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"content": "\u003cp>Kaytlin Bailey didn’t originally set out to become a sex worker rights activist. She just wanted to be funny.\u003c/p>\n\u003cp>But in 2018, under the first Trump administration, the FOSTA-SESTA bill passed, criminalizing the online assistance, facilitation and support systems sex workers relied on to stay safe. Bailey, a New York–based stand-up comedian and former sex worker, felt compelled to use her platform to speak out against the law’s devastating impact.\u003c/p>\n\u003cp>“I believe that if you can make people laugh, you can make people listen,” Bailey said. “Comedy has a long history of that, and it’s a great way to cut through a lot of noise.”\u003c/p>\n\u003cp>Since then, Bailey’s career has expanded well beyond the stand-up stage. She is the founder and executive director of \u003ca href=\"https://oldprosonline.org/\">Old Pros\u003c/a>, a sex worker–led nonprofit focused on advocacy through storytelling; the host of \u003ci>The Oldest Profession\u003c/i> podcast; and the writer and performer behind a series of one-woman shows.\u003c/p>\n\u003cp>Her most recent one-woman show, also called \u003ci>The Oldest Profession\u003c/i>, comes to San Francisco on Dec. 17, at the Lost Church. The 70-minute solo performance is a narrative sprint through 10,000 years of sex worker history as it has manifested globally, dating back as early as ancient Mesopotamia. Bailey brings her trademark irreverence to this hybrid of history lecture, comedic monologue and cultural critique that explores and revives the marginalized stories of sex workers.\u003c/p>\n\u003cfigure id=\"attachment_13984970\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984970\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/WhoresEyeView_OrlandoFringe2024_PRODUCTION_PhotoAshleighAnnGardner-15-scaled-1.jpg\" alt=\"A woman holding a microphone as she speaks on stage.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/WhoresEyeView_OrlandoFringe2024_PRODUCTION_PhotoAshleighAnnGardner-15-scaled-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/WhoresEyeView_OrlandoFringe2024_PRODUCTION_PhotoAshleighAnnGardner-15-scaled-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/WhoresEyeView_OrlandoFringe2024_PRODUCTION_PhotoAshleighAnnGardner-15-scaled-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/WhoresEyeView_OrlandoFringe2024_PRODUCTION_PhotoAshleighAnnGardner-15-scaled-1-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bailey performing her previous one-woman show, ‘Whore’s Eye View,’ in Orlando. \u003ccite>(Ashleigh Ann Gardner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before doors open for the performance, the Lost Church will host a free community event honoring sex workers who’ve passed away. The gathering is part of the \u003ca href=\"https://www.nswp.org/event/international-day-end-violence-against-sex-workers-6\">International Day to End Violence Against Sex Workers\u003c/a>, founded by San Francisco–based sex worker activists Annie Sprinkle and Robyn Few, who also founded the \u003ca href=\"https://www.nswp.org/featured/swop-usa\">Sex Workers Outreach Project USA\u003c/a> (SWOP-USA).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There’s a lot of examples of sex workers coming together and organizing and making their voices heard in San Francisco, which is why I’m so excited to be bringing this show there and performing it in front of people that do this work,” Bailey said.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13894842']\u003c/span>Throughout her career, Bailey has witnessed the “pendulum swing both ways” with regard to attitudes toward sex work. She recalls that when she first started out in the early 2000s, a time steeped in fat-shaming and slut-shaming, pop culture icons like Christina Aguilera seemed to promise a new era of freedom.\u003c/p>\n\u003cp>“It once felt inconceivable that \u003ci>Roe v. Wade\u003c/i> could be overturned. It felt like opportunities for women were always expanding,” she said.\u003c/p>\n\u003cp>Yet progress has proven fragile, and many of the legal and cultural barriers from decades past persist and have intensified under the current political climate.\u003c/p>\n\u003cp>The first Trump administration’s nomination of three conservative Supreme Court justices shifted the Court’s balance and set the stage for the \u003ca href=\"https://www.npr.org/2022/06/24/1102305878/supreme-court-abortion-roe-v-wade-decision-overturn\">overturn of \u003ci>Roe v. Wade\u003c/i>\u003c/a> in 2022. This shift in reproductive rights reflected a larger pattern of restricting sexual autonomy — a reality that sex workers, in particular, continue to confront. For the next generation of feminists, Bailey urges expanding rights and resources for sex workers, and not mistaking prohibition for protection.\u003c/p>\n\u003cp>“I believe that we will work towards a future with less sexual violence and less gender-based violence, not by policing anyone’s sex life harder, but by giving more people, including the most vulnerable people, more access to rights and resources,” Bailey said. “Criminalizing our work and criminalizing our livelihood just isn’t how you get there.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Bailey’s one-woman show, \u003c/i>The Oldest Profession\u003ci>, comes to the Lost Church (988 Columbus Ave., San Francisco) on December 17. Doors open at 7:30 p.m., with a free community event starting at 6 p.m. Tickets and more information \u003c/i>\u003ca href=\"https://thelostchurch.my.salesforce-sites.com/ticket/#/instances/a0FTU00000M8OtJ2AV\">\u003ci>here\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kaytlin Bailey didn’t originally set out to become a sex worker rights activist. She just wanted to be funny.\u003c/p>\n\u003cp>But in 2018, under the first Trump administration, the FOSTA-SESTA bill passed, criminalizing the online assistance, facilitation and support systems sex workers relied on to stay safe. Bailey, a New York–based stand-up comedian and former sex worker, felt compelled to use her platform to speak out against the law’s devastating impact.\u003c/p>\n\u003cp>“I believe that if you can make people laugh, you can make people listen,” Bailey said. “Comedy has a long history of that, and it’s a great way to cut through a lot of noise.”\u003c/p>\n\u003cp>Since then, Bailey’s career has expanded well beyond the stand-up stage. She is the founder and executive director of \u003ca href=\"https://oldprosonline.org/\">Old Pros\u003c/a>, a sex worker–led nonprofit focused on advocacy through storytelling; the host of \u003ci>The Oldest Profession\u003c/i> podcast; and the writer and performer behind a series of one-woman shows.\u003c/p>\n\u003cp>Her most recent one-woman show, also called \u003ci>The Oldest Profession\u003c/i>, comes to San Francisco on Dec. 17, at the Lost Church. The 70-minute solo performance is a narrative sprint through 10,000 years of sex worker history as it has manifested globally, dating back as early as ancient Mesopotamia. Bailey brings her trademark irreverence to this hybrid of history lecture, comedic monologue and cultural critique that explores and revives the marginalized stories of sex workers.\u003c/p>\n\u003cfigure id=\"attachment_13984970\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13984970\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/WhoresEyeView_OrlandoFringe2024_PRODUCTION_PhotoAshleighAnnGardner-15-scaled-1.jpg\" alt=\"A woman holding a microphone as she speaks on stage.\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/WhoresEyeView_OrlandoFringe2024_PRODUCTION_PhotoAshleighAnnGardner-15-scaled-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/WhoresEyeView_OrlandoFringe2024_PRODUCTION_PhotoAshleighAnnGardner-15-scaled-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/WhoresEyeView_OrlandoFringe2024_PRODUCTION_PhotoAshleighAnnGardner-15-scaled-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/12/WhoresEyeView_OrlandoFringe2024_PRODUCTION_PhotoAshleighAnnGardner-15-scaled-1-1536x1025.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bailey performing her previous one-woman show, ‘Whore’s Eye View,’ in Orlando. \u003ccite>(Ashleigh Ann Gardner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before doors open for the performance, the Lost Church will host a free community event honoring sex workers who’ve passed away. The gathering is part of the \u003ca href=\"https://www.nswp.org/event/international-day-end-violence-against-sex-workers-6\">International Day to End Violence Against Sex Workers\u003c/a>, founded by San Francisco–based sex worker activists Annie Sprinkle and Robyn Few, who also founded the \u003ca href=\"https://www.nswp.org/featured/swop-usa\">Sex Workers Outreach Project USA\u003c/a> (SWOP-USA).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There’s a lot of examples of sex workers coming together and organizing and making their voices heard in San Francisco, which is why I’m so excited to be bringing this show there and performing it in front of people that do this work,” Bailey said.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>Throughout her career, Bailey has witnessed the “pendulum swing both ways” with regard to attitudes toward sex work. She recalls that when she first started out in the early 2000s, a time steeped in fat-shaming and slut-shaming, pop culture icons like Christina Aguilera seemed to promise a new era of freedom.\u003c/p>\n\u003cp>“It once felt inconceivable that \u003ci>Roe v. Wade\u003c/i> could be overturned. It felt like opportunities for women were always expanding,” she said.\u003c/p>\n\u003cp>Yet progress has proven fragile, and many of the legal and cultural barriers from decades past persist and have intensified under the current political climate.\u003c/p>\n\u003cp>The first Trump administration’s nomination of three conservative Supreme Court justices shifted the Court’s balance and set the stage for the \u003ca href=\"https://www.npr.org/2022/06/24/1102305878/supreme-court-abortion-roe-v-wade-decision-overturn\">overturn of \u003ci>Roe v. Wade\u003c/i>\u003c/a> in 2022. This shift in reproductive rights reflected a larger pattern of restricting sexual autonomy — a reality that sex workers, in particular, continue to confront. For the next generation of feminists, Bailey urges expanding rights and resources for sex workers, and not mistaking prohibition for protection.\u003c/p>\n\u003cp>“I believe that we will work towards a future with less sexual violence and less gender-based violence, not by policing anyone’s sex life harder, but by giving more people, including the most vulnerable people, more access to rights and resources,” Bailey said. “Criminalizing our work and criminalizing our livelihood just isn’t how you get there.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Bailey’s one-woman show, \u003c/i>The Oldest Profession\u003ci>, comes to the Lost Church (988 Columbus Ave., San Francisco) on December 17. Doors open at 7:30 p.m., with a free community event starting at 6 p.m. Tickets and more information \u003c/i>\u003ca href=\"https://thelostchurch.my.salesforce-sites.com/ticket/#/instances/a0FTU00000M8OtJ2AV\">\u003ci>here\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Can ‘The Function,’ Function?: Comedian Stroy Moyd Bets on #HellaFunny Brand with New Comedy Club",
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"content": "\u003cp>Comedian \u003ca href=\"https://www.instagram.com/stroymoyd/\">Stroy Moyd\u003c/a> feels “blessed and stressed,” but mostly blessed, outside 1414 Market Street in San Francisco. He stands outside The Function \u003cspan style=\"font-weight: 400\">—\u003c/span> a seven-days-a-week comedy and nightlife venue \u003cspan style=\"font-weight: 400\">—\u003c/span> opening its doors for the first time this past weekend. The man behind the #HellaFunny brand of comedy shows produced across the Bay Area understood consolidation is key. So he sought to bring the 27 shows #HellaFunny does a week under one roof into a club he owns.\u003c/p>\n\u003cp>Known for his hustle, 18 years into performing and producing stand-up comedy, Moyd’s angling to work smarter.\u003c/p>\n\u003cp>“All these bars are making so much money off of all my shows, and I’m only making ticket sales and tips,” Moyd tells KQED about the origins of The Function. “I said, the drinks is where it’s at. I said, I’m gonna open my own spot and bring all my #HellaFunny shows back to my own spot. That was the whole goal.”[ad fullwidth]\u003c/p>\n\u003cp>Perhaps it’s an omen of good things to come: The Function’s capacity is 49 people, a lucky number in the city home to San Francisco 49ers football dynasty. Even the 49ers couldn’t afford to stay in the city, though, which is why Moyd’s feat is all the more impressive, setting up a Black-owned entertainment business in an area of San Francisco written off by doomsaying headlines.\u003c/p>\n\u003cp>After vying for hundreds of locations, Moyd kept hitting the same roadblock \u003cspan style=\"font-weight: 400\">—\u003c/span> realtors wanted a house for collateral or some other major asset, all of which he didn’t have \u003cspan style=\"font-weight: 400\">—\u003c/span> in order to allow him the space. He was ready to give up the dream when he came to 1414 Market and found no collateral was necessary.\u003c/p>\n\u003cp>“This was the last one. I was checking for two years. I said, ‘If this one don’t work out, I’m done,’” Moyd says. “And it worked out.”\u003c/p>\n\u003cfigure id=\"attachment_13960618\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960618\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7650-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7650-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7650-KQED-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7650-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7650-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7650-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7650-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7650-KQED-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Function, located at 1414 Market St., opened its doors this past weekend. \u003ccite>(Danny Acosta for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unfortunately, Moyd encountered the harsh reality of racism in Bay Area real estate throughout the process.\u003c/p>\n\u003cp>“I would go to the venues to buy, and the owner would look at me, and I could tell just because I’m Black, he be like, don’t want to sell to me. That happened so many times, you know, but I overcome it … and I don’t let it get to me,” Moyd says. “I keep pushing, but it’s been a struggle, but it worked. We need more Black-owned business. This is the first Black-owned full-time comedy club in the history of the Bay Area. This is the actual, real Black history. I’m going to do it in Oakland, too.”\u003c/p>\n\u003cp>Moyd’s desire to open another Function in his hometown isn’t surprising, and the enterprising comic quickly name-checks Los Angeles, New York, Miami, Mexico, South Korea and Japan as future spots to turn his Bay Area brand into an international franchise.\u003c/p>\n\u003cp>Moyd’s grand vision is perhaps why Tony Sparks, the godfather of Bay Area comedy, known for running the Brainwash Cafe’s (RIP) comedy for almost two decades, always knew Moyd was destined for big things.\u003c/p>\n\u003cp>Still, Sparks never imagined Moyd running his own club was in the cards, noting the racism that stopped Sparks from doing something similar years ago. It makes Moyd’s win all that more impressive. “You’d think in this day and time, it should be different, it’s not,” he says, “And it’s really sad, but my man has really knocked all those barriers down somehow.”\u003c/p>\n\u003cfigure id=\"attachment_13960616\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960616\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7595-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7595-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7595-KQED-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7595-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7595-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7595-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7595-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7595-KQED-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Tony Sparks said Stroy Moyd’s comedy club opening is impressive. He was among the comedians who graced the stage at The Function during its grand opening weekend. \u003ccite>(Danny Acosta for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sparks has already hosted comedy shows at The Function and feels it’s a good space for comedians and crowds to experience his catchphrase: “lots of love.”\u003c/p>\n\u003cp>“This room with the low ceilings and the way it’s set up, the laughter is always huge,” Sparks says. “Everything runs really high. It’s really a great room, and it’s worth coming and investing the time to be here.”\u003c/p>\n\u003cp>Lilian Tsai, an attorney, lives in the neighborhood and eagerly anticipated The Function’s opening. She describes the venue as having “amazing decor” (kinder than a comic who called it “gentrified strip club decor”), an “intimate and cozy” atmosphere for a “really funny” night of comedy. It’s a night capped off with a “No Scrubs” ’90s hip-hop dance party with DJ Beats Me on the turntables, so Tsai and her friends will switch from laughter to dancing seamlessly, just like Moyd intended for the space.\u003c/p>\n\u003cp>“San Francisco, we need more beauty, more laughter, and this is a really great thing,” she says of The Function. “I didn’t know until I attended tonight that it was Black-owned, so that’s amazing. I have a good friend who’s a comedian, too, so it’s just very exciting to have this in town.”\u003c/p>\n\u003cp>Moyd ultimately sees The Function as a place to become a better comedian and businessman. As a comic, he describes his material as full of “ratchetness,” so as a businessman, he stands firm. The Function is a place designed for comedians to be comedians, warning potential audiences to stay home if they’re too sensitive to what comics might deliver as punchlines. With Moyd’s brick-and-mortar dreams now a reality, he likens this whole experience to watching people win an award at the Oscars or Grammys, where they get too overwhelmed and can’t remember who they need to thank.\u003c/p>\n\u003cp>“So just thank you, everybody. I never understood that I’m like, ‘You gotta mention somebody,’” Moyd says. “Now that I got my own club, I get it.”\u003c/p>\n\u003cfigure id=\"attachment_13960615\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960615\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7556-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7556-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7556-KQED-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7556-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7556-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7556-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7556-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7556-KQED-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Function is a new comedy club owned by comedian Stroy Moyd, who is also behind the #HellaFunny brand of comedy shows produced around the Bay Area. \u003ccite>(Danny Acosta for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n",
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"excerpt": "The intimate, Black-owned comedy club on Market Street is a venue \"designed for comedians to be comedians.\"",
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"headline": "Can ‘The Function,’ Function?: Comedian Stroy Moyd Bets on #HellaFunny Brand with New Comedy Club",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Comedian \u003ca href=\"https://www.instagram.com/stroymoyd/\">Stroy Moyd\u003c/a> feels “blessed and stressed,” but mostly blessed, outside 1414 Market Street in San Francisco. He stands outside The Function \u003cspan style=\"font-weight: 400\">—\u003c/span> a seven-days-a-week comedy and nightlife venue \u003cspan style=\"font-weight: 400\">—\u003c/span> opening its doors for the first time this past weekend. The man behind the #HellaFunny brand of comedy shows produced across the Bay Area understood consolidation is key. So he sought to bring the 27 shows #HellaFunny does a week under one roof into a club he owns.\u003c/p>\n\u003cp>Known for his hustle, 18 years into performing and producing stand-up comedy, Moyd’s angling to work smarter.\u003c/p>\n\u003cp>“All these bars are making so much money off of all my shows, and I’m only making ticket sales and tips,” Moyd tells KQED about the origins of The Function. “I said, the drinks is where it’s at. I said, I’m gonna open my own spot and bring all my #HellaFunny shows back to my own spot. That was the whole goal.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Perhaps it’s an omen of good things to come: The Function’s capacity is 49 people, a lucky number in the city home to San Francisco 49ers football dynasty. Even the 49ers couldn’t afford to stay in the city, though, which is why Moyd’s feat is all the more impressive, setting up a Black-owned entertainment business in an area of San Francisco written off by doomsaying headlines.\u003c/p>\n\u003cp>After vying for hundreds of locations, Moyd kept hitting the same roadblock \u003cspan style=\"font-weight: 400\">—\u003c/span> realtors wanted a house for collateral or some other major asset, all of which he didn’t have \u003cspan style=\"font-weight: 400\">—\u003c/span> in order to allow him the space. He was ready to give up the dream when he came to 1414 Market and found no collateral was necessary.\u003c/p>\n\u003cp>“This was the last one. I was checking for two years. I said, ‘If this one don’t work out, I’m done,’” Moyd says. “And it worked out.”\u003c/p>\n\u003cfigure id=\"attachment_13960618\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960618\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7650-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7650-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7650-KQED-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7650-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7650-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7650-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7650-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7650-KQED-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Function, located at 1414 Market St., opened its doors this past weekend. \u003ccite>(Danny Acosta for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unfortunately, Moyd encountered the harsh reality of racism in Bay Area real estate throughout the process.\u003c/p>\n\u003cp>“I would go to the venues to buy, and the owner would look at me, and I could tell just because I’m Black, he be like, don’t want to sell to me. That happened so many times, you know, but I overcome it … and I don’t let it get to me,” Moyd says. “I keep pushing, but it’s been a struggle, but it worked. We need more Black-owned business. This is the first Black-owned full-time comedy club in the history of the Bay Area. This is the actual, real Black history. I’m going to do it in Oakland, too.”\u003c/p>\n\u003cp>Moyd’s desire to open another Function in his hometown isn’t surprising, and the enterprising comic quickly name-checks Los Angeles, New York, Miami, Mexico, South Korea and Japan as future spots to turn his Bay Area brand into an international franchise.\u003c/p>\n\u003cp>Moyd’s grand vision is perhaps why Tony Sparks, the godfather of Bay Area comedy, known for running the Brainwash Cafe’s (RIP) comedy for almost two decades, always knew Moyd was destined for big things.\u003c/p>\n\u003cp>Still, Sparks never imagined Moyd running his own club was in the cards, noting the racism that stopped Sparks from doing something similar years ago. It makes Moyd’s win all that more impressive. “You’d think in this day and time, it should be different, it’s not,” he says, “And it’s really sad, but my man has really knocked all those barriers down somehow.”\u003c/p>\n\u003cfigure id=\"attachment_13960616\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960616\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7595-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7595-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7595-KQED-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7595-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7595-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7595-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7595-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7595-KQED-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Tony Sparks said Stroy Moyd’s comedy club opening is impressive. He was among the comedians who graced the stage at The Function during its grand opening weekend. \u003ccite>(Danny Acosta for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sparks has already hosted comedy shows at The Function and feels it’s a good space for comedians and crowds to experience his catchphrase: “lots of love.”\u003c/p>\n\u003cp>“This room with the low ceilings and the way it’s set up, the laughter is always huge,” Sparks says. “Everything runs really high. It’s really a great room, and it’s worth coming and investing the time to be here.”\u003c/p>\n\u003cp>Lilian Tsai, an attorney, lives in the neighborhood and eagerly anticipated The Function’s opening. She describes the venue as having “amazing decor” (kinder than a comic who called it “gentrified strip club decor”), an “intimate and cozy” atmosphere for a “really funny” night of comedy. It’s a night capped off with a “No Scrubs” ’90s hip-hop dance party with DJ Beats Me on the turntables, so Tsai and her friends will switch from laughter to dancing seamlessly, just like Moyd intended for the space.\u003c/p>\n\u003cp>“San Francisco, we need more beauty, more laughter, and this is a really great thing,” she says of The Function. “I didn’t know until I attended tonight that it was Black-owned, so that’s amazing. I have a good friend who’s a comedian, too, so it’s just very exciting to have this in town.”\u003c/p>\n\u003cp>Moyd ultimately sees The Function as a place to become a better comedian and businessman. As a comic, he describes his material as full of “ratchetness,” so as a businessman, he stands firm. The Function is a place designed for comedians to be comedians, warning potential audiences to stay home if they’re too sensitive to what comics might deliver as punchlines. With Moyd’s brick-and-mortar dreams now a reality, he likens this whole experience to watching people win an award at the Oscars or Grammys, where they get too overwhelmed and can’t remember who they need to thank.\u003c/p>\n\u003cp>“So just thank you, everybody. I never understood that I’m like, ‘You gotta mention somebody,’” Moyd says. “Now that I got my own club, I get it.”\u003c/p>\n\u003cfigure id=\"attachment_13960615\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960615\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7556-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7556-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7556-KQED-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7556-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7556-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7556-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7556-KQED-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/07/F93A7556-KQED-1920x1281.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The Function is a new comedy club owned by comedian Stroy Moyd, who is also behind the #HellaFunny brand of comedy shows produced around the Bay Area. \u003ccite>(Danny Acosta for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Welcome to Wolfe Pack Studios, a New Creative Clubhouse in Oakland",
"headTitle": "Welcome to Wolfe Pack Studios, a New Creative Clubhouse in Oakland | KQED",
"content": "\u003cp>On a recent Thursday evening, at a standup show called Holy Ground Comedy, Wolfe Pack Studios felt more like a house party. Squads of mostly 20- and 30-somethings filed into the cozy, downtown Oakland art space. Old friends hugged, and new acquaintances mingled on velvet couches. Upstairs, while a few guests played chess, a smiling Chef Njeri served big plates of Caribbean food — chicken legs, salad, rice and peas.\u003c/p>\n\u003cp>When the evening’s MC, \u003ca href=\"https://www.instagram.com/kinglangbang/?hl=en\">Langstyn Avery\u003c/a>, asked how many in the audience were born and raised in Oakland, a healthy number of cheers erupted from the crowd. And when he asked who was born outside the U.S., audience members enthusiastically shouted out Colombia, Lebanon and Vietnam. In this inclusive atmosphere, compliments and laughs flowed freely, and everyone — not just the comedians on stage — seemed comfortable sharing themselves.\u003c/p>\n\u003cp>That’s the kind of feel-good vibe artists are cultivating at \u003ca href=\"https://www.instagram.com/wolfepack_studios/\">Wolfe Pack Studios\u003c/a>, the new art gallery and event space founded by muralist \u003ca href=\"http://www.rachelwolfegoldsmith.com/\">Rachel Wolfe-Goldsmith\u003c/a>. Since opening in October 2022, the small storefront has become a clubhouse where writing workshops, comedy shows and album release parties bring together the Town’s many creative scenes.\u003c/p>\n\u003cfigure id=\"attachment_13927158\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927158\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63975_023_KQEDArts_WolfePackStudiosComedy_03232023-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63975_023_KQEDArts_WolfePackStudiosComedy_03232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63975_023_KQEDArts_WolfePackStudiosComedy_03232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63975_023_KQEDArts_WolfePackStudiosComedy_03232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63975_023_KQEDArts_WolfePackStudiosComedy_03232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63975_023_KQEDArts_WolfePackStudiosComedy_03232023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63975_023_KQEDArts_WolfePackStudiosComedy_03232023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A crowd at Wolfe Pack Studios in Oakland laugh during Holy Ground Comedy on March 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think culture is made of experiences, right?” Wolfe-Goldsmith says of her omnivorous programming. “You’re curating these moments in time with specific people to create a certain energy, to inspire people in a certain type of way.” [aside postid='arts_13926316']\u003c/p>\n\u003cp>Wolfe-Goldsmith serves as the creative director at the public art nonprofit \u003ca href=\"https://thebamp.org/\">Bay Area Mural Program\u003c/a> (BAMP), and she’s responsible for some of \u003ca href=\"http://www.rachelwolfegoldsmith.com/murals\">Oakland’s best-known walls\u003c/a>, including a \u003ca href=\"https://www.kqed.org/news/11858928/west-oakland-mural-honors-women-of-black-panther-party\">tribute to the women of the Black Panther Party in West Oakland\u003c/a>. Though most people encounter her art in its static form, she says her practice has always been alive and participatory. She got her start painting at electronic music festivals a decade ago, and years of living in big, communal artist houses left her comfortable in spaces where new ideas and activities are always flowing.\u003c/p>\n\u003cfigure id=\"attachment_13927161\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927161\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS64004_050_KQEDArts_WolfePackStudiosComedy_03232023-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS64004_050_KQEDArts_WolfePackStudiosComedy_03232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS64004_050_KQEDArts_WolfePackStudiosComedy_03232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS64004_050_KQEDArts_WolfePackStudiosComedy_03232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS64004_050_KQEDArts_WolfePackStudiosComedy_03232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS64004_050_KQEDArts_WolfePackStudiosComedy_03232023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS64004_050_KQEDArts_WolfePackStudiosComedy_03232023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Ellie Bonilla walks through the crowd after a set during Holy Ground Comedy at Wolfe Pack Studios in Oakland on March 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Art doesn’t have an R.O.I. [return on investment] or a definite measurement of what it does for you, but you see it when people come experience a space full of music, storytelling, community or the actual art on the walls,” she says. “It’s impactful to the spirit.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Avery, who’s performed comedy for years as Kinglangbang, shares that philosophy. Outside of co-curating events at Wolfe Pack Studios, he runs a group called \u003ca href=\"https://www.negusinnature.com/\">Negus in Nature\u003c/a>, which organizes outdoor excursions for a Black audience. He and Wolfe-Goldsmith met through BAMP and became close on a trip to Oregon, where she painted a mural of him holding a cluster of foraged mushrooms.\u003c/p>\n\u003cp>“I have a tattoo that says ‘Stress less, travel more,’ and that’s a motto I live by,” he says. “Going out into nature definitely releases stress, being in a community around people that you love, going to see new places. Creating art, experiencing art, facilitating art and having comedy shows are kind of like those intersections where you find me.”\u003c/p>\n\u003cfigure id=\"attachment_13927154\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927154\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63959_007_KQEDArts_WolfePackStudiosComedy_03232023-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63959_007_KQEDArts_WolfePackStudiosComedy_03232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63959_007_KQEDArts_WolfePackStudiosComedy_03232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63959_007_KQEDArts_WolfePackStudiosComedy_03232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63959_007_KQEDArts_WolfePackStudiosComedy_03232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63959_007_KQEDArts_WolfePackStudiosComedy_03232023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63959_007_KQEDArts_WolfePackStudiosComedy_03232023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Attendees at Holy Ground Comedy at Wolfe Pack Studios in Oakland chat before the show on March 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Wolfe-Goldsmith, Avery found a collaborator who was willing to take a chance. After finding the 13th Street storefront on Craigslist, Wolfe-Goldsmith crowdfunded $10,000, put in $5,000 of her own savings and got to work on giving the space a facelift. With the help of a grant, she’s been able to compensate artists and keep programming at Wolfe Pack Studios free or affordable, with most ticketed shows charging $22 or less at the door.\u003c/p>\n\u003cp>“I have this thing called shitter-getter-doners, and those are people who get shit done,” Avery says. “Rachel is definitely a shitter-getter-doner. … How do you push the envelope of what is deemed acceptable as artwork and then create a space for those rebels? Every rebel needs a clubhouse.”\u003c/p>\n\u003cfigure id=\"attachment_13927150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927150\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS64002_051_KQEDArts_WolfePackStudiosComedy_03232023-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS64002_051_KQEDArts_WolfePackStudiosComedy_03232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS64002_051_KQEDArts_WolfePackStudiosComedy_03232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS64002_051_KQEDArts_WolfePackStudiosComedy_03232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS64002_051_KQEDArts_WolfePackStudiosComedy_03232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS64002_051_KQEDArts_WolfePackStudiosComedy_03232023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS64002_051_KQEDArts_WolfePackStudiosComedy_03232023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Ato Walker (@mratowalker) performs during Holy Ground Comedy at Wolfe Pack Studios in Oakland on March 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That intimate, casual atmosphere was apparent when I visited Wolfe Pack Studios a week prior to Holy Ground Comedy. An artist named \u003ca href=\"https://www.instagram.com/creativeshields/\">Creative Shields\u003c/a> hunched over his tablet, locks spilling out of his beanie as he sketched. \u003ca href=\"https://www.instagram.com/madebydarin/\">Darin\u003c/a>, a painter, sat down below one of his aerosol art pieces and unwrapped a burrito. Warren, a tech professional not quite ready to label himself an artist, shyly introduced himself. The 10 or so people in the room, all at different places on their artistic paths, gathered to listen to creative technologist \u003ca href=\"https://www.instagram.com/wordxlife/?hl=en\">Damien McDuffie\u003c/a> demystify his augmented reality app, \u003ca href=\"https://www.blackterminus.com/\">Black Terminus\u003c/a>, which brings murals, photos and pieces of Oakland Black history to life with videos and animation.\u003c/p>\n\u003cp>“You don’t have to have a desktop, you don’t have to know coding,” he reassured the circle. By the time the session finished, the artists had learned McDuffie’s step-by-step process, and augmented reality no longer felt like sorcery.\u003c/p>\n\u003cfigure id=\"attachment_13927164\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927164\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS64016_062_KQEDArts_WolfePackStudiosComedy_03232023-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS64016_062_KQEDArts_WolfePackStudiosComedy_03232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS64016_062_KQEDArts_WolfePackStudiosComedy_03232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS64016_062_KQEDArts_WolfePackStudiosComedy_03232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS64016_062_KQEDArts_WolfePackStudiosComedy_03232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS64016_062_KQEDArts_WolfePackStudiosComedy_03232023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS64016_062_KQEDArts_WolfePackStudiosComedy_03232023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Attendees watch the performers at Holy Ground Comedy from the second floor at Wolfe Pack Studios in Oakland on March 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tech can be a fraught topic in artist circles, considering the industry’s role in the Bay Area’s sky-high cost of living. But Wolfe-Goldsmith has long embraced the idea of \u003ca href=\"https://www.kqed.org/arts/13897823/nft-artists-bay-area\">democratizing emerging technologies\u003c/a>. McDuffie is gearing up for a solo show at Wolfe Pack Studios in May, when the gallery will host more events centered on augmented reality.\u003c/p>\n\u003cp>“[I’m] really trying to make stuff accessible, futuristic and relevant and fun,” Wolfe-Goldsmith says.\u003c/p>\n\u003cfigure id=\"attachment_13927160\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927160\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63988_034_KQEDArts_WolfePackStudiosComedy_03232023-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63988_034_KQEDArts_WolfePackStudiosComedy_03232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63988_034_KQEDArts_WolfePackStudiosComedy_03232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63988_034_KQEDArts_WolfePackStudiosComedy_03232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63988_034_KQEDArts_WolfePackStudiosComedy_03232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63988_034_KQEDArts_WolfePackStudiosComedy_03232023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63988_034_KQEDArts_WolfePackStudiosComedy_03232023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Remo (@10dadj) performs during a comedy event at Wolfe Pack Studios in Oakland on March 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The turnout at most events speaks for itself: After three years of pandemic living, it’s clear that artists are eager to be a part of something, and to connect face-to-face. At Wolfe Pack Studios, Deej Letemps’ creative writing group, Writer’s Block, is already attracting regulars; DJ Ignacia and DJ Jambalaya are hosting frequent dance parties; and a soon-to-announced Tiny Desk-inspired live music series is in the works.\u003c/p>\n\u003cp>“There’s a lot of feedback that the space feels like home, and it feels cozy,” Wolfe-Goldsmith says. “It feels like somewhere you want to stay.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>The next \u003ca href=\"https://www.eventbrite.com/e/holy-ground-comedy-four-twenty-edition-tickets-600986616147\">Holy Ground Comedy\u003c/a> takes place on April 20. For upcoming events at Wolfe Pack Studios (306 13th St., Oakland), \u003ca href=\"https://www.instagram.com/wolfepack_studios/\">follow the gallery on Instagram\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a recent Thursday evening, at a standup show called Holy Ground Comedy, Wolfe Pack Studios felt more like a house party. Squads of mostly 20- and 30-somethings filed into the cozy, downtown Oakland art space. Old friends hugged, and new acquaintances mingled on velvet couches. Upstairs, while a few guests played chess, a smiling Chef Njeri served big plates of Caribbean food — chicken legs, salad, rice and peas.\u003c/p>\n\u003cp>When the evening’s MC, \u003ca href=\"https://www.instagram.com/kinglangbang/?hl=en\">Langstyn Avery\u003c/a>, asked how many in the audience were born and raised in Oakland, a healthy number of cheers erupted from the crowd. And when he asked who was born outside the U.S., audience members enthusiastically shouted out Colombia, Lebanon and Vietnam. In this inclusive atmosphere, compliments and laughs flowed freely, and everyone — not just the comedians on stage — seemed comfortable sharing themselves.\u003c/p>\n\u003cp>That’s the kind of feel-good vibe artists are cultivating at \u003ca href=\"https://www.instagram.com/wolfepack_studios/\">Wolfe Pack Studios\u003c/a>, the new art gallery and event space founded by muralist \u003ca href=\"http://www.rachelwolfegoldsmith.com/\">Rachel Wolfe-Goldsmith\u003c/a>. Since opening in October 2022, the small storefront has become a clubhouse where writing workshops, comedy shows and album release parties bring together the Town’s many creative scenes.\u003c/p>\n\u003cfigure id=\"attachment_13927158\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927158\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63975_023_KQEDArts_WolfePackStudiosComedy_03232023-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63975_023_KQEDArts_WolfePackStudiosComedy_03232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63975_023_KQEDArts_WolfePackStudiosComedy_03232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63975_023_KQEDArts_WolfePackStudiosComedy_03232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63975_023_KQEDArts_WolfePackStudiosComedy_03232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63975_023_KQEDArts_WolfePackStudiosComedy_03232023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63975_023_KQEDArts_WolfePackStudiosComedy_03232023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A crowd at Wolfe Pack Studios in Oakland laugh during Holy Ground Comedy on March 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I think culture is made of experiences, right?” Wolfe-Goldsmith says of her omnivorous programming. “You’re curating these moments in time with specific people to create a certain energy, to inspire people in a certain type of way.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wolfe-Goldsmith serves as the creative director at the public art nonprofit \u003ca href=\"https://thebamp.org/\">Bay Area Mural Program\u003c/a> (BAMP), and she’s responsible for some of \u003ca href=\"http://www.rachelwolfegoldsmith.com/murals\">Oakland’s best-known walls\u003c/a>, including a \u003ca href=\"https://www.kqed.org/news/11858928/west-oakland-mural-honors-women-of-black-panther-party\">tribute to the women of the Black Panther Party in West Oakland\u003c/a>. Though most people encounter her art in its static form, she says her practice has always been alive and participatory. She got her start painting at electronic music festivals a decade ago, and years of living in big, communal artist houses left her comfortable in spaces where new ideas and activities are always flowing.\u003c/p>\n\u003cfigure id=\"attachment_13927161\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927161\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS64004_050_KQEDArts_WolfePackStudiosComedy_03232023-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS64004_050_KQEDArts_WolfePackStudiosComedy_03232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS64004_050_KQEDArts_WolfePackStudiosComedy_03232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS64004_050_KQEDArts_WolfePackStudiosComedy_03232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS64004_050_KQEDArts_WolfePackStudiosComedy_03232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS64004_050_KQEDArts_WolfePackStudiosComedy_03232023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS64004_050_KQEDArts_WolfePackStudiosComedy_03232023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Ellie Bonilla walks through the crowd after a set during Holy Ground Comedy at Wolfe Pack Studios in Oakland on March 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Art doesn’t have an R.O.I. [return on investment] or a definite measurement of what it does for you, but you see it when people come experience a space full of music, storytelling, community or the actual art on the walls,” she says. “It’s impactful to the spirit.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Avery, who’s performed comedy for years as Kinglangbang, shares that philosophy. Outside of co-curating events at Wolfe Pack Studios, he runs a group called \u003ca href=\"https://www.negusinnature.com/\">Negus in Nature\u003c/a>, which organizes outdoor excursions for a Black audience. He and Wolfe-Goldsmith met through BAMP and became close on a trip to Oregon, where she painted a mural of him holding a cluster of foraged mushrooms.\u003c/p>\n\u003cp>“I have a tattoo that says ‘Stress less, travel more,’ and that’s a motto I live by,” he says. “Going out into nature definitely releases stress, being in a community around people that you love, going to see new places. Creating art, experiencing art, facilitating art and having comedy shows are kind of like those intersections where you find me.”\u003c/p>\n\u003cfigure id=\"attachment_13927154\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927154\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63959_007_KQEDArts_WolfePackStudiosComedy_03232023-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63959_007_KQEDArts_WolfePackStudiosComedy_03232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63959_007_KQEDArts_WolfePackStudiosComedy_03232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63959_007_KQEDArts_WolfePackStudiosComedy_03232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63959_007_KQEDArts_WolfePackStudiosComedy_03232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63959_007_KQEDArts_WolfePackStudiosComedy_03232023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63959_007_KQEDArts_WolfePackStudiosComedy_03232023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Attendees at Holy Ground Comedy at Wolfe Pack Studios in Oakland chat before the show on March 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Wolfe-Goldsmith, Avery found a collaborator who was willing to take a chance. After finding the 13th Street storefront on Craigslist, Wolfe-Goldsmith crowdfunded $10,000, put in $5,000 of her own savings and got to work on giving the space a facelift. With the help of a grant, she’s been able to compensate artists and keep programming at Wolfe Pack Studios free or affordable, with most ticketed shows charging $22 or less at the door.\u003c/p>\n\u003cp>“I have this thing called shitter-getter-doners, and those are people who get shit done,” Avery says. “Rachel is definitely a shitter-getter-doner. … How do you push the envelope of what is deemed acceptable as artwork and then create a space for those rebels? Every rebel needs a clubhouse.”\u003c/p>\n\u003cfigure id=\"attachment_13927150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927150\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS64002_051_KQEDArts_WolfePackStudiosComedy_03232023-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS64002_051_KQEDArts_WolfePackStudiosComedy_03232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS64002_051_KQEDArts_WolfePackStudiosComedy_03232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS64002_051_KQEDArts_WolfePackStudiosComedy_03232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS64002_051_KQEDArts_WolfePackStudiosComedy_03232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS64002_051_KQEDArts_WolfePackStudiosComedy_03232023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS64002_051_KQEDArts_WolfePackStudiosComedy_03232023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Ato Walker (@mratowalker) performs during Holy Ground Comedy at Wolfe Pack Studios in Oakland on March 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That intimate, casual atmosphere was apparent when I visited Wolfe Pack Studios a week prior to Holy Ground Comedy. An artist named \u003ca href=\"https://www.instagram.com/creativeshields/\">Creative Shields\u003c/a> hunched over his tablet, locks spilling out of his beanie as he sketched. \u003ca href=\"https://www.instagram.com/madebydarin/\">Darin\u003c/a>, a painter, sat down below one of his aerosol art pieces and unwrapped a burrito. Warren, a tech professional not quite ready to label himself an artist, shyly introduced himself. The 10 or so people in the room, all at different places on their artistic paths, gathered to listen to creative technologist \u003ca href=\"https://www.instagram.com/wordxlife/?hl=en\">Damien McDuffie\u003c/a> demystify his augmented reality app, \u003ca href=\"https://www.blackterminus.com/\">Black Terminus\u003c/a>, which brings murals, photos and pieces of Oakland Black history to life with videos and animation.\u003c/p>\n\u003cp>“You don’t have to have a desktop, you don’t have to know coding,” he reassured the circle. By the time the session finished, the artists had learned McDuffie’s step-by-step process, and augmented reality no longer felt like sorcery.\u003c/p>\n\u003cfigure id=\"attachment_13927164\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927164\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS64016_062_KQEDArts_WolfePackStudiosComedy_03232023-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS64016_062_KQEDArts_WolfePackStudiosComedy_03232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS64016_062_KQEDArts_WolfePackStudiosComedy_03232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS64016_062_KQEDArts_WolfePackStudiosComedy_03232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS64016_062_KQEDArts_WolfePackStudiosComedy_03232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS64016_062_KQEDArts_WolfePackStudiosComedy_03232023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS64016_062_KQEDArts_WolfePackStudiosComedy_03232023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Attendees watch the performers at Holy Ground Comedy from the second floor at Wolfe Pack Studios in Oakland on March 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tech can be a fraught topic in artist circles, considering the industry’s role in the Bay Area’s sky-high cost of living. But Wolfe-Goldsmith has long embraced the idea of \u003ca href=\"https://www.kqed.org/arts/13897823/nft-artists-bay-area\">democratizing emerging technologies\u003c/a>. McDuffie is gearing up for a solo show at Wolfe Pack Studios in May, when the gallery will host more events centered on augmented reality.\u003c/p>\n\u003cp>“[I’m] really trying to make stuff accessible, futuristic and relevant and fun,” Wolfe-Goldsmith says.\u003c/p>\n\u003cfigure id=\"attachment_13927160\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13927160\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63988_034_KQEDArts_WolfePackStudiosComedy_03232023-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63988_034_KQEDArts_WolfePackStudiosComedy_03232023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63988_034_KQEDArts_WolfePackStudiosComedy_03232023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63988_034_KQEDArts_WolfePackStudiosComedy_03232023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63988_034_KQEDArts_WolfePackStudiosComedy_03232023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63988_034_KQEDArts_WolfePackStudiosComedy_03232023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63988_034_KQEDArts_WolfePackStudiosComedy_03232023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Remo (@10dadj) performs during a comedy event at Wolfe Pack Studios in Oakland on March 23, 2023. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The turnout at most events speaks for itself: After three years of pandemic living, it’s clear that artists are eager to be a part of something, and to connect face-to-face. At Wolfe Pack Studios, Deej Letemps’ creative writing group, Writer’s Block, is already attracting regulars; DJ Ignacia and DJ Jambalaya are hosting frequent dance parties; and a soon-to-announced Tiny Desk-inspired live music series is in the works.\u003c/p>\n\u003cp>“There’s a lot of feedback that the space feels like home, and it feels cozy,” Wolfe-Goldsmith says. “It feels like somewhere you want to stay.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The next \u003ca href=\"https://www.eventbrite.com/e/holy-ground-comedy-four-twenty-edition-tickets-600986616147\">Holy Ground Comedy\u003c/a> takes place on April 20. For upcoming events at Wolfe Pack Studios (306 13th St., Oakland), \u003ca href=\"https://www.instagram.com/wolfepack_studios/\">follow the gallery on Instagram\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Rightnowish Live: A Comedy Night To Remember",
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"content": "\u003cp>\u003cem>\u003cstrong>Hey Rightnowish listeners, you can help shape the future of the podcast!\u003ca href=\"https://survey.alchemer.com/s3/6838454/2e522245cbb6\" target=\"_blank\" rel=\"noopener noreferrer\"> Just fill out a short survey.\u003c/a>\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>There’s a lot going on in the world. On top of the constant grind that capitalism demands, there’s news of natural disasters, inflation, war and conflicts. And that’s in addition to the interpersonal issues we all face. We could use a little more laughter in our lives.\u003c/p>\n\u003cp>So last month we held an event called, \u003cem>Put Your Phone Down! A Rightnowish Comedy Night \u003c/em>at KQED’s headquarters in San Francisco.\u003c/p>\n\u003cp>Hosted by myself and Rightnowish producer Marisol Medina-Cadena, the evening consisted of a quick Q&A and an open mic segment where audience members came up and cracked some jokes.\u003c/p>\n\u003cfigure id=\"attachment_13919855\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13919855 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Screen-Shot-2022-09-29-at-1.23.13-PM-800x534.png\" alt=\"The crowd and the comedians. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-29-at-1.23.13-PM-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-29-at-1.23.13-PM-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-29-at-1.23.13-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-29-at-1.23.13-PM-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-29-at-1.23.13-PM-1536x1025.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-29-at-1.23.13-PM-1920x1281.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-29-at-1.23.13-PM.png 1994w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd and the comedians. \u003ccite>(Alain Mclaughlin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After that, a trio of homegrown comics graced the stage one by one and shared hilarious stories and sharp punchlines.\u003c/p>\n\u003cp>Comedian and actor \u003ca href=\"https://www.instagram.com/everybodylovezmike/\" target=\"_blank\" rel=\"noopener noreferrer\">Mike Evans Jr\u003c/a>. was the first one up. He was followed by the East Bay’s comedian and event producer, \u003ca href=\"https://www.instagram.com/jackiecomedy/\" target=\"_blank\" rel=\"noopener noreferrer\">Jackie Keliiaa\u003c/a>. The final act was the multitalented Bay Area-raised and Los Angeles-based comedian \u003ca href=\"https://www.instagram.com/daramwilson/\" target=\"_blank\" rel=\"noopener noreferrer\">Dara M. Wilson.\u003c/a>\u003c/p>\n\u003cp>As the bartenders poured drinks and comedians shared stories, we all got in some laughs and celebrated a successful night of comedy.\u003c/p>\n\u003cp>If you missed it, don’t worry, we’re sharing some of the highlights with you in this week’s episode. Listen to our recap via the Rightnowish podcast or you can watch a video of the event \u003ca href=\"https://www.youtube.com/watch?v=UBqNpdWwWw0\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC1700447277&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Read the episode transcript \u003ca href=\"https://bit.ly/3EdsMYy\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Hey Rightnowish listeners, you can help shape the future of the podcast!\u003ca href=\"https://survey.alchemer.com/s3/6838454/2e522245cbb6\" target=\"_blank\" rel=\"noopener noreferrer\"> Just fill out a short survey.\u003c/a>\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>There’s a lot going on in the world. On top of the constant grind that capitalism demands, there’s news of natural disasters, inflation, war and conflicts. And that’s in addition to the interpersonal issues we all face. We could use a little more laughter in our lives.\u003c/p>\n\u003cp>So last month we held an event called, \u003cem>Put Your Phone Down! A Rightnowish Comedy Night \u003c/em>at KQED’s headquarters in San Francisco.\u003c/p>\n\u003cp>Hosted by myself and Rightnowish producer Marisol Medina-Cadena, the evening consisted of a quick Q&A and an open mic segment where audience members came up and cracked some jokes.\u003c/p>\n\u003cfigure id=\"attachment_13919855\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13919855 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/09/Screen-Shot-2022-09-29-at-1.23.13-PM-800x534.png\" alt=\"The crowd and the comedians. \" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-29-at-1.23.13-PM-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-29-at-1.23.13-PM-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-29-at-1.23.13-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-29-at-1.23.13-PM-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-29-at-1.23.13-PM-1536x1025.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-29-at-1.23.13-PM-1920x1281.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/09/Screen-Shot-2022-09-29-at-1.23.13-PM.png 1994w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd and the comedians. \u003ccite>(Alain Mclaughlin/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After that, a trio of homegrown comics graced the stage one by one and shared hilarious stories and sharp punchlines.\u003c/p>\n\u003cp>Comedian and actor \u003ca href=\"https://www.instagram.com/everybodylovezmike/\" target=\"_blank\" rel=\"noopener noreferrer\">Mike Evans Jr\u003c/a>. was the first one up. He was followed by the East Bay’s comedian and event producer, \u003ca href=\"https://www.instagram.com/jackiecomedy/\" target=\"_blank\" rel=\"noopener noreferrer\">Jackie Keliiaa\u003c/a>. The final act was the multitalented Bay Area-raised and Los Angeles-based comedian \u003ca href=\"https://www.instagram.com/daramwilson/\" target=\"_blank\" rel=\"noopener noreferrer\">Dara M. Wilson.\u003c/a>\u003c/p>\n\u003cp>As the bartenders poured drinks and comedians shared stories, we all got in some laughs and celebrated a successful night of comedy.\u003c/p>\n\u003cp>If you missed it, don’t worry, we’re sharing some of the highlights with you in this week’s episode. Listen to our recap via the Rightnowish podcast or you can watch a video of the event \u003ca href=\"https://www.youtube.com/watch?v=UBqNpdWwWw0\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC1700447277&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Read the episode transcript \u003ca href=\"https://bit.ly/3EdsMYy\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Mort Sahl, Revolutionary Political Satirist, Dies at 94 in Mill Valley",
"headTitle": "Mort Sahl, Revolutionary Political Satirist, Dies at 94 in Mill Valley | KQED",
"content": "\u003cfigure id=\"attachment_13905301\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/MortSahl.fullsize-1020x1266.jpg\" alt=\"Comedian Mort Sahl cracks a joke at a press conference in London on July 10, 1961.\" width=\"640\" height=\"794\" class=\"size-large wp-image-13905301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/MortSahl.fullsize-1020x1266.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/MortSahl.fullsize-800x993.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/MortSahl.fullsize-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/MortSahl.fullsize-768x953.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/MortSahl.fullsize-1238x1536.jpg 1238w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/MortSahl.fullsize.jpg 1400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Mort Sahl cracks a joke at a press conference in London on July 10, 1961.\u003cbr> \u003ccite>(Keystone/Hulton Archive/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Satirist Mort Sahl, who helped revolutionize stand-up comedy during the Cold War with his running commentary on politicians and current events and became a favorite of a new, restive generation of Americans, died Tuesday. He was 94.\u003c/p>\n\u003cp>His friend Lucy Mercer said that he died “peacefully” at his home in Mill Valley, California. The cause was “old age,” she said.\u003c/p>\n\u003cp>During an era when many comedians dressed in tuxedos and told mother-in-law jokes, Sahl faced his audiences in the ’50s and ’60s wearing slacks, a sweater and an unbuttoned collar and carrying a rolled-up newspaper on which he had pasted notes for his act. Reading news items as if seated across from you at the kitchen table, he made his inevitably cutting comments, often joining the laughter with a horsey bellow of his own and ending his routines by inquiring: “Is there any group I haven’t offended yet?”\u003c/p>\n\u003cp>“Every comedian who is not doing wife jokes has to thank him for that,” actor-comedian Albert Brooks told The Associated Press in 2007. “He really was the first, even before Lenny Bruce, in terms of talking about stuff, not just doing punch lines.”\u003c/p>\n\u003cp>Sahl took pride in having mocked every president from Dwight Eisenhower to Donald Trump, although he acknowledged he privately admired Democrat John F. Kennedy and counted Republican Ronald Reagan among his closest friends. Of President George W. Bush, he observed: “He’s born again, you know. Which would raise the inevitable question: If you were given the unusual opportunity to be born again, why would you come back as George Bush?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Sahl became famous in 1953 at San Francisco’s hungry i (the i stood for intellectual), the perfect place for a comedian of his type. The city was a meeting ground for beatniks and college activists, and they crowded into the tiny club to hear someone who spoke to their disdain for the status quo. Word spread quickly about the young comedian with the distinctive style. Soon Sahl was earning $7,500 a week at nightclubs across the nation and appearing on television with Steve Allen and Jack Paar. He \u003ca href=\"http://content.time.com/time/covers/0,16641,19600815,00.html\" rel=\"noopener noreferrer\" target=\"_blank\">made the cover of Time magazine\u003c/a> in 1960 and was profiled in The New Yorker.\u003c/p>\n\u003cfigure id=\"attachment_13905300\" class=\"wp-caption aligncenter\" style=\"max-width: 485px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/MortSahl1960.jpg\" alt=\"Mort Sahl's albums for the Verve label, including 'Mort Sahl 1960 or Look Forward in Anger,' shared a sensibility with the label's jazz artists.\" width=\"485\" height=\"476\" class=\"size-full wp-image-13905300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/MortSahl1960.jpg 485w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/MortSahl1960-160x157.jpg 160w\" sizes=\"(max-width: 485px) 100vw, 485px\">\u003cfigcaption class=\"wp-caption-text\">Mort Sahl’s albums for the Verve label, including ‘Mort Sahl 1960 or Look Forward in Anger,’ shared a sensibility with the label’s jazz artists. \u003ccite>(Verve Records/MGM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A new generation of comedians, including Bill Cosby, George Carlin and the team of Mike Nichols and Elaine May, was inspired by Sahl. David Letterman continued the iconoclastic tradition, and more recently Jon Stewart, Stephen Colbert and John Oliver. Woody Allen would liken his work to the jazz of Charlie Parker and reviewers compared him to Will Rogers, who had tweaked politicians in a gentler manner.\u003c/p>\n\u003cp>“I don’t have the image of myself as a comedian,” Sahl himself said. “I never said I was one. I just sort of tell the truth and everybody breaks up along the way.”\u003c/p>\n\u003cp>Sahl was cast as a wisecracking GI in two war movies, \u003cem>In Love and War\u003c/em> (1958) and \u003cem>All the Young Men\u003c/em> (1960). He starred in his own TV special. His comedy albums on the jazz record label Verve became best sellers. At the Academy Awards in 1959, he was co-host along with Bob Hope, Laurence Olivier, Jerry Lewis and others. Fearing he would seem to be joining the establishment, Sahl cracked: “We’ve just lost the college crowd; all across the country they’re yelling, ‘Sellout!’”\u003c/p>\n\u003cp>[aside label='More Mort Sahl' link1='https://www.npr.org/templates/story/story.php?storyId=93736024,Mort Sahl on Fresh Air']In the 1980s he frequently ridiculed his friend Reagan, but he said the president was never offended.\u003c/p>\n\u003cp>“If you’re his friend, it doesn’t matter if you’re an escaped con,” Sahl once said of Reagan. Democrats, he added, were often not as forgiving. In the 1990s, Sahl had fallen out of favor with them when he complained that President Bill Clinton’s only lasting legacy would be his affair with White House intern Monica Lewinsky.\u003c/p>\n\u003cp>“A lot of people I have met in the Democratic Party are extremely expedient,” he said. “Once it’s over, they don’t want to know you. Of course, that’s not generic to the Democrats.”\u003c/p>\n\u003cp>Sahl thought so highly of Kennedy, however, that he even wrote jokes for him on the campaign trail, including one which inspired JFK’s quip at his own expense — about a telegram from his wealthy father. “Don’t buy a single more vote than is necessary. I’ll be d—ed if I’m going to pay for a landslide.”\u003c/p>\n\u003cp>But when Kennedy was assassinated in 1963, Sahl was devastated and the tragedy foreshadowed a decline in the comedian’s fortunes that lasted for years. He quickly became convinced that Kennedy had been killed as part of a CIA plot and he accused the government of staging a massive cover-up. He devoted much of his monologues to reading long passages from the report by the government’s Warren Commission, which had been appointed to investigate the assassination. Audiences stopped laughing and his bookings plummeted.\u003c/p>\n\u003cp>Sahl also suffered a personal tragedy in 1996 when his only child, Morton Jr., died at age 19. Ten years later, the subject was so raw that mention of his son’s name could bring him to tears.\u003c/p>\n\u003cp>“My kid was like a more human version of me,” he once said.\u003c/p>\n\u003cfigure id=\"attachment_13905302\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/1000-800x581.jpg\" alt='Comedian Mort Sahl poses for photographs at the 80th Birthday \"Sahl-ute\" honoring him, in Los Angeles on June 28, 2007. Sahl, who helped revolutionize stand-up comedy during the Cold War with his running commentary on politicians and current events died Tuesday, Oct. 26. 2021. He was 94. His friend Lucy Mercer said that he died \"peacefully\" at his home in Mill Valley, Calif. ' width=\"800\" height=\"581\" class=\"size-medium wp-image-13905302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/1000-800x581.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/1000-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/1000-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/1000.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Mort Sahl poses for photographs at the 80th Birthday “Sahl-ute” honoring him, in Los Angeles on June 28, 2007. Sahl, who helped revolutionize stand-up comedy during the Cold War with his running commentary on politicians and current events died Tuesday, Oct. 26. 2021. He was 94. His friend Lucy Mercer said that he died “peacefully” at his home in Mill Valley, Calif. \u003ccite>(AP Photo/Ann Johansson, File)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Through the tough times, he continued to work the college circuit and small clubs. Although he never regained his former stature, he eventually returned to making a comfortable living with comedy\u003c/p>\n\u003cp>He continued to carry his newspaper on stage with him, although as the 21st century dawned he joked that he should probably have replaced it with a laptop.\u003c/p>\n\u003cp>At age 80 he also began teaching a class in critical thinking at Southern California’s prestigious Claremont McKenna College.\u003c/p>\n\u003cp>It was a return to the academic life Sahl had known decades earlier when he earned a degree in urban planning from the University of Southern California in 1950.\u003c/p>\n\u003cp>Putting plans for graduate study on hold, he decided to make money writing jokes for comedians. He took to the stage himself, he once said, when he discovered the ones he was writing for were “too dumb” to get the material.\u003c/p>\n\u003cp>Morton Lyon Sahl was born on May 11, 1927, in Montreal, to a Canadian mother and a New York father who managed a tobacco shop. The family moved to the United States where Sahl’s father, Harry, worked for the Department of Justice in various cities.\u003c/p>\n\u003cp>They eventually settled in Los Angeles, where young Morton joined his high school ROTC program and excelled at speech. His mother said he had started to talk at 7 months and by age 10 already spoke like a man of 30.\u003c/p>\n\u003cp>After high school, Sahl joined the Air Force, spending 31 months at a remote Alaskan airfield where he edited the post newspaper, Poop from the Group. Discharged in 1947, he entered college.\u003c/p>\n\u003cp>He took on a number of jobs before his girlfriend, Sue Berber, persuaded him to audition for the hungry i in 1953.\u003c/p>\n\u003cp>The couple married two years later but divorced in 1957. Sahl married his second wife, former Playboy Playmate China Lee, in 1967. They also divorced.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Late Associated Press writer Bob Thomas contributed biographical information to this report. AP National Writer Hillel Italie and retired Associated Press writer John Rogers also contributed.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Sahl became famous in 1953 at San Francisco’s hungry i (the i stood for intellectual), the perfect place for a comedian of his type. The city was a meeting ground for beatniks and college activists, and they crowded into the tiny club to hear someone who spoke to their disdain for the status quo. Word spread quickly about the young comedian with the distinctive style. Soon Sahl was earning $7,500 a week at nightclubs across the nation and appearing on television with Steve Allen and Jack Paar. He \u003ca href=\"http://content.time.com/time/covers/0,16641,19600815,00.html\" rel=\"noopener noreferrer\" target=\"_blank\">made the cover of Time magazine\u003c/a> in 1960 and was profiled in The New Yorker.\u003c/p>\n\u003cfigure id=\"attachment_13905300\" class=\"wp-caption aligncenter\" style=\"max-width: 485px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/MortSahl1960.jpg\" alt=\"Mort Sahl's albums for the Verve label, including 'Mort Sahl 1960 or Look Forward in Anger,' shared a sensibility with the label's jazz artists.\" width=\"485\" height=\"476\" class=\"size-full wp-image-13905300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/MortSahl1960.jpg 485w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/MortSahl1960-160x157.jpg 160w\" sizes=\"(max-width: 485px) 100vw, 485px\">\u003cfigcaption class=\"wp-caption-text\">Mort Sahl’s albums for the Verve label, including ‘Mort Sahl 1960 or Look Forward in Anger,’ shared a sensibility with the label’s jazz artists. \u003ccite>(Verve Records/MGM)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A new generation of comedians, including Bill Cosby, George Carlin and the team of Mike Nichols and Elaine May, was inspired by Sahl. David Letterman continued the iconoclastic tradition, and more recently Jon Stewart, Stephen Colbert and John Oliver. Woody Allen would liken his work to the jazz of Charlie Parker and reviewers compared him to Will Rogers, who had tweaked politicians in a gentler manner.\u003c/p>\n\u003cp>“I don’t have the image of myself as a comedian,” Sahl himself said. “I never said I was one. I just sort of tell the truth and everybody breaks up along the way.”\u003c/p>\n\u003cp>Sahl was cast as a wisecracking GI in two war movies, \u003cem>In Love and War\u003c/em> (1958) and \u003cem>All the Young Men\u003c/em> (1960). He starred in his own TV special. His comedy albums on the jazz record label Verve became best sellers. At the Academy Awards in 1959, he was co-host along with Bob Hope, Laurence Olivier, Jerry Lewis and others. Fearing he would seem to be joining the establishment, Sahl cracked: “We’ve just lost the college crowd; all across the country they’re yelling, ‘Sellout!’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the 1980s he frequently ridiculed his friend Reagan, but he said the president was never offended.\u003c/p>\n\u003cp>“If you’re his friend, it doesn’t matter if you’re an escaped con,” Sahl once said of Reagan. Democrats, he added, were often not as forgiving. In the 1990s, Sahl had fallen out of favor with them when he complained that President Bill Clinton’s only lasting legacy would be his affair with White House intern Monica Lewinsky.\u003c/p>\n\u003cp>“A lot of people I have met in the Democratic Party are extremely expedient,” he said. “Once it’s over, they don’t want to know you. Of course, that’s not generic to the Democrats.”\u003c/p>\n\u003cp>Sahl thought so highly of Kennedy, however, that he even wrote jokes for him on the campaign trail, including one which inspired JFK’s quip at his own expense — about a telegram from his wealthy father. “Don’t buy a single more vote than is necessary. I’ll be d—ed if I’m going to pay for a landslide.”\u003c/p>\n\u003cp>But when Kennedy was assassinated in 1963, Sahl was devastated and the tragedy foreshadowed a decline in the comedian’s fortunes that lasted for years. He quickly became convinced that Kennedy had been killed as part of a CIA plot and he accused the government of staging a massive cover-up. He devoted much of his monologues to reading long passages from the report by the government’s Warren Commission, which had been appointed to investigate the assassination. Audiences stopped laughing and his bookings plummeted.\u003c/p>\n\u003cp>Sahl also suffered a personal tragedy in 1996 when his only child, Morton Jr., died at age 19. Ten years later, the subject was so raw that mention of his son’s name could bring him to tears.\u003c/p>\n\u003cp>“My kid was like a more human version of me,” he once said.\u003c/p>\n\u003cfigure id=\"attachment_13905302\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/1000-800x581.jpg\" alt='Comedian Mort Sahl poses for photographs at the 80th Birthday \"Sahl-ute\" honoring him, in Los Angeles on June 28, 2007. Sahl, who helped revolutionize stand-up comedy during the Cold War with his running commentary on politicians and current events died Tuesday, Oct. 26. 2021. He was 94. His friend Lucy Mercer said that he died \"peacefully\" at his home in Mill Valley, Calif. ' width=\"800\" height=\"581\" class=\"size-medium wp-image-13905302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/1000-800x581.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/1000-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/1000-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/1000.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Mort Sahl poses for photographs at the 80th Birthday “Sahl-ute” honoring him, in Los Angeles on June 28, 2007. Sahl, who helped revolutionize stand-up comedy during the Cold War with his running commentary on politicians and current events died Tuesday, Oct. 26. 2021. He was 94. His friend Lucy Mercer said that he died “peacefully” at his home in Mill Valley, Calif. \u003ccite>(AP Photo/Ann Johansson, File)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Through the tough times, he continued to work the college circuit and small clubs. Although he never regained his former stature, he eventually returned to making a comfortable living with comedy\u003c/p>\n\u003cp>He continued to carry his newspaper on stage with him, although as the 21st century dawned he joked that he should probably have replaced it with a laptop.\u003c/p>\n\u003cp>At age 80 he also began teaching a class in critical thinking at Southern California’s prestigious Claremont McKenna College.\u003c/p>\n\u003cp>It was a return to the academic life Sahl had known decades earlier when he earned a degree in urban planning from the University of Southern California in 1950.\u003c/p>\n\u003cp>Putting plans for graduate study on hold, he decided to make money writing jokes for comedians. He took to the stage himself, he once said, when he discovered the ones he was writing for were “too dumb” to get the material.\u003c/p>\n\u003cp>Morton Lyon Sahl was born on May 11, 1927, in Montreal, to a Canadian mother and a New York father who managed a tobacco shop. The family moved to the United States where Sahl’s father, Harry, worked for the Department of Justice in various cities.\u003c/p>\n\u003cp>They eventually settled in Los Angeles, where young Morton joined his high school ROTC program and excelled at speech. His mother said he had started to talk at 7 months and by age 10 already spoke like a man of 30.\u003c/p>\n\u003cp>After high school, Sahl joined the Air Force, spending 31 months at a remote Alaskan airfield where he edited the post newspaper, Poop from the Group. Discharged in 1947, he entered college.\u003c/p>\n\u003cp>He took on a number of jobs before his girlfriend, Sue Berber, persuaded him to audition for the hungry i in 1953.\u003c/p>\n\u003cp>The couple married two years later but divorced in 1957. Sahl married his second wife, former Playboy Playmate China Lee, in 1967. They also divorced.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Late Associated Press writer Bob Thomas contributed biographical information to this report. AP National Writer Hillel Italie and retired Associated Press writer John Rogers also contributed.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For about a decade now, South Asia and its diaspora have been experiencing a \u003ca href=\"https://deadant.co/a-brief-history-of-indian-standup-the-early-years-supercut/\">live comedy boom\u003c/a>. YouTube sets and Netflix India specials have popularized the once exotic act of stand-up for a Desi audience and launched the careers of a generation of young, hungry comics.\u003c/p>\n\u003cp>[aside postid='arts_13891739']The attention on live Desi comedy hasn’t come without consequences: recent \u003ca href=\"https://www.latimes.com/world-nation/story/2021-02-05/india-comedian-free-speech-munawar-faruqui\">high-profile court cases and arrests\u003c/a> of comedians who wade into religious or political issues have dramatized the fault lines that rip apart South Asia today. Bridging that divide is the reason Samson Koletkar, an Indian Jewish comedian, co-founded the annual Desi Comedy Fest with fellow comedian Abhay N in the first place.\u003c/p>\n\u003cp>“We all like to laugh. We have some common things that we can laugh about,” says Koletkar. As a further symbol of solidarity, he chose the dates of Independence of Pakistan and India, August 14th and 15th, to host the stand-up nights.\u003c/p>\n\u003cp>Now in its eighth year, the festival’s mission has grown beyond its initial purview. “When we started in the beginning, it was all about Indian and Pakistani comics. Then we started finding and booking Sri Lankan, Bangladeshi, Afghani, Iranian. We sort of expanded all over, even picked up Middle Eastern comics, East Asian comics. And we sort of kept diversifying, because what we eventually realized is there is a lot of diversity within ‘South Asian.’ There’s a lot of mixes.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GOz-53FTTDI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The 16-comic strong line-up for this year’s Desi Comedy Fest reflects that commitment to diversity. Ayanna Dookie is Indo-Trinidadian-American, Feraz Ozel is Pakistani- and Afghani-American, Sofie Khan is Pakistani-Mexican-American, just to name a few among the multicultural, multihyphenated assemblage.\u003c/p>\n\u003cp>[aside postid='arts_13838636']None are household names yet, but that’s exactly what appeals to Koletkar. “What we are focused on are the comics who are still underground, who are under the radar. You’ve seen them on Comedy Central. They’ve won competitions and performed around the world. They write for late night. They’re really good working comics, it’s just that they haven’t broken through.”\u003c/p>\n\u003cp>In previous years, Desi Comedy Fest was a week-long bonanza with shows up and down the Bay Area. During the pandemic, Koletkar has been forced to scale back operations to two socially distanced, outdoor venues: Gasser Garden in San Francisco and the India Community Center in Milpitas.\u003c/p>\n\u003cp>As for ticket sales during a pandemic, “the response has been slower than usual,” Koletkar says, though Friday’s shows have already sold out. “People are skeptical. We get that. So we’re trying to just do it and keep the fun going. This year is all about keeping our sanity, and then hopefully things get better and we can go back to the big fest again.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Desi Comedy Fest runs from Aug. 13–15 in San Francisco and Milpitas. Masks and proof of vaccination required for entry. \u003ca href=\"https://www.desicomedyfest.com/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For about a decade now, South Asia and its diaspora have been experiencing a \u003ca href=\"https://deadant.co/a-brief-history-of-indian-standup-the-early-years-supercut/\">live comedy boom\u003c/a>. YouTube sets and Netflix India specials have popularized the once exotic act of stand-up for a Desi audience and launched the careers of a generation of young, hungry comics.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The attention on live Desi comedy hasn’t come without consequences: recent \u003ca href=\"https://www.latimes.com/world-nation/story/2021-02-05/india-comedian-free-speech-munawar-faruqui\">high-profile court cases and arrests\u003c/a> of comedians who wade into religious or political issues have dramatized the fault lines that rip apart South Asia today. Bridging that divide is the reason Samson Koletkar, an Indian Jewish comedian, co-founded the annual Desi Comedy Fest with fellow comedian Abhay N in the first place.\u003c/p>\n\u003cp>“We all like to laugh. We have some common things that we can laugh about,” says Koletkar. As a further symbol of solidarity, he chose the dates of Independence of Pakistan and India, August 14th and 15th, to host the stand-up nights.\u003c/p>\n\u003cp>Now in its eighth year, the festival’s mission has grown beyond its initial purview. “When we started in the beginning, it was all about Indian and Pakistani comics. Then we started finding and booking Sri Lankan, Bangladeshi, Afghani, Iranian. We sort of expanded all over, even picked up Middle Eastern comics, East Asian comics. And we sort of kept diversifying, because what we eventually realized is there is a lot of diversity within ‘South Asian.’ There’s a lot of mixes.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/GOz-53FTTDI'\n title='//www.youtube.com/embed/GOz-53FTTDI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The 16-comic strong line-up for this year’s Desi Comedy Fest reflects that commitment to diversity. Ayanna Dookie is Indo-Trinidadian-American, Feraz Ozel is Pakistani- and Afghani-American, Sofie Khan is Pakistani-Mexican-American, just to name a few among the multicultural, multihyphenated assemblage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>None are household names yet, but that’s exactly what appeals to Koletkar. “What we are focused on are the comics who are still underground, who are under the radar. You’ve seen them on Comedy Central. They’ve won competitions and performed around the world. They write for late night. They’re really good working comics, it’s just that they haven’t broken through.”\u003c/p>\n\u003cp>In previous years, Desi Comedy Fest was a week-long bonanza with shows up and down the Bay Area. During the pandemic, Koletkar has been forced to scale back operations to two socially distanced, outdoor venues: Gasser Garden in San Francisco and the India Community Center in Milpitas.\u003c/p>\n\u003cp>As for ticket sales during a pandemic, “the response has been slower than usual,” Koletkar says, though Friday’s shows have already sold out. “People are skeptical. We get that. So we’re trying to just do it and keep the fun going. This year is all about keeping our sanity, and then hopefully things get better and we can go back to the big fest again.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Desi Comedy Fest runs from Aug. 13–15 in San Francisco and Milpitas. Masks and proof of vaccination required for entry. \u003ca href=\"https://www.desicomedyfest.com/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Comedian Jackie Keliiaa on Keeping Tahoe Washoe",
"headTitle": "Comedian Jackie Keliiaa on Keeping Tahoe Washoe | KQED",
"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC5478457922&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.instagram.com/jackiecomedy/?hl=en\">Jackie Keliiaa\u003c/a> is a stand-up comedian raised in Hayward and based in Oakland. She’s unapologetically Bay, and proud of her Yerington Paiute and Washoe roots. She’s also funny af. \u003c/span>\u003c/p>\n\u003cp>“I get asked a lot of weird questions like, ‘What brings you to the mainland?’ I have to burst their bubble and let them know I’m not from Hawaii. I’m from this exotic land in the East Bay called Hayward.”\u003c/p>\n\u003cp>Building off \u003ca href=\"https://www.youtube.com/watch?v=sDz6P26PNzY&ab_channel=DonGiller\">Charlie Hill\u003c/a>‘s legacy, Keliiaa cracks jokes about colonialism, Native culture and family, alongside her trials and tribulations with dating.\u003c/p>\n\u003cp>Before the pandemic, you could catch her sets at Punchline San Francisco, Comedy Oakland and Tommy T’s. Pivoting in these virtual times, she’s organized virtual comedy shows, \u003ca href=\"https://www.facebook.com/GoodMedicineComedy/\">Good Medicine\u003c/a>, to fundraise for Indigenous communities hard hit by COVID-19.\u003c/p>\n\u003cp>Keliiaa is also featured alongside other Native comedians in the televised ‘\u003ca href=\"https://www.amazon.com/First-Nations-Comedy-Experience/dp/B07W4WM45C\">First Nation Comedy Experience’\u003c/a> and continues to \u003ca href=\"https://www.youtube.com/watch?v=8cp2k81fGvU\">co-produce Amazonians\u003c/a> which showcases women comics, and recently launched \u003ca href=\"https://open.spotify.com/show/3rZOWh2Vt6SBDeSzcLrDxE?si=ZWVJ1sHJQVWTeHUP5OYCjQ\">a podcast where she interviews her creative friends\u003c/a>.\u003c/p>\n\u003cp>One of Keliaa’s latest endeavors includes contributing a chapter in the newly published book, \u003ca href=\"https://www.simonandschuster.com/books/We-Had-a-Little-Real-Estate-Problem/Kliph-Nesteroff/9781982103033\">\u003cem>We Had a Little Real Estate Problem: The Unheralded Story of Native Americans & Comedy. \u003c/em>\u003c/a>It’s a deep dive into the under-appreciated legacy of Native comedians, taking its name from an iconic Charlie Hill joke, “My people are from Wisconsin. We used to be from New York… We had a little real estate problem.”\u003c/p>\n\u003cp>In this episode of \u003cem>Rightnowish\u003c/em>, Jackie Keliiaa gets real about the (sometimes) therapeutic benefits of comedy, why talking about land-theft isn’t hard, and teasing as a form of love.\u003c/p>\n\u003cp>https://www.instagram.com/p/CLXuXV1gR0E/?utm_source=ig_web_copy_link\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Jackie Keliiaa.\u003c/strong>\u003c/p>\n\u003cp>Jackie: This is something that not a lot of people know, but teasing, it’s a really big thing in the Native community… just making fun of people. It’s way that you show love and affection… So when I get on stage, I always mess around with my dad. That’s what I do for a lot of my Native audiences.\u003c/p>\n\u003cp>\u003cem>Marisol: What is that like to have your dad in your material? Is he like ‘that’s great, that’s me she’s talking about!’ Or is he like, ‘we got to talk…’\u003c/em>\u003c/p>\n\u003cp>Jackie: Oh, no, he’s totally into it. Like, I remember my first ever showcase, it was at La Estrellita here in Oakland, and my dad came with my whole family. It was my first ever showcase — doing a full ten minutes — and I could just hear him laughing, like a real belly laugh. And I was like, ah, we’re good.\u003c/p>\n\u003cp>Jackie: In that particular performance. I was talking about sexuality. I was talking about all kinds of things. And it was just a fun way to, like, have a talk with my family without having a talk with my family… my family gets to meet me in a different light.\u003c/p>\n\u003cp>\u003cem>Marisol: It’s clicking for me… comedy is helping me to communicate things to my family or friends that I can’t otherwise say. I can go on stage and I can fabricate these experiences that are rooted in my lived experience. It’s like an opportunity to talk about something with them after the show.\u003c/em>\u003c/p>\n\u003cp>Jackie: I think it is important to think about it as a space where you can unpack stuff. My teacher would always say, ‘Wait until you’ve processed it, wait until you’ve worked through it, because the last thing you want to do is like gut yourself on stage for the sake of a laugh and then you just feel naked and vulnerable’\u003c/p>\n\u003cp>Jackie: Go to therapy, basically, like, go to therapy.\u003c/p>\n\u003cp>\u003cem>Marisol: I’m curious to know your thoughts about talking about really challenging difficult things, but finding the laugh in it. It’s like a guttural laugh because you’re like, oh, snap like that hits because it’s truth and we don’t talk about it.\u003c/em>\u003c/p>\n\u003cp>Jackie: Colonization, genocide and land theft all happened. And it’s just a fact and it’s a reality that I’m aware of. So for me, it’s not necessarily difficult to talk about, but I know it’s difficult for the audience to absorb. And it’s fun for me because I like to mess with that audience. Like one of the jokes that I was like, really proud of writing was about Lake Tahoe… \u003cspan style=\"font-weight: 400\">I’m like, Lake Tahoe is the ancestral homeland of my people, the Washoe people. So this past winter, when you were skiing the slopes of Squaw Valley, just know that you were desecrating the sacred lands of my ancestors…\u003c/span>\u003c/p>\n\u003cp>Jackie: And I usually point at a white man in the front and I’m like, ‘You got a season pass!’ It’s the funniest thing, because it’s a way to remind you this shit was stolen… I love Lake Tahoe, but guess what? I can’t afford a rental on the beachfront. And you need to know these things. You need to know that this is where we’re from. This should be for us.\u003c/p>\n\u003cp>Jackie: It’s not just white people. It’s everybody. It’s anyone who participates in this American dream. We all have to acknowledge the land on which we stand.\u003c/p>\n\u003cp>\u003cem>Marisol: I wanted to have you talk a little bit about the chapter that you contributed to the newly published book titled \u003c/em>We Had a Little Real Estate Problem: The Unheralded Story of Native Americans and Comedy\u003cem>. Your chapter is about your roots in the East Bay, its richness but also how the urban Native community came to be.\u003c/em>\u003c/p>\n\u003cp>Jackie: There was Urban Indian relocation that happened. It was about disinvesting Native people from their lands. Let’s be real. It was like, “Hey, is the reservation not doing it for you economically?” — It was built not to do it for you economically — but they were like, “Here’s a ticket. Go to an urban hub in the country. We’ll get you a job, we’ll get you a place to stay. And you can learn new trades and get jobs.” And so once that happened, flocks of Native folks came from all over the country.\u003c/p>\n\u003cp>Jackie: It brought all these people who are not used to cities. A lot of these folks are from straight rural ass places and [the program] brought them to the cities. If you don’t know your way and you’re not fluent, you could get caught up in something. And the housing was terrible, the jobs weren’t great. And [after getting this] one way ticket, they got here and the stuff that they were promised didn’t come through… surprise… a federal program.\u003c/p>\n\u003cp>Jackie: …[but] you had a time in the East Bay, and particularly in Oakland and San Francisco, where there were Natives of all nations everywhere. My dad grew up in that environment. So they had dances, and they had what was called the Four Winds Club in downtown Oakland. And my grandfather was huge into sports, and so my dad played all the Indians sports league.\u003c/p>\n\u003cp>\u003cem>Marisol: I think an unintended consequence of this program that was really trying to assimilate Indigenous culture ended up having the reverse effect because essentially the government put all these Native folks together and they were like, ‘hey, let’s learn from each other. Let’s like grow this community.’ And now you have descendants who are still living in these urban places and still carrying on their culture that their family passed down, but also inventing new ones, too.\u003c/em>\u003c/p>\n\u003cp>Jackie: Absolutely. I mean, the fact that I can make jokes with my friends…. And we relate so heavily to all of our jokes, even though we’re all from different backgrounds, like we’re different tribes, we have different experiences…There’s something special about the fact that we can relate on so many levels and also simultaneously be so unique and so different…\u003c/p>\n\u003cp>Jackie: I’m just really proud of this book because it’s spotlighting so many amazing comics and writers that I want the world to see them and to know. Visibility has always been a big problem for Native folks. We always have the burden of proving we’re here. And so it’s exciting to have a book that’s like a rolodex essentially.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC5478457922&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.instagram.com/jackiecomedy/?hl=en\">Jackie Keliiaa\u003c/a> is a stand-up comedian raised in Hayward and based in Oakland. She’s unapologetically Bay, and proud of her Yerington Paiute and Washoe roots. She’s also funny af. \u003c/span>\u003c/p>\n\u003cp>“I get asked a lot of weird questions like, ‘What brings you to the mainland?’ I have to burst their bubble and let them know I’m not from Hawaii. I’m from this exotic land in the East Bay called Hayward.”\u003c/p>\n\u003cp>Building off \u003ca href=\"https://www.youtube.com/watch?v=sDz6P26PNzY&ab_channel=DonGiller\">Charlie Hill\u003c/a>‘s legacy, Keliiaa cracks jokes about colonialism, Native culture and family, alongside her trials and tribulations with dating.\u003c/p>\n\u003cp>Before the pandemic, you could catch her sets at Punchline San Francisco, Comedy Oakland and Tommy T’s. Pivoting in these virtual times, she’s organized virtual comedy shows, \u003ca href=\"https://www.facebook.com/GoodMedicineComedy/\">Good Medicine\u003c/a>, to fundraise for Indigenous communities hard hit by COVID-19.\u003c/p>\n\u003cp>Keliiaa is also featured alongside other Native comedians in the televised ‘\u003ca href=\"https://www.amazon.com/First-Nations-Comedy-Experience/dp/B07W4WM45C\">First Nation Comedy Experience’\u003c/a> and continues to \u003ca href=\"https://www.youtube.com/watch?v=8cp2k81fGvU\">co-produce Amazonians\u003c/a> which showcases women comics, and recently launched \u003ca href=\"https://open.spotify.com/show/3rZOWh2Vt6SBDeSzcLrDxE?si=ZWVJ1sHJQVWTeHUP5OYCjQ\">a podcast where she interviews her creative friends\u003c/a>.\u003c/p>\n\u003cp>One of Keliaa’s latest endeavors includes contributing a chapter in the newly published book, \u003ca href=\"https://www.simonandschuster.com/books/We-Had-a-Little-Real-Estate-Problem/Kliph-Nesteroff/9781982103033\">\u003cem>We Had a Little Real Estate Problem: The Unheralded Story of Native Americans & Comedy. \u003c/em>\u003c/a>It’s a deep dive into the under-appreciated legacy of Native comedians, taking its name from an iconic Charlie Hill joke, “My people are from Wisconsin. We used to be from New York… We had a little real estate problem.”\u003c/p>\n\u003cp>In this episode of \u003cem>Rightnowish\u003c/em>, Jackie Keliiaa gets real about the (sometimes) therapeutic benefits of comedy, why talking about land-theft isn’t hard, and teasing as a form of love.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Jackie Keliiaa.\u003c/strong>\u003c/p>\n\u003cp>Jackie: This is something that not a lot of people know, but teasing, it’s a really big thing in the Native community… just making fun of people. It’s way that you show love and affection… So when I get on stage, I always mess around with my dad. That’s what I do for a lot of my Native audiences.\u003c/p>\n\u003cp>\u003cem>Marisol: What is that like to have your dad in your material? Is he like ‘that’s great, that’s me she’s talking about!’ Or is he like, ‘we got to talk…’\u003c/em>\u003c/p>\n\u003cp>Jackie: Oh, no, he’s totally into it. Like, I remember my first ever showcase, it was at La Estrellita here in Oakland, and my dad came with my whole family. It was my first ever showcase — doing a full ten minutes — and I could just hear him laughing, like a real belly laugh. And I was like, ah, we’re good.\u003c/p>\n\u003cp>Jackie: In that particular performance. I was talking about sexuality. I was talking about all kinds of things. And it was just a fun way to, like, have a talk with my family without having a talk with my family… my family gets to meet me in a different light.\u003c/p>\n\u003cp>\u003cem>Marisol: It’s clicking for me… comedy is helping me to communicate things to my family or friends that I can’t otherwise say. I can go on stage and I can fabricate these experiences that are rooted in my lived experience. It’s like an opportunity to talk about something with them after the show.\u003c/em>\u003c/p>\n\u003cp>Jackie: I think it is important to think about it as a space where you can unpack stuff. My teacher would always say, ‘Wait until you’ve processed it, wait until you’ve worked through it, because the last thing you want to do is like gut yourself on stage for the sake of a laugh and then you just feel naked and vulnerable’\u003c/p>\n\u003cp>Jackie: Go to therapy, basically, like, go to therapy.\u003c/p>\n\u003cp>\u003cem>Marisol: I’m curious to know your thoughts about talking about really challenging difficult things, but finding the laugh in it. It’s like a guttural laugh because you’re like, oh, snap like that hits because it’s truth and we don’t talk about it.\u003c/em>\u003c/p>\n\u003cp>Jackie: Colonization, genocide and land theft all happened. And it’s just a fact and it’s a reality that I’m aware of. So for me, it’s not necessarily difficult to talk about, but I know it’s difficult for the audience to absorb. And it’s fun for me because I like to mess with that audience. Like one of the jokes that I was like, really proud of writing was about Lake Tahoe… \u003cspan style=\"font-weight: 400\">I’m like, Lake Tahoe is the ancestral homeland of my people, the Washoe people. So this past winter, when you were skiing the slopes of Squaw Valley, just know that you were desecrating the sacred lands of my ancestors…\u003c/span>\u003c/p>\n\u003cp>Jackie: And I usually point at a white man in the front and I’m like, ‘You got a season pass!’ It’s the funniest thing, because it’s a way to remind you this shit was stolen… I love Lake Tahoe, but guess what? I can’t afford a rental on the beachfront. And you need to know these things. You need to know that this is where we’re from. This should be for us.\u003c/p>\n\u003cp>Jackie: It’s not just white people. It’s everybody. It’s anyone who participates in this American dream. We all have to acknowledge the land on which we stand.\u003c/p>\n\u003cp>\u003cem>Marisol: I wanted to have you talk a little bit about the chapter that you contributed to the newly published book titled \u003c/em>We Had a Little Real Estate Problem: The Unheralded Story of Native Americans and Comedy\u003cem>. Your chapter is about your roots in the East Bay, its richness but also how the urban Native community came to be.\u003c/em>\u003c/p>\n\u003cp>Jackie: There was Urban Indian relocation that happened. It was about disinvesting Native people from their lands. Let’s be real. It was like, “Hey, is the reservation not doing it for you economically?” — It was built not to do it for you economically — but they were like, “Here’s a ticket. Go to an urban hub in the country. We’ll get you a job, we’ll get you a place to stay. And you can learn new trades and get jobs.” And so once that happened, flocks of Native folks came from all over the country.\u003c/p>\n\u003cp>Jackie: It brought all these people who are not used to cities. A lot of these folks are from straight rural ass places and [the program] brought them to the cities. If you don’t know your way and you’re not fluent, you could get caught up in something. And the housing was terrible, the jobs weren’t great. And [after getting this] one way ticket, they got here and the stuff that they were promised didn’t come through… surprise… a federal program.\u003c/p>\n\u003cp>Jackie: …[but] you had a time in the East Bay, and particularly in Oakland and San Francisco, where there were Natives of all nations everywhere. My dad grew up in that environment. So they had dances, and they had what was called the Four Winds Club in downtown Oakland. And my grandfather was huge into sports, and so my dad played all the Indians sports league.\u003c/p>\n\u003cp>\u003cem>Marisol: I think an unintended consequence of this program that was really trying to assimilate Indigenous culture ended up having the reverse effect because essentially the government put all these Native folks together and they were like, ‘hey, let’s learn from each other. Let’s like grow this community.’ And now you have descendants who are still living in these urban places and still carrying on their culture that their family passed down, but also inventing new ones, too.\u003c/em>\u003c/p>\n\u003cp>Jackie: Absolutely. I mean, the fact that I can make jokes with my friends…. And we relate so heavily to all of our jokes, even though we’re all from different backgrounds, like we’re different tribes, we have different experiences…There’s something special about the fact that we can relate on so many levels and also simultaneously be so unique and so different…\u003c/p>\n\u003cp>Jackie: I’m just really proud of this book because it’s spotlighting so many amazing comics and writers that I want the world to see them and to know. Visibility has always been a big problem for Native folks. We always have the burden of proving we’re here. And so it’s exciting to have a book that’s like a rolodex essentially.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Aamer Rahman is a standup comedian—although “comedian” doesn’t really do Rahman justice. In university classrooms and online chatrooms around the world, he’s the sharp funnyman who just happened to shut down every “reverse racism” argument with one expertly arranged joke.\u003c/p>\n\u003cp>Born in Saudi Arabia to Bangladeshi parents, and now living in Australia, Rahman has developed a style of comedy both smart and side-splitting. His act reflects his experience growing up in Australia with brown skin, and his jokes poke fun at everything from international politics and the “War on Terror” to less-serious topics like TV and Batman. But it’s a bit he developed as a \u003ca href=\"http://www.theguardian.com/stage/2014/jun/04/aamer-rahman-reverse-racism-comedy-tour\" target=\"_blank\" rel=\"noopener noreferrer\">last-ditch effort right before hanging up the mic forever\u003c/a> that’s made him a viral sensation.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dw_mRaIHb-M\u003c/p>\n\u003cp>“Reverse Racism” is one of those jokes so perfectly timed, so expertly executed, that it’s been viewed nearly three million times on YouTube and even \u003ca href=\"http://www.theguardian.com/stage/2014/jun/04/aamer-rahman-reverse-racism-comedy-tour\" target=\"_blank\" rel=\"noopener noreferrer\">studied as part of college courses\u003c/a>. \u003c/p>\n\u003cp>“My thing is not to point out things that people haven’t noticed,” \u003ca href=\"http://www.thenational.ae/arts-lifestyle/on-stage/aamer-rahman-how-a-youtube-video-saved-my-comedy-career\" target=\"_blank\" rel=\"noopener noreferrer\">Rahman explained to an Abu Dhabi newspaper\u003c/a>. “My audience has already noticed it. My show is basically about being together and being honest about it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Formerly part of the stand-up duo “Fear of a Brown Planet” with Nazeem Hussain, Rahman has roots in social justice work; he first met Hussain at an Islamic awards event, as they both have law degrees. Rahman has performed his solo show \u003cem>The Truth Hurts\u003c/em> \u003ca href=\"http://aamerrahman.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">across the U.S.\u003c/a>, from Brooklyn to the Bay Area.\u003c/p>\n\u003cp>Inspired by the likes of Dave Chappelle and Chris Rock, and for audiences who know and love the work of Hari Kondabolu and Dhaya Lakshminarayanan, Rahman delivers a laughter and thought with the type of deceptively simple joke that audiences inevitably attempt to re-tell to friends.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Note: This post originally ran as part of an event preview in 2015.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Aamer Rahman is a standup comedian—although “comedian” doesn’t really do Rahman justice. In university classrooms and online chatrooms around the world, he’s the sharp funnyman who just happened to shut down every “reverse racism” argument with one expertly arranged joke.\u003c/p>\n\u003cp>Born in Saudi Arabia to Bangladeshi parents, and now living in Australia, Rahman has developed a style of comedy both smart and side-splitting. His act reflects his experience growing up in Australia with brown skin, and his jokes poke fun at everything from international politics and the “War on Terror” to less-serious topics like TV and Batman. But it’s a bit he developed as a \u003ca href=\"http://www.theguardian.com/stage/2014/jun/04/aamer-rahman-reverse-racism-comedy-tour\" target=\"_blank\" rel=\"noopener noreferrer\">last-ditch effort right before hanging up the mic forever\u003c/a> that’s made him a viral sensation.\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/dw_mRaIHb-M'\n title='//www.youtube.com/embed/dw_mRaIHb-M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Reverse Racism” is one of those jokes so perfectly timed, so expertly executed, that it’s been viewed nearly three million times on YouTube and even \u003ca href=\"http://www.theguardian.com/stage/2014/jun/04/aamer-rahman-reverse-racism-comedy-tour\" target=\"_blank\" rel=\"noopener noreferrer\">studied as part of college courses\u003c/a>. \u003c/p>\n\u003cp>“My thing is not to point out things that people haven’t noticed,” \u003ca href=\"http://www.thenational.ae/arts-lifestyle/on-stage/aamer-rahman-how-a-youtube-video-saved-my-comedy-career\" target=\"_blank\" rel=\"noopener noreferrer\">Rahman explained to an Abu Dhabi newspaper\u003c/a>. “My audience has already noticed it. My show is basically about being together and being honest about it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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. ",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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},
"tech-nation": {
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