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"title": "With New Book, 'The Hard Times' Expands Its Punk Satire Empire",
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"content": "\u003cp>In 2016, Matt Saincome left a reputable job as \u003cem>SF Weekly\u003c/em>‘s music editor to launch a website rooted in a decidedly niche concept: what would happen if punk rock had its own version of \u003cem>The Onion\u003c/em>? At first, \u003ca href=\"https://thehardtimes.net/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Hard Times\u003c/em>\u003c/a> seemed like an obscure endeavor. But over the past three years, the satire site has gone on to garner a global audience, expand into \u003ca href=\"https://thehardtimes.net/live-events/\" target=\"_blank\" rel=\"noopener\">live events\u003c/a> and \u003ca href=\"https://thehardtimes.net/podcasts/\" target=\"_blank\" rel=\"noopener\">a podcast\u003c/a> and earn praise from \u003cem>The Onion \u003c/em>itself.\u003c/p>\n\u003cp>What makes \u003cem>The Hard Times\u003c/em> so successful is its combination of satirical stories that get into the nitty-gritty of punk politics, and spoofs of news stories with wide appeal. The website’s most popular article of all time, for example, is titled: “\u003ca href=\"https://thehardtimes.net/blog/didnt-vaccinate-kids-one-lived-turned-fine/\" target=\"_blank\" rel=\"noopener\">I Didn’t Vaccinate My Kids and the One Who Lived Turned Out Fine\u003c/a>.”\u003c/p>\n\u003cp>In the midst of a tour in support of hilarious new book \u003ca href=\"https://thehardtimes.net/book/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Hard Times: The First 40 Years\u003c/em>\u003c/a>, KQED Arts caught up with Matt Saincome—who was born and raised in the East Bay town of Danville—to talk Bay Area punk, creating a business out of thin air and the sheer volume of people who still think \u003cem>Hard Times\u003c/em> stories are real.\u003c/p>\n\u003cp>\u003cstrong>What inspired you to start \u003cem>The Hard Times\u003c/em> in the first place? \u003c/strong>\u003c/p>\n\u003cp>I already had a punk comedy zine called \u003cem>Punks! Punks! Punks!\u003c/em> and I went to journalism school and learned some news writing skills. My friends told me to look up \u003cem>The Onion \u003c/em>and I fell in love with it, but \u003cem>The Onion\u003c/em>‘s everyman had a wife, a couple kids and a job. I wanted to create a satire magazine for people who had a band, shitty roommates and depression. That was the life my friends and I were living, and there was no satire outlet representing that culture.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>How did growing up in the Bay influence all this?\u003c/strong>\u003c/p>\n\u003cp>I grew up on [bands like] Rancid, Operation Ivy and Monster Squad and spent a lot of my formative years going to—and being banned from—\u003ca href=\"http://www.924gilman.org/\" target=\"_blank\" rel=\"noopener\">924 Gilman\u003c/a>. The Bay Area has a rich history of punks who take themselves far too seriously, so that was just too tempting to start poking fun at. Anyone who has been an active member of the DIY punk scene for over five years, but still can’t spot the toxic ideologies and hypocritical scene leaders, shouldn’t be allowed to operate a motor vehicle.\u003c/p>\n\u003cfigure id=\"attachment_13868734\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868734\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.07.42-PM-800x546.png\" alt=\"https://thehardtimes.net/\" width=\"800\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.07.42-PM-800x546.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.07.42-PM-160x109.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.07.42-PM-768x524.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.07.42-PM.png 973w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">https://thehardtimes.net/\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Ever since “\u003ca href=\"https://thehardtimes.net/blog/fun-date-night-ideas-youll-never-experience-date-musicians/\" target=\"_blank\" rel=\"noopener\">Fun Date Night Ideas You’ll Never Experience Because You Date Band Dudes\u003c/a>” came out, it’s been a staple on my social media feed. It resonates with so many people I know. \u003c/strong>\u003c/p>\n\u003cp>Oh, dude. One time we booked a band and they were rude to our booker all night. Eventually, they even started flipping him off. He walked up to them and said, “Guys, is something wrong? We did our best to promote the show.” And they explained that before they left for tour, all of their girlfriends saw that article, shared it in a group chat, and now they were all in unison upset with the band. It was causing a bunch of fights, so they were pissed at us.\u003c/p>\n\u003cp>\u003cstrong>Is that the funniest response you’ve ever had to a \u003cem>Hard Times\u003c/em> piece?\u003c/strong>\u003c/p>\n\u003cp>The funniest was probably \u003ca href=\"https://twitter.com/MattSaincome/status/1175972367903805440/photo/1\" target=\"_blank\" rel=\"noopener\">this letter\u003c/a> I received from [residential and commercial flooring publication] \u003cem>Floor Trends\u003c/em> magazine threatening legal action if I didn’t take \u003ca href=\"https://thehardtimes.net/music/nofxs-linoleum-wins-25th-consecutive-song-of-the-year-award-from-floor-trends-magazine/\" target=\"_blank\" rel=\"noopener\">this\u003c/a> down:\u003c/p>\n\u003cfigure id=\"attachment_13868735\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868735\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.12.33-PM-800x536.png\" alt=\"https://thehardtimes.net/\" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.12.33-PM-800x536.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.12.33-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.12.33-PM-768x515.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.12.33-PM.png 980w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">https://thehardtimes.net/\u003c/figcaption>\u003c/figure>\n\u003cp>[The letter reads in part: “This is a serious matter and we trust we will have your immediate attention. Please contact me no later than Monday to confirm the article, any related images and all references to \u003cem>Floor Trends\u003c/em> on your website, social media accounts or any other media you have control over, have been removed.” Saincome replied succinctly with a: “Go f–k yourself.”]\u003c/p>\n\u003cp>\u003cstrong>Do bands ever get that annoyed with you? \u003c/strong>\u003c/p>\n\u003cp>A few, but 99% are positive. People are thrilled to be on \u003cem>Hard Times\u003c/em>. I’ve seen huge musicians tweet excitedly that they’ve “made it” when they finally get a \u003cem>Hard Times\u003c/em> article. Even when it’s negative, they celebrate. It’s great to see. Alien Ant Farm was pissed though!\u003c/p>\n\u003cfigure id=\"attachment_13868736\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868736\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.26.15-PM-800x537.png\" alt=\"The offending Alien Ant Farm story.\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.26.15-PM-800x537.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.26.15-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.26.15-PM-768x515.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.26.15-PM.png 976w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The offending Alien Ant Farm story. \u003ccite>(https://thehardtimes.net/)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How often do people think \u003cem>Hard Times\u003c/em> articles are real?\u003c/strong>\u003c/p>\n\u003cp>Every. Single. Day.\u003c/p>\n\u003cp>\u003cstrong>If you had any advice to people wanting to create a brand from scratch, what would it be?\u003c/strong>\u003c/p>\n\u003cp>Every founder story is bullshit. It’s probably 45% timing and luck, 45% environmental class privilege stuff that makes you less risk averse, and only 10% all that visionary hustle porn stuff you see in TV and movies. Sometimes that 10% can win out, but I had the 90% advantage. I think sometimes people see founders and assume that the thing they saw on Instagram about waking up at 4am and reading 10 books a day must be real. It’s not.\u003c/p>\n\u003cp>\u003cstrong>You’re \u003ca href=\"https://en.wikipedia.org/wiki/Straight_edge\" target=\"_blank\" rel=\"noopener\">straight edge\u003c/a>. There’s an old stereotype that says straight edgers don’t have a sense of humor. Is all of this an elaborate ploy to prove the world wrong?\u003c/strong>\u003c/p>\n\u003cp>It’s actually a long con for me to collect the IP addresses of suspected future edge breakers so I can get my straight edge revenge.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>New book,\u003c/em> The Hard Times: The First 40 Years \u003cem>is out now.\u003c/em>\u003cem> Matt Saincome and website co-founder Bill Conway will be appearing at \u003ca href=\"https://www.facebook.com/events/542681669820794/\" target=\"_blank\" rel=\"noopener\">Green Apple Books on the Park\u003c/a>, San Francisco, on Wednesday, Nov. 13.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2016, Matt Saincome left a reputable job as \u003cem>SF Weekly\u003c/em>‘s music editor to launch a website rooted in a decidedly niche concept: what would happen if punk rock had its own version of \u003cem>The Onion\u003c/em>? At first, \u003ca href=\"https://thehardtimes.net/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Hard Times\u003c/em>\u003c/a> seemed like an obscure endeavor. But over the past three years, the satire site has gone on to garner a global audience, expand into \u003ca href=\"https://thehardtimes.net/live-events/\" target=\"_blank\" rel=\"noopener\">live events\u003c/a> and \u003ca href=\"https://thehardtimes.net/podcasts/\" target=\"_blank\" rel=\"noopener\">a podcast\u003c/a> and earn praise from \u003cem>The Onion \u003c/em>itself.\u003c/p>\n\u003cp>What makes \u003cem>The Hard Times\u003c/em> so successful is its combination of satirical stories that get into the nitty-gritty of punk politics, and spoofs of news stories with wide appeal. The website’s most popular article of all time, for example, is titled: “\u003ca href=\"https://thehardtimes.net/blog/didnt-vaccinate-kids-one-lived-turned-fine/\" target=\"_blank\" rel=\"noopener\">I Didn’t Vaccinate My Kids and the One Who Lived Turned Out Fine\u003c/a>.”\u003c/p>\n\u003cp>In the midst of a tour in support of hilarious new book \u003ca href=\"https://thehardtimes.net/book/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Hard Times: The First 40 Years\u003c/em>\u003c/a>, KQED Arts caught up with Matt Saincome—who was born and raised in the East Bay town of Danville—to talk Bay Area punk, creating a business out of thin air and the sheer volume of people who still think \u003cem>Hard Times\u003c/em> stories are real.\u003c/p>\n\u003cp>\u003cstrong>What inspired you to start \u003cem>The Hard Times\u003c/em> in the first place? \u003c/strong>\u003c/p>\n\u003cp>I already had a punk comedy zine called \u003cem>Punks! Punks! Punks!\u003c/em> and I went to journalism school and learned some news writing skills. My friends told me to look up \u003cem>The Onion \u003c/em>and I fell in love with it, but \u003cem>The Onion\u003c/em>‘s everyman had a wife, a couple kids and a job. I wanted to create a satire magazine for people who had a band, shitty roommates and depression. That was the life my friends and I were living, and there was no satire outlet representing that culture.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>How did growing up in the Bay influence all this?\u003c/strong>\u003c/p>\n\u003cp>I grew up on [bands like] Rancid, Operation Ivy and Monster Squad and spent a lot of my formative years going to—and being banned from—\u003ca href=\"http://www.924gilman.org/\" target=\"_blank\" rel=\"noopener\">924 Gilman\u003c/a>. The Bay Area has a rich history of punks who take themselves far too seriously, so that was just too tempting to start poking fun at. Anyone who has been an active member of the DIY punk scene for over five years, but still can’t spot the toxic ideologies and hypocritical scene leaders, shouldn’t be allowed to operate a motor vehicle.\u003c/p>\n\u003cfigure id=\"attachment_13868734\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868734\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.07.42-PM-800x546.png\" alt=\"https://thehardtimes.net/\" width=\"800\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.07.42-PM-800x546.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.07.42-PM-160x109.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.07.42-PM-768x524.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.07.42-PM.png 973w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">https://thehardtimes.net/\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Ever since “\u003ca href=\"https://thehardtimes.net/blog/fun-date-night-ideas-youll-never-experience-date-musicians/\" target=\"_blank\" rel=\"noopener\">Fun Date Night Ideas You’ll Never Experience Because You Date Band Dudes\u003c/a>” came out, it’s been a staple on my social media feed. It resonates with so many people I know. \u003c/strong>\u003c/p>\n\u003cp>Oh, dude. One time we booked a band and they were rude to our booker all night. Eventually, they even started flipping him off. He walked up to them and said, “Guys, is something wrong? We did our best to promote the show.” And they explained that before they left for tour, all of their girlfriends saw that article, shared it in a group chat, and now they were all in unison upset with the band. It was causing a bunch of fights, so they were pissed at us.\u003c/p>\n\u003cp>\u003cstrong>Is that the funniest response you’ve ever had to a \u003cem>Hard Times\u003c/em> piece?\u003c/strong>\u003c/p>\n\u003cp>The funniest was probably \u003ca href=\"https://twitter.com/MattSaincome/status/1175972367903805440/photo/1\" target=\"_blank\" rel=\"noopener\">this letter\u003c/a> I received from [residential and commercial flooring publication] \u003cem>Floor Trends\u003c/em> magazine threatening legal action if I didn’t take \u003ca href=\"https://thehardtimes.net/music/nofxs-linoleum-wins-25th-consecutive-song-of-the-year-award-from-floor-trends-magazine/\" target=\"_blank\" rel=\"noopener\">this\u003c/a> down:\u003c/p>\n\u003cfigure id=\"attachment_13868735\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868735\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.12.33-PM-800x536.png\" alt=\"https://thehardtimes.net/\" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.12.33-PM-800x536.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.12.33-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.12.33-PM-768x515.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.12.33-PM.png 980w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">https://thehardtimes.net/\u003c/figcaption>\u003c/figure>\n\u003cp>[The letter reads in part: “This is a serious matter and we trust we will have your immediate attention. Please contact me no later than Monday to confirm the article, any related images and all references to \u003cem>Floor Trends\u003c/em> on your website, social media accounts or any other media you have control over, have been removed.” Saincome replied succinctly with a: “Go f–k yourself.”]\u003c/p>\n\u003cp>\u003cstrong>Do bands ever get that annoyed with you? \u003c/strong>\u003c/p>\n\u003cp>A few, but 99% are positive. People are thrilled to be on \u003cem>Hard Times\u003c/em>. I’ve seen huge musicians tweet excitedly that they’ve “made it” when they finally get a \u003cem>Hard Times\u003c/em> article. Even when it’s negative, they celebrate. It’s great to see. Alien Ant Farm was pissed though!\u003c/p>\n\u003cfigure id=\"attachment_13868736\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868736\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.26.15-PM-800x537.png\" alt=\"The offending Alien Ant Farm story.\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.26.15-PM-800x537.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.26.15-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.26.15-PM-768x515.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Screen-Shot-2019-10-23-at-2.26.15-PM.png 976w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The offending Alien Ant Farm story. \u003ccite>(https://thehardtimes.net/)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How often do people think \u003cem>Hard Times\u003c/em> articles are real?\u003c/strong>\u003c/p>\n\u003cp>Every. Single. Day.\u003c/p>\n\u003cp>\u003cstrong>If you had any advice to people wanting to create a brand from scratch, what would it be?\u003c/strong>\u003c/p>\n\u003cp>Every founder story is bullshit. It’s probably 45% timing and luck, 45% environmental class privilege stuff that makes you less risk averse, and only 10% all that visionary hustle porn stuff you see in TV and movies. Sometimes that 10% can win out, but I had the 90% advantage. I think sometimes people see founders and assume that the thing they saw on Instagram about waking up at 4am and reading 10 books a day must be real. It’s not.\u003c/p>\n\u003cp>\u003cstrong>You’re \u003ca href=\"https://en.wikipedia.org/wiki/Straight_edge\" target=\"_blank\" rel=\"noopener\">straight edge\u003c/a>. There’s an old stereotype that says straight edgers don’t have a sense of humor. Is all of this an elaborate ploy to prove the world wrong?\u003c/strong>\u003c/p>\n\u003cp>It’s actually a long con for me to collect the IP addresses of suspected future edge breakers so I can get my straight edge revenge.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>New book,\u003c/em> The Hard Times: The First 40 Years \u003cem>is out now.\u003c/em>\u003cem> Matt Saincome and website co-founder Bill Conway will be appearing at \u003ca href=\"https://www.facebook.com/events/542681669820794/\" target=\"_blank\" rel=\"noopener\">Green Apple Books on the Park\u003c/a>, San Francisco, on Wednesday, Nov. 13.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "After Comic Garry Shandling's Death, Judd Apatow Found Zen in His Diaries",
"headTitle": "After Comic Garry Shandling’s Death, Judd Apatow Found Zen in His Diaries | KQED",
"content": "\u003cp>\u003ca href=\"https://www.npr.org/books/authors/137955750/judd-apatow\">Judd Apatow\u003c/a> was a teenager when he first “met” comic \u003ca href=\"https://www.npr.org/tags/471775543/garry-shandling\">Garry Shandling\u003c/a> in a phone interview for his high school radio show. Years later, their paths intersected again when Shandling, who was hosting the Grammy Awards, hired Apatow to write jokes for him.\u003c/p>\n\u003cfigure id=\"attachment_13869732\" class=\"wp-caption alignright\" style=\"max-width: 176px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13869732\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/91WTugLawxL._AC_UY218_ML3_.jpg\" alt=\"'It's Garry Shandling's Book' is edited by Judd Apatow.\" width=\"176\" height=\"218\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/91WTugLawxL._AC_UY218_ML3_.jpg 176w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/91WTugLawxL._AC_UY218_ML3_-160x198.jpg 160w\" sizes=\"(max-width: 176px) 100vw, 176px\">\u003cfigcaption class=\"wp-caption-text\">‘It’s Garry Shandling’s Book’ is edited by Judd Apatow. \u003ccite>(Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shandling had been Johnny Carson’s guest host on \u003cem>The Tonight Show \u003c/em>before creating and starring in the groundbreaking comedy series\u003cem> It’s Garry Shandling’s Show\u003c/em> and \u003cem>The Larry Sanders Show. \u003c/em>He became Apatow’s mentor and close friend.\u003c/p>\n\u003cp>“He completely changed my life,” Apatow says of Shandling. “He hired me to write for his show. He did a cameo on the pilot of \u003cem>The Ben Stiller Show\u003c/em>, which I thought was part of why we got picked up. He asked me to direct. … It was always mysterious to me why he was so kind to me.”\u003c/p>\n\u003cp>Apatow went on to produce \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=12879331\">\u003cem>Superbad \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2012/04/08/150189071/lena-dunhams-girls-still-sex-still-the-city-different-show\">\u003cem>Girls\u003c/em>\u003c/a>, and to direct \u003cem>The 40-Year-Old Virgin\u003c/em> and \u003ca href=\"#v\">\u003cem>Trainwreck\u003c/em>\u003c/a>\u003cem>, \u003c/em>but he always stayed in touch with his mentor. After Shandling’s \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/03/24/471773637/actor-and-comedian-garry-shandling-dies-at-66\">sudden death\u003c/a> in 2016, Apatow helped sort through his belongings—including boxes of diaries dating back to 1978.\u003c/p>\n\u003cp>Shandling practiced Zen meditation for decades, and many pages of his journals are reminders to himself to stay calm, remain unattached to worldly things and let go of his ego.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I felt like there was so much wisdom in examining Garry’s life,” Apatow says. “Garry was a wounded person. He was a neurotic man. He was a guy constantly attempting to evolve and heal. I felt like there’s so many lessons that people can get from learning about how he lived his life.”\u003c/p>\n\u003cp>Shandling is the subject of Apatow’s new book, \u003cem>It’s Garry Shandling’s Book,\u003c/em> which is a companion to the HBO documentary Apatow made last year, \u003cem>The Zen Diaries of Garry Shandling.\u003c/em>\u003c/p>\n\u003cp>“I saw in the journals that he wrote, ‘Learn to grow old gracefully. Learn to become a mentor gracefully,'” Apatow says. “Now I’m more tuned into the responsibility of doing that. I’m lucky enough to be in a place where I can help people who deserve to be heard from or who deserve breaks. … I definitely try to keep that Garry tradition alive.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=paerP97n4aA\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On Shandling’s place in comedy\u003c/strong>\u003c/p>\n\u003cp>Garry always cut his own path. It always felt like Garry was outside of the system in some way. So when he did \u003cem>It’s Garry Shandling’s Show\u003c/em>, there really hadn’t been a show like that, that was so experimental and weird and which made fun of the whole concept of sitcoms. \u003cem>…\u003c/em>\u003c/p>\n\u003cp>And then he did \u003cem>The Larry Sanders Show,\u003c/em> which was a satire of talk shows. It was a behind-the-scenes look at an anxious, neurotic talk-show host, somewhat like Garry. And in it, he tried to explore the way show business and ego prevents people from connecting and loving each other. That was his premise. And in a way, he was trying to use the show to explore his own psyche. And I always thought he was mocking the part of himself that he didn’t like, mocking the person that wanted to be rich and famous and someone who could hold this high position for a long time.\u003c/p>\n\u003cp>He was a unique, original thinker, and in a way, he was almost like an alternative rock band. And he did all this when TV didn’t have much of this. There’s a lot of television like that these days, but back in the ’80s and early ’90s, there wasn’t programming like this.\u003c/p>\n\u003cp>\u003cstrong>On how Shandling’s journals changed his understanding of Shandling \u003c/strong>\u003c/p>\n\u003cp>I was surprised that 30 years of journals mainly contained Garry trying to talk to his positive voice. So they weren’t journals from the point of view of someone who was just trying to spew all their toxic stuff. A lot of us write in journals like that. We just want to get the bad voice out of our head, and that’s not what Garry’s journals were like. They were a voice talking to the panicked, anxious voice. So most of the journals were reminders to try to get out of ego, to try to be more kind and loving, to let go. It’s 30 years of reminders about the type of person that he wants to be. There were some pages where he was complaining about something, but very few, considering that he did it for 30 years.\u003c/p>\n\u003cp>\u003cstrong>On how Shandling’s 13-year-old brother died when Shandling was 10, and his parents didn’t talk to him about the death or let him go to the funeral \u003c/strong>\u003c/p>\n\u003cp>It’s hard to know for sure, but it certainly scarred him in a way that affected him throughout his life. I felt that his search for presence was based on the fact that at a moment in his life when he needed to be told the truth, he wasn’t told the truth. It’s hard to know how accurate all the details are, but what it sounds like was that he was sent away when his brother died, and he was sent to his grandparents, and that they didn’t tell him for a little while, but he basically understood what was happening.\u003c/p>\n\u003cp>And then after his brother died, the family dealt with it by not talking about it, which, I think, for that time period—this is 1960—is something a lot of people did in post-World War II America. They said, “Alright, we’re going to move forward, and how we survive this is: We are going to stuff it down deep and not talk about it.” And so throughout Garry’s life, he was all for being honest and open and vulnerable and present and real—and I think that’s because at the key moment of his childhood, people were not real with him.\u003c/p>\n\u003cp>\u003cstrong>On how Apatow almost turned down a job as a showrunner for \u003c/strong>\u003cem>\u003cstrong>The Larry Sanders Show \u003c/strong>\u003c/em>\u003cstrong>because he didn’t want to ruin his relationship with Shandling \u003c/strong>\u003c/p>\n\u003cp>I always liken it to trying to paint with Picasso—that if you are painting a painting with him, he probably at some point would turn to you and go, “You’re doing it all wrong! What’s with the red?” You would always disappoint him, because the show is so in his mind and it’s so based on his feelings and experience that when you work on something so personal, how could you ever know what he would do, what’s in his heart, how he would behave? …\u003c/p>\n\u003cp>It was painful at times. If you pitched Garry a joke and he hated it, you would feel it. It would hurt you, the whole look of disappointment in Garry’s eyes. … There were very few people that Garry felt like could write the show. So when he said, “Hey, can you do me a favor and co-showrun this last season?” I was terrified, because I loved my relationship with Garry and I didn’t want something to go terribly wrong with it. I said to him, “Garry, I’ll do it. You have to know how hard this is.” I was just honest with him in a way that probably no one ever had been. And I was honest about why he was difficult to work with.\u003c/p>\n\u003cp>\u003cstrong>On Shandling’s perfectionism and growing interest in Zen Buddhism \u003c/strong>\u003c/p>\n\u003cp>He just could not just be chill and make it easy on himself. He wanted everything to be amazing. And in his head, the stakes were incredibly high and that is pure ego, and that’s why he was always trying to remind himself not to have a big ego. It was a battle that continued, and then at some point near the end of his life, he really did let go and spent a lot more time mentoring people. He basically was satisfied with his work, and people would say, “When’s your next show?” And he would say, “Weren’t these two enough?” And he did let go.\u003c/p>\n\u003cp>\u003cstrong>On how professional success didn’t make Shandling happy \u003c/strong>\u003c/p>\n\u003cp>He wrote a lot for \u003cem>The Larry Sanders Show\u003c/em> about how success doesn’t make you happy, and I think for most people that reached certain heights of success or whose dreams come true, they really learn something that a lot of people don’t learn: [which] is that most of what happens when you get to that place is you realize that it doesn’t work, and in some ways, it’s very depressing. …\u003c/p>\n\u003cp>I’ve looked at myself and all of my friends and we’ve all been in on a very long journey in our attempts to be creative, in our attempts to be successful and to get heard and make things. I’ve seen all the different ways that people have handled the ups and downs of their careers, and it is a struggle, because you put so much of your self-esteem in having people like you because you’re doing a good job.\u003c/p>\n\u003cp>I think that Garry felt a lot happier in some moments after he stopped trying to do the work. He was very loving and giving, and if you wrote a script or had a cut of a movie, he was always there, 100 percent of the time, to come and give you notes and be so helpful. And I think that was a happier part of show business for him than being up at midnight rewriting a script for his show.\u003c/p>\n\u003cp>\u003cstrong>On how Shandling wrote about death in his diaries \u003c/strong>\u003c/p>\n\u003cp>He was about to have the surgery that he knew was potentially life-threatening, and in the journals he would say things like, “Death is not a change. Embrace death. It is freedom. Be open, be ready, be joyful to die.” That’s what it said on all the different pages. It was him trying, in a very Buddhist way, to be comfortable during his exit and to not fight it and to not resist and not see it as something different.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Joel Wolfram produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and\u003c/em> \u003cem>Patrick Jarenwattananon\u003c/em> \u003cem>adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=After+Comic+Garry+Shandling%27s+Death%2C+Judd+Apatow+Found+Zen+In+His+Diaries+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/books/authors/137955750/judd-apatow\">Judd Apatow\u003c/a> was a teenager when he first “met” comic \u003ca href=\"https://www.npr.org/tags/471775543/garry-shandling\">Garry Shandling\u003c/a> in a phone interview for his high school radio show. Years later, their paths intersected again when Shandling, who was hosting the Grammy Awards, hired Apatow to write jokes for him.\u003c/p>\n\u003cfigure id=\"attachment_13869732\" class=\"wp-caption alignright\" style=\"max-width: 176px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13869732\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/91WTugLawxL._AC_UY218_ML3_.jpg\" alt=\"'It's Garry Shandling's Book' is edited by Judd Apatow.\" width=\"176\" height=\"218\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/91WTugLawxL._AC_UY218_ML3_.jpg 176w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/91WTugLawxL._AC_UY218_ML3_-160x198.jpg 160w\" sizes=\"(max-width: 176px) 100vw, 176px\">\u003cfigcaption class=\"wp-caption-text\">‘It’s Garry Shandling’s Book’ is edited by Judd Apatow. \u003ccite>(Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shandling had been Johnny Carson’s guest host on \u003cem>The Tonight Show \u003c/em>before creating and starring in the groundbreaking comedy series\u003cem> It’s Garry Shandling’s Show\u003c/em> and \u003cem>The Larry Sanders Show. \u003c/em>He became Apatow’s mentor and close friend.\u003c/p>\n\u003cp>“He completely changed my life,” Apatow says of Shandling. “He hired me to write for his show. He did a cameo on the pilot of \u003cem>The Ben Stiller Show\u003c/em>, which I thought was part of why we got picked up. He asked me to direct. … It was always mysterious to me why he was so kind to me.”\u003c/p>\n\u003cp>Apatow went on to produce \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=12879331\">\u003cem>Superbad \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2012/04/08/150189071/lena-dunhams-girls-still-sex-still-the-city-different-show\">\u003cem>Girls\u003c/em>\u003c/a>, and to direct \u003cem>The 40-Year-Old Virgin\u003c/em> and \u003ca href=\"#v\">\u003cem>Trainwreck\u003c/em>\u003c/a>\u003cem>, \u003c/em>but he always stayed in touch with his mentor. After Shandling’s \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/03/24/471773637/actor-and-comedian-garry-shandling-dies-at-66\">sudden death\u003c/a> in 2016, Apatow helped sort through his belongings—including boxes of diaries dating back to 1978.\u003c/p>\n\u003cp>Shandling practiced Zen meditation for decades, and many pages of his journals are reminders to himself to stay calm, remain unattached to worldly things and let go of his ego.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I felt like there was so much wisdom in examining Garry’s life,” Apatow says. “Garry was a wounded person. He was a neurotic man. He was a guy constantly attempting to evolve and heal. I felt like there’s so many lessons that people can get from learning about how he lived his life.”\u003c/p>\n\u003cp>Shandling is the subject of Apatow’s new book, \u003cem>It’s Garry Shandling’s Book,\u003c/em> which is a companion to the HBO documentary Apatow made last year, \u003cem>The Zen Diaries of Garry Shandling.\u003c/em>\u003c/p>\n\u003cp>“I saw in the journals that he wrote, ‘Learn to grow old gracefully. Learn to become a mentor gracefully,'” Apatow says. “Now I’m more tuned into the responsibility of doing that. I’m lucky enough to be in a place where I can help people who deserve to be heard from or who deserve breaks. … I definitely try to keep that Garry tradition alive.”\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/paerP97n4aA'\n title='//www.youtube.com/embed/paerP97n4aA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On Shandling’s place in comedy\u003c/strong>\u003c/p>\n\u003cp>Garry always cut his own path. It always felt like Garry was outside of the system in some way. So when he did \u003cem>It’s Garry Shandling’s Show\u003c/em>, there really hadn’t been a show like that, that was so experimental and weird and which made fun of the whole concept of sitcoms. \u003cem>…\u003c/em>\u003c/p>\n\u003cp>And then he did \u003cem>The Larry Sanders Show,\u003c/em> which was a satire of talk shows. It was a behind-the-scenes look at an anxious, neurotic talk-show host, somewhat like Garry. And in it, he tried to explore the way show business and ego prevents people from connecting and loving each other. That was his premise. And in a way, he was trying to use the show to explore his own psyche. And I always thought he was mocking the part of himself that he didn’t like, mocking the person that wanted to be rich and famous and someone who could hold this high position for a long time.\u003c/p>\n\u003cp>He was a unique, original thinker, and in a way, he was almost like an alternative rock band. And he did all this when TV didn’t have much of this. There’s a lot of television like that these days, but back in the ’80s and early ’90s, there wasn’t programming like this.\u003c/p>\n\u003cp>\u003cstrong>On how Shandling’s journals changed his understanding of Shandling \u003c/strong>\u003c/p>\n\u003cp>I was surprised that 30 years of journals mainly contained Garry trying to talk to his positive voice. So they weren’t journals from the point of view of someone who was just trying to spew all their toxic stuff. A lot of us write in journals like that. We just want to get the bad voice out of our head, and that’s not what Garry’s journals were like. They were a voice talking to the panicked, anxious voice. So most of the journals were reminders to try to get out of ego, to try to be more kind and loving, to let go. It’s 30 years of reminders about the type of person that he wants to be. There were some pages where he was complaining about something, but very few, considering that he did it for 30 years.\u003c/p>\n\u003cp>\u003cstrong>On how Shandling’s 13-year-old brother died when Shandling was 10, and his parents didn’t talk to him about the death or let him go to the funeral \u003c/strong>\u003c/p>\n\u003cp>It’s hard to know for sure, but it certainly scarred him in a way that affected him throughout his life. I felt that his search for presence was based on the fact that at a moment in his life when he needed to be told the truth, he wasn’t told the truth. It’s hard to know how accurate all the details are, but what it sounds like was that he was sent away when his brother died, and he was sent to his grandparents, and that they didn’t tell him for a little while, but he basically understood what was happening.\u003c/p>\n\u003cp>And then after his brother died, the family dealt with it by not talking about it, which, I think, for that time period—this is 1960—is something a lot of people did in post-World War II America. They said, “Alright, we’re going to move forward, and how we survive this is: We are going to stuff it down deep and not talk about it.” And so throughout Garry’s life, he was all for being honest and open and vulnerable and present and real—and I think that’s because at the key moment of his childhood, people were not real with him.\u003c/p>\n\u003cp>\u003cstrong>On how Apatow almost turned down a job as a showrunner for \u003c/strong>\u003cem>\u003cstrong>The Larry Sanders Show \u003c/strong>\u003c/em>\u003cstrong>because he didn’t want to ruin his relationship with Shandling \u003c/strong>\u003c/p>\n\u003cp>I always liken it to trying to paint with Picasso—that if you are painting a painting with him, he probably at some point would turn to you and go, “You’re doing it all wrong! What’s with the red?” You would always disappoint him, because the show is so in his mind and it’s so based on his feelings and experience that when you work on something so personal, how could you ever know what he would do, what’s in his heart, how he would behave? …\u003c/p>\n\u003cp>It was painful at times. If you pitched Garry a joke and he hated it, you would feel it. It would hurt you, the whole look of disappointment in Garry’s eyes. … There were very few people that Garry felt like could write the show. So when he said, “Hey, can you do me a favor and co-showrun this last season?” I was terrified, because I loved my relationship with Garry and I didn’t want something to go terribly wrong with it. I said to him, “Garry, I’ll do it. You have to know how hard this is.” I was just honest with him in a way that probably no one ever had been. And I was honest about why he was difficult to work with.\u003c/p>\n\u003cp>\u003cstrong>On Shandling’s perfectionism and growing interest in Zen Buddhism \u003c/strong>\u003c/p>\n\u003cp>He just could not just be chill and make it easy on himself. He wanted everything to be amazing. And in his head, the stakes were incredibly high and that is pure ego, and that’s why he was always trying to remind himself not to have a big ego. It was a battle that continued, and then at some point near the end of his life, he really did let go and spent a lot more time mentoring people. He basically was satisfied with his work, and people would say, “When’s your next show?” And he would say, “Weren’t these two enough?” And he did let go.\u003c/p>\n\u003cp>\u003cstrong>On how professional success didn’t make Shandling happy \u003c/strong>\u003c/p>\n\u003cp>He wrote a lot for \u003cem>The Larry Sanders Show\u003c/em> about how success doesn’t make you happy, and I think for most people that reached certain heights of success or whose dreams come true, they really learn something that a lot of people don’t learn: [which] is that most of what happens when you get to that place is you realize that it doesn’t work, and in some ways, it’s very depressing. …\u003c/p>\n\u003cp>I’ve looked at myself and all of my friends and we’ve all been in on a very long journey in our attempts to be creative, in our attempts to be successful and to get heard and make things. I’ve seen all the different ways that people have handled the ups and downs of their careers, and it is a struggle, because you put so much of your self-esteem in having people like you because you’re doing a good job.\u003c/p>\n\u003cp>I think that Garry felt a lot happier in some moments after he stopped trying to do the work. He was very loving and giving, and if you wrote a script or had a cut of a movie, he was always there, 100 percent of the time, to come and give you notes and be so helpful. And I think that was a happier part of show business for him than being up at midnight rewriting a script for his show.\u003c/p>\n\u003cp>\u003cstrong>On how Shandling wrote about death in his diaries \u003c/strong>\u003c/p>\n\u003cp>He was about to have the surgery that he knew was potentially life-threatening, and in the journals he would say things like, “Death is not a change. Embrace death. It is freedom. Be open, be ready, be joyful to die.” That’s what it said on all the different pages. It was him trying, in a very Buddhist way, to be comfortable during his exit and to not fight it and to not resist and not see it as something different.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Joel Wolfram produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and\u003c/em> \u003cem>Patrick Jarenwattananon\u003c/em> \u003cem>adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=After+Comic+Garry+Shandling%27s+Death%2C+Judd+Apatow+Found+Zen+In+His+Diaries+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Watch: Macaulay Culkin Dancing Onstage With Lizzo Because He is Awesome Now",
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"content": "\u003cp>For a while there, in the aftermath of his \u003cem>Home Alone\u003c/em> fame, it seemed like Macaulay Culkin might go the route of the tragic child star. He fired his own dad for stealing money from him; he got married at age 18 and was separated by 20; he was briefly jailed in 2004 for possession of weed and a variety of prescription pills. He was \u003cem>also\u003c/em> friends with Michael Jackson, for crying out loud.\u003c/p>\n\u003cp>But in the last decade, Macaulay Culkin has fashioned a place for himself in American pop culture that is consistently and unequivocally a surreal joy to behold—and he doesn’t get nearly enough mainstream attention for it.\u003c/p>\n\u003cp>Just this week, he took it upon himself to jump on stage with Lizzo at the Hollywood Palladium in order to do “The Sprinkler” and a bunch of other dance moves that suggest he knows exactly how bad he is at dancing.\u003c/p>\n\u003cp>Still, he was pleased enough with the end result to post a clip to Twitter:\u003c/p>\n\u003cp>https://twitter.com/IncredibleCulk/status/1186536743379456000\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Culkin has the unique distinction of being an ex-child star who, instead of diving headfirst into a pile of self-loathing and self-destruction when his star faded, has instead turned himself into a very lovable cult figure.\u003c/p>\n\u003cp>In case you haven’t been following him, this is a man who spends his spare time showing up to underground wrestling matches and throwing \u003ca href=\"https://www.youtube.com/watch?v=Qx54quy9tDQ\" target=\"_blank\" rel=\"noopener noreferrer\">balls into the ring\u003c/a>, Kevin McCallister-style. This is a man who spent three years in a Velvet Underground cover band that re-wrote all those classic Lou Reed lyrics so they’d be about pizza.\u003c/p>\n\u003cp>Pizza Underground made it clear that Culkin was basically just hanging out with un-famous people in Los Angeles, behaving like an art school student who definitely hadn’t made $20 million before the age of 14.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=129&v=1Tn3rXeylkQ\u003c/p>\n\u003cp>For years now, Culkin has been living his best Warholian life. In 2012, he turned his $2 million New York loft into an \u003ca href=\"https://www.dailymail.co.uk/femail/article-2272202/Macaulay-Culkin-opens-doors-trippy-2million-apartment-turned-art-studio-strewn-cigarettes-alcohol.html\" target=\"_blank\" rel=\"noopener noreferrer\">artists’ workshop\u003c/a> and invited two members of The Moldy Peaches to live with him. When a reporter and photographer from \u003ca href=\"http://bullettmedia.com/article/inside-macaulay-culkins-bizarre-art-collective/2/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Bullett\u003c/em> magazine\u003c/a> went over to see what was going on, Culkin and his roommates showed them around, while \u003cem>all\u003c/em> dressed up as Kurt Cobain.\u003c/p>\n\u003cp>Since starting a lifestyle parody website and podcast named \u003cem>Bunny Ears\u003c/em> last year, articles from the site have included: “\u003ca href=\"https://bunnyears.com/mack-interviews-my-girl-bees/\" target=\"_blank\" rel=\"noopener noreferrer\">Exclusive: Macaulay Culkin Interviews the Swarm of Bees From ‘My Girl’\u003c/a>” and, in reference to that famous scene from \u003cem>Mrs. Doubtfire: \u003c/em>“\u003ca href=\"https://bunnyears.com/cakes-to-smash-into-your-face-when-trying-to-fool-a-social-worker/\" target=\"_blank\" rel=\"noopener noreferrer\">The Best Cakes to Smash Into Your Face When Trying to Fool a Social Worker\u003c/a>.”\u003c/p>\n\u003cp>Culkin’s YouTube channel is even more ridiculous, featuring (among other things) video after video of him telling you he’s going to teach you how to beat a variety of retro games (like \u003ca href=\"https://www.youtube.com/watch?v=xi7rS99gLyU\" target=\"_blank\" rel=\"noopener noreferrer\">Simon\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=BpYkQnKYY40\" target=\"_blank\" rel=\"noopener noreferrer\">Rubik’s Cube\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=oe0Ex-LmYgc\" target=\"_blank\" rel=\"noopener noreferrer\">Battleship\u003c/a>), while never actually teaching you how to beat retro games. He probably doesn’t ever succeed at his end goal because of the copious amounts of white wine he drinks throughout.\u003c/p>\n\u003cp>Ultimately, Culkin has figured out ways to be artistically fulfilled without following the Hollywood path that made him famous. He cares about art, and music, and making you laugh, and—most importantly—he doesn’t care about \u003ca href=\"https://www.youtube.com/watch?v=JONGt32mfRY\" target=\"_blank\" rel=\"noopener noreferrer\">making fun of himself\u003c/a>, or looking silly in the process. What’s more, Culkin has taken ownership of all the things the public found so annoying when he was at the peak of his fame in the ’90s, and embraced them in a way that screams self-acceptance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With all that considered, it’s no wonder he’s friends with Lizzo.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For a while there, in the aftermath of his \u003cem>Home Alone\u003c/em> fame, it seemed like Macaulay Culkin might go the route of the tragic child star. He fired his own dad for stealing money from him; he got married at age 18 and was separated by 20; he was briefly jailed in 2004 for possession of weed and a variety of prescription pills. He was \u003cem>also\u003c/em> friends with Michael Jackson, for crying out loud.\u003c/p>\n\u003cp>But in the last decade, Macaulay Culkin has fashioned a place for himself in American pop culture that is consistently and unequivocally a surreal joy to behold—and he doesn’t get nearly enough mainstream attention for it.\u003c/p>\n\u003cp>Just this week, he took it upon himself to jump on stage with Lizzo at the Hollywood Palladium in order to do “The Sprinkler” and a bunch of other dance moves that suggest he knows exactly how bad he is at dancing.\u003c/p>\n\u003cp>Still, he was pleased enough with the end result to post a clip to Twitter:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Culkin has the unique distinction of being an ex-child star who, instead of diving headfirst into a pile of self-loathing and self-destruction when his star faded, has instead turned himself into a very lovable cult figure.\u003c/p>\n\u003cp>In case you haven’t been following him, this is a man who spends his spare time showing up to underground wrestling matches and throwing \u003ca href=\"https://www.youtube.com/watch?v=Qx54quy9tDQ\" target=\"_blank\" rel=\"noopener noreferrer\">balls into the ring\u003c/a>, Kevin McCallister-style. This is a man who spent three years in a Velvet Underground cover band that re-wrote all those classic Lou Reed lyrics so they’d be about pizza.\u003c/p>\n\u003cp>Pizza Underground made it clear that Culkin was basically just hanging out with un-famous people in Los Angeles, behaving like an art school student who definitely hadn’t made $20 million before the age of 14.\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/1Tn3rXeylkQ'\n title='//www.youtube.com/embed/1Tn3rXeylkQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For years now, Culkin has been living his best Warholian life. In 2012, he turned his $2 million New York loft into an \u003ca href=\"https://www.dailymail.co.uk/femail/article-2272202/Macaulay-Culkin-opens-doors-trippy-2million-apartment-turned-art-studio-strewn-cigarettes-alcohol.html\" target=\"_blank\" rel=\"noopener noreferrer\">artists’ workshop\u003c/a> and invited two members of The Moldy Peaches to live with him. When a reporter and photographer from \u003ca href=\"http://bullettmedia.com/article/inside-macaulay-culkins-bizarre-art-collective/2/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Bullett\u003c/em> magazine\u003c/a> went over to see what was going on, Culkin and his roommates showed them around, while \u003cem>all\u003c/em> dressed up as Kurt Cobain.\u003c/p>\n\u003cp>Since starting a lifestyle parody website and podcast named \u003cem>Bunny Ears\u003c/em> last year, articles from the site have included: “\u003ca href=\"https://bunnyears.com/mack-interviews-my-girl-bees/\" target=\"_blank\" rel=\"noopener noreferrer\">Exclusive: Macaulay Culkin Interviews the Swarm of Bees From ‘My Girl’\u003c/a>” and, in reference to that famous scene from \u003cem>Mrs. Doubtfire: \u003c/em>“\u003ca href=\"https://bunnyears.com/cakes-to-smash-into-your-face-when-trying-to-fool-a-social-worker/\" target=\"_blank\" rel=\"noopener noreferrer\">The Best Cakes to Smash Into Your Face When Trying to Fool a Social Worker\u003c/a>.”\u003c/p>\n\u003cp>Culkin’s YouTube channel is even more ridiculous, featuring (among other things) video after video of him telling you he’s going to teach you how to beat a variety of retro games (like \u003ca href=\"https://www.youtube.com/watch?v=xi7rS99gLyU\" target=\"_blank\" rel=\"noopener noreferrer\">Simon\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=BpYkQnKYY40\" target=\"_blank\" rel=\"noopener noreferrer\">Rubik’s Cube\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=oe0Ex-LmYgc\" target=\"_blank\" rel=\"noopener noreferrer\">Battleship\u003c/a>), while never actually teaching you how to beat retro games. He probably doesn’t ever succeed at his end goal because of the copious amounts of white wine he drinks throughout.\u003c/p>\n\u003cp>Ultimately, Culkin has figured out ways to be artistically fulfilled without following the Hollywood path that made him famous. He cares about art, and music, and making you laugh, and—most importantly—he doesn’t care about \u003ca href=\"https://www.youtube.com/watch?v=JONGt32mfRY\" target=\"_blank\" rel=\"noopener noreferrer\">making fun of himself\u003c/a>, or looking silly in the process. What’s more, Culkin has taken ownership of all the things the public found so annoying when he was at the peak of his fame in the ’90s, and embraced them in a way that screams self-acceptance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With all that considered, it’s no wonder he’s friends with Lizzo.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "O Come, All Ye Faithful, to the Church of Nick Offerman",
"headTitle": "O Come, All Ye Faithful, to the Church of Nick Offerman | KQED",
"content": "\u003cp>Nick Offerman doesn’t need to be pressed too hard to say that he loves the Bay Area.\u003c/p>\n\u003cp>“When I was growing up in a small town in Illinois, when I thought of California, I always thought of San Francisco much more than anywhere else,” says Offerman. “I’ve shot films up there. I have had a \u003cem>lot\u003c/em> of rich cultural experiences, between seeing theater and restaurants and other happenings.”\u003c/p>\n\u003cp>Those “other happenings” include the 49-year-old actor, standup comedian and \u003ca href=\"https://joenguyen.neocities.org/\" target=\"_blank\" rel=\"noopener\">television cult hero\u003c/a> returning to the Bay Area, time and again, to perform. Offerman’s newest live show \u003cem>All Rise\u003c/em>, pitched as an evening “that will compel you to chuckle whilst enjoining you to brandish a better side of humanity,” roars into to town for two nights of standup and music at the Masonic in San Francisco (Oct. 10) and Mountain Winery in Saratoga (Oct. 11).\u003c/p>\n\u003cp>It’s appropriate that Offerman describes \u003cem>All Rise\u003c/em> as “a proper revival,” given his distinctly preacher-like way of talking—which may come as a surprise to those who only know his role as the perpetually intransigent curmudgeon Ron Swanson in NBC’s \u003cem>Parks and Recreation\u003c/em>. Ahead of his Bay Area shows—directed by his comic collaborator, wife Megan Mullally, and which promise to take on the “ideals of the Illuminati”—we chatted by phone about the limits of political comedy, his wife’s brain, the philosophy of woodworking and more.\u003c/p>\n\u003cp>\u003cstrong>Offerman on \u003cem>All Rise\u003c/em>’s “origin story,” involving San Francisco’s Masonic Auditorium:\u003c/strong>\u003c/p>\n\u003cp>“I stumbled in there one night in the early 1970s and found a secret entrance to an Illuminati chamber of secrets. It was mainly a set of library books. There’s a lot of Robert Anton Wilson on the shelf and a six-pack of beer sitting in ice. And that’s where I began learning the secrets, which I impart to my audience.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on creating a political show at a highly political time:\u003c/strong>\u003c/p>\n\u003cp>“We live in a democracy where we get to pick what happens. And here we are, in a situation where every single person is shaking their fists at someone else saying, ‘I am terribly unhappy with the state of affairs.’ And I said, ‘Well, that’s funny. We are one dumb population.’ And so that’s where I started… our ability to not pay attention to a lot of heavy truths, but instead allow ourselves to be distracted by advertising and shopping.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on self-awareness:\u003c/strong>\u003c/p>\n\u003cp>“Whenever I get into an admonishing frame of mind, I think ‘I was brought up well,’ because it occurs to me to look in the mirror first. So if I’m going to scold anybody, I try to include myself in that group.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on the limits of political comedy:\u003c/strong>\u003c/p>\n\u003cp>“It’s always important to realize as an artist… nobody is going to come sit in a theater with me for an hour and a half and leave the theater changed. … A racist is not going to turn around and say, ‘Oh my God, I can’t believe I’ve been so wrong all these years.’ And instead, I just feel like open-minded humanity has been trending across our history towards decency. And if I take a step back and just look at my lifetime, it’s easy to then become more optimistic.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on his immense dancing talent:\u003c/strong>\u003c/p>\n\u003cp>“People are perhaps unaware that my greatest talent is my graceful and elegant dance moves. There \u003cem>are\u003c/em> a few moments of dancing in the show… My wife, the entertainment and beauty legend, Megan Mullally, is directing this show, and so we keep playing with the amount of panache that we think the audience can handle.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on how climate change might fix corruption:\u003c/strong>\u003c/p>\n\u003cp>“Any organization that contains a bunch of people, whether it be an organized religion or a government, eventually is going to be corrupted. Because that’s human nature. No matter how altruistic the beginnings may be, eventually you are going to get some people in charge that say, ‘Hey, I can rig the system so that my family gets more apples than those other bastards.’\u003c/p>\n\u003cp>“And we’re slowly figuring out how to keep that from happening. I think it’s going to take a long time because there’s a lot of people, and a lot of them like apples. But I think that the emergency that we’ve found ourselves in with Mother Nature and with the dire future of climate change will help things along considerably. People won’t be able to go shopping for brightly-colored tennis shoes quite as easily as they could 10 years ago.”\u003c/p>\n\u003cfigure id=\"attachment_10526493\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10526493\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/offermanbbq.jpg\" alt=\"Nick Offerman with wife Megan Mullally.\" width=\"600\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/offermanbbq.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/offermanbbq-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/offermanbbq-320x180.jpg 320w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Nick Offerman with wife Megan Mullally.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Offerman on being one half of an iconic working marriage with Megan Mullally:\u003c/strong>\u003c/p>\n\u003cp>“I kind of feel like we’re pretty anomalous in our ability to collaborate and really value each other in a way; there’s something about our particular recipe that allows us to love working together. I feel like the main pitfall in this situation usually is that there’s a sense of competition, but Megan and I are different enough. I call us a bunny and a hog, where our strengths don’t cross over each other enough that we feel the need to elbow one another out of the way.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on bucking comic stereotypes of henpecked husbands and nagging wives:\u003c/strong>\u003c/p>\n\u003cp>“The trope that you have cited is mired in misogyny… As we continue to break down those old fashioned patriarchal norms, I think we’ll see more and more relationships openly saying, ‘Hey, we’re both smart, charismatic and flawed, farting human beings and we’ve agreed on a partnership and we happen to have the ingredients to have a happy sexual life, professional life, domestic life. And you too can find that for yourself.’ So anytime we can, we can help break down old-fashioned, limiting norms, we are grateful to be part of a movement in the right direction.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on why audiences \u003cem>still\u003c/em> love Ron Swanson:\u003c/strong>\u003c/p>\n\u003cp>“I have been asked this before, and my first answer is don’t ask the clown behind the makeup why the children are crying. I’m just clowning. But… Ron lives very simply. In a way, he embodies some of the ideals that I also pursue in my life: an old-fashioned sensibility, that we don’t \u003cem>need\u003c/em> all the myriad choices that we’re given these days, whether it’s in information or consumable goods. You can have a very happy and fulfilling life with a very simple set of life rules, and with a very simple set of skills. And I think people find that appealing. I think that we are in this morass of too much choice and too much information and we want a sort of parental figure to come along and say, ‘Look, here are the six rules you should live by’… And I think that Ron definitely pushes that button.”\u003c/p>\n\u003cp>“Because of streaming, young people especially are just discovering [\u003cem>Parks and Recreation\u003c/em>]… they’re still really reacting positively and loving the show and the iconic characters. I think [the writers] crafted something that is much \u003cem>more\u003c/em>: it’s good art, which means it transcends its period, and it’s about relationships. But in the larger sense, I think \u003cem>Parks and Recreation\u003c/em> is also a show about ethics; it’s saying ‘How can people of all walks of life get along and survive while having to deal with the banality of making rules, and following rules, and actually getting all the paperwork done to turn a big pit into a city park?’ So I feel like it still flies.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on being \u003ca href=\"https://offermanwoodshop.com/\" target=\"_blank\" rel=\"noopener\">a famous woodworker\u003c/a>:\u003c/strong>\u003c/p>\n\u003cp>“I will immodestly say that I’m pretty handy. In the theater, we say a person like that is ‘good with props.’… I was brought up in a family where we were taught to use implements, and that’s one of the reasons I encourage people to do, to make things, because it carries over. If you become good with a sewing needle or you become good with a hammer and chisel, it carries over into so many parts of your life.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on what he \u003cem>can’t\u003c/em> do with his hands:\u003c/strong>\u003c/p>\n\u003cp>“I’m terrible at drawing. With a pencil, or painting, or at rendering images that are recognizable as remotely useful or beautiful in any way. My biggest failing is I suck at drawing.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on Lagavulin releasing a \u003ca href=\"http://whiskyadvocate.com/nick-offerman-lagavulin-scotch/\" target=\"_blank\" rel=\"noopener\">Offerman Edition scotch\u003c/a> with his face on the bottle:\u003c/strong>\u003c/p>\n\u003cp>“It’s unbelievable. And it’s one of the many sources of bounty that \u003cem>Parks and Recreation\u003c/em> has added to my life [Offerman began formally promoting Lagavulin after his character Ron Swanson expressed his love for the brand in the show.] And I’ll tell you what, it keeps me minding my manners. When you keep winning the lottery every three to four months, you say, ‘Holy cow, I don’t know. I don’t know what I did right. But man, I’m going to double down my efforts not to be any more of a jackass than I am already.’”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Nick Offerman performs Oct. 10 at the Masonic in San Francisco and Oct. 11 at Mountain Winery in Saratoga. Details \u003ca href=\"https://sfmasonic.com/event/nick-offerman-3/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> and \u003ca href=\"https://www.mountainwinery.com/events/detail/?event_id=371025\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "The actor and comic talks with KQED about political comedy, his wife's brilliant mind, and, of course, the enduring appeal of Ron Swanson.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nick Offerman doesn’t need to be pressed too hard to say that he loves the Bay Area.\u003c/p>\n\u003cp>“When I was growing up in a small town in Illinois, when I thought of California, I always thought of San Francisco much more than anywhere else,” says Offerman. “I’ve shot films up there. I have had a \u003cem>lot\u003c/em> of rich cultural experiences, between seeing theater and restaurants and other happenings.”\u003c/p>\n\u003cp>Those “other happenings” include the 49-year-old actor, standup comedian and \u003ca href=\"https://joenguyen.neocities.org/\" target=\"_blank\" rel=\"noopener\">television cult hero\u003c/a> returning to the Bay Area, time and again, to perform. Offerman’s newest live show \u003cem>All Rise\u003c/em>, pitched as an evening “that will compel you to chuckle whilst enjoining you to brandish a better side of humanity,” roars into to town for two nights of standup and music at the Masonic in San Francisco (Oct. 10) and Mountain Winery in Saratoga (Oct. 11).\u003c/p>\n\u003cp>It’s appropriate that Offerman describes \u003cem>All Rise\u003c/em> as “a proper revival,” given his distinctly preacher-like way of talking—which may come as a surprise to those who only know his role as the perpetually intransigent curmudgeon Ron Swanson in NBC’s \u003cem>Parks and Recreation\u003c/em>. Ahead of his Bay Area shows—directed by his comic collaborator, wife Megan Mullally, and which promise to take on the “ideals of the Illuminati”—we chatted by phone about the limits of political comedy, his wife’s brain, the philosophy of woodworking and more.\u003c/p>\n\u003cp>\u003cstrong>Offerman on \u003cem>All Rise\u003c/em>’s “origin story,” involving San Francisco’s Masonic Auditorium:\u003c/strong>\u003c/p>\n\u003cp>“I stumbled in there one night in the early 1970s and found a secret entrance to an Illuminati chamber of secrets. It was mainly a set of library books. There’s a lot of Robert Anton Wilson on the shelf and a six-pack of beer sitting in ice. And that’s where I began learning the secrets, which I impart to my audience.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on creating a political show at a highly political time:\u003c/strong>\u003c/p>\n\u003cp>“We live in a democracy where we get to pick what happens. And here we are, in a situation where every single person is shaking their fists at someone else saying, ‘I am terribly unhappy with the state of affairs.’ And I said, ‘Well, that’s funny. We are one dumb population.’ And so that’s where I started… our ability to not pay attention to a lot of heavy truths, but instead allow ourselves to be distracted by advertising and shopping.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on self-awareness:\u003c/strong>\u003c/p>\n\u003cp>“Whenever I get into an admonishing frame of mind, I think ‘I was brought up well,’ because it occurs to me to look in the mirror first. So if I’m going to scold anybody, I try to include myself in that group.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on the limits of political comedy:\u003c/strong>\u003c/p>\n\u003cp>“It’s always important to realize as an artist… nobody is going to come sit in a theater with me for an hour and a half and leave the theater changed. … A racist is not going to turn around and say, ‘Oh my God, I can’t believe I’ve been so wrong all these years.’ And instead, I just feel like open-minded humanity has been trending across our history towards decency. And if I take a step back and just look at my lifetime, it’s easy to then become more optimistic.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on his immense dancing talent:\u003c/strong>\u003c/p>\n\u003cp>“People are perhaps unaware that my greatest talent is my graceful and elegant dance moves. There \u003cem>are\u003c/em> a few moments of dancing in the show… My wife, the entertainment and beauty legend, Megan Mullally, is directing this show, and so we keep playing with the amount of panache that we think the audience can handle.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on how climate change might fix corruption:\u003c/strong>\u003c/p>\n\u003cp>“Any organization that contains a bunch of people, whether it be an organized religion or a government, eventually is going to be corrupted. Because that’s human nature. No matter how altruistic the beginnings may be, eventually you are going to get some people in charge that say, ‘Hey, I can rig the system so that my family gets more apples than those other bastards.’\u003c/p>\n\u003cp>“And we’re slowly figuring out how to keep that from happening. I think it’s going to take a long time because there’s a lot of people, and a lot of them like apples. But I think that the emergency that we’ve found ourselves in with Mother Nature and with the dire future of climate change will help things along considerably. People won’t be able to go shopping for brightly-colored tennis shoes quite as easily as they could 10 years ago.”\u003c/p>\n\u003cfigure id=\"attachment_10526493\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10526493\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/offermanbbq.jpg\" alt=\"Nick Offerman with wife Megan Mullally.\" width=\"600\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/offermanbbq.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/offermanbbq-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/offermanbbq-320x180.jpg 320w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Nick Offerman with wife Megan Mullally.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Offerman on being one half of an iconic working marriage with Megan Mullally:\u003c/strong>\u003c/p>\n\u003cp>“I kind of feel like we’re pretty anomalous in our ability to collaborate and really value each other in a way; there’s something about our particular recipe that allows us to love working together. I feel like the main pitfall in this situation usually is that there’s a sense of competition, but Megan and I are different enough. I call us a bunny and a hog, where our strengths don’t cross over each other enough that we feel the need to elbow one another out of the way.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on bucking comic stereotypes of henpecked husbands and nagging wives:\u003c/strong>\u003c/p>\n\u003cp>“The trope that you have cited is mired in misogyny… As we continue to break down those old fashioned patriarchal norms, I think we’ll see more and more relationships openly saying, ‘Hey, we’re both smart, charismatic and flawed, farting human beings and we’ve agreed on a partnership and we happen to have the ingredients to have a happy sexual life, professional life, domestic life. And you too can find that for yourself.’ So anytime we can, we can help break down old-fashioned, limiting norms, we are grateful to be part of a movement in the right direction.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on why audiences \u003cem>still\u003c/em> love Ron Swanson:\u003c/strong>\u003c/p>\n\u003cp>“I have been asked this before, and my first answer is don’t ask the clown behind the makeup why the children are crying. I’m just clowning. But… Ron lives very simply. In a way, he embodies some of the ideals that I also pursue in my life: an old-fashioned sensibility, that we don’t \u003cem>need\u003c/em> all the myriad choices that we’re given these days, whether it’s in information or consumable goods. You can have a very happy and fulfilling life with a very simple set of life rules, and with a very simple set of skills. And I think people find that appealing. I think that we are in this morass of too much choice and too much information and we want a sort of parental figure to come along and say, ‘Look, here are the six rules you should live by’… And I think that Ron definitely pushes that button.”\u003c/p>\n\u003cp>“Because of streaming, young people especially are just discovering [\u003cem>Parks and Recreation\u003c/em>]… they’re still really reacting positively and loving the show and the iconic characters. I think [the writers] crafted something that is much \u003cem>more\u003c/em>: it’s good art, which means it transcends its period, and it’s about relationships. But in the larger sense, I think \u003cem>Parks and Recreation\u003c/em> is also a show about ethics; it’s saying ‘How can people of all walks of life get along and survive while having to deal with the banality of making rules, and following rules, and actually getting all the paperwork done to turn a big pit into a city park?’ So I feel like it still flies.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on being \u003ca href=\"https://offermanwoodshop.com/\" target=\"_blank\" rel=\"noopener\">a famous woodworker\u003c/a>:\u003c/strong>\u003c/p>\n\u003cp>“I will immodestly say that I’m pretty handy. In the theater, we say a person like that is ‘good with props.’… I was brought up in a family where we were taught to use implements, and that’s one of the reasons I encourage people to do, to make things, because it carries over. If you become good with a sewing needle or you become good with a hammer and chisel, it carries over into so many parts of your life.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on what he \u003cem>can’t\u003c/em> do with his hands:\u003c/strong>\u003c/p>\n\u003cp>“I’m terrible at drawing. With a pencil, or painting, or at rendering images that are recognizable as remotely useful or beautiful in any way. My biggest failing is I suck at drawing.”\u003c/p>\n\u003cp>\u003cstrong>Offerman on Lagavulin releasing a \u003ca href=\"http://whiskyadvocate.com/nick-offerman-lagavulin-scotch/\" target=\"_blank\" rel=\"noopener\">Offerman Edition scotch\u003c/a> with his face on the bottle:\u003c/strong>\u003c/p>\n\u003cp>“It’s unbelievable. And it’s one of the many sources of bounty that \u003cem>Parks and Recreation\u003c/em> has added to my life [Offerman began formally promoting Lagavulin after his character Ron Swanson expressed his love for the brand in the show.] And I’ll tell you what, it keeps me minding my manners. When you keep winning the lottery every three to four months, you say, ‘Holy cow, I don’t know. I don’t know what I did right. But man, I’m going to double down my efforts not to be any more of a jackass than I am already.’”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Nick Offerman performs Oct. 10 at the Masonic in San Francisco and Oct. 11 at Mountain Winery in Saratoga. Details \u003ca href=\"https://sfmasonic.com/event/nick-offerman-3/\" target=\"_blank\" rel=\"noopener\">here\u003c/a> and \u003ca href=\"https://www.mountainwinery.com/events/detail/?event_id=371025\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s a skit that didn’t even make it into a \u003cem>Saturday Night Live\u003c/em> broadcast. In “Alan,” Bill Hader starred as “the future of casual entertainment”: a robot that dances in a goofy, dad-friendly way that never quite progresses past the point of pedestrian. The very funny bit was cut for time in 2015, but thankfully found its way online after the episode aired.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=1&v=xplEPT5I39E\u003c/p>\n\u003cp>Now, a new Twitter account is taking the Alan to new and seemingly boundless heights thanks to the discovery that Hader’s dancing in the skit goes with, well, absolutely everything. And somehow, the more videos \u003ca href=\"https://twitter.com/billhaderdancin\" target=\"_blank\" rel=\"noopener\">@billhaderdancin\u003c/a> posts, the funnier this gets. Observe.\u003c/p>\n\u003cp>The Alan works with classic rock:\u003c/p>\n\u003cp>https://twitter.com/billhaderdancin/status/1178009490765033472?s=20\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/billhaderdancin/status/1178321115845926914?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1178321115845926914&ref_url=https%3A%2F%2Fwww.dailydot.com%2Funclick%2Fbill-hader-dancing-meme%2F\u003c/p>\n\u003cp>He works with contemporary pop:\u003c/p>\n\u003cp>https://twitter.com/billhaderdancin/status/1177651408474198017\u003c/p>\n\u003cp>https://twitter.com/billhaderdancin/status/1178372131719122946\u003c/p>\n\u003cp>And he even works with indie rock tunes:\u003c/p>\n\u003cp>https://twitter.com/billhaderdancin/status/1176507672503431168\u003c/p>\n\u003cp>https://twitter.com/billhaderdancin/status/1174121070678482944\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>An 18-year-old Florida woman named \u003ca href=\"https://twitter.com/lustsfilm\" target=\"_blank\" rel=\"noopener\">Sam\u003c/a>, a big fan of Hader and Keanu Reeves, discovered the versatility of the Alan dance and launched the account on September 17. Its videos have already garnered well over a million views. No wonder—thanks to Hader’s inability to do anything badly, this is destined to be a gift that keeps on giving.\u003c/p>\n\n",
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"content": "\u003cp>The weekend is almost here. Hooray!\u003c/p>\n\u003cp>Looking for things to do? Listen to KQED Arts’ Gabe Meline and Sarah Hotchkiss discuss their event picks at the audio link above, or read about each event below.\u003c/p>\n\u003cp>\u003cstrong>Charo\u003c/strong>: Ms. “\u003ca href=\"https://www.youtube.com/watch?v=BB8K93NG8qc\" rel=\"noopener\" target=\"_blank\">Cuchi Cuchi\u003c/a>” herself, Charo, is still at it, and this weekend she plays her first show in the Bay Area in ten years. Now, I’m not crazy, hear me out—I saw Charo once and it was so ridiculous, and so fun, I have never been the same since. In San Francisco, she’s bound to have a loyal camp following in the audience, but don’t forget her guitar playing and hilarious, self-effacing jokes. She plays on Friday, Sept. 20, at the Herbst Theater in San Francisco. \u003ca href=\"https://www.koshercomedy.com/charo\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Free Museum Day\u003c/strong>: Officially, Sarah’s recommendation is to call in sick on Thursday, Sept. 19. That’s because a bunch of the museums around Yerba Buena Gardens, including SFMOMA, the Museum of the African Diaspora, YBCA and the Contemporary Jewish Museum are all opening their doors for free. It’s a celebration they’re calling Culture for Community, and most of the arts and culture institutions (over a dozen total) have extended hours and special programming happening—all of it completely free (though SFMOMA does recommend reserving your tickets in advance). \u003ca href=\"https://www.kqed.org/arts/13866548/free-entry-at-sfmoma-moad-other-yerba-buena-museums-this-thursday\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>’50 Faces’\u003c/strong>: This populist show is a collection from Italy of mosaic images of celebrities, and other figures: Carlos Santana, Frida Kahlo, David Bowie, Basquiat. Total Instagram bait, if we’re being honest. Sarah is unsettled by the Frida Kahlo portrait’s tiny doll hand earrings hanging off her mosaic ears, and I’m brave enough to admit that this is not high art. But if you’re like me, you have a side of you that loves this stuff. It opens Saturday, Sept. 21, at the Marin Museum of Contemporary Art in Novato, and runs through Nov. 10. \u003ca href=\"https://marinmoca.org/exhibitions/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>‘Cities of the Future’\u003c/strong>: In this show, artists from San Quentin State Prison made one diorama depicting a city of the present, and a second diorama that imagines a city 300 years in the future. This is all made out of paper, cardboard, paint—the models are incredibly detailed. Sarah got to visit the art program at San Quentin just a few weeks ago, and the level of talent in that studio, she attests, is impressive. It’s on view at 2100 Milvia Street in downtown Berkeley through March 2020. \u003ca href=\"http://www.kala.org/exhibition/cities-of-the-future/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The Man in Black’\u003c/strong>: Who can pull of a ballet based on the music of Johnny Cash? SMUIN Ballet, that’s who. Created by James Kudelka, ‘The Man in Black’ is a ballet based on five of Johnny Cash’s songs—which also runs along dances based on the music of Dave Brubeck and \u003cem>Carmina Burana\u003c/em>. That’s on Friday and Saturday, Sept. 20 and 21, at the Lesher Center in Walnut Creek. \u003ca href=\"https://lesherartscenter.showare.com/eventperformances.asp?evt=1272\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Hank Williams Tribute\u003c/strong>: Meanwhile, to coincide with Ken Burns’ Country Music documentary, up in Petaluma there’s a live music tribute to the Hillbilly Shakespeare himself, Hank Williams. It features an all-star cast of local musicians and benefits KRCB public radio. “Lovesick Blues,” “Hey Good Lookin’,” “Your Cheatin’ Heart”—it all goes down on Saturday, Sept. 21, at the Mystic Theatre. \u003ca href=\"https://mystictheatre.tunestub.com/event.cfm?id=302320\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘Cities of the Future’\u003c/strong>: In this show, artists from San Quentin State Prison made one diorama depicting a city of the present, and a second diorama that imagines a city 300 years in the future. This is all made out of paper, cardboard, paint—the models are incredibly detailed. Sarah got to visit the art program at San Quentin just a few weeks ago, and the level of talent in that studio, she attests, is impressive. It’s on view at 2100 Milvia Street in downtown Berkeley through March 2020. \u003ca href=\"http://www.kala.org/exhibition/cities-of-the-future/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The Man in Black’\u003c/strong>: Who can pull of a ballet based on the music of Johnny Cash? SMUIN Ballet, that’s who. Created by James Kudelka, ‘The Man in Black’ is a ballet based on five of Johnny Cash’s songs—which also runs along dances based on the music of Dave Brubeck and \u003cem>Carmina Burana\u003c/em>. That’s on Friday and Saturday, Sept. 20 and 21, at the Lesher Center in Walnut Creek. \u003ca href=\"https://lesherartscenter.showare.com/eventperformances.asp?evt=1272\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Hank Williams Tribute\u003c/strong>: Meanwhile, to coincide with Ken Burns’ Country Music documentary, up in Petaluma there’s a live music tribute to the Hillbilly Shakespeare himself, Hank Williams. It features an all-star cast of local musicians and benefits KRCB public radio. “Lovesick Blues,” “Hey Good Lookin’,” “Your Cheatin’ Heart”—it all goes down on Saturday, Sept. 21, at the Mystic Theatre. \u003ca href=\"https://mystictheatre.tunestub.com/event.cfm?id=302320\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Good, the Bad and the Godawful: Paul Scheer Takes on the Movies (in Podcast Form)",
"headTitle": "The Good, the Bad and the Godawful: Paul Scheer Takes on the Movies (in Podcast Form) | KQED",
"content": "\u003cp>Wherever you get your podcasts, there’s no shortage of movie shows. But\u003ca href=\"http://www.paulscheer.com/\"> Paul Scheer\u003c/a> may be the only man with one podcast dedicated to the very worst movies, and \u003cem>another\u003c/em> exploring the very best.\u003c/p>\n\u003cp>Thanks to a 20-year career in front of the camera in a variety of roles, comic Paul Scheer—who’s also a writer and director—has become a familiar face in film and TV, with roles in \u003cem>The League\u003c/em>,\u003cem> Fresh Off the Boat\u003c/em> and most recently Amazon’s \u003cem>Black Monday\u003c/em>. In the podcast world however, he’s best known not just as the host of the cult comedy show \u003ca href=\"https://www.earwolf.com/show/how-did-this-get-made/\">\u003cem>How Did This Get Made?\u003c/em>\u003c/a>—now in its ninth year, and \u003ca href=\"https://www.hdtgminfo.com/index/#tour\">bringing its live tour to Berkeley\u003c/a> this week—but also for \u003ca href=\"https://www.earwolf.com/show/unspooled/\">\u003cem>Unspooled\u003c/em>\u003c/a>, his podcast examining whether the classics still deserve their acclaim in 2019.\u003c/p>\n\u003cp>A show which Scheer says is “based on an energy of \u003cem>loving\u003c/em> movies” despite their dubious quality, \u003cem>How Did This Get Made\u003c/em> (\u003cem>HDTGM\u003c/em>) has dissected the very worst of Hollywood’s output for comic effect since 2011. Hosted by Scheer, June Diane Raphael and Jason Mantzoukas, what started as an exploration of how movies as dreadful as \u003cem>Battlefield Earth\u003c/em> or\u003cem> Speed 2: Cruise Control\u003c/em> actually get produced evolved into a hybrid of comedic conversation and affectionate criticism of the enjoyably ludicrous, with special guests like Charlize Theron and raucous sold-out live shows. \u003c/p>\n\u003cp>(Since the show’s early days, for example, \u003cem>Parks and Recreation\u003c/em> actor Adam Scott has returned for every single \u003cem>Fast and the Furious\u003c/em> live taping, a recurring role that increasingly styles him as a kind of sincere Professor Emeritus of Vin Diesel movies.)\u003c/p>\n\u003cfigure id=\"attachment_13866316\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866316\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/HDTGM_1200.jpg\" alt=\"Jason Mantzoukas, June Diane Raphael and Paul Scheer host the podcast 'How Did This Get Made.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/HDTGM_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/HDTGM_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/HDTGM_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/HDTGM_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/HDTGM_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jason Mantzoukas, June Diane Raphael and Paul Scheer host the podcast ‘How Did This Get Made.’ \u003ccite>(Courtesy of Earwolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Laughing that it’s “a very lofty answer,” Scheer attributes part of the popularity of the \u003cem>HDGTM\u003c/em> live shows to how they physically connect thousands of fans around one (terrible) movie. “We’re in a world where everything kind of goes so quickly, and you’re so isolated by your own opinions,” says Scheer. “It feels like this kind of electric moment.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And it’s true: In a landscape where fans are more likely to congregate over something good, an \u003cem>HDTGM\u003c/em> live show will be the first and only time thousands of people have gathered to marvel at how a movie like \u003cem>Drop Dead Fred\u003c/em> ever got made. (The chosen movie for the \u003ca href=\"https://www1.ticketmaster.com/event/1C0056BDF09E915E\">sold-out Berkeley show\u003c/a>, by the way: 1986’s \u003cem>Friday the 13th Part VI\u003c/em>. “My dream,” Scheer says, “would be to come out to that audience that night and see everybody in hockey masks.”)\u003c/p>\n\u003cp>\u003cem>HDTGM\u003c/em> began by warmly skewering legitimately atrocious movies (Jennifer Lopez’s \u003cem>Gigli\u003c/em>, Nic Cage’s \u003cem>Wicker Man\u003c/em> remake), but soon transitioned to encompass enjoyably overblown blockbusters like \u003cem>The Meg\u003c/em>. Scheer’s reasoning for this is that genuinely bad movies are often no actual fun to watch. As franchises like the \u003cem>Fast and the Furious\u003c/em> strain for increasingly crazy heights in an effort to outdo themselves with each passing year, ridiculously enjoyable blockbusters can start to feel like ridiculously bad movies in how they elicit the same kind of giddy “confusion and confoundment.”\u003c/p>\n\u003cp>In the soup of an internet culture where lowbrow rubs along with highbrow, and semi-ironic veneration of a bad movie is just as likely to hit your feed as praise for something genuinely acclaimed, no wonder the lines get blurred!\u003c/p>\n\u003cp>One of the central jokes of \u003cem>HDGTM\u003c/em> is how the show lavishes the same attention to detail on gloriously bad movies that you’d normally reserve for the very best ones. This, of course, is where Scheer’s other movie podcast \u003cem>Unspooled\u003c/em> comes in, birthed in 2018 out of another impulse that unites many film fans: The Canon.\u003c/p>\n\u003cfigure id=\"attachment_13866319\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866319\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Unspooled_1200.jpg\" alt=\"Paul Scheer and film critic Amy Nicholson take on the AFI's Top 100 list on the podcast 'Unspooled.'\" width=\"1200\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Unspooled_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Unspooled_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Unspooled_1200-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Unspooled_1200-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Unspooled_1200-1020x1020.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Paul Scheer and film critic Amy Nicholson take on the AFI’s Top 100 list on the podcast ‘Unspooled.’ \u003ccite>(Courtesy of Earwolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Movie fans are notorious list-makers, especially when it comes to the idea of The Canon, and it was Scheer’s own realization that he’d never seen many of the films on \u003ca href=\"https://www.afi.com/afis-100-years-100-movies-10th-anniversary-edition/\">the American Film Institute (AFI)’s Top 100 Movies list\u003c/a> that spurred him to invite film critic \u003ca href=\"https://twitter.com/TheAmyNicholson\">Amy Nicholson\u003c/a> to get together and take them on in podcast form.\u003c/p>\n\u003cp>As Scheer sees it, “I’m basically hosting this book club where we’re watching movies once a week.” He casts himself as the audience representative—even film fans feel like they haven’t seen enough of the so-called classics.\u003c/p>\n\u003cp>Coupled with Nicholson’s unpretentious critical style, the fact that \u003cem>Unspooled\u003c/em> stemmed from Scheer’s own desire to address the gaps in his knowledge lends the show its tone of warm, enthusiastic inclusiveness. He says he wants \u003cem>Unspooled\u003c/em> to feel like “fun film school”—and in contrast to his other podcast’s veneration of the so-bad-it’s-good guilty pleasure popcorn experience, \u003cem>Unspooled\u003c/em>’s clear-eyed take on the classics can act as a balm for those who might feel like ‘bad’ film fans for sometimes preferring to watch \u003cem>Commando\u003c/em> on a Saturday night over \u003cem>Citizen Kane\u003c/em>.\u003c/p>\n\u003cp>If \u003cem>HDTGM\u003c/em> is where bad movies go to get the affectionate ribbing they deserve, \u003cem>Unspooled\u003c/em> is where film’s sacred cows receive the critical re-appraisal they may well need. Elements in these movies that are difficult, troubling or problematic by today’s standards—\u003cem>The Deer Hunter\u003c/em>’s racial politics, transphobia in \u003cem>The Silence of the Lambs\u003c/em>—aren’t glossed over, but instead unraveled thoughtfully and expertly, thanks in large part of Nicholson’s deep knowledge of her field. (“I just love the way her mind thinks,” says Scheer of his cohost.)\u003c/p>\n\u003cp>Whether knowingly or not, film fans can often strain for ‘insider status’ when discussing the movie business, in the industry jargon we adopt or that illusory accessibility we feel toward our favorite filmmakers makers and stars. Yet Scheer occupies the rare position of being a movie commentator who actually is an industry insider himself.\u003c/p>\n\u003cp>As an actor, writer and director, he’s frequently bracingly honest about the rigors of the business on both his podcasts—not least when mentioning in asides the movies he unsuccessfully auditioned for. And in a head-spinningly meta piece of casting, Scheer and \u003cem>HDGTM\u003c/em> co-hosts Jason Mantzoukas and June Diane Raphael all appeared in \u003cem>The Disaster Artist\u003c/em>, James Franco’s 2018 movie about the making of Tommy Wiseau’s cult film \u003cem>The Room\u003c/em>—frequently “hailed” as one of the worst movies ever made.\u003c/p>\n\u003cp>For a guy who now hosts two movie podcasts, Scheer says he never saw himself becoming a de facto film critic. He started his comedy career in the world of improvisation—inspired in part, he says, by a childhood love of talk radio. In contrast to the acting, writing and editing he does elsewhere, Scheer says he’s parlaying some of improv’s freeing ephemerality into his podcasting. Taping conversational podcasts like \u003cem>HDTGM\u003c/em> and \u003cem>Unspooled\u003c/em>, he says, is “the closest I can get to doing improv—without doing improv.”\u003c/p>\n\u003cp>Fittingly for the host of one hit show about badly-received movies, and another based on re-evaluating a critical canon, Scheer’s a believer in the value of not pleasing everyone, especially in a podcast industry where “there’s always going to be someone out there doing what you’re doing.” He paraphrases a recent conversation he had with filmmaker Nicholas Winding Refn: “If everyone likes it, there’s a problem with it.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Ultimately, the only thing a creator really has control over, Scheer says, “is your own voice… and not everyone’s going to like it.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wherever you get your podcasts, there’s no shortage of movie shows. But\u003ca href=\"http://www.paulscheer.com/\"> Paul Scheer\u003c/a> may be the only man with one podcast dedicated to the very worst movies, and \u003cem>another\u003c/em> exploring the very best.\u003c/p>\n\u003cp>Thanks to a 20-year career in front of the camera in a variety of roles, comic Paul Scheer—who’s also a writer and director—has become a familiar face in film and TV, with roles in \u003cem>The League\u003c/em>,\u003cem> Fresh Off the Boat\u003c/em> and most recently Amazon’s \u003cem>Black Monday\u003c/em>. In the podcast world however, he’s best known not just as the host of the cult comedy show \u003ca href=\"https://www.earwolf.com/show/how-did-this-get-made/\">\u003cem>How Did This Get Made?\u003c/em>\u003c/a>—now in its ninth year, and \u003ca href=\"https://www.hdtgminfo.com/index/#tour\">bringing its live tour to Berkeley\u003c/a> this week—but also for \u003ca href=\"https://www.earwolf.com/show/unspooled/\">\u003cem>Unspooled\u003c/em>\u003c/a>, his podcast examining whether the classics still deserve their acclaim in 2019.\u003c/p>\n\u003cp>A show which Scheer says is “based on an energy of \u003cem>loving\u003c/em> movies” despite their dubious quality, \u003cem>How Did This Get Made\u003c/em> (\u003cem>HDTGM\u003c/em>) has dissected the very worst of Hollywood’s output for comic effect since 2011. Hosted by Scheer, June Diane Raphael and Jason Mantzoukas, what started as an exploration of how movies as dreadful as \u003cem>Battlefield Earth\u003c/em> or\u003cem> Speed 2: Cruise Control\u003c/em> actually get produced evolved into a hybrid of comedic conversation and affectionate criticism of the enjoyably ludicrous, with special guests like Charlize Theron and raucous sold-out live shows. \u003c/p>\n\u003cp>(Since the show’s early days, for example, \u003cem>Parks and Recreation\u003c/em> actor Adam Scott has returned for every single \u003cem>Fast and the Furious\u003c/em> live taping, a recurring role that increasingly styles him as a kind of sincere Professor Emeritus of Vin Diesel movies.)\u003c/p>\n\u003cfigure id=\"attachment_13866316\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866316\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/HDTGM_1200.jpg\" alt=\"Jason Mantzoukas, June Diane Raphael and Paul Scheer host the podcast 'How Did This Get Made.'\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/HDTGM_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/HDTGM_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/HDTGM_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/HDTGM_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/HDTGM_1200-1020x680.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jason Mantzoukas, June Diane Raphael and Paul Scheer host the podcast ‘How Did This Get Made.’ \u003ccite>(Courtesy of Earwolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Laughing that it’s “a very lofty answer,” Scheer attributes part of the popularity of the \u003cem>HDGTM\u003c/em> live shows to how they physically connect thousands of fans around one (terrible) movie. “We’re in a world where everything kind of goes so quickly, and you’re so isolated by your own opinions,” says Scheer. “It feels like this kind of electric moment.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And it’s true: In a landscape where fans are more likely to congregate over something good, an \u003cem>HDTGM\u003c/em> live show will be the first and only time thousands of people have gathered to marvel at how a movie like \u003cem>Drop Dead Fred\u003c/em> ever got made. (The chosen movie for the \u003ca href=\"https://www1.ticketmaster.com/event/1C0056BDF09E915E\">sold-out Berkeley show\u003c/a>, by the way: 1986’s \u003cem>Friday the 13th Part VI\u003c/em>. “My dream,” Scheer says, “would be to come out to that audience that night and see everybody in hockey masks.”)\u003c/p>\n\u003cp>\u003cem>HDTGM\u003c/em> began by warmly skewering legitimately atrocious movies (Jennifer Lopez’s \u003cem>Gigli\u003c/em>, Nic Cage’s \u003cem>Wicker Man\u003c/em> remake), but soon transitioned to encompass enjoyably overblown blockbusters like \u003cem>The Meg\u003c/em>. Scheer’s reasoning for this is that genuinely bad movies are often no actual fun to watch. As franchises like the \u003cem>Fast and the Furious\u003c/em> strain for increasingly crazy heights in an effort to outdo themselves with each passing year, ridiculously enjoyable blockbusters can start to feel like ridiculously bad movies in how they elicit the same kind of giddy “confusion and confoundment.”\u003c/p>\n\u003cp>In the soup of an internet culture where lowbrow rubs along with highbrow, and semi-ironic veneration of a bad movie is just as likely to hit your feed as praise for something genuinely acclaimed, no wonder the lines get blurred!\u003c/p>\n\u003cp>One of the central jokes of \u003cem>HDGTM\u003c/em> is how the show lavishes the same attention to detail on gloriously bad movies that you’d normally reserve for the very best ones. This, of course, is where Scheer’s other movie podcast \u003cem>Unspooled\u003c/em> comes in, birthed in 2018 out of another impulse that unites many film fans: The Canon.\u003c/p>\n\u003cfigure id=\"attachment_13866319\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866319\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Unspooled_1200.jpg\" alt=\"Paul Scheer and film critic Amy Nicholson take on the AFI's Top 100 list on the podcast 'Unspooled.'\" width=\"1200\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Unspooled_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Unspooled_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Unspooled_1200-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Unspooled_1200-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Unspooled_1200-1020x1020.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Paul Scheer and film critic Amy Nicholson take on the AFI’s Top 100 list on the podcast ‘Unspooled.’ \u003ccite>(Courtesy of Earwolf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Movie fans are notorious list-makers, especially when it comes to the idea of The Canon, and it was Scheer’s own realization that he’d never seen many of the films on \u003ca href=\"https://www.afi.com/afis-100-years-100-movies-10th-anniversary-edition/\">the American Film Institute (AFI)’s Top 100 Movies list\u003c/a> that spurred him to invite film critic \u003ca href=\"https://twitter.com/TheAmyNicholson\">Amy Nicholson\u003c/a> to get together and take them on in podcast form.\u003c/p>\n\u003cp>As Scheer sees it, “I’m basically hosting this book club where we’re watching movies once a week.” He casts himself as the audience representative—even film fans feel like they haven’t seen enough of the so-called classics.\u003c/p>\n\u003cp>Coupled with Nicholson’s unpretentious critical style, the fact that \u003cem>Unspooled\u003c/em> stemmed from Scheer’s own desire to address the gaps in his knowledge lends the show its tone of warm, enthusiastic inclusiveness. He says he wants \u003cem>Unspooled\u003c/em> to feel like “fun film school”—and in contrast to his other podcast’s veneration of the so-bad-it’s-good guilty pleasure popcorn experience, \u003cem>Unspooled\u003c/em>’s clear-eyed take on the classics can act as a balm for those who might feel like ‘bad’ film fans for sometimes preferring to watch \u003cem>Commando\u003c/em> on a Saturday night over \u003cem>Citizen Kane\u003c/em>.\u003c/p>\n\u003cp>If \u003cem>HDTGM\u003c/em> is where bad movies go to get the affectionate ribbing they deserve, \u003cem>Unspooled\u003c/em> is where film’s sacred cows receive the critical re-appraisal they may well need. Elements in these movies that are difficult, troubling or problematic by today’s standards—\u003cem>The Deer Hunter\u003c/em>’s racial politics, transphobia in \u003cem>The Silence of the Lambs\u003c/em>—aren’t glossed over, but instead unraveled thoughtfully and expertly, thanks in large part of Nicholson’s deep knowledge of her field. (“I just love the way her mind thinks,” says Scheer of his cohost.)\u003c/p>\n\u003cp>Whether knowingly or not, film fans can often strain for ‘insider status’ when discussing the movie business, in the industry jargon we adopt or that illusory accessibility we feel toward our favorite filmmakers makers and stars. Yet Scheer occupies the rare position of being a movie commentator who actually is an industry insider himself.\u003c/p>\n\u003cp>As an actor, writer and director, he’s frequently bracingly honest about the rigors of the business on both his podcasts—not least when mentioning in asides the movies he unsuccessfully auditioned for. And in a head-spinningly meta piece of casting, Scheer and \u003cem>HDGTM\u003c/em> co-hosts Jason Mantzoukas and June Diane Raphael all appeared in \u003cem>The Disaster Artist\u003c/em>, James Franco’s 2018 movie about the making of Tommy Wiseau’s cult film \u003cem>The Room\u003c/em>—frequently “hailed” as one of the worst movies ever made.\u003c/p>\n\u003cp>For a guy who now hosts two movie podcasts, Scheer says he never saw himself becoming a de facto film critic. He started his comedy career in the world of improvisation—inspired in part, he says, by a childhood love of talk radio. In contrast to the acting, writing and editing he does elsewhere, Scheer says he’s parlaying some of improv’s freeing ephemerality into his podcasting. Taping conversational podcasts like \u003cem>HDTGM\u003c/em> and \u003cem>Unspooled\u003c/em>, he says, is “the closest I can get to doing improv—without doing improv.”\u003c/p>\n\u003cp>Fittingly for the host of one hit show about badly-received movies, and another based on re-evaluating a critical canon, Scheer’s a believer in the value of not pleasing everyone, especially in a podcast industry where “there’s always going to be someone out there doing what you’re doing.” He paraphrases a recent conversation he had with filmmaker Nicholas Winding Refn: “If everyone likes it, there’s a problem with it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ultimately, the only thing a creator really has control over, Scheer says, “is your own voice… and not everyone’s going to like it.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Derry Girls’ Offers a Surprising, Comedic Take on Northern Ireland's Troubles",
"headTitle": "‘Derry Girls’ Offers a Surprising, Comedic Take on Northern Ireland’s Troubles | KQED",
"content": "\u003cp>When Protestant loyalists waving British flags march in the Northern Irish city of Londonderry, Donna McCluskey and other community workers stage what she calls a “diversionary festival.”\u003c/p>\n\u003cp>“In the past, young people used to riot,” she says, standing in Free Derry Corner, where the buildings are covered in murals lionizing Irish nationalists. But this year, there wasn’t as much trouble. “Maybe they were all watching reruns of \u003cem>Derry Girls,\u003c/em>” she jokes. “At our house I think we watched every episode three times.”\u003c/p>\n\u003cp>\u003cem>Derry Girls,\u003c/em> a critically acclaimed comedy first broadcast on Britain’s Channel 4 and now streaming on Netflix, was the \u003ca href=\"https://www.irishnews.com/news/northernirelandnews/2019/08/07/news/derry-girls-the-most-watched-tv-show-of-2018-report-reveals-1679546/\">most watched series\u003c/a> in Northern Ireland in 2018. The show follows five teenagers in a Catholic school during the 1990s, when Northern Ireland was gripped by sectarian violence between Catholics and Protestants known as The Troubles. (Whether you call the city Derry or Londonderry depends on your politics.)\u003c/p>\n\u003cp>The conflict has been on people’s minds a lot recently, as Britain’s messy exit from the European Union has revived talk of a hard border in Ireland, which was dismantled after the 1998 Good Friday Agreement. The history is dark and painful and dominates the way Northern Ireland is portrayed onstage, on-screen and in books. \u003ca href=\"https://www.orwellfoundation.com/the-orwell-prizes/\">The Orwell Prizes\u003c/a> in \u003ca href=\"https://www.orwellfoundation.com/political-fiction/milkman/\">fiction\u003c/a> and \u003ca href=\"https://www.orwellfoundation.com/political-writing/say-nothing-a-true-story-of-murder-and-memory-in-northern-ireland/\">political writing\u003c/a> this year went to Troubles-themed books.\u003c/p>\n\u003cp>In \u003cem>Derry Girls,\u003c/em> the conflict is in the background. As Erin Quinn (Saoirse-Monica Jackson) says in one episode, while describing her own hilariously self-affected essay writing: “It’s about The Troubles in a political sense but also about my own troubles in a personal sense.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The series creator and writer, Lisa McGee, grew up in the Irish border city and based the show on her own life.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UFmFuXH0IRY\u003c/p>\n\u003cp>Two 31-year-old moms I met on the street, Rachel Mullan and Tina Burke, call themselves “the grown-up Derry Girls.” They say the series accurately portrays what life was like here for teens and tweens.\u003c/p>\n\u003cp>“We knew The Troubles were there, but kids still had to go to school and just get on with it,” Mullan says.\u003c/p>\n\u003cp>“It doesn’t ignore that people lost their lives,” Burke adds, “but it shows the world that Derry is much more than this conflict.”\u003c/p>\n\u003cp>Burke and Mullan know all the main characters: \u003ca href=\"https://www.youtube.com/watch?v=GQ--B6vIcmw\">Erin\u003c/a> is imperious and has dreams of becoming a famous writer; \u003ca href=\"https://www.youtube.com/watch?v=KR2H54H5GCw\">Clare\u003c/a> (Nicola Coughlan) is studious and smart; \u003ca href=\"https://www.youtube.com/watch?v=bkEvWItqotg&t=2s\">Orla\u003c/a> (Louisa Harland) is spaced out and really into step aerobics; \u003ca href=\"https://www.youtube.com/watch?v=94rF2QUCuZg\">Michelle\u003c/a> (Jamie-Lynn O’Donnell), fearless and uncensored, accidentally sets a house on fire with flaming shots of Sambuca; and \u003ca href=\"https://www.youtube.com/watch?v=jsDfnvhl5Jc\">James\u003c/a> (Dylan Llewellyn) is Michelle’s English cousin who gets stuck at an all-girls school. He seems to be the butt of every joke.\u003c/p>\n\u003cp>The supporting cast includes Granda Joe (Ian McElhinney), Ma Mary (Tara Lynne O’Neill) and the hilariously cynical nun Sister Michael (Siobhan McSweeney), whose \u003ca href=\"https://www.youtube.com/watch?v=w11TI397hcc\">one-liners\u003c/a> are pure gold.\u003c/p>\n\u003cp>Based on an entirely unscientific poll I conducted in the city, Michelle seems to be the favorite Derry Girl. Even the old IRA guys drinking Guinness at the Bogside Inn think “she’s some \u003cem>craic just.\u003c/em>” (Translation: She’s a good laugh.)\u003c/p>\n\u003cp>Rachel McCrade, a 29-year-old musician sitting next to the Irish nationalist grandfathers with her own Guinness, also chimes in for Michelle. “She’s very much like myself growing up,” she says. “Her attitude, her character, it’s very typical of a Derry Girl. Everybody’s got a Michelle in their circle of friends.”\u003c/p>\n\u003cp>Outside, three teenagers in matching shoes walk down a steep hill. Enya and Abbie Canning and Chloe Doyle are 14 and also Michelle fans. “We’re all Michelles,” Chloe says. “We walk about smoking and talking salty.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P937Lic52NY\u003c/p>\n\u003cp>They giggle as a group of teenage boys walks by carrying what appear to be wooden crates. They’re preparing for bonfires, which both Catholics and Protestants burn to commemorate their own history. Community workers can usually distract kids during the day but not at night. A few dozen teenagers \u003ca href=\"https://www.bbc.com/news/uk-northern-ireland-49326359\">threw gas bombs and stones last month\u003c/a>.\u003c/p>\n\u003cp>Chloe explains that she grew up hearing her parents and grandparents talk about The Troubles but \u003cem>Derry Girls\u003c/em> helped her put it in context. The past still feels present here.\u003c/p>\n\u003cp>“It happened again. It was more or less The Troubles, where a girl got shot in the head,” Chloe says. “That was at the end of my street. My grandfather was standing right next to her.”\u003c/p>\n\u003cp>She’s referring to Lyra McKee, a 29-year-old journalist \u003ca href=\"https://www.bbc.com/news/uk-48018615\">killed during rioting\u003c/a> in the Creggan area of Derry last April. A group called the New IRA claimed responsibility and apologized to her family. The reaction to her death was \u003ca href=\"https://www.irishtimes.com/news/social-affairs/not-in-our-name-rip-lyra-new-graffiti-in-derry-signals-change-1.3868485\">outrage,\u003c/a> a sign that most people here want to stick by the 1998 Good Friday Agreement ending the sectarian fighting. On the monument marking Free Derry Corner, someone spray-painted “Not in our name: RIP Lyra.”\u003c/p>\n\u003cp>“The Free Derry Corner was iconic during the Troubles, when the British military were told not to come in,” says John Cooley, who grew up in the city and raised his own Derry Girls here. “The murals there are the most photographed walls in Derry. But we do not want to go down that road again, even if a certain tiny, fringe element wants to take us there.”\u003c/p>\n\u003cp>Besides, he says, “we have a new mural.”\u003c/p>\n\u003cp>A mural of the Derry Girls is painted on the side of Badgers, the bar and restaurant Cooley manages.\u003c/p>\n\u003cfigure id=\"attachment_13866146\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866146\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/derrymural_custom-f197def889109fa3769a7f38a29d2f48b5923d7f-s600-c85.jpg\" alt=\"A mural of the Derry Girls is painted on the side of the bar and restaurant Badgers.\" width=\"600\" height=\"566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/derrymural_custom-f197def889109fa3769a7f38a29d2f48b5923d7f-s600-c85.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/derrymural_custom-f197def889109fa3769a7f38a29d2f48b5923d7f-s600-c85-160x151.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">A mural of the Derry Girls is painted on the side of the bar and restaurant Badgers. \u003ccite>(Joanna Kakissis/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That mural out there, I’m glad to say, is the new mural of Northern Ireland,” he says. “I see people photographing it every day.”\u003c/p>\n\u003cp>Emma Doutreligne, a 20-year-old student from the French village of Fontenay-le-Comte, poses in front of it—she’s on vacation with her parents and brother and made them take a detour to see where \u003cem>Derry Girls \u003c/em>was set.\u003c/p>\n\u003cp>“I binge-watched the show back home,” she says. “I laugh at every episode.”\u003c/p>\n\u003cp>But what she says she really likes is that despite the fact a sectarian conflict is raging in the background, the Derry Girls “don’t even care about this war background, they just live their lives as teenagers; they care about boys and girls and about money and schools and stuff like that.”\u003c/p>\n\u003cp>Inside Badgers, Gilly Campbell, who works in the arts and culture sector in Belfast, is sipping sodas with her 7-year-old daughter, Sally McKinney.\u003c/p>\n\u003cp>“We watch \u003cem>Derry Girls \u003c/em>together,” Sally says. “We never miss it because I \u003cem>love\u003c/em> it! Especially Michelle. But I can’t tell you my favorite lines because she always talks so salty.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Her mother laughs. “This show, it’s very Derry, in all the right ways,” Campbell says. “It’s put Northern Ireland on the map for all the right reasons. It’s brought us together for all the right reasons.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Northern+Ireland%2C+%27Derry+Girls%27+Balances+Teen+Comedy+And+Sectarian+Conflict&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Protestant loyalists waving British flags march in the Northern Irish city of Londonderry, Donna McCluskey and other community workers stage what she calls a “diversionary festival.”\u003c/p>\n\u003cp>“In the past, young people used to riot,” she says, standing in Free Derry Corner, where the buildings are covered in murals lionizing Irish nationalists. But this year, there wasn’t as much trouble. “Maybe they were all watching reruns of \u003cem>Derry Girls,\u003c/em>” she jokes. “At our house I think we watched every episode three times.”\u003c/p>\n\u003cp>\u003cem>Derry Girls,\u003c/em> a critically acclaimed comedy first broadcast on Britain’s Channel 4 and now streaming on Netflix, was the \u003ca href=\"https://www.irishnews.com/news/northernirelandnews/2019/08/07/news/derry-girls-the-most-watched-tv-show-of-2018-report-reveals-1679546/\">most watched series\u003c/a> in Northern Ireland in 2018. The show follows five teenagers in a Catholic school during the 1990s, when Northern Ireland was gripped by sectarian violence between Catholics and Protestants known as The Troubles. (Whether you call the city Derry or Londonderry depends on your politics.)\u003c/p>\n\u003cp>The conflict has been on people’s minds a lot recently, as Britain’s messy exit from the European Union has revived talk of a hard border in Ireland, which was dismantled after the 1998 Good Friday Agreement. The history is dark and painful and dominates the way Northern Ireland is portrayed onstage, on-screen and in books. \u003ca href=\"https://www.orwellfoundation.com/the-orwell-prizes/\">The Orwell Prizes\u003c/a> in \u003ca href=\"https://www.orwellfoundation.com/political-fiction/milkman/\">fiction\u003c/a> and \u003ca href=\"https://www.orwellfoundation.com/political-writing/say-nothing-a-true-story-of-murder-and-memory-in-northern-ireland/\">political writing\u003c/a> this year went to Troubles-themed books.\u003c/p>\n\u003cp>In \u003cem>Derry Girls,\u003c/em> the conflict is in the background. As Erin Quinn (Saoirse-Monica Jackson) says in one episode, while describing her own hilariously self-affected essay writing: “It’s about The Troubles in a political sense but also about my own troubles in a personal sense.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The series creator and writer, Lisa McGee, grew up in the Irish border city and based the show on her own life.\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/UFmFuXH0IRY'\n title='//www.youtube.com/embed/UFmFuXH0IRY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Two 31-year-old moms I met on the street, Rachel Mullan and Tina Burke, call themselves “the grown-up Derry Girls.” They say the series accurately portrays what life was like here for teens and tweens.\u003c/p>\n\u003cp>“We knew The Troubles were there, but kids still had to go to school and just get on with it,” Mullan says.\u003c/p>\n\u003cp>“It doesn’t ignore that people lost their lives,” Burke adds, “but it shows the world that Derry is much more than this conflict.”\u003c/p>\n\u003cp>Burke and Mullan know all the main characters: \u003ca href=\"https://www.youtube.com/watch?v=GQ--B6vIcmw\">Erin\u003c/a> is imperious and has dreams of becoming a famous writer; \u003ca href=\"https://www.youtube.com/watch?v=KR2H54H5GCw\">Clare\u003c/a> (Nicola Coughlan) is studious and smart; \u003ca href=\"https://www.youtube.com/watch?v=bkEvWItqotg&t=2s\">Orla\u003c/a> (Louisa Harland) is spaced out and really into step aerobics; \u003ca href=\"https://www.youtube.com/watch?v=94rF2QUCuZg\">Michelle\u003c/a> (Jamie-Lynn O’Donnell), fearless and uncensored, accidentally sets a house on fire with flaming shots of Sambuca; and \u003ca href=\"https://www.youtube.com/watch?v=jsDfnvhl5Jc\">James\u003c/a> (Dylan Llewellyn) is Michelle’s English cousin who gets stuck at an all-girls school. He seems to be the butt of every joke.\u003c/p>\n\u003cp>The supporting cast includes Granda Joe (Ian McElhinney), Ma Mary (Tara Lynne O’Neill) and the hilariously cynical nun Sister Michael (Siobhan McSweeney), whose \u003ca href=\"https://www.youtube.com/watch?v=w11TI397hcc\">one-liners\u003c/a> are pure gold.\u003c/p>\n\u003cp>Based on an entirely unscientific poll I conducted in the city, Michelle seems to be the favorite Derry Girl. Even the old IRA guys drinking Guinness at the Bogside Inn think “she’s some \u003cem>craic just.\u003c/em>” (Translation: She’s a good laugh.)\u003c/p>\n\u003cp>Rachel McCrade, a 29-year-old musician sitting next to the Irish nationalist grandfathers with her own Guinness, also chimes in for Michelle. “She’s very much like myself growing up,” she says. “Her attitude, her character, it’s very typical of a Derry Girl. Everybody’s got a Michelle in their circle of friends.”\u003c/p>\n\u003cp>Outside, three teenagers in matching shoes walk down a steep hill. Enya and Abbie Canning and Chloe Doyle are 14 and also Michelle fans. “We’re all Michelles,” Chloe says. “We walk about smoking and talking salty.”\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/P937Lic52NY'\n title='//www.youtube.com/embed/P937Lic52NY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>They giggle as a group of teenage boys walks by carrying what appear to be wooden crates. They’re preparing for bonfires, which both Catholics and Protestants burn to commemorate their own history. Community workers can usually distract kids during the day but not at night. A few dozen teenagers \u003ca href=\"https://www.bbc.com/news/uk-northern-ireland-49326359\">threw gas bombs and stones last month\u003c/a>.\u003c/p>\n\u003cp>Chloe explains that she grew up hearing her parents and grandparents talk about The Troubles but \u003cem>Derry Girls\u003c/em> helped her put it in context. The past still feels present here.\u003c/p>\n\u003cp>“It happened again. It was more or less The Troubles, where a girl got shot in the head,” Chloe says. “That was at the end of my street. My grandfather was standing right next to her.”\u003c/p>\n\u003cp>She’s referring to Lyra McKee, a 29-year-old journalist \u003ca href=\"https://www.bbc.com/news/uk-48018615\">killed during rioting\u003c/a> in the Creggan area of Derry last April. A group called the New IRA claimed responsibility and apologized to her family. The reaction to her death was \u003ca href=\"https://www.irishtimes.com/news/social-affairs/not-in-our-name-rip-lyra-new-graffiti-in-derry-signals-change-1.3868485\">outrage,\u003c/a> a sign that most people here want to stick by the 1998 Good Friday Agreement ending the sectarian fighting. On the monument marking Free Derry Corner, someone spray-painted “Not in our name: RIP Lyra.”\u003c/p>\n\u003cp>“The Free Derry Corner was iconic during the Troubles, when the British military were told not to come in,” says John Cooley, who grew up in the city and raised his own Derry Girls here. “The murals there are the most photographed walls in Derry. But we do not want to go down that road again, even if a certain tiny, fringe element wants to take us there.”\u003c/p>\n\u003cp>Besides, he says, “we have a new mural.”\u003c/p>\n\u003cp>A mural of the Derry Girls is painted on the side of Badgers, the bar and restaurant Cooley manages.\u003c/p>\n\u003cfigure id=\"attachment_13866146\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13866146\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/derrymural_custom-f197def889109fa3769a7f38a29d2f48b5923d7f-s600-c85.jpg\" alt=\"A mural of the Derry Girls is painted on the side of the bar and restaurant Badgers.\" width=\"600\" height=\"566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/derrymural_custom-f197def889109fa3769a7f38a29d2f48b5923d7f-s600-c85.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/derrymural_custom-f197def889109fa3769a7f38a29d2f48b5923d7f-s600-c85-160x151.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">A mural of the Derry Girls is painted on the side of the bar and restaurant Badgers. \u003ccite>(Joanna Kakissis/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That mural out there, I’m glad to say, is the new mural of Northern Ireland,” he says. “I see people photographing it every day.”\u003c/p>\n\u003cp>Emma Doutreligne, a 20-year-old student from the French village of Fontenay-le-Comte, poses in front of it—she’s on vacation with her parents and brother and made them take a detour to see where \u003cem>Derry Girls \u003c/em>was set.\u003c/p>\n\u003cp>“I binge-watched the show back home,” she says. “I laugh at every episode.”\u003c/p>\n\u003cp>But what she says she really likes is that despite the fact a sectarian conflict is raging in the background, the Derry Girls “don’t even care about this war background, they just live their lives as teenagers; they care about boys and girls and about money and schools and stuff like that.”\u003c/p>\n\u003cp>Inside Badgers, Gilly Campbell, who works in the arts and culture sector in Belfast, is sipping sodas with her 7-year-old daughter, Sally McKinney.\u003c/p>\n\u003cp>“We watch \u003cem>Derry Girls \u003c/em>together,” Sally says. “We never miss it because I \u003cem>love\u003c/em> it! Especially Michelle. But I can’t tell you my favorite lines because she always talks so salty.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Her mother laughs. “This show, it’s very Derry, in all the right ways,” Campbell says. “It’s put Northern Ireland on the map for all the right reasons. It’s brought us together for all the right reasons.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Northern+Ireland%2C+%27Derry+Girls%27+Balances+Teen+Comedy+And+Sectarian+Conflict&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Watch One Hilarious Writer Be Every Woman in a '70s Movie in One Minute",
"headTitle": "Watch One Hilarious Writer Be Every Woman in a ’70s Movie in One Minute | KQED",
"content": "\u003cp>It’s a brilliant critique of (homage to?) how movies treated female characters during second-wave feminism and the women’s liberation movement. And it’s laugh-out-loud funny.\u003c/p>\n\u003cp>With Gloria Steinem styling, a WASPy tone of voice, and references to “grass,” “diaphragms” and “analysis,” writer \u003ca href=\"https://laurenwilford.com/\" target=\"_blank\" rel=\"noopener\">Lauren Wilford\u003c/a>‘s impersonation of “every woman in a ’70s movie” captures in just over one minute the characterizations that dominated a decade.\u003c/p>\n\u003cp>https://twitter.com/lauren_wilford/status/1169411620369567744\u003c/p>\n\u003cp>Without giving any direct references, it’s clear that Wilford drew inspiration from classic 1970s performances by Diane Keaton, Natalie Wood, Jane Fonda, Janet Margolin, Carrie Fisher and every single woman who appeared in either \u003cem>Shampoo \u003c/em>or a Woody Allen movie.\u003c/p>\n\u003cp>All together now!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13865807\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.20.18-PM.png\" alt=\"\" width=\"658\" height=\"185\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.20.18-PM.png 658w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.20.18-PM-160x45.png 160w\" sizes=\"(max-width: 658px) 100vw, 658px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13865810\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.25.45-PM.png\" alt=\"\" width=\"656\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.25.45-PM.png 656w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.25.45-PM-160x45.png 160w\" sizes=\"(max-width: 656px) 100vw, 656px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13865811\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.26.32-PM.png\" alt=\"\" width=\"658\" height=\"249\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.26.32-PM.png 658w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.26.32-PM-160x61.png 160w\" sizes=\"(max-width: 658px) 100vw, 658px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13865812\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.39.46-PM.png\" alt=\"\" width=\"658\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.39.46-PM.png 658w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.39.46-PM-160x45.png 160w\" sizes=\"(max-width: 658px) 100vw, 658px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13865808\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.20.46-PM.png\" alt=\"\" width=\"657\" height=\"250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.20.46-PM.png 657w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.20.46-PM-160x61.png 160w\" sizes=\"(max-width: 657px) 100vw, 657px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>God bless the internet.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a brilliant critique of (homage to?) how movies treated female characters during second-wave feminism and the women’s liberation movement. And it’s laugh-out-loud funny.\u003c/p>\n\u003cp>With Gloria Steinem styling, a WASPy tone of voice, and references to “grass,” “diaphragms” and “analysis,” writer \u003ca href=\"https://laurenwilford.com/\" target=\"_blank\" rel=\"noopener\">Lauren Wilford\u003c/a>‘s impersonation of “every woman in a ’70s movie” captures in just over one minute the characterizations that dominated a decade.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Without giving any direct references, it’s clear that Wilford drew inspiration from classic 1970s performances by Diane Keaton, Natalie Wood, Jane Fonda, Janet Margolin, Carrie Fisher and every single woman who appeared in either \u003cem>Shampoo \u003c/em>or a Woody Allen movie.\u003c/p>\n\u003cp>All together now!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13865807\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.20.18-PM.png\" alt=\"\" width=\"658\" height=\"185\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.20.18-PM.png 658w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.20.18-PM-160x45.png 160w\" sizes=\"(max-width: 658px) 100vw, 658px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13865810\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.25.45-PM.png\" alt=\"\" width=\"656\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.25.45-PM.png 656w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.25.45-PM-160x45.png 160w\" sizes=\"(max-width: 656px) 100vw, 656px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13865811\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.26.32-PM.png\" alt=\"\" width=\"658\" height=\"249\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.26.32-PM.png 658w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.26.32-PM-160x61.png 160w\" sizes=\"(max-width: 658px) 100vw, 658px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13865812\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.39.46-PM.png\" alt=\"\" width=\"658\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.39.46-PM.png 658w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.39.46-PM-160x45.png 160w\" sizes=\"(max-width: 658px) 100vw, 658px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13865808\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.20.46-PM.png\" alt=\"\" width=\"657\" height=\"250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.20.46-PM.png 657w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Screen-Shot-2019-09-05-at-4.20.46-PM-160x61.png 160w\" sizes=\"(max-width: 657px) 100vw, 657px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>God bless the internet.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Before Wanda Sykes became a comic, she worked as a procurement officer for the National Security Agency and had top security clearance. But she always loved telling jokes, and when a local radio station sponsored a talent show that included a comedy category, she decided to audition.\u003c/p>\n\u003cp>“They put me on the show … [and] I fell in love with it,” she says. “I love doing stand-up. … That’s where I feel like I can be free.”\u003c/p>\n\u003cp>Sykes quit the NSA and began focusing on comedy. She told political jokes throughout the Clinton, Bush and Obama administrations. In 2009, she became the first African American woman to \u003ca href=\"https://www.youtube.com/watch?v=zmyRog2w4DI\">host the White House Correspondents’ Association dinner\u003c/a>.\u003c/p>\n\u003cp>Now she takes on President Trump in the Emmy-nominated Netflix special \u003ca href=\"https://www.netflix.com/title/81011598\">Not Normal\u003c/a>. Sykes insists the jokes don’t come easily under the current administration.\u003c/p>\n\u003cp>“You would think, ‘Oh boy, there’s so much to make fun of,’ but really I can’t write anything funnier or more ridiculous than what Trump actually says,” Sykes says. “It’s like doing a parody of a parody.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On getting booed at a charity event in Boston within a week of Trump’s election for criticizing him\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That was my fault, because it wasn’t my show. When I say “fault,” I don’t mean that … I take responsibility for being booed. I take responsibility [for] being a comic and not reading the room. I’m in Boston and it was a benefit for the \u003ca href=\"https://camneelyfoundation.org/\">Cam Neely Foundation\u003c/a>, and my friend \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=102962938\">Denis Leary \u003c/a>asked me to do it, and I’ve performed there before and it’s a great charity and it’s usually a fun night … but this was right after the election.\u003c/p>\n\u003cp>So Denis goes up and he does some Trump jokes and people laugh. And then another comic goes up and he does a couple jokes, whatever, some Trump stuff, and people laugh — another white guy.\u003c/p>\n\u003caside class=\"pullquote alignright\">\n‘They weren’t ready to see a black woman who happens to be a lesbian also making fun of the president.’ \u003ccite>Wanda Sykes\u003c/cite> \u003c/aside>\n\u003cp>And so then I go up, and [with] the first joke I get some laughs — it was a Trump joke — and then the second joke [I said,] “Hey, this isn’t the first time we’ve had a president who’s racist, homophobic, sexist, but this is just the first one that we can confirm.” And the crowd just turned then. …\u003c/p>\n\u003cp>Then I got it. I was like, “Oh, shoot. That’s right. I forgot. I’m a black, lesbian female, and they aren’t ready for this yet.” It’s like, white guys, sure, go ahead. Come on out … because we see it every night on late-night TV: white guys making fun of the president. … But they weren’t ready to see a black woman who happens to be a lesbian also making fun of the president.\u003c/p>\n\u003cp>\u003cstrong>On coming out publicly at a 2008 LGBTQ rally in Las Vegas \u003c/strong>\u003c/p>\n\u003cp>I didn’t even know that I was going to do it. It wasn’t planned at all. I was in Vegas performing … and there [was an LGBTQ equality] protest in Vegas. … So it’s like, Hey … let’s go out and support and protest. So I get there, and it’s a large crowd and the head of the [LGBTQ] center, she’s speaking and she said, “We have someone out here who’s an ally, and she’s a strong voice for the community. And I’m just going to put her on the spot and see if she will come up and say a few words.”\u003c/p>\n\u003cp>Now, I’m looking around in the audience thinking, “Is Drew Barrymore here? Is Pink here? 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My uncles, all the boys on her side, they’ve had prostate cancer. … We just had kids. The kids were maybe 2. So I was like, Look, I just wanted this taken care of — and my doctors, they also advised the same thing. … It was tough, but I feel great and I got some perky boobs out of it!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Seth Kelley produced and edited this interview for broadcast. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That was my fault, because it wasn’t my show. When I say “fault,” I don’t mean that … I take responsibility for being booed. I take responsibility [for] being a comic and not reading the room. I’m in Boston and it was a benefit for the \u003ca href=\"https://camneelyfoundation.org/\">Cam Neely Foundation\u003c/a>, and my friend \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=102962938\">Denis Leary \u003c/a>asked me to do it, and I’ve performed there before and it’s a great charity and it’s usually a fun night … but this was right after the election.\u003c/p>\n\u003cp>So Denis goes up and he does some Trump jokes and people laugh. And then another comic goes up and he does a couple jokes, whatever, some Trump stuff, and people laugh — another white guy.\u003c/p>\n\u003caside class=\"pullquote alignright\">\n‘They weren’t ready to see a black woman who happens to be a lesbian also making fun of the president.’ \u003ccite>Wanda Sykes\u003c/cite> \u003c/aside>\n\u003cp>And so then I go up, and [with] the first joke I get some laughs — it was a Trump joke — and then the second joke [I said,] “Hey, this isn’t the first time we’ve had a president who’s racist, homophobic, sexist, but this is just the first one that we can confirm.” And the crowd just turned then. …\u003c/p>\n\u003cp>Then I got it. I was like, “Oh, shoot. That’s right. I forgot. I’m a black, lesbian female, and they aren’t ready for this yet.” It’s like, white guys, sure, go ahead. Come on out … because we see it every night on late-night TV: white guys making fun of the president. … But they weren’t ready to see a black woman who happens to be a lesbian also making fun of the president.\u003c/p>\n\u003cp>\u003cstrong>On coming out publicly at a 2008 LGBTQ rally in Las Vegas \u003c/strong>\u003c/p>\n\u003cp>I didn’t even know that I was going to do it. It wasn’t planned at all. I was in Vegas performing … and there [was an LGBTQ equality] protest in Vegas. … So it’s like, Hey … let’s go out and support and protest. So I get there, and it’s a large crowd and the head of the [LGBTQ] center, she’s speaking and she said, “We have someone out here who’s an ally, and she’s a strong voice for the community. And I’m just going to put her on the spot and see if she will come up and say a few words.”\u003c/p>\n\u003cp>Now, I’m looking around in the audience thinking, “Is Drew Barrymore here? Is Pink here? 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Want to come over?” And he goes, “What? You got too many white people in your house?” I’m like, “Yeah.”\u003c/p>\n\u003cp>\u003cstrong>On what she likes about motherhood \u003c/strong>\u003c/p>\n\u003cp>It takes you out of yourself. Just to be able to love something so much and want to be there and take care of them and not worry about yourself. It’s just good to know that I have that capability. … I thought I was so self-absorbed, but wow, look at me! Look at me parenting and being caring about something else other than myself! It’s just beautiful. I’ve learned a lot about myself. So I guess that is kind of like about me again. Damn it! I thought I had this.\u003c/p>\n\u003cp>\u003cstrong>On being diagnosed with early stage breast cancer and electing to do a double mastectomy \u003c/strong>\u003c/p>\n\u003cp>I have an incredibly strong history of cancer on my mom’s side. … I’ve lost aunts to breast cancer, ovarian cancer. 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"content": "\u003cp>The funny, freckled face of Alfred E. Neuman is more or less retiring.\u003c/p>\n\u003cp>One of the last widely circulated print satirical magazines in America will leave newsstands after this year, according to sources at DC Comics, which publishes \u003cem>MAD\u003c/em> magazine.\u003c/p>\n\u003cp>While the \u003cem>Harvard Lampoon\u003c/em> remains in business,\u003cem> The Onion\u003c/em> hasn’t been in print since 2013. The once-influential \u003cem>Spy \u003c/em>was a casualty of the 1990s.\u003c/p>\n\u003cp>At \u003cem>MAD\u003c/em>‘s peak in the early 1970s, more than 2 million people subscribed to it, both for its pungent political humor and deeply adolescent jokes.\u003c/p>\n\u003cp>In 2017, \u003ca href=\"https://www.smithsonianmag.com/history/heyday-mad-magazine-lot-more-than-silly-jokes-180969055/\">that number had reportedly dropped\u003c/a> to 140,000.\u003c/p>\n\u003cp>\u003cem>MAD \u003c/em>isn’t completely shutting down, but it will be radically downsized and changed.\u003c/p>\n\u003cp>Readers will only be able to find the 67-year-old humor magazine at comic book stores and through subscriptions.\u003c/p>\n\u003cp>After issue No. 10 this fall, there will no longer be new content, except for end-of-year specials which will be all new. Starting with issue No. 11, the magazine will feature classic, best-of and nostalgic content, repackaged with new covers.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"title": "6 Rising Comedians Not to Miss at Comedy Central's Clusterfest in San Francisco",
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"content": "\u003cp>You probably clicked this link because you like comedy. Or maybe, like me, you \u003ci>love\u003c/i> comedy—so much that you’ve actually dated comedians. Perhaps one of the comedians you dated could have moonlighted as a Chaz Bono impersonator; another you broke up with because you were terrified you’d have to meet Carrot Top one day. Wait, or was that just me?\u003c/p>\n\u003cp>Or maybe you clicked this link looking to expand your cultural horizons since Comedy Central’s \u003ca href=\"https://www.clusterfest.com/\" target=\"_blank\" rel=\"noopener\">Clusterfest\u003c/a> is upon us, bringing three days of stand-up, storytelling, music and food to San Francisco’s Civic Center and Bill Graham Civic Auditorium June 21–23. Along with Issa Rae, Patton Oswalt, Amy Poehler, \u003cem>SNL\u003c/em>’s Leslie Jones and \u003cem>Broad City\u003c/em>’s Ilana Glazer (plus a recreation of Jerry Seinfeld’s apartment), headliners include John Mulaney (who stole my allegiance with his “\u003ca href=\"https://www.youtube.com/watch?v=QnkrL42R7gk\" target=\"_blank\" rel=\"noopener\">What’s New PussyCat\u003c/a>” bit long ago) and Chelsea Peretti (the Bay Area’s “Pippa Middleton” of comedy—kinda royalty, but not). \u003cem>2 Broke Girls\u003c/em> creator Whitney Cummings will also be in attendance, as well as Cummings’ old roast master, Jeff Ross, who is set to host a roast battle where two up-and-coming comedians spar for affirmation.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you’re one of the diehard comedy fans who sold their souls, cars or kidneys for a three-day pass, you’re going to want to see more than the big stars. Here are our six rising comedians not to miss at Clusterfest (warning: some of the embedded clips contain mature language):\u003c/span>\u003c/p>\n\u003cp>https://youtu.be/op2pK_w8_oY\u003c/p>\n\u003cp>\u003cstrong>Quinta Brunson\u003c/strong>\u003cbr>\n\u003cem>June 21 and 22\u003c/em>\u003c/p>\n\u003cp>If you haven’t heard of Quinta Brunson yet, chances are you will soon. Listed in \u003ci>Forbes\u003c/i>’ “30 under 30,” Brunson plays herself against the world in her BuzzFeed video series, \u003ci>Quinta Vs. Everything\u003c/i>. She got her start on Instagram playing the easily impressed “Girl Who’s Never Been on a Nice Date.” (Fire tagline: “He got money!”) Brunson’s stand-up routines cover it all: her beef with little kids who mistake her as one of their own, as well as hot takes on Harriet Tubman’s personal life. Brunson mixes intelligence with hilarity better than your most engaging philosophical bar debate.\u003c/p>\n\u003cp>https://youtu.be/yzEhqaCldDM\u003c/p>\n\u003cp>\u003cb>Catherine Cohen\u003c/b>\u003cbr>\n\u003cem>June 22 and 23\u003c/em>\u003c/p>\n\u003cp>This self proclaimed “alt-comedian with a perfect body and gorgeous face” has social numbers climbing faster than the mileage on the car I park in San Francisco. Cohen’s style of comedy mixes cabaret vocals, open letters to celebrities she’s never met (hello, Owen Wilson and Avril Lavigne) and parodies of pseudo-feminist yogurt commercials. In her videos, she tests the limits of her characters. \u003ca href=\"https://youtu.be/XtwL-3y7kcI\" target=\"_blank\" rel=\"noopener\">In one\u003c/a>, for example, she suggests, in a 1940s fancy woman accent, that everyone lay down the law and quit performing acts of fellatio for husbands, garbage men and even bosses. Cohen’s humor is absurd, and displays comedic traits similar to Amy Sedaris and Martin Short.\u003c/p>\n\u003cp>https://youtu.be/v0rz2Mas0AA\u003c/p>\n\u003cp>\u003cb>Punkie Johnson\u003c/b>\u003cbr>\n\u003cem>June 21 and 22\u003c/em>\u003c/p>\n\u003cp>Punkie Johnson exudes confidence with a blunt and brash comedic style. Riffing on her own masculinity, monogamy or that one time she tried heterosexual sex, Johnson is anything but demure. She’s also a regular at the legendary Comedy Store in West Hollywood. If you’re not familiar, here she is hitting it out of the park as the gestating partner of a dysfunctional straight couple in her episode of executive producer Sarah Silverman’s Facebook Watch show \u003ca href=\"https://www.facebook.com/watch/?v=1719514054793890\" target=\"_blank\" rel=\"noopener\">\u003ci>Please Understand Me\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=T0P4pDa5kOQ\u003c/p>\n\u003cp>\u003cb>Rosebud Baker\u003c/b>\u003cbr>\n\u003cem>June 21 and 22\u003c/em>\u003c/p>\n\u003cp>Rosebud Baker airs out the dumpster fires of her personal disasters in her stand-up. If it’s too dark to talk about in good taste, Baker takes it to the stage—even her experience with an abusive relationship. Her humor may well be an acquired taste, a balm for those of us also warming ourselves with our own dumpster fires. Undeniably, her gravitas and well-delivered timing make her stand out.\u003c/p>\n\u003cp>https://youtu.be/5GfKI1c4gOc\u003c/p>\n\u003cp>\u003cb>Alyssa Westerlund\u003c/b>\u003cbr>\n\u003cem>June 23 \u003c/em>\u003c/p>\n\u003cp>A San Francisco resident, former cult member and self-proclaimed nymphomaniac, Alyssa Westerlund claims that her “number” is well over 200. Whether that is accurate or an all-too-excellent ploy to catch more partners is up for debate. But what’s not is that Westerlund doesn’t shy away from her exhibitionism. If you’ve had the chance to catch her around town, you know her energy is magnetic and her transparency is repeatedly shocking.\u003c/p>\n\u003cp>https://youtu.be/Yuhdee5VlyE\u003c/p>\n\u003cp>\u003cb>Live Read of \u003cem>Romy and Michele’s High School Reunion\u003c/em> with Trixie Mattel, Katya and Peaches Christ\u003c/b>\u003cbr>\n\u003cem>June 23\u003c/em>\u003c/p>\n\u003cp>This event is sure to be raunchy, hysterical and unfortunately void of Allan Cummings and his impressive helicopter parking lot landing. Co-curated by SF Sketchfest, this read-through features drag stars Trixie Mattel and Katya, as well as San Francisco’s own Peaches Christ, who will be playing the part of Janeane Garofalo’s character, Heather Mooney, to which I say:\u003c/p>\n\u003cp style=\"text-align: center\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://giphy.com/embed/xUA7bifq2GeRPpLRSw\" width=\"480\" height=\"257\" frameborder=\"0\" class=\"giphy-embed\" scrolling=\"yes\">\u003c/iframe>\n\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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>\u003cem>Comedy Central’s Clusterfest takes place June 21–23 at San Francisco’s Civic Center and Bill Graham Civic Auditorium. Details \u003ca href=\"https://www.clusterfest.com\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003cbr>\n[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You probably clicked this link because you like comedy. Or maybe, like me, you \u003ci>love\u003c/i> comedy—so much that you’ve actually dated comedians. Perhaps one of the comedians you dated could have moonlighted as a Chaz Bono impersonator; another you broke up with because you were terrified you’d have to meet Carrot Top one day. Wait, or was that just me?\u003c/p>\n\u003cp>Or maybe you clicked this link looking to expand your cultural horizons since Comedy Central’s \u003ca href=\"https://www.clusterfest.com/\" target=\"_blank\" rel=\"noopener\">Clusterfest\u003c/a> is upon us, bringing three days of stand-up, storytelling, music and food to San Francisco’s Civic Center and Bill Graham Civic Auditorium June 21–23. Along with Issa Rae, Patton Oswalt, Amy Poehler, \u003cem>SNL\u003c/em>’s Leslie Jones and \u003cem>Broad City\u003c/em>’s Ilana Glazer (plus a recreation of Jerry Seinfeld’s apartment), headliners include John Mulaney (who stole my allegiance with his “\u003ca href=\"https://www.youtube.com/watch?v=QnkrL42R7gk\" target=\"_blank\" rel=\"noopener\">What’s New PussyCat\u003c/a>” bit long ago) and Chelsea Peretti (the Bay Area’s “Pippa Middleton” of comedy—kinda royalty, but not). \u003cem>2 Broke Girls\u003c/em> creator Whitney Cummings will also be in attendance, as well as Cummings’ old roast master, Jeff Ross, who is set to host a roast battle where two up-and-coming comedians spar for affirmation.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you’re one of the diehard comedy fans who sold their souls, cars or kidneys for a three-day pass, you’re going to want to see more than the big stars. Here are our six rising comedians not to miss at Clusterfest (warning: some of the embedded clips contain mature language):\u003c/span>\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/op2pK_w8_oY'\n title='//www.youtube.com/embed/op2pK_w8_oY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Quinta Brunson\u003c/strong>\u003cbr>\n\u003cem>June 21 and 22\u003c/em>\u003c/p>\n\u003cp>If you haven’t heard of Quinta Brunson yet, chances are you will soon. Listed in \u003ci>Forbes\u003c/i>’ “30 under 30,” Brunson plays herself against the world in her BuzzFeed video series, \u003ci>Quinta Vs. Everything\u003c/i>. She got her start on Instagram playing the easily impressed “Girl Who’s Never Been on a Nice Date.” (Fire tagline: “He got money!”) Brunson’s stand-up routines cover it all: her beef with little kids who mistake her as one of their own, as well as hot takes on Harriet Tubman’s personal life. Brunson mixes intelligence with hilarity better than your most engaging philosophical bar debate.\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/yzEhqaCldDM'\n title='//www.youtube.com/embed/yzEhqaCldDM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>Catherine Cohen\u003c/b>\u003cbr>\n\u003cem>June 22 and 23\u003c/em>\u003c/p>\n\u003cp>This self proclaimed “alt-comedian with a perfect body and gorgeous face” has social numbers climbing faster than the mileage on the car I park in San Francisco. Cohen’s style of comedy mixes cabaret vocals, open letters to celebrities she’s never met (hello, Owen Wilson and Avril Lavigne) and parodies of pseudo-feminist yogurt commercials. In her videos, she tests the limits of her characters. \u003ca href=\"https://youtu.be/XtwL-3y7kcI\" target=\"_blank\" rel=\"noopener\">In one\u003c/a>, for example, she suggests, in a 1940s fancy woman accent, that everyone lay down the law and quit performing acts of fellatio for husbands, garbage men and even bosses. Cohen’s humor is absurd, and displays comedic traits similar to Amy Sedaris and Martin Short.\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/v0rz2Mas0AA'\n title='//www.youtube.com/embed/v0rz2Mas0AA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>Punkie Johnson\u003c/b>\u003cbr>\n\u003cem>June 21 and 22\u003c/em>\u003c/p>\n\u003cp>Punkie Johnson exudes confidence with a blunt and brash comedic style. Riffing on her own masculinity, monogamy or that one time she tried heterosexual sex, Johnson is anything but demure. She’s also a regular at the legendary Comedy Store in West Hollywood. If you’re not familiar, here she is hitting it out of the park as the gestating partner of a dysfunctional straight couple in her episode of executive producer Sarah Silverman’s Facebook Watch show \u003ca href=\"https://www.facebook.com/watch/?v=1719514054793890\" target=\"_blank\" rel=\"noopener\">\u003ci>Please Understand Me\u003c/i>\u003c/a>.\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/T0P4pDa5kOQ'\n title='//www.youtube.com/embed/T0P4pDa5kOQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>Rosebud Baker\u003c/b>\u003cbr>\n\u003cem>June 21 and 22\u003c/em>\u003c/p>\n\u003cp>Rosebud Baker airs out the dumpster fires of her personal disasters in her stand-up. If it’s too dark to talk about in good taste, Baker takes it to the stage—even her experience with an abusive relationship. Her humor may well be an acquired taste, a balm for those of us also warming ourselves with our own dumpster fires. Undeniably, her gravitas and well-delivered timing make her stand out.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/5GfKI1c4gOc'\n title='//www.youtube.com/embed/5GfKI1c4gOc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>Alyssa Westerlund\u003c/b>\u003cbr>\n\u003cem>June 23 \u003c/em>\u003c/p>\n\u003cp>A San Francisco resident, former cult member and self-proclaimed nymphomaniac, Alyssa Westerlund claims that her “number” is well over 200. Whether that is accurate or an all-too-excellent ploy to catch more partners is up for debate. But what’s not is that Westerlund doesn’t shy away from her exhibitionism. If you’ve had the chance to catch her around town, you know her energy is magnetic and her transparency is repeatedly shocking.\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/Yuhdee5VlyE'\n title='//www.youtube.com/embed/Yuhdee5VlyE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>Live Read of \u003cem>Romy and Michele’s High School Reunion\u003c/em> with Trixie Mattel, Katya and Peaches Christ\u003c/b>\u003cbr>\n\u003cem>June 23\u003c/em>\u003c/p>\n\u003cp>This event is sure to be raunchy, hysterical and unfortunately void of Allan Cummings and his impressive helicopter parking lot landing. Co-curated by SF Sketchfest, this read-through features drag stars Trixie Mattel and Katya, as well as San Francisco’s own Peaches Christ, who will be playing the part of Janeane Garofalo’s character, Heather Mooney, to which I say:\u003c/p>\n\u003cp style=\"text-align: center\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://giphy.com/embed/xUA7bifq2GeRPpLRSw\" width=\"480\" height=\"257\" frameborder=\"0\" class=\"giphy-embed\" scrolling=\"yes\">\u003c/iframe>\n\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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>\u003cem>Comedy Central’s Clusterfest takes place June 21–23 at San Francisco’s Civic Center and Bill Graham Civic Auditorium. Details \u003ca href=\"https://www.clusterfest.com\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003cbr>\n\u003c/p>\u003c/div>",
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},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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},
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},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
"link": "/californiareport",
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"order": 10
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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},
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"order": 1
},
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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},
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
},
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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