\u003c/em>. In recent years, he performed frequently on Bay Area stages, such as the Berkeley Black Repertory Theatre. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mooney was born in Louisiana. In 2009, he told NPR he got his sense of humor from his grandmother. “My grandmother was very funny… She used to sleep with a hammer, you know. So she was a funny person,” he said.\u003c/p>\n\u003cp>In 2006, Mooney talked to NPR about his decision to stop using the “n” word in his stand-up. It happened after his friend, Seinfeld star Michael Richards, unleashed the word on a crowd of hecklers during a show. Mooney told NPR, “When I saw the video, I mean, I’m not easily shocked—I went into shock.” He went on to say, “I was outside of myself looking at me and looking at the word and it was such a weapon. It was such a nuclear – like it was a weapon. It was just – I don’t ever want anybody to have that power again.”\u003c/p>\n\u003cp>Mooney might not have been as famous as his friends and peers like Eddie Murphy and Dave Chappelle, but his influence on comedy runs deep. \u003c/p>\n\u003cp>Filmmaker Ava Duvernay called Mooney “a comedy giant.”\u003c/p>\n\u003cp>“I recall listening to his RACE album in college and how formative it was. Yeah, the jokes. But more so, the freedom. He spoke freely and fearlessly about feelings and experiences others found difficult to express. May he be truly free now. Rest, sir.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Reporting by Jake Coyle, Associated Press; Elizabeth Blair, NPR; and Gabe Meline, KQED.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Comedic Generational Divide Gets Bridged in HBO's 'Hacks'",
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"content": "\u003cp>There exists, in some alternate universe, a version of the new HBO Max series \u003cem>Hacks \u003c/em>that is spikier, faster, meaner—and as a result, considerably thinner, less generous and less rewarding—than the one that premieres today.\u003c/p>\n\u003cp>Happily, this one’s pretty great, because it achieves and maintains a delicate balance born out of: 1. Knowing its subject and 2. A determination to treat its two lead characters fairly.\u003c/p>\n\u003cp>There’s a make-or-break moment in the pilot that establishes that balance, that confidence and that generosity all at once: Ava (Hannah Einbinder), a successful young comedy writer fallen on hard times, has been forced by her manager (co-creator Paul W. Downs) to meet legendary standup comic Deborah Vance (Jean Smart) at her Vegas home. Deborah’s Vegas residency is threatened by a casino owner looking to reach a younger audience than Deborah draws, so she reluctantly agrees to the meet.\u003c/p>\n\u003cp>[aside postid='arts_13895500']The battle lines are drawn: Deborah is a comic of the Joan Rivers generation and mindset—her act is full of bawdy zingers at her ex-husband and winking self-deprecation at the prospect of aging. Every joke builds to a punchline that’s been honed to practiced perfection over the years. She’s a consummate pro, even if her references are getting rusty (she’s still going to the Anna Nicole Smith well, for example). There’s an edge to her comedy, sure, but it’s not one so sharp that it threatens to cut any of the thousands of tourists that show up to see her shows between hitting the nickel slots.\u003c/p>\n\u003cp>Ava’s comedy is weirder, more conceptual. Younger. Birthed and fueled by social media, she sees traditional punchlines as a marker of hackdom; they are things to be fled, in favor of, say, “a 25-tweet thread from the perspective of my Lexapro.” She’s also got a set of hackles that get dependably raised by Deborah’s coarser, less enlightened jokes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show is teetering on knife-edge, in this scene. You can imagine it going one of two ways: Either it adopts Ava’s point of view and proceeds to depict Deborah as a cartoon of an out-of-touch comedy relic with a fossilized understanding of race and gender whose wealth and station have turned her into a pampered diva. Or it takes Deborah’s side, and becomes a thin excuse for an endless string of exasperated jokes about Millennials, vaping, sexting and “cancel culture.”\u003c/p>\n\u003cp>We then learn that Ava’s lost her cushy gig writing for a show in L.A. because of a joke she tweeted about a US Senator. And we think: That’s it then, the die is cast. The show’s an excuse to whine about “cancel culture” and vape pens and avocado toast. Whee.\u003c/p>\n\u003cp>And then, soon after the Ava-Deborah meeting goes south, we learn what exactly the tweet in question was, and we deflate even more.\u003c/p>\n\u003cp>Because we’ve seen comedy written about the comedy business before, countless times, and it rarely works. It’s come to be called the \u003cem>Studio 60 \u003c/em>phenomenon, named for Aaron Sorkin’s \u003cem>Studio 60 on the Sunset Strip\u003c/em>, his attempt to offer a behind-the-scenes peek at the makings of an \u003cem>SNL\u003c/em>-like sketch comedy show. The behind-the-scenes stuff was full of the kind of comedic dialogue Sorkin could write in his sleep. But the \u003cem>scenes\u003c/em>? The actual sketches? Upon which the conceit of the series entirely depended? Were so woefully, painfully unfunny they represented a serial assault on the audience’s suspension of disbelief, from which the show could never recover.\u003c/p>\n\u003cp>We think that’s what’s going on, here, too, at first. Because Ava’s tweet 1. Would never, on the face of it, result in anything approaching “cancellation” and 2. …\u003c/p>\n\u003cp>Well, that’s the thing. That’s when the show firmly establishes that it knows whereof it speaks. Because that’s when Deborah rolls her eyes at Ava, and tells her exactly what we the audience is thinking: “It’s just not funny,” she says. (They proceed to workshop the joke, and they make it better. Better, not good. This seems important.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wE51pzVpwBg\u003c/p>\n\u003cp>From that moment on, \u003cem>Hacks \u003c/em>lets the hard, caricature-like outlines of both Ava and Deborah proceed to abrade away as the two women are allowed to become rounded, real characters. They still clash, often, over the course of the season (the first six episodes out of the season’s ten were released to press), because that’s where the show’s humor is chiefly located. But those clashes tend to be small, smartly observed and specific, not cartoonishly broad. That they will both grudgingly come to acknowledge and validate each other’s comedic sensibilities is a foregone conclusion, given the series’ odd-couple setup; the delight resides in the unforced chemistry between Smart and Einbeinder, and in how that mutual respect evolves.\u003c/p>\n\u003cp>I don’t know if the role of Deborah Vance was written for Smart, but she certainly makes it seem like it was. Moments that could be played for unkind laughs—a Sally-Field-in-\u003cem>Soapdish \u003c/em>moment when Deborah boards a Hollywood tour bus in search of validation, say—are instead played for their humanity and vulnerability. As a result, the payoffs prove infinitely more satisfying. Smart’s also convincing as a standup, performing Deborah’s vaguely hokey routines with a naturalistic flair as if she was born to it.\u003c/p>\n\u003cp>[aside postid='arts_13891872']Einbinder’s role is arguably trickier, as she’s tasked with playing someone the audience is inclined to empathize with, even as she continually evinces behavior that’s self-involved or self-destructive. But again: \u003cem>Hacks \u003c/em>isn’t interested in painting either of its leads with a broad brush, and Ava is given several moments of self-awareness and selflessness that add layers of nuance, and understanding.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>To say that \u003cem>Hacks \u003c/em>is refreshingly and surprisingly generous to its two leads—and to its supporting characters, like Carl Clemons-Hopkins’ gently sardonic C.O.O. Marcus and Kaitlin Olson as Deborah’s messy daughter—isn’t to slot it into the warm-fuzziness of a show like say, \u003cem>Ted Lasso\u003c/em>. It’s both sharper and (not for nothing) queerer than that. But like that hugely engaging series, \u003cem>Hacks \u003c/em>creates a world of characters and dialogue and situations you want to spend as much time with as possible.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Hacks%27%3A+A+Comedic+Generational+Divide+Gets+Bridged%2C+%28Jean%29+Smartly&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The battle lines are drawn: Deborah is a comic of the Joan Rivers generation and mindset—her act is full of bawdy zingers at her ex-husband and winking self-deprecation at the prospect of aging. Every joke builds to a punchline that’s been honed to practiced perfection over the years. She’s a consummate pro, even if her references are getting rusty (she’s still going to the Anna Nicole Smith well, for example). There’s an edge to her comedy, sure, but it’s not one so sharp that it threatens to cut any of the thousands of tourists that show up to see her shows between hitting the nickel slots.\u003c/p>\n\u003cp>Ava’s comedy is weirder, more conceptual. Younger. Birthed and fueled by social media, she sees traditional punchlines as a marker of hackdom; they are things to be fled, in favor of, say, “a 25-tweet thread from the perspective of my Lexapro.” She’s also got a set of hackles that get dependably raised by Deborah’s coarser, less enlightened jokes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show is teetering on knife-edge, in this scene. You can imagine it going one of two ways: Either it adopts Ava’s point of view and proceeds to depict Deborah as a cartoon of an out-of-touch comedy relic with a fossilized understanding of race and gender whose wealth and station have turned her into a pampered diva. Or it takes Deborah’s side, and becomes a thin excuse for an endless string of exasperated jokes about Millennials, vaping, sexting and “cancel culture.”\u003c/p>\n\u003cp>We then learn that Ava’s lost her cushy gig writing for a show in L.A. because of a joke she tweeted about a US Senator. And we think: That’s it then, the die is cast. The show’s an excuse to whine about “cancel culture” and vape pens and avocado toast. Whee.\u003c/p>\n\u003cp>And then, soon after the Ava-Deborah meeting goes south, we learn what exactly the tweet in question was, and we deflate even more.\u003c/p>\n\u003cp>Because we’ve seen comedy written about the comedy business before, countless times, and it rarely works. It’s come to be called the \u003cem>Studio 60 \u003c/em>phenomenon, named for Aaron Sorkin’s \u003cem>Studio 60 on the Sunset Strip\u003c/em>, his attempt to offer a behind-the-scenes peek at the makings of an \u003cem>SNL\u003c/em>-like sketch comedy show. The behind-the-scenes stuff was full of the kind of comedic dialogue Sorkin could write in his sleep. But the \u003cem>scenes\u003c/em>? The actual sketches? Upon which the conceit of the series entirely depended? Were so woefully, painfully unfunny they represented a serial assault on the audience’s suspension of disbelief, from which the show could never recover.\u003c/p>\n\u003cp>We think that’s what’s going on, here, too, at first. Because Ava’s tweet 1. Would never, on the face of it, result in anything approaching “cancellation” and 2. …\u003c/p>\n\u003cp>Well, that’s the thing. That’s when the show firmly establishes that it knows whereof it speaks. Because that’s when Deborah rolls her eyes at Ava, and tells her exactly what we the audience is thinking: “It’s just not funny,” she says. (They proceed to workshop the joke, and they make it better. Better, not good. This seems important.)\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/wE51pzVpwBg'\n title='//www.youtube.com/embed/wE51pzVpwBg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>From that moment on, \u003cem>Hacks \u003c/em>lets the hard, caricature-like outlines of both Ava and Deborah proceed to abrade away as the two women are allowed to become rounded, real characters. They still clash, often, over the course of the season (the first six episodes out of the season’s ten were released to press), because that’s where the show’s humor is chiefly located. But those clashes tend to be small, smartly observed and specific, not cartoonishly broad. That they will both grudgingly come to acknowledge and validate each other’s comedic sensibilities is a foregone conclusion, given the series’ odd-couple setup; the delight resides in the unforced chemistry between Smart and Einbeinder, and in how that mutual respect evolves.\u003c/p>\n\u003cp>I don’t know if the role of Deborah Vance was written for Smart, but she certainly makes it seem like it was. Moments that could be played for unkind laughs—a Sally-Field-in-\u003cem>Soapdish \u003c/em>moment when Deborah boards a Hollywood tour bus in search of validation, say—are instead played for their humanity and vulnerability. As a result, the payoffs prove infinitely more satisfying. Smart’s also convincing as a standup, performing Deborah’s vaguely hokey routines with a naturalistic flair as if she was born to it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Einbinder’s role is arguably trickier, as she’s tasked with playing someone the audience is inclined to empathize with, even as she continually evinces behavior that’s self-involved or self-destructive. But again: \u003cem>Hacks \u003c/em>isn’t interested in painting either of its leads with a broad brush, and Ava is given several moments of self-awareness and selflessness that add layers of nuance, and understanding.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To say that \u003cem>Hacks \u003c/em>is refreshingly and surprisingly generous to its two leads—and to its supporting characters, like Carl Clemons-Hopkins’ gently sardonic C.O.O. Marcus and Kaitlin Olson as Deborah’s messy daughter—isn’t to slot it into the warm-fuzziness of a show like say, \u003cem>Ted Lasso\u003c/em>. It’s both sharper and (not for nothing) queerer than that. But like that hugely engaging series, \u003cem>Hacks \u003c/em>creates a world of characters and dialogue and situations you want to spend as much time with as possible.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Hacks%27%3A+A+Comedic+Generational+Divide+Gets+Bridged%2C+%28Jean%29+Smartly&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A return to indoor live events has come sooner than previously expected for San Francisco residents. Today, San Francisco Director of Health Dr. Grant Colfax and Mayor London Breed issued official guidelines to allow indoor live events, both public and private, to return with some limited capacity starting Thursday, April 15. \u003c/p>\n\u003cp>According to Mayor Breed’s office, indoor ticketed and seated events will be allowed to operate at a maximum capacity of 35%, with attendees required to show proof of a negative COVID test or vaccination for entry. All participants must keep their masks on except when eating and drinking while seated, and social distancing will be required according to state guidelines. Venues operating at up to 35% capacity must also have an approved Health and Safety Plan.\u003c/p>\n\u003cp>[aside postID='arts_13894499']Should a venue choose to operate at only 15% capacity or with less with 200 people, proof of a negative test or vaccination, as well as a Health and Safety Plan, will not be required. As for private indoor events like conventions, weddings and meetings, up to 150 attendees will be allowed with proof of vaccine or negative COVID test. \u003c/p>\n\u003cp>Outdoor venues will be allowed to expand capacity for live events and performances up to 50%. “Like indoor venues, outdoor venues may create vaccinated-only sections with relaxed distancing restrictions, subject to specified criteria and an approved health and safety plan,” the city’s statement reads.\u003c/p>\n\u003cp>Live music fans may have to wait a little longer than April 15 to return to their favorite concerts, however, as many music venues \u003ca href=\"https://www.kqed.org/arts/13895321/california-reopens-in-june-when-can-we-see-live-music-again\" rel=\"noopener noreferrer\" target=\"_blank\">do not plan to host events and concerts until the late summer or fall\u003c/a>, when they will be able to reopen at full capacity. Other performers, many of whom have been unable to rehearse together due to COVID, will need time to develop their productions, and venues that have been closed since the beginning of the pandemic need time to navigate \u003ca href=\"https://datebook.sfchronicle.com/entertainment/bay-areas-arts-organization-cautiously-optimistic-about-june-15-reopening/amp\" rel=\"noopener noreferrer\" target=\"_blank\">complex financial and logistical circumstances\u003c/a> posed by ever-changing guidelines and plans.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13895321']“We know that much of what makes San Francisco special are the live performances and events,” said Mayor Breed. “We’ve all been missing these events over the last year… but we all need to keep doing our part to put safety first.”\u003c/p>\n\u003cp>San Francisco is also expanding capacity for social gatherings, both indoor and outdoor, as well as guidelines for “drive-ins, tour operators, childcare, sports and recreation, and institutes of higher education.” \u003c/p>\n\u003cp>San Francisco’s relatively low COVID-19 caseload and hospitalization rates have remained stable since early March 2021, and if cases go up, officials will reevaluate the new guidelines. Currently over 50% of San Francisco residents have received at least their first dose of the vaccine. Starting next Thursday, Apr. 15, the city plans to allow general access to the vaccine to anyone over the age of 16. \u003c/p>\n\u003cp>San Francisco’s public health guidelines can be found \u003ca href=\"https://www.sfdph.org/dph/alerts/coronavirus-health-directives.asp\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This article was originally published on April 9; it has been updated.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A return to indoor live events has come sooner than previously expected for San Francisco residents. Today, San Francisco Director of Health Dr. Grant Colfax and Mayor London Breed issued official guidelines to allow indoor live events, both public and private, to return with some limited capacity starting Thursday, April 15. \u003c/p>\n\u003cp>According to Mayor Breed’s office, indoor ticketed and seated events will be allowed to operate at a maximum capacity of 35%, with attendees required to show proof of a negative COVID test or vaccination for entry. All participants must keep their masks on except when eating and drinking while seated, and social distancing will be required according to state guidelines. Venues operating at up to 35% capacity must also have an approved Health and Safety Plan.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Should a venue choose to operate at only 15% capacity or with less with 200 people, proof of a negative test or vaccination, as well as a Health and Safety Plan, will not be required. As for private indoor events like conventions, weddings and meetings, up to 150 attendees will be allowed with proof of vaccine or negative COVID test. \u003c/p>\n\u003cp>Outdoor venues will be allowed to expand capacity for live events and performances up to 50%. “Like indoor venues, outdoor venues may create vaccinated-only sections with relaxed distancing restrictions, subject to specified criteria and an approved health and safety plan,” the city’s statement reads.\u003c/p>\n\u003cp>Live music fans may have to wait a little longer than April 15 to return to their favorite concerts, however, as many music venues \u003ca href=\"https://www.kqed.org/arts/13895321/california-reopens-in-june-when-can-we-see-live-music-again\" rel=\"noopener noreferrer\" target=\"_blank\">do not plan to host events and concerts until the late summer or fall\u003c/a>, when they will be able to reopen at full capacity. Other performers, many of whom have been unable to rehearse together due to COVID, will need time to develop their productions, and venues that have been closed since the beginning of the pandemic need time to navigate \u003ca href=\"https://datebook.sfchronicle.com/entertainment/bay-areas-arts-organization-cautiously-optimistic-about-june-15-reopening/amp\" rel=\"noopener noreferrer\" target=\"_blank\">complex financial and logistical circumstances\u003c/a> posed by ever-changing guidelines and plans.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We know that much of what makes San Francisco special are the live performances and events,” said Mayor Breed. “We’ve all been missing these events over the last year… but we all need to keep doing our part to put safety first.”\u003c/p>\n\u003cp>San Francisco is also expanding capacity for social gatherings, both indoor and outdoor, as well as guidelines for “drive-ins, tour operators, childcare, sports and recreation, and institutes of higher education.” \u003c/p>\n\u003cp>San Francisco’s relatively low COVID-19 caseload and hospitalization rates have remained stable since early March 2021, and if cases go up, officials will reevaluate the new guidelines. Currently over 50% of San Francisco residents have received at least their first dose of the vaccine. Starting next Thursday, Apr. 15, the city plans to allow general access to the vaccine to anyone over the age of 16. \u003c/p>\n\u003cp>San Francisco’s public health guidelines can be found \u003ca href=\"https://www.sfdph.org/dph/alerts/coronavirus-health-directives.asp\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This article was originally published on April 9; it has been updated.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Comedian Jackie Keliiaa on Keeping Tahoe Washoe",
"headTitle": "Comedian Jackie Keliiaa on Keeping Tahoe Washoe | KQED",
"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC5478457922&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.instagram.com/jackiecomedy/?hl=en\">Jackie Keliiaa\u003c/a> is a stand-up comedian raised in Hayward and based in Oakland. She’s unapologetically Bay, and proud of her Yerington Paiute and Washoe roots. She’s also funny af. \u003c/span>\u003c/p>\n\u003cp>“I get asked a lot of weird questions like, ‘What brings you to the mainland?’ I have to burst their bubble and let them know I’m not from Hawaii. I’m from this exotic land in the East Bay called Hayward.”\u003c/p>\n\u003cp>Building off \u003ca href=\"https://www.youtube.com/watch?v=sDz6P26PNzY&ab_channel=DonGiller\">Charlie Hill\u003c/a>‘s legacy, Keliiaa cracks jokes about colonialism, Native culture and family, alongside her trials and tribulations with dating.\u003c/p>\n\u003cp>Before the pandemic, you could catch her sets at Punchline San Francisco, Comedy Oakland and Tommy T’s. Pivoting in these virtual times, she’s organized virtual comedy shows, \u003ca href=\"https://www.facebook.com/GoodMedicineComedy/\">Good Medicine\u003c/a>, to fundraise for Indigenous communities hard hit by COVID-19.\u003c/p>\n\u003cp>Keliiaa is also featured alongside other Native comedians in the televised ‘\u003ca href=\"https://www.amazon.com/First-Nations-Comedy-Experience/dp/B07W4WM45C\">First Nation Comedy Experience’\u003c/a> and continues to \u003ca href=\"https://www.youtube.com/watch?v=8cp2k81fGvU\">co-produce Amazonians\u003c/a> which showcases women comics, and recently launched \u003ca href=\"https://open.spotify.com/show/3rZOWh2Vt6SBDeSzcLrDxE?si=ZWVJ1sHJQVWTeHUP5OYCjQ\">a podcast where she interviews her creative friends\u003c/a>.\u003c/p>\n\u003cp>One of Keliaa’s latest endeavors includes contributing a chapter in the newly published book, \u003ca href=\"https://www.simonandschuster.com/books/We-Had-a-Little-Real-Estate-Problem/Kliph-Nesteroff/9781982103033\">\u003cem>We Had a Little Real Estate Problem: The Unheralded Story of Native Americans & Comedy. \u003c/em>\u003c/a>It’s a deep dive into the under-appreciated legacy of Native comedians, taking its name from an iconic Charlie Hill joke, “My people are from Wisconsin. We used to be from New York… We had a little real estate problem.”\u003c/p>\n\u003cp>In this episode of \u003cem>Rightnowish\u003c/em>, Jackie Keliiaa gets real about the (sometimes) therapeutic benefits of comedy, why talking about land-theft isn’t hard, and teasing as a form of love.\u003c/p>\n\u003cp>https://www.instagram.com/p/CLXuXV1gR0E/?utm_source=ig_web_copy_link\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Jackie Keliiaa.\u003c/strong>\u003c/p>\n\u003cp>Jackie: This is something that not a lot of people know, but teasing, it’s a really big thing in the Native community… just making fun of people. It’s way that you show love and affection… So when I get on stage, I always mess around with my dad. That’s what I do for a lot of my Native audiences.\u003c/p>\n\u003cp>\u003cem>Marisol: What is that like to have your dad in your material? Is he like ‘that’s great, that’s me she’s talking about!’ Or is he like, ‘we got to talk…’\u003c/em>\u003c/p>\n\u003cp>Jackie: Oh, no, he’s totally into it. Like, I remember my first ever showcase, it was at La Estrellita here in Oakland, and my dad came with my whole family. It was my first ever showcase — doing a full ten minutes — and I could just hear him laughing, like a real belly laugh. And I was like, ah, we’re good.\u003c/p>\n\u003cp>Jackie: In that particular performance. I was talking about sexuality. I was talking about all kinds of things. And it was just a fun way to, like, have a talk with my family without having a talk with my family… my family gets to meet me in a different light.\u003c/p>\n\u003cp>\u003cem>Marisol: It’s clicking for me… comedy is helping me to communicate things to my family or friends that I can’t otherwise say. I can go on stage and I can fabricate these experiences that are rooted in my lived experience. It’s like an opportunity to talk about something with them after the show.\u003c/em>\u003c/p>\n\u003cp>Jackie: I think it is important to think about it as a space where you can unpack stuff. My teacher would always say, ‘Wait until you’ve processed it, wait until you’ve worked through it, because the last thing you want to do is like gut yourself on stage for the sake of a laugh and then you just feel naked and vulnerable’\u003c/p>\n\u003cp>Jackie: Go to therapy, basically, like, go to therapy.\u003c/p>\n\u003cp>\u003cem>Marisol: I’m curious to know your thoughts about talking about really challenging difficult things, but finding the laugh in it. It’s like a guttural laugh because you’re like, oh, snap like that hits because it’s truth and we don’t talk about it.\u003c/em>\u003c/p>\n\u003cp>Jackie: Colonization, genocide and land theft all happened. And it’s just a fact and it’s a reality that I’m aware of. So for me, it’s not necessarily difficult to talk about, but I know it’s difficult for the audience to absorb. And it’s fun for me because I like to mess with that audience. Like one of the jokes that I was like, really proud of writing was about Lake Tahoe… \u003cspan style=\"font-weight: 400\">I’m like, Lake Tahoe is the ancestral homeland of my people, the Washoe people. So this past winter, when you were skiing the slopes of Squaw Valley, just know that you were desecrating the sacred lands of my ancestors…\u003c/span>\u003c/p>\n\u003cp>Jackie: And I usually point at a white man in the front and I’m like, ‘You got a season pass!’ It’s the funniest thing, because it’s a way to remind you this shit was stolen… I love Lake Tahoe, but guess what? I can’t afford a rental on the beachfront. And you need to know these things. You need to know that this is where we’re from. This should be for us.\u003c/p>\n\u003cp>Jackie: It’s not just white people. It’s everybody. It’s anyone who participates in this American dream. We all have to acknowledge the land on which we stand.\u003c/p>\n\u003cp>\u003cem>Marisol: I wanted to have you talk a little bit about the chapter that you contributed to the newly published book titled \u003c/em>We Had a Little Real Estate Problem: The Unheralded Story of Native Americans and Comedy\u003cem>. Your chapter is about your roots in the East Bay, its richness but also how the urban Native community came to be.\u003c/em>\u003c/p>\n\u003cp>Jackie: There was Urban Indian relocation that happened. It was about disinvesting Native people from their lands. Let’s be real. It was like, “Hey, is the reservation not doing it for you economically?” — It was built not to do it for you economically — but they were like, “Here’s a ticket. Go to an urban hub in the country. We’ll get you a job, we’ll get you a place to stay. And you can learn new trades and get jobs.” And so once that happened, flocks of Native folks came from all over the country.\u003c/p>\n\u003cp>Jackie: It brought all these people who are not used to cities. A lot of these folks are from straight rural ass places and [the program] brought them to the cities. If you don’t know your way and you’re not fluent, you could get caught up in something. And the housing was terrible, the jobs weren’t great. And [after getting this] one way ticket, they got here and the stuff that they were promised didn’t come through… surprise… a federal program.\u003c/p>\n\u003cp>Jackie: …[but] you had a time in the East Bay, and particularly in Oakland and San Francisco, where there were Natives of all nations everywhere. My dad grew up in that environment. So they had dances, and they had what was called the Four Winds Club in downtown Oakland. And my grandfather was huge into sports, and so my dad played all the Indians sports league.\u003c/p>\n\u003cp>\u003cem>Marisol: I think an unintended consequence of this program that was really trying to assimilate Indigenous culture ended up having the reverse effect because essentially the government put all these Native folks together and they were like, ‘hey, let’s learn from each other. Let’s like grow this community.’ And now you have descendants who are still living in these urban places and still carrying on their culture that their family passed down, but also inventing new ones, too.\u003c/em>\u003c/p>\n\u003cp>Jackie: Absolutely. I mean, the fact that I can make jokes with my friends…. And we relate so heavily to all of our jokes, even though we’re all from different backgrounds, like we’re different tribes, we have different experiences…There’s something special about the fact that we can relate on so many levels and also simultaneously be so unique and so different…\u003c/p>\n\u003cp>Jackie: I’m just really proud of this book because it’s spotlighting so many amazing comics and writers that I want the world to see them and to know. Visibility has always been a big problem for Native folks. We always have the burden of proving we’re here. And so it’s exciting to have a book that’s like a rolodex essentially.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Building off Charlie Hill's legacy, Keliiaa cracks jokes about colonialism, Native culture and family.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC5478457922&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.instagram.com/jackiecomedy/?hl=en\">Jackie Keliiaa\u003c/a> is a stand-up comedian raised in Hayward and based in Oakland. She’s unapologetically Bay, and proud of her Yerington Paiute and Washoe roots. She’s also funny af. \u003c/span>\u003c/p>\n\u003cp>“I get asked a lot of weird questions like, ‘What brings you to the mainland?’ I have to burst their bubble and let them know I’m not from Hawaii. I’m from this exotic land in the East Bay called Hayward.”\u003c/p>\n\u003cp>Building off \u003ca href=\"https://www.youtube.com/watch?v=sDz6P26PNzY&ab_channel=DonGiller\">Charlie Hill\u003c/a>‘s legacy, Keliiaa cracks jokes about colonialism, Native culture and family, alongside her trials and tribulations with dating.\u003c/p>\n\u003cp>Before the pandemic, you could catch her sets at Punchline San Francisco, Comedy Oakland and Tommy T’s. Pivoting in these virtual times, she’s organized virtual comedy shows, \u003ca href=\"https://www.facebook.com/GoodMedicineComedy/\">Good Medicine\u003c/a>, to fundraise for Indigenous communities hard hit by COVID-19.\u003c/p>\n\u003cp>Keliiaa is also featured alongside other Native comedians in the televised ‘\u003ca href=\"https://www.amazon.com/First-Nations-Comedy-Experience/dp/B07W4WM45C\">First Nation Comedy Experience’\u003c/a> and continues to \u003ca href=\"https://www.youtube.com/watch?v=8cp2k81fGvU\">co-produce Amazonians\u003c/a> which showcases women comics, and recently launched \u003ca href=\"https://open.spotify.com/show/3rZOWh2Vt6SBDeSzcLrDxE?si=ZWVJ1sHJQVWTeHUP5OYCjQ\">a podcast where she interviews her creative friends\u003c/a>.\u003c/p>\n\u003cp>One of Keliaa’s latest endeavors includes contributing a chapter in the newly published book, \u003ca href=\"https://www.simonandschuster.com/books/We-Had-a-Little-Real-Estate-Problem/Kliph-Nesteroff/9781982103033\">\u003cem>We Had a Little Real Estate Problem: The Unheralded Story of Native Americans & Comedy. \u003c/em>\u003c/a>It’s a deep dive into the under-appreciated legacy of Native comedians, taking its name from an iconic Charlie Hill joke, “My people are from Wisconsin. We used to be from New York… We had a little real estate problem.”\u003c/p>\n\u003cp>In this episode of \u003cem>Rightnowish\u003c/em>, Jackie Keliiaa gets real about the (sometimes) therapeutic benefits of comedy, why talking about land-theft isn’t hard, and teasing as a form of love.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Jackie Keliiaa.\u003c/strong>\u003c/p>\n\u003cp>Jackie: This is something that not a lot of people know, but teasing, it’s a really big thing in the Native community… just making fun of people. It’s way that you show love and affection… So when I get on stage, I always mess around with my dad. That’s what I do for a lot of my Native audiences.\u003c/p>\n\u003cp>\u003cem>Marisol: What is that like to have your dad in your material? Is he like ‘that’s great, that’s me she’s talking about!’ Or is he like, ‘we got to talk…’\u003c/em>\u003c/p>\n\u003cp>Jackie: Oh, no, he’s totally into it. Like, I remember my first ever showcase, it was at La Estrellita here in Oakland, and my dad came with my whole family. It was my first ever showcase — doing a full ten minutes — and I could just hear him laughing, like a real belly laugh. And I was like, ah, we’re good.\u003c/p>\n\u003cp>Jackie: In that particular performance. I was talking about sexuality. I was talking about all kinds of things. And it was just a fun way to, like, have a talk with my family without having a talk with my family… my family gets to meet me in a different light.\u003c/p>\n\u003cp>\u003cem>Marisol: It’s clicking for me… comedy is helping me to communicate things to my family or friends that I can’t otherwise say. I can go on stage and I can fabricate these experiences that are rooted in my lived experience. It’s like an opportunity to talk about something with them after the show.\u003c/em>\u003c/p>\n\u003cp>Jackie: I think it is important to think about it as a space where you can unpack stuff. My teacher would always say, ‘Wait until you’ve processed it, wait until you’ve worked through it, because the last thing you want to do is like gut yourself on stage for the sake of a laugh and then you just feel naked and vulnerable’\u003c/p>\n\u003cp>Jackie: Go to therapy, basically, like, go to therapy.\u003c/p>\n\u003cp>\u003cem>Marisol: I’m curious to know your thoughts about talking about really challenging difficult things, but finding the laugh in it. It’s like a guttural laugh because you’re like, oh, snap like that hits because it’s truth and we don’t talk about it.\u003c/em>\u003c/p>\n\u003cp>Jackie: Colonization, genocide and land theft all happened. And it’s just a fact and it’s a reality that I’m aware of. So for me, it’s not necessarily difficult to talk about, but I know it’s difficult for the audience to absorb. And it’s fun for me because I like to mess with that audience. Like one of the jokes that I was like, really proud of writing was about Lake Tahoe… \u003cspan style=\"font-weight: 400\">I’m like, Lake Tahoe is the ancestral homeland of my people, the Washoe people. So this past winter, when you were skiing the slopes of Squaw Valley, just know that you were desecrating the sacred lands of my ancestors…\u003c/span>\u003c/p>\n\u003cp>Jackie: And I usually point at a white man in the front and I’m like, ‘You got a season pass!’ It’s the funniest thing, because it’s a way to remind you this shit was stolen… I love Lake Tahoe, but guess what? I can’t afford a rental on the beachfront. And you need to know these things. You need to know that this is where we’re from. This should be for us.\u003c/p>\n\u003cp>Jackie: It’s not just white people. It’s everybody. It’s anyone who participates in this American dream. We all have to acknowledge the land on which we stand.\u003c/p>\n\u003cp>\u003cem>Marisol: I wanted to have you talk a little bit about the chapter that you contributed to the newly published book titled \u003c/em>We Had a Little Real Estate Problem: The Unheralded Story of Native Americans and Comedy\u003cem>. Your chapter is about your roots in the East Bay, its richness but also how the urban Native community came to be.\u003c/em>\u003c/p>\n\u003cp>Jackie: There was Urban Indian relocation that happened. It was about disinvesting Native people from their lands. Let’s be real. It was like, “Hey, is the reservation not doing it for you economically?” — It was built not to do it for you economically — but they were like, “Here’s a ticket. Go to an urban hub in the country. We’ll get you a job, we’ll get you a place to stay. And you can learn new trades and get jobs.” And so once that happened, flocks of Native folks came from all over the country.\u003c/p>\n\u003cp>Jackie: It brought all these people who are not used to cities. A lot of these folks are from straight rural ass places and [the program] brought them to the cities. If you don’t know your way and you’re not fluent, you could get caught up in something. And the housing was terrible, the jobs weren’t great. And [after getting this] one way ticket, they got here and the stuff that they were promised didn’t come through… surprise… a federal program.\u003c/p>\n\u003cp>Jackie: …[but] you had a time in the East Bay, and particularly in Oakland and San Francisco, where there were Natives of all nations everywhere. My dad grew up in that environment. So they had dances, and they had what was called the Four Winds Club in downtown Oakland. 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And we relate so heavily to all of our jokes, even though we’re all from different backgrounds, like we’re different tribes, we have different experiences…There’s something special about the fact that we can relate on so many levels and also simultaneously be so unique and so different…\u003c/p>\n\u003cp>Jackie: I’m just really proud of this book because it’s spotlighting so many amazing comics and writers that I want the world to see them and to know. Visibility has always been a big problem for Native folks. We always have the burden of proving we’re here. And so it’s exciting to have a book that’s like a rolodex essentially.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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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",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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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": {
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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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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"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": {
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"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",
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"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/",
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},
"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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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"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.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"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",
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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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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"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",
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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": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"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": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"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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}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
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