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"content": "\u003cp>Performing on a Facebook livestream, \u003ca href=\"https://salmahindy.com/#bookings\" target=\"_blank\" rel=\"noopener noreferrer\">Salma Hindy\u003c/a> began her stand-up routine by giving a shout-out to everyone in the audience who was following the guidelines to keep the coronavirus at bay, such as washing hands regularly, covering one’s face and keeping a respectful distance from others. Though, as a Muslim, she found these habits a tad familiar.\u003c/p>\n\u003cp>“You call it coronavirus, I call it sharia law!” said Hindy, referring to the set of principles Muslims abide by.\u003c/p>\n\u003cp>The Canadian Muslim comedian was one of 40 performers taking part in The Socially Distant Eid Comedy Night, an event hosted by the \u003ca href=\"https://www.concordiaforum.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Concordia Forum\u003c/a>, a networking organization for Muslim influencers and changemakers. The goal was to give Muslims around the world some comic relief as they do the unprecedented: celebrate Ramadan and Eid in isolation at home, with fewer family members and friends than usual because of the coronavirus pandemic.\u003c/p>\n\u003cp>A holy month typically observed by attending daily prayers at the mosque and dinner parties to break the dawn-to-dusk fast, Ramadan was indeed a different sight to behold this year, as was Eid al-Fitr, the holiday that marks the end of Ramadan.\u003c/p>\n\u003cp>The stand-up comedians come from different occupations and backgrounds, including award-winning performers based in South Africa and the U.K. Their show was livestreamed on May 24, Eid day for many countries. The event is available to watch on the \u003ca href=\"https://www.facebook.com/concordiaforum/?__tn__=%2CdkC-R&eid=ARCqt3KEHGEKaw7FRo-sqPzKj3QfNTfMoUHQ6Hkg-P1cLWt65CNB5nH3I56zn9IUYL3rZSAjwTRigrUR&hc_ref=ARRl52J61Hm2bDDO4NhoPXSkGbdTE0R419Cft1BhE39ijf6TLF0qAwyMNaUCi-jQsUA\" target=\"_blank\" rel=\"noopener noreferrer\">Concordia Forum’s Facebook page\u003c/a> until Wednesday at 5 p.m. ET.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Muddassar Ahmed, organizer of the event and chair of the Concordia Forum, put together the comedy special during the week leading up to the holiday.\u003c/p>\n\u003cp>“For the hour or two that people tune in I hope it lifts people’s spirits and helps them take their mind off things,” says Ahmed.\u003c/p>\n\u003cp>Each comedian did a 3-minute set, poking fun at themselves and making jokes about Muslim stereotypes.\u003c/p>\n\u003cp>Hindy’s act revolved around dealing with the coronavirus as a Muslim daughter of immigrants. She mentioned the new degree a lot of parents seem to have gained during the pandemic—a PhD from WhatsApp University.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3t5Vk87bckY&feature=emb_logo\u003c/p>\n\u003cp>“In WhatsApp University, absolutely no fact-checking is allowed,” said Hindy, referring to the habit of some Muslim parents to forward myths and unproven coronavirus cures on WhatsApp, a social messaging app especially popular among immigrants as well as in many countries around the world.\u003c/p>\n\u003cp>Yaaseen Barnes, a South African \u003ca href=\"http://yaaseenbarnes.co.za/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">stand-up comedian\u003c/a> and one of several hosts for the evening, found some pros in celebrating Eid under quarantine. He joked that he no longer had to deal with the issue of praying next to someone who occasionally releases smelly burps of the food they just ate at \u003cem>iftar\u003c/em>, the meal to break the daily fast.\u003c/p>\n\u003cp>“This is why [Zoom] is great, because you don’t need to be in the burp,” said Barnes, who is known as the “king of one-liners” by the stand-up community in South Africa.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mvnC08ozOg4&feature=emb_logo\u003c/p>\n\u003cp>Barnes was delighted to take part in the event and described it as a combination of what he loves: making others laugh and helping people. He hoped he could create a sense of community for those celebrating without family.\u003c/p>\n\u003cp>“Maybe we can give you something to laugh about and make everyone feel a little bit at home,” said Barnes.\u003c/p>\n\u003cp>And it wasn’t the only virtual event on the holy month calendar. Imam \u003ca href=\"https://wagner.nyu.edu/community/faculty/suhaib-webb\" target=\"_blank\" rel=\"noopener noreferrer\">Suhaib Webb\u003c/a>, a resident scholar at the Islamic Center at New York University, says that throughout Ramadan, the internet was chock-full of more spiritual-oriented events and gatherings than anyone could attend—a way of keeping the communal spirit alive.\u003c/p>\n\u003cp>ICNYU held virtual events for both \u003cem>iftar\u003c/em> and \u003cem>suhoor\u003c/em>, the meal before the fast, as well as online lectures about the blessings of Ramadan. Webb believes that, despite the lack of in-person interaction, the online events actually gave people more options to participate in the community aspect of Ramadan and Eid.\u003c/p>\n\u003cp>“It’s ironic because, though we’re limited in our physical engagement due to the pandemic, we are unlimited in the [virtual] events and things we can participate in,” says Webb, referring to the countries that restricted physical gatherings.\u003c/p>\n\u003cp>The virtual comedy show indeed brought many people across nations together, with an estimated 5,000 people tuning in, according to Ahmed, throughout the two-hour event. The social media responses were overwhelming positive, with one writer calling the show “top-tier comedy.”\u003c/p>\n\u003cp>And even though I was covering this event as a reporter for NPR, I couldn’t help but agree. I’m a Muslim American, and the jokes and online community generated by the comedy special—while no match for the traditional in-person events—gave us back a little bit of the Eid feeling we were missing this year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/hafsaquraishi_\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Hafsa Quraishi\u003c/em>\u003c/a>\u003cem> is a Muslim American reporter who focuses on business, politics and issues affecting Muslim Americans.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Muslim+Comics+Gather+Over+Zoom+To+Celebrate+Eid+With+Jokes+And+Joy&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Performing on a Facebook livestream, \u003ca href=\"https://salmahindy.com/#bookings\" target=\"_blank\" rel=\"noopener noreferrer\">Salma Hindy\u003c/a> began her stand-up routine by giving a shout-out to everyone in the audience who was following the guidelines to keep the coronavirus at bay, such as washing hands regularly, covering one’s face and keeping a respectful distance from others. Though, as a Muslim, she found these habits a tad familiar.\u003c/p>\n\u003cp>“You call it coronavirus, I call it sharia law!” said Hindy, referring to the set of principles Muslims abide by.\u003c/p>\n\u003cp>The Canadian Muslim comedian was one of 40 performers taking part in The Socially Distant Eid Comedy Night, an event hosted by the \u003ca href=\"https://www.concordiaforum.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Concordia Forum\u003c/a>, a networking organization for Muslim influencers and changemakers. The goal was to give Muslims around the world some comic relief as they do the unprecedented: celebrate Ramadan and Eid in isolation at home, with fewer family members and friends than usual because of the coronavirus pandemic.\u003c/p>\n\u003cp>A holy month typically observed by attending daily prayers at the mosque and dinner parties to break the dawn-to-dusk fast, Ramadan was indeed a different sight to behold this year, as was Eid al-Fitr, the holiday that marks the end of Ramadan.\u003c/p>\n\u003cp>The stand-up comedians come from different occupations and backgrounds, including award-winning performers based in South Africa and the U.K. Their show was livestreamed on May 24, Eid day for many countries. The event is available to watch on the \u003ca href=\"https://www.facebook.com/concordiaforum/?__tn__=%2CdkC-R&eid=ARCqt3KEHGEKaw7FRo-sqPzKj3QfNTfMoUHQ6Hkg-P1cLWt65CNB5nH3I56zn9IUYL3rZSAjwTRigrUR&hc_ref=ARRl52J61Hm2bDDO4NhoPXSkGbdTE0R419Cft1BhE39ijf6TLF0qAwyMNaUCi-jQsUA\" target=\"_blank\" rel=\"noopener noreferrer\">Concordia Forum’s Facebook page\u003c/a> until Wednesday at 5 p.m. ET.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Muddassar Ahmed, organizer of the event and chair of the Concordia Forum, put together the comedy special during the week leading up to the holiday.\u003c/p>\n\u003cp>“For the hour or two that people tune in I hope it lifts people’s spirits and helps them take their mind off things,” says Ahmed.\u003c/p>\n\u003cp>Each comedian did a 3-minute set, poking fun at themselves and making jokes about Muslim stereotypes.\u003c/p>\n\u003cp>Hindy’s act revolved around dealing with the coronavirus as a Muslim daughter of immigrants. She mentioned the new degree a lot of parents seem to have gained during the pandemic—a PhD from WhatsApp University.\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/3t5Vk87bckY'\n title='//www.youtube.com/embed/3t5Vk87bckY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“In WhatsApp University, absolutely no fact-checking is allowed,” said Hindy, referring to the habit of some Muslim parents to forward myths and unproven coronavirus cures on WhatsApp, a social messaging app especially popular among immigrants as well as in many countries around the world.\u003c/p>\n\u003cp>Yaaseen Barnes, a South African \u003ca href=\"http://yaaseenbarnes.co.za/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">stand-up comedian\u003c/a> and one of several hosts for the evening, found some pros in celebrating Eid under quarantine. 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He hoped he could create a sense of community for those celebrating without family.\u003c/p>\n\u003cp>“Maybe we can give you something to laugh about and make everyone feel a little bit at home,” said Barnes.\u003c/p>\n\u003cp>And it wasn’t the only virtual event on the holy month calendar. Imam \u003ca href=\"https://wagner.nyu.edu/community/faculty/suhaib-webb\" target=\"_blank\" rel=\"noopener noreferrer\">Suhaib Webb\u003c/a>, a resident scholar at the Islamic Center at New York University, says that throughout Ramadan, the internet was chock-full of more spiritual-oriented events and gatherings than anyone could attend—a way of keeping the communal spirit alive.\u003c/p>\n\u003cp>ICNYU held virtual events for both \u003cem>iftar\u003c/em> and \u003cem>suhoor\u003c/em>, the meal before the fast, as well as online lectures about the blessings of Ramadan. 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"content": "\u003cp>Just over a decade ago, Chris Riggins’ friends challenged him to do an opening set for Dave Chappelle at the New Parish in Oakland. That evening launched Riggins’ career in comedy.\u003c/p>\n\u003cp>By this point Riggins has performed on stages across the Bay Area and beyond. And as his career was in mid-stride — COVID-19 hit. Now Riggins is adjusting to a world where comedy performances, like many forms of art, are happening online.\u003c/p>\n\u003cp>While live stand-up comedy is all about the interaction between the comedian and the audience, online comedy causes Riggins to rely on written comments, muted laughs and Facebook emojis from attendees to show that they’re having a good time.\u003c/p>\n\u003cp>Riggins, a South Berkeley native who meshes political banter, commentary on the marijuana industry and “dick pic” jokes into his routines, says that the transition to performing fully online wasn’t easy, but as a pro, he’s learned to adapt.\u003c/p>\n\u003cp>This week on Rightnowish, Chris Riggins takes you to the virtual comedy club.\u003c/p>\n\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=KQINC5436723833&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Chris Riggins.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Is it too soon to quote crack jokes about Covid?\u003c/em>\u003c/p>\n\u003cp>Chris: No way. That’s all we’ve been doing, I’m at the point now where I’m writing jokes for after Covid because I’m like, OK, these jokes are gonna be relevant until we all get out of it. And then maybe for a month after. You know it’s funny like I’m running into comedians who are scared to do these shows and they’re like, “I don’t want to do this show. It doesn’t feel like comedy.” I’m like, well, maybe you’re not a comedian? I don’t know. (Laughs)\u003c/p>\n\u003cp>\u003cem>Pen: I know a large part of comedy interaction with the crowd. Since you don’t have that crowd to interact with, how do you do comedy?\u003c/em>\u003c/p>\n\u003cp>Chris: When I’m on Facebook Live or Instagram Live, I get the computer or the phone real close to me and I just read the comments, because people are responding. And then when they hear \u003cem>you\u003c/em> respond, then they’re like, he’s responding to me! And then they’re sharing it with other people. It’s more personable.\u003c/p>\n\u003cp>Zoom was a whole other level because I could see people’s faces. So I was like roasting people in their house. Like, I had one dude get up and show me his house so I could roast his house. I was like, walk around your house so I could roast your house, you know? It was fun. And I think everybody enjoyed it.\u003c/p>\n\u003cp>\u003cem>Pen: In doing these online performances where you don’t have the crowd in front of you. How do you know that your jokes are even landing with them?\u003c/em>\u003c/p>\n\u003cp>Chris: When you’re watching, emojis are going up and you know, the heart’s going on, the laughter is going up. So you can see that. And then on Zoom, you can hear the people, they actually can turn their mics on. It’s the best time to be quarantined because we have the most technology just to communicate.\u003c/p>\n\u003cp>The future of anything is adaptation. I mean, like I can admit, I was one of those standup comedians that was like, “I don’t like these Instagram comedians, I don’t like these YouTube guys.” Just because they’re editing their jokes. They got 20 takes and they’re editing it, where I’m going on stage and I got one take to say this joke right in front of a crowd of 2000 people or it’s gonna be bad. You know.\u003c/p>\n\u003cp>[[Coronavirus]] is making you adapt your material because the material \u003cem>has\u003c/em> to be funny now. It’s weeding out the people who are making it on energy. Now, it’s like, oh, are you funny? Because I can’t say nothing back to you. So you better hope I’m laughing.\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>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just over a decade ago, Chris Riggins’ friends challenged him to do an opening set for Dave Chappelle at the New Parish in Oakland. That evening launched Riggins’ career in comedy.\u003c/p>\n\u003cp>By this point Riggins has performed on stages across the Bay Area and beyond. And as his career was in mid-stride — COVID-19 hit. Now Riggins is adjusting to a world where comedy performances, like many forms of art, are happening online.\u003c/p>\n\u003cp>While live stand-up comedy is all about the interaction between the comedian and the audience, online comedy causes Riggins to rely on written comments, muted laughs and Facebook emojis from attendees to show that they’re having a good time.\u003c/p>\n\u003cp>Riggins, a South Berkeley native who meshes political banter, commentary on the marijuana industry and “dick pic” jokes into his routines, says that the transition to performing fully online wasn’t easy, but as a pro, he’s learned to adapt.\u003c/p>\n\u003cp>This week on Rightnowish, Chris Riggins takes you to the virtual comedy club.\u003c/p>\n\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=KQINC5436723833&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Chris Riggins.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Is it too soon to quote crack jokes about Covid?\u003c/em>\u003c/p>\n\u003cp>Chris: No way. That’s all we’ve been doing, I’m at the point now where I’m writing jokes for after Covid because I’m like, OK, these jokes are gonna be relevant until we all get out of it. And then maybe for a month after. You know it’s funny like I’m running into comedians who are scared to do these shows and they’re like, “I don’t want to do this show. It doesn’t feel like comedy.” I’m like, well, maybe you’re not a comedian? I don’t know. (Laughs)\u003c/p>\n\u003cp>\u003cem>Pen: I know a large part of comedy interaction with the crowd. Since you don’t have that crowd to interact with, how do you do comedy?\u003c/em>\u003c/p>\n\u003cp>Chris: When I’m on Facebook Live or Instagram Live, I get the computer or the phone real close to me and I just read the comments, because people are responding. And then when they hear \u003cem>you\u003c/em> respond, then they’re like, he’s responding to me! And then they’re sharing it with other people. It’s more personable.\u003c/p>\n\u003cp>Zoom was a whole other level because I could see people’s faces. So I was like roasting people in their house. Like, I had one dude get up and show me his house so I could roast his house. I was like, walk around your house so I could roast your house, you know? It was fun. And I think everybody enjoyed it.\u003c/p>\n\u003cp>\u003cem>Pen: In doing these online performances where you don’t have the crowd in front of you. How do you know that your jokes are even landing with them?\u003c/em>\u003c/p>\n\u003cp>Chris: When you’re watching, emojis are going up and you know, the heart’s going on, the laughter is going up. So you can see that. And then on Zoom, you can hear the people, they actually can turn their mics on. It’s the best time to be quarantined because we have the most technology just to communicate.\u003c/p>\n\u003cp>The future of anything is adaptation. I mean, like I can admit, I was one of those standup comedians that was like, “I don’t like these Instagram comedians, I don’t like these YouTube guys.” Just because they’re editing their jokes. They got 20 takes and they’re editing it, where I’m going on stage and I got one take to say this joke right in front of a crowd of 2000 people or it’s gonna be bad. You know.\u003c/p>\n\u003cp>[[Coronavirus]] is making you adapt your material because the material \u003cem>has\u003c/em> to be funny now. It’s weeding out the people who are making it on energy. Now, it’s like, oh, are you funny? Because I can’t say nothing back to you. So you better hope I’m laughing.\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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"content": "\u003cp>Traditionally, a \u003ci>\u003ca href=\"https://www.popupmagazine.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Pop-Up Magazine\u003c/a>\u003c/i> show is a resolutely ephemeral experience. Each issue of the live magazine repeats (via tour stops at venues across the country), but does not replicate. No recordings are made—each audience sees a unique, entirely in-the-moment night of storytelling, music, video and sound pieces. \u003c/p>\n\u003cp>But tours, live events, packed venues—these are things of the past and (hopefully) the eventual future. So the \u003ci>Pop-Up Magazine\u003c/i> team has taken these limitations in stride, transforming their live show into their first-ever online show, \u003ci>Spring Issue: At Home\u003c/i>.\u003c/p>\n\u003cp>Premiering on YouTube Wednesday, May 27 at 6pm PDT, the show features recordings of storytellers and musicians performing from their homes, with art, animation and video embellishments adding to the viewing experience. \u003c/p>\n\u003cp>https://youtu.be/9g7-mQWXJUg\u003c/p>\n\u003cp>Described as “a creative new kind of split-screen experience” and “a cross between a live performance, a video and a graphic novel,” \u003ci>Spring Issue: At Home\u003c/i> was shaped by the current pandemic in form and content. One story is about a medical student graduating early to become a doctor; another segment provides one-minute interpretive dances about social distancing, performed by luminaries of both the actual stage and the digital one (Instagram). \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though there’s drawbacks in eliminating the magic of the live performance and the energy of a rapt audience, going online does have its perks, like introducing \u003ci>Pop-Up Magazine\u003c/i>’s brand of thoughtful, entertaining storytelling to an even wider audience. Wednesday’s event has no capacity and the tickets have no price tag. Similar to the live shows, viewers can connect with performers after the event via Google Meet.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>See the full list of performers (which includes comedians, dancers and choreographers, a plant therapist and a documentary filmmaker) and RSVP \u003ca href=\"https://www.popupmagazine.com/watch/\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Traditionally, a \u003ci>\u003ca href=\"https://www.popupmagazine.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Pop-Up Magazine\u003c/a>\u003c/i> show is a resolutely ephemeral experience. Each issue of the live magazine repeats (via tour stops at venues across the country), but does not replicate. No recordings are made—each audience sees a unique, entirely in-the-moment night of storytelling, music, video and sound pieces. \u003c/p>\n\u003cp>But tours, live events, packed venues—these are things of the past and (hopefully) the eventual future. So the \u003ci>Pop-Up Magazine\u003c/i> team has taken these limitations in stride, transforming their live show into their first-ever online show, \u003ci>Spring Issue: At Home\u003c/i>.\u003c/p>\n\u003cp>Premiering on YouTube Wednesday, May 27 at 6pm PDT, the show features recordings of storytellers and musicians performing from their homes, with art, animation and video embellishments adding to the viewing experience. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9g7-mQWXJUg'\n title='//www.youtube.com/embed/9g7-mQWXJUg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Described as “a creative new kind of split-screen experience” and “a cross between a live performance, a video and a graphic novel,” \u003ci>Spring Issue: At Home\u003c/i> was shaped by the current pandemic in form and content. One story is about a medical student graduating early to become a doctor; another segment provides one-minute interpretive dances about social distancing, performed by luminaries of both the actual stage and the digital one (Instagram). \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Comedy Mourns the 'End of an Era' as UCB Closes New York Locations",
"headTitle": "Comedy Mourns the ‘End of an Era’ as UCB Closes New York Locations | KQED",
"content": "\u003cp>When the Upright Citizens Brigade announced plans to permanently close its New York bases last week, comedy lost a beloved home. The scrappy, alternative comedy troupe that grew into a school and theater revolutionized improv in New York and beyond with its embrace of “Yes, and …”\u003c/p>\n\u003cp>The New York institution incubated the talents of stars such as Kate McKinnon, Aziz Ansari, Chris Gethard, Donald Glover, Aubrey Plaza and many others in the comedy world. A pillar of longform improv, UCB teachings have been brought into countless comedy writers’ rooms and are etched into many successful TV shows.\u003c/p>\n\u003cp>Four of the company’s founding members, known as the “UCB4″—Amy Poehler, Matt Besser, Matt Walsh and Ian Roberts—told staff in an email on April 21 that the organization couldn’t afford to renew its leases on the group’s two Manhattan locations: the UCB theater in Hell’s Kitchen and a training center in the Garment District.\u003c/p>\n\u003cp>UCB also has two locations in Los Angeles where operations have been temporarily halted during the coronavirus outbreak, but there are currently no plans to close them.\u003c/p>\n\u003cp>Obits followed, marking the exit of UCB’s physical presence in the city where it took off in the ’90s, when the group turned a former strip club into its first theater.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The guys that I came up with in New York at the UCB Theater—we made our bones there basically,” said Rob Corddry, who went on to be a \u003cem>Daily Show\u003c/em> correspondent and star in comedy films including \u003cem>Hot Tub Time Machine\u003c/em>. “It’s really sad. Sort of the end of an era.”\u003c/p>\n\u003cp>The news comes a month after layoffs were announced at the group’s New York and Los Angeles facilities in response to the coronavirus. A small number of staff were kept at training centers on both coasts.\u003c/p>\n\u003cp>But UCB was under financial strain long before the pandemic. Many UCBers cast the move as an example of an opaque, top-down decision-making that, over the years, they say has sowed distrust in UCB leadership among its members.\u003c/p>\n\u003cp>“The biggest issue with UCB was the lack of communication of the company and the owners to their employees,” said Paris Adkins, a New York performer who was laid off from her administrative job with the company last month.\u003c/p>\n\u003cp>A previous round of layoffs took place at the end of 2018, mostly of \u003ca href=\"https://www.nytimes.com/2018/12/11/arts/television/upright-citizens-brigade-layoffs.html\" target=\"_blank\" rel=\"noopener noreferrer\">New York employees\u003c/a>. Adkins said the pandemic “is just the extenuating circumstance that put things over the edge.”\u003c/p>\n\u003cp>As for the most recent closures, UCB’s founders admitted to falling short of expectations.\u003c/p>\n\u003cp>“Look, we heard the community when they said, ‘We’re scared, too, and we want better communication,’ ” Amy Poehler told\u003cem> The Hollywood Reporter\u003c/em> \u003ca href=\"https://www.hollywoodreporter.com/news/amy-poehler-ucb-founders-address-nyc-facility-closures-we-trying-keep-it-alive-1290602\" target=\"_blank\" rel=\"noopener noreferrer\">in an interview with the UCB4 \u003c/a>after the announcement. “I think we did make mistakes, and we’re trying to do better.”\u003c/p>\n\u003cp>UCB has not responded to NPR’s attempts to contact the organization.\u003c/p>\n\u003cp>Chris Renfro, an LA-based performer and show producer who relied on UCB as his main source of income, said that learning in March via a mass email that his 3-year career there had come to an end struck him as a betrayal of the values the UCB4 claimed to live by.\u003c/p>\n\u003cp>“UCB is about a community, it’s about having each other’s backs,” he said, referencing the improv tradition UCB students learn of literally patting each other’s backs and saying “Got your back.”\u003c/p>\n\u003cp>“It felt like they had turned their backs on this massive community they had built up around them,” he said. “So now there’s a weird taste in a lot of peoples’ mouths because of that.”\u003c/p>\n\u003cp>According to a letter sent to staff addressing the layoffs, Poehler said she would pay for an additional month of health care for former full-time staff.\u003c/p>\n\u003cp>Much of the company’s operations run on part-time staff, according to Adkins. She estimated that UCB cut a total of 45 New York-based employees across the city since last month.\u003c/p>\n\u003cp>Despite the community’s frustrations, when the indefinite shutdown of the New York outposts turned definite, the tributes rolled in online.\u003c/p>\n\u003cp>Stephen Colbert, who studied at the peer improv hub Second City in Chicago before moving to New York,\u003ca href=\"https://twitter.com/StephenAtHome/status/1252739663892275202?s=20\" target=\"_blank\" rel=\"noopener noreferrer\"> tweeted “I’ll always be grateful” \u003c/a>for the times he was roped in to perform with UCB during the ’90s in the acclaimed sketch show mainstay \u003cem>Asssscat.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Daily Show\u003c/em> correspondent \u003ca href=\"https://twitter.com/jordanklepper/status/1252662922293149697?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Jordan Klepper added\u003c/a>, “When I left Chicago, the people at UCB NY welcomed me, challenged me, and embodied the NY spirit of full commitment today because tomorrow you could run out of cash and life ships you back home.”\u003c/p>\n\u003cp>Other dispatches on social media were less endearing.\u003c/p>\n\u003cp>Former students, many of whom shelled out several hundred dollars for improv classes, wrote about negative experiences and wasted money. Some revived longstanding criticism of the theater’s policy to not pay its performers, unlike many of its improv peers.\u003c/p>\n\u003cp>Despite its problems, many felt a sense of community at UCB, Adkins said.\u003c/p>\n\u003cp>“I think people are grieving,” she said. “It’s pretty much my only community in New York and I think a lot of people feel that way. You don’t get the support of a community like you do at UCB.”\u003c/p>\n\u003cp>In an effort to financially support herself and her peers following the layoffs, Adkins started a GoFundMe page to raise money for New York staff. To date, the account \u003ca href=\"https://www.gofundme.com/f/help-the-ucb-ny-staff\" target=\"_blank\" rel=\"noopener noreferrer\">has raised nearly $60,000\u003c/a>. She’s splitting the funds between staff members, who will receive a month’s worth of pay. The rest will be divided among teachers who are in need, Adkins said.\u003c/p>\n\u003cp>In the \u003cem>THR \u003c/em>interview, Amy Poehler assured the UCB community, “We’re not leaving New York.”\u003c/p>\n\u003cp>At least for the short-term, the company has moved both LA and New York classes online. For the long-term in New York, leadership has floated plans to return to the old days of renting other independent spaces to hold classes and performances.\u003c/p>\n\u003cp>Still, even some of its youngest members see the now-shuttered hubs as a piece of history.\u003c/p>\n\u003cp>“But that’s replaceable and people are not,” said former training center staff member Maicy Jo Schwartz, who began her UCB NY career in 2014.\u003c/p>\n\u003cp>Schwartz sees a silver lining.\u003c/p>\n\u003cp>“I wouldn’t be surprised if in the future some people branch off and start their own theaters or their own training centers or their own underground improv and sketch, because New York is a perfect place to do that,” she said. “And I do hope that the UCB4—Amy, Matt, Matt and Ian—can be part of that and support that when there are future endeavors that their alumni take on.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>NPR’s Elizabeth Blair contributed to this story.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Comedy+Community+Mourns+The+%27End+Of+An+Era%27+As+UCB+Closes+New+York+Locations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the Upright Citizens Brigade announced plans to permanently close its New York bases last week, comedy lost a beloved home. The scrappy, alternative comedy troupe that grew into a school and theater revolutionized improv in New York and beyond with its embrace of “Yes, and …”\u003c/p>\n\u003cp>The New York institution incubated the talents of stars such as Kate McKinnon, Aziz Ansari, Chris Gethard, Donald Glover, Aubrey Plaza and many others in the comedy world. A pillar of longform improv, UCB teachings have been brought into countless comedy writers’ rooms and are etched into many successful TV shows.\u003c/p>\n\u003cp>Four of the company’s founding members, known as the “UCB4″—Amy Poehler, Matt Besser, Matt Walsh and Ian Roberts—told staff in an email on April 21 that the organization couldn’t afford to renew its leases on the group’s two Manhattan locations: the UCB theater in Hell’s Kitchen and a training center in the Garment District.\u003c/p>\n\u003cp>UCB also has two locations in Los Angeles where operations have been temporarily halted during the coronavirus outbreak, but there are currently no plans to close them.\u003c/p>\n\u003cp>Obits followed, marking the exit of UCB’s physical presence in the city where it took off in the ’90s, when the group turned a former strip club into its first theater.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The guys that I came up with in New York at the UCB Theater—we made our bones there basically,” said Rob Corddry, who went on to be a \u003cem>Daily Show\u003c/em> correspondent and star in comedy films including \u003cem>Hot Tub Time Machine\u003c/em>. “It’s really sad. Sort of the end of an era.”\u003c/p>\n\u003cp>The news comes a month after layoffs were announced at the group’s New York and Los Angeles facilities in response to the coronavirus. A small number of staff were kept at training centers on both coasts.\u003c/p>\n\u003cp>But UCB was under financial strain long before the pandemic. Many UCBers cast the move as an example of an opaque, top-down decision-making that, over the years, they say has sowed distrust in UCB leadership among its members.\u003c/p>\n\u003cp>“The biggest issue with UCB was the lack of communication of the company and the owners to their employees,” said Paris Adkins, a New York performer who was laid off from her administrative job with the company last month.\u003c/p>\n\u003cp>A previous round of layoffs took place at the end of 2018, mostly of \u003ca href=\"https://www.nytimes.com/2018/12/11/arts/television/upright-citizens-brigade-layoffs.html\" target=\"_blank\" rel=\"noopener noreferrer\">New York employees\u003c/a>. Adkins said the pandemic “is just the extenuating circumstance that put things over the edge.”\u003c/p>\n\u003cp>As for the most recent closures, UCB’s founders admitted to falling short of expectations.\u003c/p>\n\u003cp>“Look, we heard the community when they said, ‘We’re scared, too, and we want better communication,’ ” Amy Poehler told\u003cem> The Hollywood Reporter\u003c/em> \u003ca href=\"https://www.hollywoodreporter.com/news/amy-poehler-ucb-founders-address-nyc-facility-closures-we-trying-keep-it-alive-1290602\" target=\"_blank\" rel=\"noopener noreferrer\">in an interview with the UCB4 \u003c/a>after the announcement. “I think we did make mistakes, and we’re trying to do better.”\u003c/p>\n\u003cp>UCB has not responded to NPR’s attempts to contact the organization.\u003c/p>\n\u003cp>Chris Renfro, an LA-based performer and show producer who relied on UCB as his main source of income, said that learning in March via a mass email that his 3-year career there had come to an end struck him as a betrayal of the values the UCB4 claimed to live by.\u003c/p>\n\u003cp>“UCB is about a community, it’s about having each other’s backs,” he said, referencing the improv tradition UCB students learn of literally patting each other’s backs and saying “Got your back.”\u003c/p>\n\u003cp>“It felt like they had turned their backs on this massive community they had built up around them,” he said. “So now there’s a weird taste in a lot of peoples’ mouths because of that.”\u003c/p>\n\u003cp>According to a letter sent to staff addressing the layoffs, Poehler said she would pay for an additional month of health care for former full-time staff.\u003c/p>\n\u003cp>Much of the company’s operations run on part-time staff, according to Adkins. She estimated that UCB cut a total of 45 New York-based employees across the city since last month.\u003c/p>\n\u003cp>Despite the community’s frustrations, when the indefinite shutdown of the New York outposts turned definite, the tributes rolled in online.\u003c/p>\n\u003cp>Stephen Colbert, who studied at the peer improv hub Second City in Chicago before moving to New York,\u003ca href=\"https://twitter.com/StephenAtHome/status/1252739663892275202?s=20\" target=\"_blank\" rel=\"noopener noreferrer\"> tweeted “I’ll always be grateful” \u003c/a>for the times he was roped in to perform with UCB during the ’90s in the acclaimed sketch show mainstay \u003cem>Asssscat.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Daily Show\u003c/em> correspondent \u003ca href=\"https://twitter.com/jordanklepper/status/1252662922293149697?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Jordan Klepper added\u003c/a>, “When I left Chicago, the people at UCB NY welcomed me, challenged me, and embodied the NY spirit of full commitment today because tomorrow you could run out of cash and life ships you back home.”\u003c/p>\n\u003cp>Other dispatches on social media were less endearing.\u003c/p>\n\u003cp>Former students, many of whom shelled out several hundred dollars for improv classes, wrote about negative experiences and wasted money. Some revived longstanding criticism of the theater’s policy to not pay its performers, unlike many of its improv peers.\u003c/p>\n\u003cp>Despite its problems, many felt a sense of community at UCB, Adkins said.\u003c/p>\n\u003cp>“I think people are grieving,” she said. “It’s pretty much my only community in New York and I think a lot of people feel that way. You don’t get the support of a community like you do at UCB.”\u003c/p>\n\u003cp>In an effort to financially support herself and her peers following the layoffs, Adkins started a GoFundMe page to raise money for New York staff. To date, the account \u003ca href=\"https://www.gofundme.com/f/help-the-ucb-ny-staff\" target=\"_blank\" rel=\"noopener noreferrer\">has raised nearly $60,000\u003c/a>. She’s splitting the funds between staff members, who will receive a month’s worth of pay. The rest will be divided among teachers who are in need, Adkins said.\u003c/p>\n\u003cp>In the \u003cem>THR \u003c/em>interview, Amy Poehler assured the UCB community, “We’re not leaving New York.”\u003c/p>\n\u003cp>At least for the short-term, the company has moved both LA and New York classes online. For the long-term in New York, leadership has floated plans to return to the old days of renting other independent spaces to hold classes and performances.\u003c/p>\n\u003cp>Still, even some of its youngest members see the now-shuttered hubs as a piece of history.\u003c/p>\n\u003cp>“But that’s replaceable and people are not,” said former training center staff member Maicy Jo Schwartz, who began her UCB NY career in 2014.\u003c/p>\n\u003cp>Schwartz sees a silver lining.\u003c/p>\n\u003cp>“I wouldn’t be surprised if in the future some people branch off and start their own theaters or their own training centers or their own underground improv and sketch, because New York is a perfect place to do that,” she said. “And I do hope that the UCB4—Amy, Matt, Matt and Ian—can be part of that and support that when there are future endeavors that their alumni take on.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A big part of stand-up comedy is about being misunderstood. And part of being misunderstood often means blasting heavy, fast, loud music. So while on the surface, a collaboration album between comedian Brian Posehn and Anthrax guitarist Scott Ian may sound bizarre, it’s really a natural fit. Posehn, raised in Sonoma, is standup comedy’s resident expert on all things metal, a diehard fan who still scours message boards and record stores to stay up on new metal bands. And Ian’s always had a smile and a laugh that’s a little rare among his colleagues in bands like Slayer or Megadeth. With both of them now over 50, they’ve called their album \u003cem>Grandpa Metal\u003c/em>. Posehn and Ian appear together in a free mini-concert and album signing on Thursday, Feb. 13, at Amoeba Music in San Francisco.—\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>These days, the act or \u003cem>re\u003c/em>acting is everywhere. Twitter is essentially one giant stream of people’s snappy takes on current events. An entire cottage industry of YouTube reaction videos thrives. Twitch allows you to watch thousands of people around the world narrating video games.\u003c/p>\n\u003cp>Go back in time, though, and you won’t find too much in the way of reacting-as-entertainment. That, is, except for \u003cem>Mystery Science Theater 3000\u003c/em>, the quirky, groundbreaking TV show that premiered on a small Minnesota TV station in 1988.\u003c/p>\n\u003cp>The show’s premise was wonderfully bizarre: a guy and two robots stuck on a spaceship, forced to watch bad movies and coping by wisecracking their way through the films. Aside from some comic segues, the bad movie was essentially the entirety of the show, plus witty remarks by show creator Joel Hodgson and his two robots, Tom Servo and Crow. It predated even DVD commentary tracks, and presaged the way we consume entertainment today.\u003c/p>\n\u003cp>A live version of \u003cem>Mystery Science Theater 3000\u003c/em> comes to San Francisco for two nights this weekend. For the diehard, day-one fans, the shows include Hodgson, along with new cast members, mocking terrible films. Hodgson is calling it his last \u003cem>Mystery Science Theater\u003c/em> tour—he’s been on and off the road since the show was crowdfunded to resurrection on Netflix in 2017—and, in a short phone conversation from the road, he says he means it.\u003c/p>\n\u003cp>“I’m turning 60 next month,” Hodgson says. “My whole job now is to work with the brand and get it ready for the next guy.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That “next guy” is new host Jonah Ray, who stars in the new Netflix episodes. (“He’s just a natural, positive force, and he’s amazing in that role,” Hodgson says.) But fans will always be particularly attached to Hodgson, who has had three decades of understanding the nerdy cult around the show. On tour, he meets many fans face-to-face, “and they’re all super-sweet,” he says. “You get a few people who are a little socially awkward, but I’m awkward in my own way, so it kind of works out.”\u003c/p>\n\u003cp>A lifetime of watching bad movies hasn’t dulled Hodgson’s senses so much that he can’t enjoy a good movie; he cites the latest Star Wars film as one he recently enjoyed. But he does find that, when he sees movies with others, some people expect him to rip a movie apart. “It’s our job. You try not to bring it with you,” Hodgson explains. “And I do feel like we like good movies just as much as bad ones.”\u003c/p>\n\u003cp>For this tour, the films on \u003cem>Mystery Science Theater\u003c/em>‘s sacrificial altar include \u003cem>No Retreat, No Surrender\u003c/em> and \u003cem>Circus of Horrors\u003c/em>. And if Hodgson is sad about this being his final tour, he doesn’t show it. \u003c/p>\n\u003cp>“I’m pretty happy, and I’m totally thinking about the end of it, for me. You kind of age out of it at a certain point. I’m not going to be one of those guys that’s so attached to it that they do it until they take him out in a box.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Mystery Science Theater 3000’ comes to town for three shows, on Jan. 31 and Feb. 1, at the Golden Gate Theater in San Francisco. \u003ca href=\"https://www.broadwaysf.com/Online/default.asp\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>These days, the act or \u003cem>re\u003c/em>acting is everywhere. Twitter is essentially one giant stream of people’s snappy takes on current events. An entire cottage industry of YouTube reaction videos thrives. Twitch allows you to watch thousands of people around the world narrating video games.\u003c/p>\n\u003cp>Go back in time, though, and you won’t find too much in the way of reacting-as-entertainment. That, is, except for \u003cem>Mystery Science Theater 3000\u003c/em>, the quirky, groundbreaking TV show that premiered on a small Minnesota TV station in 1988.\u003c/p>\n\u003cp>The show’s premise was wonderfully bizarre: a guy and two robots stuck on a spaceship, forced to watch bad movies and coping by wisecracking their way through the films. Aside from some comic segues, the bad movie was essentially the entirety of the show, plus witty remarks by show creator Joel Hodgson and his two robots, Tom Servo and Crow. It predated even DVD commentary tracks, and presaged the way we consume entertainment today.\u003c/p>\n\u003cp>A live version of \u003cem>Mystery Science Theater 3000\u003c/em> comes to San Francisco for two nights this weekend. For the diehard, day-one fans, the shows include Hodgson, along with new cast members, mocking terrible films. Hodgson is calling it his last \u003cem>Mystery Science Theater\u003c/em> tour—he’s been on and off the road since the show was crowdfunded to resurrection on Netflix in 2017—and, in a short phone conversation from the road, he says he means it.\u003c/p>\n\u003cp>“I’m turning 60 next month,” Hodgson says. “My whole job now is to work with the brand and get it ready for the next guy.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That “next guy” is new host Jonah Ray, who stars in the new Netflix episodes. (“He’s just a natural, positive force, and he’s amazing in that role,” Hodgson says.) But fans will always be particularly attached to Hodgson, who has had three decades of understanding the nerdy cult around the show. On tour, he meets many fans face-to-face, “and they’re all super-sweet,” he says. “You get a few people who are a little socially awkward, but I’m awkward in my own way, so it kind of works out.”\u003c/p>\n\u003cp>A lifetime of watching bad movies hasn’t dulled Hodgson’s senses so much that he can’t enjoy a good movie; he cites the latest Star Wars film as one he recently enjoyed. But he does find that, when he sees movies with others, some people expect him to rip a movie apart. “It’s our job. You try not to bring it with you,” Hodgson explains. “And I do feel like we like good movies just as much as bad ones.”\u003c/p>\n\u003cp>For this tour, the films on \u003cem>Mystery Science Theater\u003c/em>‘s sacrificial altar include \u003cem>No Retreat, No Surrender\u003c/em> and \u003cem>Circus of Horrors\u003c/em>. And if Hodgson is sad about this being his final tour, he doesn’t show it. \u003c/p>\n\u003cp>“I’m pretty happy, and I’m totally thinking about the end of it, for me. You kind of age out of it at a certain point. I’m not going to be one of those guys that’s so attached to it that they do it until they take him out in a box.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Mystery Science Theater 3000’ comes to town for three shows, on Jan. 31 and Feb. 1, at the Golden Gate Theater in San Francisco. \u003ca href=\"https://www.broadwaysf.com/Online/default.asp\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Charting Michael Che's Fall From Endearing Comic to Embarrassing Bully",
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"content": "\u003cp>The signs have been there for a while. For months now, Michael Che—one half of \u003cem>Saturday Night Live\u003c/em>‘s “Weekend Update” team and one of the show’s head writers—has been increasingly punching down in his comedy.\u003c/p>\n\u003cp>It started slowly. He was a super-likable presence during his brief stint on \u003cem>The Daily Show\u003c/em> in 2014, and a welcome addition to the on-screen talent of \u003cem>SNL\u003c/em> that same year, after working behind the scenes as a writer.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oFrp_pWajmA\u003c/p>\n\u003cp>By 2016’s \u003ca href=\"https://www.imdb.com/title/tt6209400/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Michael Che Matters\u003c/em>\u003c/a>, the comedian had started to walk a fine line that wasn’t quite as successful. In that Netflix special, brilliant material about Black Lives Matter, religion and gentrification rubbed uncomfortably up against jokes making light of street harassment and homelessness, and criticizing the sexual practices of both straight women and gay men. For the most part, though, Che was careful when stepping into offensive territory to first openly acknowledge that he was doing so, and second, to make a larger point in order to justify it.\u003c/p>\n\u003cp>In one particularly infamous bit, the comic used a transgender slur. “I just recently stopped using the word ‘tranny’ because a trans friend of mine told me how much it hurts,” he said. “I was like ‘What? How the f–k is ‘tranny’ hurtful? I just added a Y!’ … She was like ‘How would you like it if I called you ‘blacky’? Well played, tranny. Well played…” Is it difficult to hear Che use this language? Of course. But at least he did so in the course of drawing connections between marginalized groups, and trying to help one understand the other.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>More recently, however, Che has descended straight into territory that punches down just for the hell of it.\u003c/p>\n\u003cp>In an October “Weekend Update” segment, Che plunged headfirst into transphobic misgendering, for no valid reason at all. While attempting to make a joke about Kanye West’s music going “G-rated,” he said: “At first, I thought Kanye was losing his mind, and now I feel like he’s … just turning into an old white lady … It’s like, how long before this guy changes his name to Kathy? … Now, you might think I’m crazy, but about five years ago there was a fella named Bruce Jenner…”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fMdn2Ao7-88\u003c/p>\n\u003cp>A week later, he made sexist and ageist comments on the show after a 67-year-old woman gave birth in China. Che prompted a mix of laughter and groans when he said: “She can breastfeed just by standing over the crib,” and “doctors described the birth as pulling a penny out of a wad of gum.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tw0l6e1iOsU&feature=emb_logo\u003c/p>\n\u003cp>Even more troubling than his recent descent into unfunny is Che’s penchant for using his social media to call out specific individuals who happen to not share his views.\u003c/p>\n\u003cp>This week, \u003ca href=\"https://theoutline.com/post/8583/michael-che-feud-snl-jack-allison?utm_source=TW&zr=mi2arnha&zd=1&zi=mpawsoe6\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Outline\u003c/em> published a story\u003c/a> by ex-\u003cem>Jimmy Kimmel Live\u003c/em> writer Jack Allison that detailed bullying behavior by Che. After Allison took to Twitter to criticize a (definitely shady) practice used by \u003cem>Saturday Night Live\u003c/em> to acquire jokes, Che called out Allison directly on Instagram, listing his Twitter handle and using specific insults about Allison’s appearance and social life. (“he’s one of those bearded white guys with glasses that hates snl, but talks a lot about snl.. not much about his personal life on there, but i’m sure its awesome.”)\u003c/p>\n\u003cp>In the article, Allison describes in detail how Che repeatedly reignited their squabble online, criticizing Allison’s career (“continue to submit your packet to shows that don’t know/like you! lol i heard thingssssss!”) and personality, and even attempting to paint him as a disingenuous drug addict.\u003c/p>\n\u003cp>https://twitter.com/jackallisonLOL/status/1210296178996203520\u003c/p>\n\u003cp>Allison notes: “Sometimes weeks or whole months would go by with nothing, before all of a sudden, I made another appearance on [Che’s] Instagram Story.”\u003c/p>\n\u003cp>In the same \u003cem>Outline\u003c/em> article, an Uproxx critic named Steven Hyden describes coming under similar fire after writing \u003ca href=\"https://uproxx.com/tv/colin-jost-hate-saturday-night-live/\" target=\"_blank\" rel=\"noopener noreferrer\">an article\u003c/a> about Che’s “Weekend Update” co-anchor Colin Jost that described him as “the epitome of white-male mediocrity.” Hyden explained that Che “decided to mock me on his Instagram. He called me a ‘mediocre ass white dude’ and then said I like to ‘suck off rescue dogs.’ … Also, someone—can’t say it was Che, though it happened immediately after he went into his tirade against me—went into my Wikipedia page and changed it to reflect my supposed preference for having sex with canines.”\u003c/p>\n\u003cp>Similarly, when \u003cem>Daily Beast\u003c/em> writer Samantha Allen wrote an article about \u003ca href=\"https://www.thedailybeast.com/dear-ricky-gervais-and-other-comics-your-caitlyn-jenner-jokes-are-getting-old\" target=\"_blank\" rel=\"noopener noreferrer\">transphobia in comedy\u003c/a>, Che—who wasn’t even mentioned in the piece—responded by pointing his 440,000 Instagram followers squarely in her direction. The incident appeared to be less about defending controversial comedy and more about an attempt to dox a writer for having a different opinion to him.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13873757\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/che-insta-800x743.jpg\" alt=\"\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-1920x1782.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13873758\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/che-insta-2-800x743.jpg\" alt=\"\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-1920x1783.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Reports suggest that Che has been taking things this personally since before his TV career even took off. In 2013, after writing \u003ca href=\"https://blackgirlnerds.com/the-trouble-with-snls-white-christmas/\" target=\"_blank\" rel=\"noopener noreferrer\">an article\u003c/a> for \u003cem>Black Girl Nerds\u003c/em> that criticized one of Che’s \u003cem>SNL\u003c/em> skits, writer Faye McCray claimed that he “made personal attacks on [her], the editor and the publication.” (McCray’s original article has since disappeared from the website.)\u003c/p>\n\u003cp>Che’s social media bullying could now be considered a full-blown pattern. And, aside from obvious issues relating to pettiness, fragile masculinity and a flagrant imbalance of power, there is also some deep irony here. In \u003cem>Michael Che Matters\u003c/em>, the comedian made a point of saying that he was open to hear criticism about his more controversial viewpoints, in order to learn from them. “Maybe you’ve got some f–ked up views about something,” he said, “but unless you’re honest about it, how are you going to get better? You’ve gotta stop accusing people just for being honest. You can school me!”\u003c/p>\n\u003cp>Clearly not.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>If you are a public figure actively working in a profession that attracts critics, it goes without saying that having a much thicker skin than this is an essential part of the job. Not only is Che’s laser-like focus on anyone who hurts his feelings exhausting to watch, it’s deeply embarrassing—for SNL, for fans watching, and most of all, for him.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The signs have been there for a while. For months now, Michael Che—one half of \u003cem>Saturday Night Live\u003c/em>‘s “Weekend Update” team and one of the show’s head writers—has been increasingly punching down in his comedy.\u003c/p>\n\u003cp>It started slowly. He was a super-likable presence during his brief stint on \u003cem>The Daily Show\u003c/em> in 2014, and a welcome addition to the on-screen talent of \u003cem>SNL\u003c/em> that same year, after working behind the scenes as a writer.\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/oFrp_pWajmA'\n title='//www.youtube.com/embed/oFrp_pWajmA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>By 2016’s \u003ca href=\"https://www.imdb.com/title/tt6209400/?ref_=fn_al_tt_1\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Michael Che Matters\u003c/em>\u003c/a>, the comedian had started to walk a fine line that wasn’t quite as successful. In that Netflix special, brilliant material about Black Lives Matter, religion and gentrification rubbed uncomfortably up against jokes making light of street harassment and homelessness, and criticizing the sexual practices of both straight women and gay men. For the most part, though, Che was careful when stepping into offensive territory to first openly acknowledge that he was doing so, and second, to make a larger point in order to justify it.\u003c/p>\n\u003cp>In one particularly infamous bit, the comic used a transgender slur. “I just recently stopped using the word ‘tranny’ because a trans friend of mine told me how much it hurts,” he said. “I was like ‘What? How the f–k is ‘tranny’ hurtful? I just added a Y!’ … She was like ‘How would you like it if I called you ‘blacky’? Well played, tranny. Well played…” Is it difficult to hear Che use this language? Of course. But at least he did so in the course of drawing connections between marginalized groups, and trying to help one understand the other.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>More recently, however, Che has descended straight into territory that punches down just for the hell of it.\u003c/p>\n\u003cp>In an October “Weekend Update” segment, Che plunged headfirst into transphobic misgendering, for no valid reason at all. While attempting to make a joke about Kanye West’s music going “G-rated,” he said: “At first, I thought Kanye was losing his mind, and now I feel like he’s … just turning into an old white lady … It’s like, how long before this guy changes his name to Kathy? … Now, you might think I’m crazy, but about five years ago there was a fella named Bruce Jenner…”\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/fMdn2Ao7-88'\n title='//www.youtube.com/embed/fMdn2Ao7-88'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A week later, he made sexist and ageist comments on the show after a 67-year-old woman gave birth in China. Che prompted a mix of laughter and groans when he said: “She can breastfeed just by standing over the crib,” and “doctors described the birth as pulling a penny out of a wad of gum.”\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/tw0l6e1iOsU'\n title='//www.youtube.com/embed/tw0l6e1iOsU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Even more troubling than his recent descent into unfunny is Che’s penchant for using his social media to call out specific individuals who happen to not share his views.\u003c/p>\n\u003cp>This week, \u003ca href=\"https://theoutline.com/post/8583/michael-che-feud-snl-jack-allison?utm_source=TW&zr=mi2arnha&zd=1&zi=mpawsoe6\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Outline\u003c/em> published a story\u003c/a> by ex-\u003cem>Jimmy Kimmel Live\u003c/em> writer Jack Allison that detailed bullying behavior by Che. After Allison took to Twitter to criticize a (definitely shady) practice used by \u003cem>Saturday Night Live\u003c/em> to acquire jokes, Che called out Allison directly on Instagram, listing his Twitter handle and using specific insults about Allison’s appearance and social life. (“he’s one of those bearded white guys with glasses that hates snl, but talks a lot about snl.. not much about his personal life on there, but i’m sure its awesome.”)\u003c/p>\n\u003cp>In the article, Allison describes in detail how Che repeatedly reignited their squabble online, criticizing Allison’s career (“continue to submit your packet to shows that don’t know/like you! lol i heard thingssssss!”) and personality, and even attempting to paint him as a disingenuous drug addict.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Allison notes: “Sometimes weeks or whole months would go by with nothing, before all of a sudden, I made another appearance on [Che’s] Instagram Story.”\u003c/p>\n\u003cp>In the same \u003cem>Outline\u003c/em> article, an Uproxx critic named Steven Hyden describes coming under similar fire after writing \u003ca href=\"https://uproxx.com/tv/colin-jost-hate-saturday-night-live/\" target=\"_blank\" rel=\"noopener noreferrer\">an article\u003c/a> about Che’s “Weekend Update” co-anchor Colin Jost that described him as “the epitome of white-male mediocrity.” Hyden explained that Che “decided to mock me on his Instagram. He called me a ‘mediocre ass white dude’ and then said I like to ‘suck off rescue dogs.’ … Also, someone—can’t say it was Che, though it happened immediately after he went into his tirade against me—went into my Wikipedia page and changed it to reflect my supposed preference for having sex with canines.”\u003c/p>\n\u003cp>Similarly, when \u003cem>Daily Beast\u003c/em> writer Samantha Allen wrote an article about \u003ca href=\"https://www.thedailybeast.com/dear-ricky-gervais-and-other-comics-your-caitlyn-jenner-jokes-are-getting-old\" target=\"_blank\" rel=\"noopener noreferrer\">transphobia in comedy\u003c/a>, Che—who wasn’t even mentioned in the piece—responded by pointing his 440,000 Instagram followers squarely in her direction. The incident appeared to be less about defending controversial comedy and more about an attempt to dox a writer for having a different opinion to him.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13873757\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/che-insta-800x743.jpg\" alt=\"\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-1920x1782.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13873758\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/che-insta-2-800x743.jpg\" alt=\"\" width=\"800\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-800x743.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-160x149.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-768x713.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-1020x947.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-1200x1114.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/che-insta-2-1920x1783.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Reports suggest that Che has been taking things this personally since before his TV career even took off. In 2013, after writing \u003ca href=\"https://blackgirlnerds.com/the-trouble-with-snls-white-christmas/\" target=\"_blank\" rel=\"noopener noreferrer\">an article\u003c/a> for \u003cem>Black Girl Nerds\u003c/em> that criticized one of Che’s \u003cem>SNL\u003c/em> skits, writer Faye McCray claimed that he “made personal attacks on [her], the editor and the publication.” (McCray’s original article has since disappeared from the website.)\u003c/p>\n\u003cp>Che’s social media bullying could now be considered a full-blown pattern. And, aside from obvious issues relating to pettiness, fragile masculinity and a flagrant imbalance of power, there is also some deep irony here. In \u003cem>Michael Che Matters\u003c/em>, the comedian made a point of saying that he was open to hear criticism about his more controversial viewpoints, in order to learn from them. “Maybe you’ve got some f–ked up views about something,” he said, “but unless you’re honest about it, how are you going to get better? You’ve gotta stop accusing people just for being honest. You can school me!”\u003c/p>\n\u003cp>Clearly not.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Terry Jones, a founding member of the anarchic Monty Python troupe who was hailed by colleagues as “the complete Renaissance comedian” and “a man of endless enthusiasms,” has died at age 77 after suffering from dementia.\u003c/p>\n\u003cp>Jones’s family said he died Tuesday evening at his home in London “after a long, extremely brave but always good humored battle with a rare form of dementia.”\u003c/p>\n\u003cp>“We have all lost a kind, funny, warm, creative and truly loving man whose uncompromising individuality, relentless intellect and extraordinary humor has given pleasure to countless millions across six decades,” Jones’s wife, Anna Soderstrom, and children Bill, Sally and Siri, said in a statement.\u003c/p>\n\u003cp>Born in Wales in 1942, Jones attended Oxford University, where he began writing and performing with fellow student Michael Palin.\u003c/p>\n\u003cp>After leaving university, he wrote for seminal 1960s comedy series, including \u003cem>The Frost Report\u003c/em> and \u003cem>Do Not Adjust Your Set\u003c/em>. At the end of the decade he and Palin, along with Eric Idle, John Cleese, Graham Chapman and Terry Gilliam, formed Monty Python’s Flying Circus. The troupe’s irreverent humor—a blend of satire, surrealism and silliness—helped revolutionize British comedy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Terry was one of my closest, most valued friends. He was kind, generous, supportive and passionate about living life to the full,” Palin said in a statement.\u003c/p>\n\u003cp>“He was far more than one of the funniest writer-performers of his generation. He was the complete Renaissance comedian—writer, director, presenter, historian, brilliant children’s author, and the warmest, most wonderful company you could wish to have,” Palin said.\u003c/p>\n\u003cp>Jones wrote and performed for the troupe’s early-70s TV series and films including \u003cem>Monty Python and the Holy Grail\u003c/em> in 1975 and \u003cem>Monty Python’s Life of Brian\u003c/em> in 1979.\u003c/p>\n\u003cp>Playing the mother of Brian, a hapless young man who is mistaken for Jesus, he delivered one of the Pythons’ most famous lines: “He’s not the Messiah. He’s a very naughty boy!”\u003c/p>\n\u003cp>A more understated presence than the 6-foot-five-inch (1.95 meters) Cleese or the energetic Idle, Jones was a deft comic performer, who played many of the Pythons’ female characters. He was also, among many other characters, a grinning nude organist, Spanish Inquisitor Cardinal Biggles and the explosively gluttonous restaurant patron Mr. Creosote.\u003c/p>\n\u003cp>Cleese tweeted: “It feels strange that a man of so many talents and such endless enthusiasm, should have faded so gently away…”\u003c/p>\n\u003cp>He added: “Two down, four to go,” a reference to the six members of the troupe. Chapman died of cancer in 1989.\u003c/p>\n\u003cp>As well as performing, Jones co-directed \u003cem>Holy Grail\u003c/em> with Gilliam, and directed \u003cem>Life of Brian\u003c/em> and the 1983 Python film \u003cem>The Meaning of Life\u003c/em>.\u003c/p>\n\u003cp>During the 1970s, Jones also created the show \u003cem>Ripping Yarns\u003c/em> with Palin and wrote sketches for comedy duo The Two Ronnies.\u003c/p>\n\u003cp>After the Pythons largely disbanded in the 1980s, Jones wrote books on medieval and ancient history, presented documentaries, wrote poetry and directed films, including \u003cem>Personal Services\u003c/em>, about a suburban brothel madam, and the comedy adventure \u003cem>Erik the Viking\u003c/em>. He also scripted the Jim Henson-directed fantasy film \u003cem>Labyrinth\u003c/em>, which starred David Bowie.\u003c/p>\n\u003cp>In 2014, more than three decades after their last live performance, the five surviving Pythons reunited for a string of stage shows that revived their old skits for adoring audiences.\u003c/p>\n\u003cp>Palin would recall that during the stage run, Jones struggled for the first time with remembering lines. Two years later, Jones’s family announced he had been diagnosed with frontotemporal dementia, which gradually robbed him of the ability to write and speak.\u003c/p>\n\u003cp>“It is a cruel and sad thing,” surviving troupe member Idle tweeted Wednesday. “But let’s remember just what joy he brought to all of us.\u003c/p>\n\u003cp>“So many laughs, moments of total hilarity onstage and off, we have all shared with him. It’s too sad if you knew him, but if you didn’t you will always smile at the many wonderfully funny moments he gave us.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jones is survived by his wife, his ex-wife Alison Telfer, and three children.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Terry Jones, a founding member of the anarchic Monty Python troupe who was hailed by colleagues as “the complete Renaissance comedian” and “a man of endless enthusiasms,” has died at age 77 after suffering from dementia.\u003c/p>\n\u003cp>Jones’s family said he died Tuesday evening at his home in London “after a long, extremely brave but always good humored battle with a rare form of dementia.”\u003c/p>\n\u003cp>“We have all lost a kind, funny, warm, creative and truly loving man whose uncompromising individuality, relentless intellect and extraordinary humor has given pleasure to countless millions across six decades,” Jones’s wife, Anna Soderstrom, and children Bill, Sally and Siri, said in a statement.\u003c/p>\n\u003cp>Born in Wales in 1942, Jones attended Oxford University, where he began writing and performing with fellow student Michael Palin.\u003c/p>\n\u003cp>After leaving university, he wrote for seminal 1960s comedy series, including \u003cem>The Frost Report\u003c/em> and \u003cem>Do Not Adjust Your Set\u003c/em>. At the end of the decade he and Palin, along with Eric Idle, John Cleese, Graham Chapman and Terry Gilliam, formed Monty Python’s Flying Circus. The troupe’s irreverent humor—a blend of satire, surrealism and silliness—helped revolutionize British comedy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Terry was one of my closest, most valued friends. He was kind, generous, supportive and passionate about living life to the full,” Palin said in a statement.\u003c/p>\n\u003cp>“He was far more than one of the funniest writer-performers of his generation. He was the complete Renaissance comedian—writer, director, presenter, historian, brilliant children’s author, and the warmest, most wonderful company you could wish to have,” Palin said.\u003c/p>\n\u003cp>Jones wrote and performed for the troupe’s early-70s TV series and films including \u003cem>Monty Python and the Holy Grail\u003c/em> in 1975 and \u003cem>Monty Python’s Life of Brian\u003c/em> in 1979.\u003c/p>\n\u003cp>Playing the mother of Brian, a hapless young man who is mistaken for Jesus, he delivered one of the Pythons’ most famous lines: “He’s not the Messiah. He’s a very naughty boy!”\u003c/p>\n\u003cp>A more understated presence than the 6-foot-five-inch (1.95 meters) Cleese or the energetic Idle, Jones was a deft comic performer, who played many of the Pythons’ female characters. He was also, among many other characters, a grinning nude organist, Spanish Inquisitor Cardinal Biggles and the explosively gluttonous restaurant patron Mr. Creosote.\u003c/p>\n\u003cp>Cleese tweeted: “It feels strange that a man of so many talents and such endless enthusiasm, should have faded so gently away…”\u003c/p>\n\u003cp>He added: “Two down, four to go,” a reference to the six members of the troupe. Chapman died of cancer in 1989.\u003c/p>\n\u003cp>As well as performing, Jones co-directed \u003cem>Holy Grail\u003c/em> with Gilliam, and directed \u003cem>Life of Brian\u003c/em> and the 1983 Python film \u003cem>The Meaning of Life\u003c/em>.\u003c/p>\n\u003cp>During the 1970s, Jones also created the show \u003cem>Ripping Yarns\u003c/em> with Palin and wrote sketches for comedy duo The Two Ronnies.\u003c/p>\n\u003cp>After the Pythons largely disbanded in the 1980s, Jones wrote books on medieval and ancient history, presented documentaries, wrote poetry and directed films, including \u003cem>Personal Services\u003c/em>, about a suburban brothel madam, and the comedy adventure \u003cem>Erik the Viking\u003c/em>. He also scripted the Jim Henson-directed fantasy film \u003cem>Labyrinth\u003c/em>, which starred David Bowie.\u003c/p>\n\u003cp>In 2014, more than three decades after their last live performance, the five surviving Pythons reunited for a string of stage shows that revived their old skits for adoring audiences.\u003c/p>\n\u003cp>Palin would recall that during the stage run, Jones struggled for the first time with remembering lines. Two years later, Jones’s family announced he had been diagnosed with frontotemporal dementia, which gradually robbed him of the ability to write and speak.\u003c/p>\n\u003cp>“It is a cruel and sad thing,” surviving troupe member Idle tweeted Wednesday. “But let’s remember just what joy he brought to all of us.\u003c/p>\n\u003cp>“So many laughs, moments of total hilarity onstage and off, we have all shared with him. It’s too sad if you knew him, but if you didn’t you will always smile at the many wonderfully funny moments he gave us.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jones is survived by his wife, his ex-wife Alison Telfer, and three children.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ilana Glazer Strikes Out on Her Own in New Stand-Up Special",
"headTitle": "Ilana Glazer Strikes Out on Her Own in New Stand-Up Special | KQED",
"content": "\u003cp>Ilana Glazer is ready for you to get to know the real Ilana.\u003c/p>\n\u003cp>She’s different, she’ll have you know, than Ilana Wexler, her free-wheeling alter-ego on \u003cem>Broad City\u003c/em>, the comedy Web-turned-TV series she created alongside her co-star, Abbi Jacobson.\u003c/p>\n\u003cp>For one, she jokes in her new stand-up special, unlike the fake Ilana, the real Ilana is mature enough to take her vitamins before she hits the bowl of weed.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JrbsQRpM9Ok\u003c/p>\n\u003cp>Jokes aside, Glazer is still figuring out who the real Ilana is, after closing a decade-long chapter on the \u003cem>Broad City \u003c/em>world with the series finale earlier this year. As in the final episode, the inseparable duo of Glazer and Jacobson, must go through the growing pains of striking out on their own.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Thinking of myself as an individual entity when it comes to my work … it’s just been hard,” she said in an interview with\u003cem> All Things Considered\u003c/em>. “You know, it was my whole twenties.”\u003c/p>\n\u003cp>Glazer’s working out her real-life solo act in part on stage in an hour-long special, \u003cem>The Planet Is Burning\u003c/em>, set to hit Amazon Prime next month. In it, we see the 32-year-old wrestle with adult-y things like her marriage—and her discomfort with the unfamiliar assignments of “wife” and “husband.”\u003c/p>\n\u003cp>Like her \u003cem>Broad City\u003c/em> character, Glazer still dances around, slips in and out of voices and impressions, and sings. But beneath that jubilance is a seriousness rarely captured on screen.\u003c/p>\n\u003cp>While her 20-something character laughed her way through constant shenanigans, she and Jacobson were working hard behind the scenes. “I do feel a little bit like I missed out on mistake-making,” Glazer said. “\u003cem>Broad City\u003c/em> was this context for our mistakes, where we got to put them in a box and then leave them there. And now I don’t really have that box.”\u003c/p>\n\u003cp>Over the past decade, Glazer said she’s also realized that she boxed up some feelings while buckling down on the work.\u003c/p>\n\u003cp>“I’ve been so grateful and ‘Thank you so much for this opportunity,’ for so long,” she said. “Also, in \u003cem>Broad City\u003c/em>, I played the light character and Abbi played the darker character.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=avzXGjdBLkA\u003c/p>\n\u003cp>Lately, she said, she’s embracing that darker side.\u003c/p>\n\u003cp>“I’m angrier than I’ve been allowing myself to see,” she said. “I have this fire in me that I was not seeing was part of my light.”\u003c/p>\n\u003cp>That fire lit under her appears to drive her political activism efforts. She helped start \u003ca href=\"https://generatorcollective.com/\">Generator Collective\u003c/a>, a storytelling project that encourages Americans to share their own stories about how public policies affect them personally.\u003c/p>\n\u003cp>The group’s goal, she said, is to “lower the barrier of entry to talking about politics.”\u003c/p>\n\u003cp>Glazer’s new material might be another attempt at lowering that barrier with humor to talk about the current political moment.\u003c/p>\n\u003cp>In \u003cem>The Planet Is Burning\u003c/em>, between her twerking and stage-strutting, the comedian touches on the rise of white nationalism through a stolen-haircut joke, and diagnoses the lack of climate change action as the “ultimate \u003ca href=\"https://www.urbandictionary.com/define.php?term=FOMO\">FOMO\u003c/a>.”\u003c/p>\n\u003cp>In watching herself in the footage from her special, she said, she sees someone who is “more me than Ilana Wexler was.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think people think because of Ilana Wexler and \u003cem>Broad City\u003c/em>, I’m like this happier, more \u003cem>up \u003c/em>person,” she said. “And I am, but I’m kind of an optimistic nihilist. ‘Cause like while we’re on the planet, why not have fun? But—it’s literally burning.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 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=Ilana+Glazer+Strikes+Out+On+Her+Own+In+New+Stand-Up+Special&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ilana Glazer is ready for you to get to know the real Ilana.\u003c/p>\n\u003cp>She’s different, she’ll have you know, than Ilana Wexler, her free-wheeling alter-ego on \u003cem>Broad City\u003c/em>, the comedy Web-turned-TV series she created alongside her co-star, Abbi Jacobson.\u003c/p>\n\u003cp>For one, she jokes in her new stand-up special, unlike the fake Ilana, the real Ilana is mature enough to take her vitamins before she hits the bowl of weed.\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/JrbsQRpM9Ok'\n title='//www.youtube.com/embed/JrbsQRpM9Ok'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jokes aside, Glazer is still figuring out who the real Ilana is, after closing a decade-long chapter on the \u003cem>Broad City \u003c/em>world with the series finale earlier this year. As in the final episode, the inseparable duo of Glazer and Jacobson, must go through the growing pains of striking out on their own.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Thinking of myself as an individual entity when it comes to my work … it’s just been hard,” she said in an interview with\u003cem> All Things Considered\u003c/em>. “You know, it was my whole twenties.”\u003c/p>\n\u003cp>Glazer’s working out her real-life solo act in part on stage in an hour-long special, \u003cem>The Planet Is Burning\u003c/em>, set to hit Amazon Prime next month. In it, we see the 32-year-old wrestle with adult-y things like her marriage—and her discomfort with the unfamiliar assignments of “wife” and “husband.”\u003c/p>\n\u003cp>Like her \u003cem>Broad City\u003c/em> character, Glazer still dances around, slips in and out of voices and impressions, and sings. But beneath that jubilance is a seriousness rarely captured on screen.\u003c/p>\n\u003cp>While her 20-something character laughed her way through constant shenanigans, she and Jacobson were working hard behind the scenes. “I do feel a little bit like I missed out on mistake-making,” Glazer said. “\u003cem>Broad City\u003c/em> was this context for our mistakes, where we got to put them in a box and then leave them there. And now I don’t really have that box.”\u003c/p>\n\u003cp>Over the past decade, Glazer said she’s also realized that she boxed up some feelings while buckling down on the work.\u003c/p>\n\u003cp>“I’ve been so grateful and ‘Thank you so much for this opportunity,’ for so long,” she said. “Also, in \u003cem>Broad City\u003c/em>, I played the light character and Abbi played the darker character.”\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/avzXGjdBLkA'\n title='//www.youtube.com/embed/avzXGjdBLkA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Lately, she said, she’s embracing that darker side.\u003c/p>\n\u003cp>“I’m angrier than I’ve been allowing myself to see,” she said. “I have this fire in me that I was not seeing was part of my light.”\u003c/p>\n\u003cp>That fire lit under her appears to drive her political activism efforts. She helped start \u003ca href=\"https://generatorcollective.com/\">Generator Collective\u003c/a>, a storytelling project that encourages Americans to share their own stories about how public policies affect them personally.\u003c/p>\n\u003cp>The group’s goal, she said, is to “lower the barrier of entry to talking about politics.”\u003c/p>\n\u003cp>Glazer’s new material might be another attempt at lowering that barrier with humor to talk about the current political moment.\u003c/p>\n\u003cp>In \u003cem>The Planet Is Burning\u003c/em>, between her twerking and stage-strutting, the comedian touches on the rise of white nationalism through a stolen-haircut joke, and diagnoses the lack of climate change action as the “ultimate \u003ca href=\"https://www.urbandictionary.com/define.php?term=FOMO\">FOMO\u003c/a>.”\u003c/p>\n\u003cp>In watching herself in the footage from her special, she said, she sees someone who is “more me than Ilana Wexler was.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think people think because of Ilana Wexler and \u003cem>Broad City\u003c/em>, I’m like this happier, more \u003cem>up \u003c/em>person,” she said. “And I am, but I’m kind of an optimistic nihilist. ‘Cause like while we’re on the planet, why not have fun? But—it’s literally burning.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 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=Ilana+Glazer+Strikes+Out+On+Her+Own+In+New+Stand-Up+Special&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Though \u003ca href=\"https://www.sfsketchfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">SF Sketchfest\u003c/a> is hosting a series of conversations between brilliant comedic figures (including \u003ca href=\"https://sfsketchfest2020.sched.com/event/XwbX\" target=\"_blank\" rel=\"noopener noreferrer\">Busy Philipps with Paul F. Tompkins\u003c/a>, and \u003ca href=\"https://sfsketchfest2020.sched.com/event/XppC/sf-sketchfest-tribute-to-brian-regan-in-conversation\" target=\"_blank\" rel=\"noopener noreferrer\">Brian Regan with Todd Barry\u003c/a>), this chat between George Wallace and Patton Oswalt is likely to be a major highlight.\u003c/p>\n\u003cp>Wallace is a living comedy legend, famous for his sharp observational comedy, “I be thinkin'” catchphrase and infamous penchant for “Yo’ mama” jokes.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MjzCkIiTLws&t=74s\u003c/p>\n\u003cp>Wallace started his stand-up career in New York in the late ’70s (where—fun fact!—he was roommates with Jerry Seinfeld), before moving to Los Angeles in the mid-’80s to write for Red Foxx’s ABC sitcom. While there he became a regular at Hollywood’s Comedy Store, performing alongside greats like Richard Pryor and Robin Williams, and honing skills he continues to sharpen on stage to this day.\u003c/p>\n\u003cp>While Wallace went on to appear in many movies (including \u003cem>Postcards From The Edge\u003c/em> and \u003cem>Batman Forever\u003c/em>) and TV shows (like \u003cem>Scrubs\u003c/em> and \u003cem>Seinfeld\u003c/em>), his primary focus has always been performing live. He’s a real comedian’s comedian—which is how he became good friends with another stand-up great, Patton Oswalt.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7eZcZPtPoEc\u003c/p>\n\u003cp>Not only do Wallace and Oswalt share a similar approach to social commentary, they’re also not shy about expressing their camaraderie and adoration for one another—something they’ve previously demonstrated on social media:\u003c/p>\n\u003cp>https://twitter.com/mrgeorgewallace/status/1059543363639099392\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>An evening exploring Wallace’s storied and influential career, as well as his life philosophies, would be pretty magical all on its own. In the hands of Oswalt though, it’s sure to be even more hilarious and heartwarming. \u003ci>–Rae Alexandra\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Though \u003ca href=\"https://www.sfsketchfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">SF Sketchfest\u003c/a> is hosting a series of conversations between brilliant comedic figures (including \u003ca href=\"https://sfsketchfest2020.sched.com/event/XwbX\" target=\"_blank\" rel=\"noopener noreferrer\">Busy Philipps with Paul F. Tompkins\u003c/a>, and \u003ca href=\"https://sfsketchfest2020.sched.com/event/XppC/sf-sketchfest-tribute-to-brian-regan-in-conversation\" target=\"_blank\" rel=\"noopener noreferrer\">Brian Regan with Todd Barry\u003c/a>), this chat between George Wallace and Patton Oswalt is likely to be a major highlight.\u003c/p>\n\u003cp>Wallace is a living comedy legend, famous for his sharp observational comedy, “I be thinkin'” catchphrase and infamous penchant for “Yo’ mama” jokes.\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/MjzCkIiTLws'\n title='//www.youtube.com/embed/MjzCkIiTLws'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Wallace started his stand-up career in New York in the late ’70s (where—fun fact!—he was roommates with Jerry Seinfeld), before moving to Los Angeles in the mid-’80s to write for Red Foxx’s ABC sitcom. While there he became a regular at Hollywood’s Comedy Store, performing alongside greats like Richard Pryor and Robin Williams, and honing skills he continues to sharpen on stage to this day.\u003c/p>\n\u003cp>While Wallace went on to appear in many movies (including \u003cem>Postcards From The Edge\u003c/em> and \u003cem>Batman Forever\u003c/em>) and TV shows (like \u003cem>Scrubs\u003c/em> and \u003cem>Seinfeld\u003c/em>), his primary focus has always been performing live. He’s a real comedian’s comedian—which is how he became good friends with another stand-up great, Patton Oswalt.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>For most, New Year’s Eve is a time of celebration—an evening to put on your dancing shoes and shake off the last year’s highs and lows in preparation for the one to come. So, on the surface, spending an evening with the driest host in late night might seem like rather an odd choice—especially since he’s also the one most likely to give you a civics lesson.\u003c/p>\n\u003cp>Oliver, though, is uniquely positioned to assist in dissecting the events of 2019—both good and bad—and do it in a way that is guaranteed to make you laugh. Just look at how his HBO show \u003ca href=\"https://www.hbo.com/last-week-tonight-with-john-oliver\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Last Week Tonight\u003c/em>\u003c/a> handled the end of 2018: a \u003cem>Fast and the Furious\u003c/em> parody involving Armie Hammer, terrible waxworks of U.S. presidents and a jockstrap once owned by Russell Crowe.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TB_wx0dAPU0\u003c/p>\n\u003cp>So if what you’re seeking for the final hours of 2019 involves serious reflection, politics \u003cem>and\u003c/em> comedy with a hefty side of surreality, an evening with Oliver is definitely the way to go. If you’re lucky, maybe his old pals—like \u003ca href=\"https://www.youtube.com/watch?v=xa0oY7LQmtg\" target=\"_blank\" rel=\"noopener noreferrer\">Chiijohn\u003c/a>, the \u003ca href=\"https://www.youtube.com/watch?v=i296CJMOZpk\" target=\"_blank\" rel=\"noopener noreferrer\">Catheter Cowboy\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=mCVomYlxILc\" target=\"_blank\" rel=\"noopener noreferrer\">Mr. Nutterbutter\u003c/a> the giant squirrel—might just show up to sing “Auld Lang Syne.” And if you still want to dance your way into 2020? Fear not: Oliver is sticking around for a couple of days to soothe even the worst 2019 hangovers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>For comedian and actor Jenny Slate, the path to finding her own voice went through crushing failure (professional) and heartbreak (divorce).\u003c/p>\n\u003cp>She began her career in stand-up, was drafted to \u003cem>Saturday Night Live\u003c/em>—and was fired. The path that followed was uncharted.\u003c/p>\n\u003cp>She starred in \u003ca href=\"https://www.npr.org/2014/06/08/319463693/obvious-child-tells-an-abortion-story-with-rom-com-heart\">an indie comedy about abortion\u003c/a> (\u003cem>Obvious Child\u003c/em>), voiced a viral stop-motion animated character who is a gender non-conforming sea artifact (\u003cem>Marcel the Shell with Shoes On\u003c/em>), and went onto a fair bit of voice acting (\u003cem>Zootopia\u003c/em>, \u003cem>The Secret Life of Pets\u003c/em>, \u003cem>Big Mouth\u003c/em>). And she wrote. This fall, Slate has released her first TV comedy special for Netflix (\u003cem>Stage Fright\u003c/em>) and a book of essays (\u003cem>Little Weirds\u003c/em>).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=p02P8HRtPFc\u003c/p>\n\u003cp>Jenny Slate grew up around books, studied literature at Columbia University and her father is a poet. (“I read a lot of books before I decided to write one,” she says.) \u003cem>Little Weirds \u003c/em>is not a memoir or biography, but more like a series of observational stories, essays, and ruminations on the struggles of adulthood. In one of them, she compares herself to a croissant.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I actually have always been an avid reader, but I guess I just felt like: Well, I’m an actress and I’m a comedian, so … I’m not a writer, or something,” Slate says. “I think I limited myself a bit.”\u003c/p>\n\u003cp>For \u003ca href=\"https://www.npr.org/series/753757133/shes-funny\">She’s Funny\u003c/a>, the \u003cem>All Things Considered\u003c/em> series on women who have broken the rules in comedy, Slate and I sat down together on stage at Lisner Auditorium in Washington D.C.\u003c/p>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On Gilda Radner, her first role model in comedy\u003c/strong>\u003c/p>\n\u003cp>[I] couldn’t pay attention in school. I think that I felt for a while like I wasn’t smart because I couldn’t listen traditionally and people were mad at me for it. And my dad brought in these tapes of \u003ca href=\"https://www.npr.org/2018/09/20/647886381/love-gilda-a-comedy-legend-in-her-own-words\">Gilda Radner\u003c/a>, and it was sort of like, “No no no, you’re just—you’re like this.” Which is, first of all, a great honor. … It was a huge honor, and then it was just like: How can I get there?” …\u003c/p>\n\u003cp>There’s a sketch that Gilda does where—I think it’s called “The Judy Miller Show”—she’s a little Girl Scout, she’s a Brownie, and she’s jumping up and down on her bed in her room, and just playing. She’s playing. That’s what this whole sketch is. And she freaks out—this woman, alone, they gave her the whole stage—she just freaks out for, like, seven minutes. And she’s exhausted, and she’s out of breath, and it’s like a silly, silly, sloppy ballet. And I remember seeing that thinking like, “Oh, I don’t want to be a ballerina. I want to be a funny thing like this.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ezWNh64s38o&feature=emb_logo\u003c/p>\n\u003cp>\u003cstrong>On the atmosphere at \u003c/strong>\u003cstrong>\u003cem>Saturday Night Live\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I didn’t like that there was a culture of fear and intimidation. Whether or not you’re going to be directly sexist and give all the parts to the men or whatever, or whether there’s going to be what I actually think is a much more confusing culture of misogyny that encourages fear and shame. That’s what was going on there. That’s a culture that is encouraged by the people that run the show. … I think that feeling dressed-down, feeling shamed, feeling like you shouldn’t have tried: those are all pressures that are encouraged in a misogynist environment, where there’s not an openness, there’s not a sense that power can present in a way that represents plurality—that there are many, many different ways to access power, and different people can hold it.\u003c/p>\n\u003cp>\u003cstrong>On being fired from \u003c/strong>\u003cstrong>\u003cem>SNL\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>First, I just felt really, really embarrassed and terrible. … Hardly anyone gets kicked out of a cult, because I guess they want you to stay. Like, they’re never like, “You’re bad—leave.” They’re like, “You’re bad, get in the bad closet. You have to make the salad dressing for everybody for three weeks!” But suddenly I just couldn’t imagine anything worse than getting fired. And then I just thought: I have to keep going. And no one can ever take away the dream.\u003c/p>\n\u003cp>And nothing will ever dim the lights of that experience, which was like: getting the job, leaving 30 Rock, calling my parents and saying “I am going to be on \u003cem>Saturday Night Live\u003c/em>“? That is what it is. It’s such a beautiful achievement. And it’s real and I did it. But it’s also the same as thinking you really met your soulmate, and going on the fourth date, and being like, “Did they just say ‘\u003cem>li-bary\u003c/em>‘”? … Get over it, it’s not a match. …\u003c/p>\n\u003cp>But what had also happened at the time, and what always happens, is that: Until I eventually croak, I will not die. I truly will not lie down. And you can be kicked out of a place; I definitely believe that. But I also believe the opportunity to find self-love and creative fulfillment is not a hallway with one door guarded by a super-old man. Actually, it’s spherical, and you just have to hold it between your legs. Just look down, find your opportunity.\u003c/p>\n\u003cp>\u003cstrong>On “Marcel the Shell with Shoes On”\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VF9-sEbqDvU&feature=emb_logo\u003c/p>\n\u003cp>First of all, it allowed me to be sweet and melancholy at once—and to understand one of the things that is essential in my belief as a performer, which is that sorrow is not the same as pessimism, and that you can feel sadness and still be an optimist and not be worried that that’s being wrung out. … And also, doing Marcel, for me, was like, “No, I can still be really strong at comedy, but I don’t really want to compromise on sweetness.” Like, I just don’t think it’s for wimps. I actually think it’s for the strong.\u003c/p>\n\u003cp>\u003cstrong>On if she’s found her voice in comedy\u003c/strong>\u003c/p>\n\u003cp>Yes, I do feel like that. I do. … I really feel that something that started with “Marcel the Shell,” which was drawing close sweetness, and understanding that smallness doesn’t necessarily mean that you suffer from essential diminishment. Starting to gather things that can be held at once was really important. But then writing this book—first, I meant to write something else, and then I started to write things to soothe myself, and I started to like to read my reading to myself. And I just—you know, especially on the internet, there’s so much snark and posturing and posturing at joy and fabricated joy or people taking pictures of themselves in mid-laugh and stuff and really putting that there like, “I’m just happiness in action, there’s nothing else going on for me! I promise! No stress!” I was reacting to that a little bit, to just feeling like I want to tell the truth. And the truth about me is not that I’m really volatile and I’m unstable, but that I’m really vibrant, and the color of my sorrow is just as bright as the stripes of my delight.\u003c/p>\n\u003cfigure id=\"attachment_13870048\" class=\"wp-caption alignright\" style=\"max-width: 304px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13870048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/9780316485340_custom-d039e96113c653d6ceb2d83f01308a54e75ad7e6-s500-c85.jpg\" alt=\"'Little Weirds' by Jenny Slate.\" width=\"304\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/9780316485340_custom-d039e96113c653d6ceb2d83f01308a54e75ad7e6-s500-c85.jpg 304w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/9780316485340_custom-d039e96113c653d6ceb2d83f01308a54e75ad7e6-s500-c85-160x237.jpg 160w\" sizes=\"auto, (max-width: 304px) 100vw, 304px\">\u003cfigcaption class=\"wp-caption-text\">‘Little Weirds’ by Jenny Slate. \u003ccite>(Little, Brown and Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And I started to really find words that I loved, and now they won’t go away. And I also noticed that in writing, I really enjoyed the odd pairing that occurs when you are trying to employ alliteration. And that my writing—at least to me without being juvenile—had all the tricks of a limerick, without being, like, “stupid little so-and-so fell into a shoe” or whatever … I guess there is [poetry in my writing]. I didn’t do it on purpose, but I think there is.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Christina Cala, Bilal Qureshi, Joanna Pawlowska and Emily Kopp produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Sorrow+Is+Not+The+Same+As+Pessimism%27%3A+Comedian+Jenny+Slate&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For comedian and actor Jenny Slate, the path to finding her own voice went through crushing failure (professional) and heartbreak (divorce).\u003c/p>\n\u003cp>She began her career in stand-up, was drafted to \u003cem>Saturday Night Live\u003c/em>—and was fired. The path that followed was uncharted.\u003c/p>\n\u003cp>She starred in \u003ca href=\"https://www.npr.org/2014/06/08/319463693/obvious-child-tells-an-abortion-story-with-rom-com-heart\">an indie comedy about abortion\u003c/a> (\u003cem>Obvious Child\u003c/em>), voiced a viral stop-motion animated character who is a gender non-conforming sea artifact (\u003cem>Marcel the Shell with Shoes On\u003c/em>), and went onto a fair bit of voice acting (\u003cem>Zootopia\u003c/em>, \u003cem>The Secret Life of Pets\u003c/em>, \u003cem>Big Mouth\u003c/em>). And she wrote. This fall, Slate has released her first TV comedy special for Netflix (\u003cem>Stage Fright\u003c/em>) and a book of essays (\u003cem>Little Weirds\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/p02P8HRtPFc'\n title='//www.youtube.com/embed/p02P8HRtPFc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jenny Slate grew up around books, studied literature at Columbia University and her father is a poet. (“I read a lot of books before I decided to write one,” she says.) \u003cem>Little Weirds \u003c/em>is not a memoir or biography, but more like a series of observational stories, essays, and ruminations on the struggles of adulthood. In one of them, she compares herself to a croissant.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I actually have always been an avid reader, but I guess I just felt like: Well, I’m an actress and I’m a comedian, so … I’m not a writer, or something,” Slate says. “I think I limited myself a bit.”\u003c/p>\n\u003cp>For \u003ca href=\"https://www.npr.org/series/753757133/shes-funny\">She’s Funny\u003c/a>, the \u003cem>All Things Considered\u003c/em> series on women who have broken the rules in comedy, Slate and I sat down together on stage at Lisner Auditorium in Washington D.C.\u003c/p>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On Gilda Radner, her first role model in comedy\u003c/strong>\u003c/p>\n\u003cp>[I] couldn’t pay attention in school. I think that I felt for a while like I wasn’t smart because I couldn’t listen traditionally and people were mad at me for it. And my dad brought in these tapes of \u003ca href=\"https://www.npr.org/2018/09/20/647886381/love-gilda-a-comedy-legend-in-her-own-words\">Gilda Radner\u003c/a>, and it was sort of like, “No no no, you’re just—you’re like this.” Which is, first of all, a great honor. … It was a huge honor, and then it was just like: How can I get there?” …\u003c/p>\n\u003cp>There’s a sketch that Gilda does where—I think it’s called “The Judy Miller Show”—she’s a little Girl Scout, she’s a Brownie, and she’s jumping up and down on her bed in her room, and just playing. She’s playing. That’s what this whole sketch is. And she freaks out—this woman, alone, they gave her the whole stage—she just freaks out for, like, seven minutes. And she’s exhausted, and she’s out of breath, and it’s like a silly, silly, sloppy ballet. And I remember seeing that thinking like, “Oh, I don’t want to be a ballerina. I want to be a funny thing like this.”\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/ezWNh64s38o'\n title='//www.youtube.com/embed/ezWNh64s38o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>On the atmosphere at \u003c/strong>\u003cstrong>\u003cem>Saturday Night Live\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I didn’t like that there was a culture of fear and intimidation. Whether or not you’re going to be directly sexist and give all the parts to the men or whatever, or whether there’s going to be what I actually think is a much more confusing culture of misogyny that encourages fear and shame. That’s what was going on there. That’s a culture that is encouraged by the people that run the show. … I think that feeling dressed-down, feeling shamed, feeling like you shouldn’t have tried: those are all pressures that are encouraged in a misogynist environment, where there’s not an openness, there’s not a sense that power can present in a way that represents plurality—that there are many, many different ways to access power, and different people can hold it.\u003c/p>\n\u003cp>\u003cstrong>On being fired from \u003c/strong>\u003cstrong>\u003cem>SNL\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>First, I just felt really, really embarrassed and terrible. … Hardly anyone gets kicked out of a cult, because I guess they want you to stay. Like, they’re never like, “You’re bad—leave.” They’re like, “You’re bad, get in the bad closet. You have to make the salad dressing for everybody for three weeks!” But suddenly I just couldn’t imagine anything worse than getting fired. And then I just thought: I have to keep going. And no one can ever take away the dream.\u003c/p>\n\u003cp>And nothing will ever dim the lights of that experience, which was like: getting the job, leaving 30 Rock, calling my parents and saying “I am going to be on \u003cem>Saturday Night Live\u003c/em>“? That is what it is. It’s such a beautiful achievement. And it’s real and I did it. But it’s also the same as thinking you really met your soulmate, and going on the fourth date, and being like, “Did they just say ‘\u003cem>li-bary\u003c/em>‘”? … Get over it, it’s not a match. …\u003c/p>\n\u003cp>But what had also happened at the time, and what always happens, is that: Until I eventually croak, I will not die. I truly will not lie down. And you can be kicked out of a place; I definitely believe that. But I also believe the opportunity to find self-love and creative fulfillment is not a hallway with one door guarded by a super-old man. Actually, it’s spherical, and you just have to hold it between your legs. Just look down, find your opportunity.\u003c/p>\n\u003cp>\u003cstrong>On “Marcel the Shell with Shoes On”\u003c/strong>\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/VF9-sEbqDvU'\n title='//www.youtube.com/embed/VF9-sEbqDvU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>First of all, it allowed me to be sweet and melancholy at once—and to understand one of the things that is essential in my belief as a performer, which is that sorrow is not the same as pessimism, and that you can feel sadness and still be an optimist and not be worried that that’s being wrung out. … And also, doing Marcel, for me, was like, “No, I can still be really strong at comedy, but I don’t really want to compromise on sweetness.” Like, I just don’t think it’s for wimps. I actually think it’s for the strong.\u003c/p>\n\u003cp>\u003cstrong>On if she’s found her voice in comedy\u003c/strong>\u003c/p>\n\u003cp>Yes, I do feel like that. I do. … I really feel that something that started with “Marcel the Shell,” which was drawing close sweetness, and understanding that smallness doesn’t necessarily mean that you suffer from essential diminishment. Starting to gather things that can be held at once was really important. But then writing this book—first, I meant to write something else, and then I started to write things to soothe myself, and I started to like to read my reading to myself. And I just—you know, especially on the internet, there’s so much snark and posturing and posturing at joy and fabricated joy or people taking pictures of themselves in mid-laugh and stuff and really putting that there like, “I’m just happiness in action, there’s nothing else going on for me! I promise! No stress!” I was reacting to that a little bit, to just feeling like I want to tell the truth. And the truth about me is not that I’m really volatile and I’m unstable, but that I’m really vibrant, and the color of my sorrow is just as bright as the stripes of my delight.\u003c/p>\n\u003cfigure id=\"attachment_13870048\" class=\"wp-caption alignright\" style=\"max-width: 304px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13870048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/9780316485340_custom-d039e96113c653d6ceb2d83f01308a54e75ad7e6-s500-c85.jpg\" alt=\"'Little Weirds' by Jenny Slate.\" width=\"304\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/9780316485340_custom-d039e96113c653d6ceb2d83f01308a54e75ad7e6-s500-c85.jpg 304w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/9780316485340_custom-d039e96113c653d6ceb2d83f01308a54e75ad7e6-s500-c85-160x237.jpg 160w\" sizes=\"auto, (max-width: 304px) 100vw, 304px\">\u003cfigcaption class=\"wp-caption-text\">‘Little Weirds’ by Jenny Slate. \u003ccite>(Little, Brown and Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And I started to really find words that I loved, and now they won’t go away. And I also noticed that in writing, I really enjoyed the odd pairing that occurs when you are trying to employ alliteration. And that my writing—at least to me without being juvenile—had all the tricks of a limerick, without being, like, “stupid little so-and-so fell into a shoe” or whatever … I guess there is [poetry in my writing]. I didn’t do it on purpose, but I think there is.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"tagline": "Art is where you find it",
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"soldout": {
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"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
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