nic feliciano Is Blessed With The ‘Curse of an Overactive Creative Mind’
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Is Conan O’Brien the Most Perfect ‘Hot Ones’ Guest Ever?
‘SNL’ Sends Up the NPR Tiny Desk With an Intern Who Pleads, ‘Keep the Ruckus Down’
‘STEVE! (martin)’ Looks at Past, Present in a Lovely, Intimate 2-Part Documentary
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The State at the Warfield, a Recipe For Fun
With an Audacious Title and Bowen Yang as God, ‘Dicks: The Musical’ Dares to Be Gonzo
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She’s a fashionista who currently resides in Berkeley, but was born in the Philippines and spent her teenage years in Southern California. After moving to the East Bay for school two decades ago, she’s grown into a playwright, chef, thespian and — as she says — “a master of fun.” She’s also a former MC and member of the Bay Area-based hip-hop group \u003ca href=\"https://hottuboakland.bandcamp.com/album/3-the-hard-way\">HOTTUB\u003c/a>, which made Miami Bass–inspired rap songs from roughly 2006 to 2013.\u003c/p>\n\u003cp>When it comes to her work, there are two important things to understand: first, she incorporates her Filipina identity into everything she creates. Second, her “work” isn’t really work at all.\u003c/p>\n\u003cfigure id=\"attachment_13956529\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956529 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-800x1207.jpg\" alt=\"A woman poses in a squat stance with her left hand holding her chin. She wears neon green clogs, black tights and a zebra print skirt. In the background are shelves holding recycled water jugs and plastic pots.\" width=\"800\" height=\"1207\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-800x1207.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-1020x1538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-1018x1536.jpg 1018w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-1358x2048.jpg 1358w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-1920x2896.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-scaled.jpg 1697w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">nic feliciano is a writer, performer and cook based in Berkeley by way of the Philippines. \u003ccite>(Kate Buenconsejo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>feliciano proudly maintains flexible daytime employment to pay her bills, while letting her creative juices flow during the evening hours. This separation allows her to stay inspired, penning funny sketches that she performs as a part of her \u003ca href=\"https://www.instagram.com/grannycartgangstas?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw==\">Grannycart Gangstas\u003c/a> act at \u003ca href=\"https://www.bindlestiffstudio.org/\" target=\"_blank\" rel=\"noopener\">Blindlestiff Studio\u003c/a> in San Francisco.\u003c/p>\n\u003cp>feliciano’s creations go beyond the stage. She’s currently writing a comic book in which she gives a modern spin on the mythological creature from Filipino folklore, the Manananggal. The storyline sheds light on the exploitation that workers in the Philippines face working as contractors for Big Tech.\u003c/p>\n\u003cp>This week, we talk about how the Bay Area has assisted feliciano’s artistic endeavors, from rapping over bass-heavy hip-hop beats in the early 2000s to forging a “creative family of misfit Filipino kids who didn’t follow the path.”\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=KQINC8148943076\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, Host:\u003c/b>\u003cspan style=\"font-weight: 400\"> Hey what’s up Rightnowish listeners. I’m your host, Pendarvis Harshaw. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For this episode, we hear from cook, slash writer, slash actor, slash musician and all around funny person, nic feliciano, who goes by the moniker Coco Machete. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At age 10, nic, along with her mother and sister, left the Philippines and settled in Orange County. Itching to find like-minded folks, nic eventually left SoCal and moved to Berkeley for community college… and she’s been here ever since. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As y’all may know, juggling day jobs and side gigs to pay the bills comes with the territory of being an artist in the Bay. But for nic, she’s not pressed to let how she pays the rent define her.\u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano, Guest: \u003c/b>\u003cspan style=\"font-weight: 400\">The true art and what I do is just kind of like surviving. Like my mom to me is an artist because of- she’s never picked up a paintbrush in her life. But like, the way she moves through life and the way she like, makes shit happen and the way she like, figures this out over that or whatever. Like, damn, that’s like such art to me!\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Rightnowish producer Marisol Medina-Cadena and I dive into the splendor that is nic’s mind, and discuss how she honors Filipino brilliance in all that she does. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That and more right after this. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Ad break]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">When we spoke on the phone a while ago, you said something that just really crystallized your creative practice for me. You said you were in your “expansive era.” I feel like that expression really speaks volumes about where you’re at with your relationship to artmaking. So what does your expansive area look like? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s more of just a consciousness whenever I can… if I try- if I have a moment to like meditate on something, it’s just asking for guidance in terms of like how I- how this experience can make me a little bit more expansive and a little bit more able to hold more empathy, more love. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If I forget to remind myself that I’m in that space right now, it’s very easy for everything to knock it down, and feel tired and unaligned. And so I’m kind of using that as a way to stay the course and create some stamina… trying to come from as much love as I can in these crazy times because it’s harder and harder. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">I know that you have a day job outside of your creative practice. And maybe there’s overlap but they’re not really contingent on each other. How do you structure your life in a way that you have the passion and the desire to still make art outside of, like what pays your bills? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">I always like, kind of gave myself a hard time about that and been like, what’s wrong with you? Like, why wouldn’t you want to go all in on your art and like, really be about it, live it or whatnot? And I think that for me, not depending on it financially has always sustained it. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I think I just am one of those people who were blessed or cursed with an overactive creative mind that is constantly feeling the need to like express and release or whatever. But I realized that every time it got to a point where it was time to take it serious, or even like the idea of living off of my art, or like any of that, I feel like — personally, like it kind of kills it a little bit and it doesn’t feel super aligned. I’m not super inspired by it. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So it’s just about like finding work that’s not going to keep me there, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> like beyond the hours that I need to be. And my brain doesn’t get going until the nighttime anyway. So like, I take advantage of like whatever time, you know, I have outside of that.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so, I’m grateful, I feel grateful that my day jobs haven’t completely, like, overshadowed my my creative work. You know, how I pay my bills is kind of like the smallest part of my identity. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> It’s just… no to careers and no to making art a career either, I don’t know. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Balance. It sounds like balance. And also making sure that you work within what’s best for you. You said your night hours, you know, being at home. You know yourself. \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m trying you know, it’s the journey. It’s part of the ride! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Diving into your artistic endeavors. You’re on the cusp of finishing your first comic book, so I hear. And it’s a sci-fi thriller based on Filipino folklore?\u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, gosh!\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Please tell me about the inspiration for this. \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">This has been in the works for quite a while. Inspired by a PBS documentary called The Cleaners, which was about a third party company in the Philippines that was being hired by, like, the Googles, the Facebooks, all that kind of stuff. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Basically, when something gets flagged on any of these platforms, they’re going to these workers — oftentimes, you know, in the Global South: Philippines, India, and a human is processing these images and they’re deciding whether to delete or to keep. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">They’re getting PTSD. They’re like processing 8,000 images a day, you know, just like constant, just the worst images you can imagine!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">One of my favorite folkloric creatures in Filipino folklore is this creature called the manananggal. And it’s oftentimes a femme creature. They stay in the trees, they’re kind of vampiric or what have you. And their top half comes off, and that’s what goes flying around at night looking for food, primarily victims or whatnot. They’re known to suck the life through belly buttons.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Typically, it’s represented as a scary thing that, you know, growing up, if you didn’t, like, go to sleep right away, they’d be like, “oh, the Manananggal is going to come get you.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As I’ve like, gotten older and whatnot, I’m just like, well, like, what if it actually was like a creature that, like, went out and did stuff for justice, you know what I mean? I just, like, made up all this stuff in my head. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So anyway, I wrote this short one act play that was from the perspective of this Manananggalgal who didn’t realize they were a Manananggal until they were exploited super hard at work. They snap. And they go and kill, like, all the CEOs. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Thank god Bindlestiff Studios, shout out to Bindlestiff Studios over there in the SOMA, 6th and Howard. The only place for Filipino and Filippinx performing arts, like, they put this play up. It’s pretty ridiculous, but I’m obsessed with this world, like… it’s kind of like the prequel to this piece that I wrote. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so I feel like — comic book, that’s a good way to kind of… not so much lighten it, but like not make it so realistic. The fact that it’s not the real thing, I think feels sort of liberating to tell the story in the way that it is in my head, without it being too, like, real. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I’m really excited about it, and it’s taken a while, but I’m glad we’ve taken our time because I’ve been collaborating with this incredible illustrator Corpser. Shout out Corpser from Bulacan, in the Philippines. He and I have been going back and forth and he’s illustrated the whole thing and he snapped on the illustration. Neither of us had done this before, but oh man, like, with his vision and my crazy, gross world building. It’s nasty and I can’t wait to share it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">You’ve spoken a lot about Bindlestiff, can you tell us what drew you to that space? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">So it’s just my mom, my sister and I here in the U.S., everybody else is back in Manila.\u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Sound design: birds chirping]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I have like 25 cousins back home that I when I’m there, like everyone’s around and just kind of really missing like that sense of home, or what have you.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so this thing happens to me every time I go back and forth where my reality gets really shook up. Like, I can’t tell what’s real. I feel a lot of guilt of living here and not being a part of what my family back home has to go through to survive, you know what I mean? It’s very- our lives are very different, and jumping back and forth is kind of a challenging thing for me. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so I remember being on the bus on my way home from work, and I saw that Bindlestiff- I was in their mailing list somehow, and I saw that they were auditioning for Tagalog speaking actors.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I was like, “Oh, maybe… that’s scary, I don’t know.” And then a month later, I see it again. And so I was like, “Okay, they’re still looking. Obviously it’s been a month. Like, maybe this is a sign I should just go and just do it.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By the grace of God, I somehow still remember, like the Tagalog Pledge of Allegiance from school! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Giggles]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> I pulled up and I did the best pledge of allegiance with feelings that I could like a fool, and sang my little song, and I guess they were down because they called me back! \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">From that point on, I’ve never said no to anything Bindlestiff-related again. It’s just 30 years, volunteer-run. Beyond just the theater space, the amount of work that they do in the SOMA neighborhood, like over the pandemic, their artistic director, Irene, ran a program where a bunch of, like, actors were volunteering- everyone, like, delivering groceries to the elders around there.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s put so much purpose to my art. I’ve had to reverse engineer my, even my own knowledge of, like, Philippine history and pre-colonial history. Like, I wouldn’t have probably learned that there, but coming here and being around other people in diaspora and learning about how other cultures have looked inward to be able to, like, get through our experiences out here — I feel like, in some sense, we owe it to really center like those who are still living in the land and the and the realities that they face every day and support their art. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I feel like Bindlestiff does a really good job doing that. Like, they’re in direct communication with the community here and always trying to, like, bridge that- that ocean, you know, those thousands and thousands of miles ya know? So it feels good. I’m so grateful to have found them and create a- like a creative family of misfit Filipino kids who didn’t follow the path. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You’re a part of a crew called Granny Cart Gangstas. What does that entail?\u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">So, Granny Cart Gangstas is an open-door \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> comedy troupe — mostly Asian American, femme, multi-gender folks — who have been around for ten years, thank you very much. We just celebrated our ten-year anniversary last year. Basically, yeah, we- we’re a sketch comedy troupe. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Our two founders, Aureen and Ava, came up with the name because they’re always riding around with their granny cart, getting on the bus with it, you know, like as you see all around town. People move when it’s time to roll the granny cart full of laundry or groceries or whatever. It’s like, okay! So that’s kind of what inspired the name. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We do 2 to 3 week shows once a year at Bindlestiff. We all write all our own material. And we- when it’s time to put it up. Oh, man. It’s a hoot. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Video Clip, Granny Cart Gangstas: \u003c/b>\u003cspan style=\"font-weight: 400\">Good evening. I am Lauren Goodman, and welcome to \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Quarantine Now\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Our top story is about the “Adobo Hoes,” a retired roller derby squad. They are leading the way in roller skating security escort tactics. Now being adopted around the San Francisco Bay Area to protect Asian American seniors. The community at large is now reporting feeling more confident and more secure with the hoes working the streets.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Before you got into theater, you were part of a group called HOTTUB…\u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh my gosh.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, we’re going there. You were involved in Oakland’s underground music scene — a lot of warehouse parties. Tell me about that music and how that era really shaped your perspective on life today? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\">[Exhales breath]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> That era was wild, number one. Proved to be unsustainable. It started mid-2000s, like 2006 and we’re pretty active all the way to 2013. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There was so much reaction to, kind of like now, like to what was going on there. That was, like, the tail end of the, kind of like, Bush era. Oh my gosh, Occupy- like the Occupy Movement. So there was a lot of just like tension, especially in the East Bay, where the, the, the trickle of like what was going on in San Francisco hadn’t quite made it over there, but you could still start to feel it. And there was just a real sort of tension there. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I think out of that came just a very confrontational time, I would say. There wasn’t a lot of, like, femme acts at the time when we were, when, when we were performing. And so it’s three girls to the front, you know, it was, like, rough! \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">In that vein of like being you said confrontational, loud, using your voice to claim space on stage. Sonically, what did your set sound like? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">My gosh, a battle. Like our producers Jaysonic, Funky Finger Mark. We would bring out an MPC drum machine and a ASR ten sampler keyboard. Those were like our two things. They didn’t have, like, didn’t use laptops, nothing. And these are, like, really textured, heavy sounds that are going straight into sound systems. And then three girl MC chanting banshees like wild women. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music: “Shoot the Lights Out” by HOTTUB]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Looking at my Casio it’s about that time\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">I’m ’bout to pick it up stat on my hustle and grind\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">I got nothin in my pocket but motha-fuckin’ fuck it\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">I can get a fat loan if you can co-sign it\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">But who cares!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">I ain’t tripin’ I ain’t tryin to trick for the man\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Just to get a couple grand in my hand…\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">The original concept of HOTTUB was, was going to be like Tagalog-Miami bass-type stuff. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was always represent- you know, representing my, my shit. And so when I would write raps in Tagalog, lucky for us, we’re here in the Bay area with hella Filipinos. So every so often, like someone would be like “Yo!!!!” you know, and really like kind of recognizing. And that’s always, like, such a gift. But even though it feels like screaming in the void, like I- it just, feels great! \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Shoot the lights out shoot the lights out!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Shoot the lights out shoot the lights out, oh!!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Shoot the lights out shoot the lights out!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Shoot the lights out shoot the lights out, whoa!!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cb>nic feliciano: \u003c/b>I’m so glad that I was able to come up creatively during that time because it never felt like there was so much to lose, because it was already coming from nothing. It was like so beyond DIY, you know, like… There was no fear in what we wanted to say. And we could just confront, like, every issue- You know, creating like this, like safe space for like, femme energy to kind of aggressively take over! \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music: “M.A.N.B.I.T.C.H” by HOTTUB]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Don’t disrespect\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">You gotta come correct\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">I’m tired of your nasty-ass…\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cb>nic feliciano: \u003c/b>It really was so empowering to- to be doing this with two of my best friends, you know, Jen and Amber shout out. Just making the most noise and just trying to, like, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Yells]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> get it out! \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Definitely formative. And it, it it it gave me the guts to do things that are creative and to actually allow yourself to express, like, some of the stuff that’s going on in, in our minds takes so much guts. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m so grateful for that time in my life. And I’m also so grateful that I’ve recovered. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s out. It’s done. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">M. A. N. B. I. T. C. H.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">We know what it is,\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">It’s written all over your face!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Just hearing you talk, there’s like this throughline between the comic book, the band HOTTUB, the work you do with Bindlestiff, of like centering Filipino culture. Is there like a thesis or like mission statement behind that, or is that just who you are? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano:\u003c/b>\u003cspan style=\"font-weight: 400\"> I think about this all the time. I think it’s just who I’ve always been. The very first day of school, of American school, ten years old, Orange County of all places. It was just so clear that I was not… of here. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s so many times that my creative mind and like this idea of trying to reconcile, you know, my- my existence here to home. Like I still think Philippines is home. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was five years old when the Philippine Revolution happened. So in 1986, the Filipino people banded together, got the support of the military, and ousted Ferdinand Marcos, who was dictator for like, the last 26 years or whatever. And so I kind of feel like I’m a kid of revolution. Like, I understand that there is… that people can really get together and like, do something great, like, I believe in it, I seen it happen with my own eyes. And I feel like coming here, there’s always just been this sense of, like, refusing to be erased. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> The last question that we have for you is: being in your expansive era now, and all the personal values you have for yourself. What do you need from, like, the art scene or your peers or art spaces to do the kind of work you want to do? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">Watching how — especially here in the Bay Area — watching how artists come together to like, really fight for what they believe in, and really, like, put their necks on the line and really support certain movements, like it’s fired up right now. And I think that, you know, what we can all do for each other is provide ways that we can build our stamina, because I really think that’s what we’re gonna need. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And the more of that we use our art as leverage and as power, and the more that we understand how powerful we are together… I think that’s probably my greatest ask for myself and our community. It’s like, figure out ways to build stamina because we’re really gonna need it for the long haul.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Credits music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Big thank you nic feliciano for dropping by the KQED stu’ to talk about the important things and for making us laugh through it all. You can find her on instagram @cocomachetez. That’s spelled c-o-c-o-m-a-c-h-e-t-e-z. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">From May 16th through June 1st, nic will be taking part in an original production at Bindlestiff Studios called Dark Heart. Be sure to check that out. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was hosted by me, Pendarvis Harshaw. Marisol Medina-Cadena produced this episode. Chris Hambrick held it down for edits on this one. Christopher Beale engineered this joint. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The music you heard was courtesy of HOTTUB and Audio Network.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Rightnowish team is also supported by Jen Chien, Ugur Dursun, Holly Kernan, Cesar Saldaña and Katie Sprenger. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Thank you all for listening! For longtime fans of the show, y’all know how we roll. But if you’re new here, welcome! We’re glad to have you, it’s our honor to introduce you to Bay Area culture keepers and change makers you may not have the privilege of knowing… yet. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So, if you enjoy what we’re doing at Rightnowish, please share the podcast with a friend or a coworker. Subscribe and rate the podcast on whatever platform you choose. Every little action goes a long way. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ok, y’all be easy! \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED production.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Peace.\u003c/span>\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","blocks":[],"excerpt":"The fashionista, playwright, chef, thespian and 'master of fun' discusses her many artistic endeavors.","status":"publish","parent":0,"modified":1714070065,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":118,"wordCount":4185},"headData":{"title":"nic feliciano Is Blessed With The ‘Curse of an Overactive Creative Mind’ | KQED","description":"nic feliciano (who also goes by Coco Machete) contains multitudes. She's a fashionista who currently resides in the East Bay, but was born in the Philippines and raised in Southern California. After moving to Berkeley for school two decades ago, she's grown into a playwright, comedian, chef and thespian. She's also a former MC and member of the Bay Area-based hip-hop group, HOTTUB, which made Miami-boom bass inspired rap songs from about 2006 to 2013.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialDescription":"nic feliciano (who also goes by Coco Machete) contains multitudes. She's a fashionista who currently resides in the East Bay, but was born in the Philippines and raised in Southern California. After moving to Berkeley for school two decades ago, she's grown into a playwright, comedian, chef and thespian. She's also a former MC and member of the Bay Area-based hip-hop group, HOTTUB, which made Miami-boom bass inspired rap songs from about 2006 to 2013.","schema":{"@context":"http://schema.org","@type":"Article","headline":"nic feliciano Is Blessed With The ‘Curse of an Overactive Creative Mind’","datePublished":"2024-04-25T10:00:26.000Z","dateModified":"2024-04-25T18:34:25.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.podtrac.com/pts/redirect.mp3/chrt.fm/track/G6C7C3/traffic.megaphone.fm/KQINC8148943076.mp3?updated=1714006490","sticky":false,"nprStoryId":"kqed-13956388","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956388/nic-feliciano-is-blessed-with-the-curse-of-an-overactive-creative-mind","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"#episode-transcript\">\u003ci>View the full episode transcript.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>nic feliciano will find a way to creatively express herself, no matter what.\u003c/p>\n\u003cp>feliciano (who also goes by \u003ca href=\"https://www.instagram.com/cocomachetz/\" target=\"_blank\" rel=\"noopener\">Coco Machete\u003c/a>) contains multitudes. She’s a fashionista who currently resides in Berkeley, but was born in the Philippines and spent her teenage years in Southern California. After moving to the East Bay for school two decades ago, she’s grown into a playwright, chef, thespian and — as she says — “a master of fun.” She’s also a former MC and member of the Bay Area-based hip-hop group \u003ca href=\"https://hottuboakland.bandcamp.com/album/3-the-hard-way\">HOTTUB\u003c/a>, which made Miami Bass–inspired rap songs from roughly 2006 to 2013.\u003c/p>\n\u003cp>When it comes to her work, there are two important things to understand: first, she incorporates her Filipina identity into everything she creates. Second, her “work” isn’t really work at all.\u003c/p>\n\u003cfigure id=\"attachment_13956529\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13956529 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-800x1207.jpg\" alt=\"A woman poses in a squat stance with her left hand holding her chin. She wears neon green clogs, black tights and a zebra print skirt. In the background are shelves holding recycled water jugs and plastic pots.\" width=\"800\" height=\"1207\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-800x1207.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-1020x1538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-1018x1536.jpg 1018w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-1358x2048.jpg 1358w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-1920x2896.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/coco-machete-2-scaled.jpg 1697w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">nic feliciano is a writer, performer and cook based in Berkeley by way of the Philippines. \u003ccite>(Kate Buenconsejo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>feliciano proudly maintains flexible daytime employment to pay her bills, while letting her creative juices flow during the evening hours. This separation allows her to stay inspired, penning funny sketches that she performs as a part of her \u003ca href=\"https://www.instagram.com/grannycartgangstas?utm_source=ig_web_button_share_sheet&igsh=ZDNlZDc0MzIxNw==\">Grannycart Gangstas\u003c/a> act at \u003ca href=\"https://www.bindlestiffstudio.org/\" target=\"_blank\" rel=\"noopener\">Blindlestiff Studio\u003c/a> in San Francisco.\u003c/p>\n\u003cp>feliciano’s creations go beyond the stage. She’s currently writing a comic book in which she gives a modern spin on the mythological creature from Filipino folklore, the Manananggal. The storyline sheds light on the exploitation that workers in the Philippines face working as contractors for Big Tech.\u003c/p>\n\u003cp>This week, we talk about how the Bay Area has assisted feliciano’s artistic endeavors, from rapping over bass-heavy hip-hop beats in the early 2000s to forging a “creative family of misfit Filipino kids who didn’t follow the path.”\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=KQINC8148943076\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This is a computer-generated transcript. While our team has reviewed it, there may be errors.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw, Host:\u003c/b>\u003cspan style=\"font-weight: 400\"> Hey what’s up Rightnowish listeners. I’m your host, Pendarvis Harshaw. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For this episode, we hear from cook, slash writer, slash actor, slash musician and all around funny person, nic feliciano, who goes by the moniker Coco Machete. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At age 10, nic, along with her mother and sister, left the Philippines and settled in Orange County. Itching to find like-minded folks, nic eventually left SoCal and moved to Berkeley for community college… and she’s been here ever since. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As y’all may know, juggling day jobs and side gigs to pay the bills comes with the territory of being an artist in the Bay. But for nic, she’s not pressed to let how she pays the rent define her.\u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano, Guest: \u003c/b>\u003cspan style=\"font-weight: 400\">The true art and what I do is just kind of like surviving. Like my mom to me is an artist because of- she’s never picked up a paintbrush in her life. But like, the way she moves through life and the way she like, makes shit happen and the way she like, figures this out over that or whatever. Like, damn, that’s like such art to me!\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Rightnowish producer Marisol Medina-Cadena and I dive into the splendor that is nic’s mind, and discuss how she honors Filipino brilliance in all that she does. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That and more right after this. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Ad break]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">When we spoke on the phone a while ago, you said something that just really crystallized your creative practice for me. You said you were in your “expansive era.” I feel like that expression really speaks volumes about where you’re at with your relationship to artmaking. So what does your expansive area look like? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">It’s more of just a consciousness whenever I can… if I try- if I have a moment to like meditate on something, it’s just asking for guidance in terms of like how I- how this experience can make me a little bit more expansive and a little bit more able to hold more empathy, more love. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If I forget to remind myself that I’m in that space right now, it’s very easy for everything to knock it down, and feel tired and unaligned. And so I’m kind of using that as a way to stay the course and create some stamina… trying to come from as much love as I can in these crazy times because it’s harder and harder. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">I know that you have a day job outside of your creative practice. And maybe there’s overlap but they’re not really contingent on each other. How do you structure your life in a way that you have the passion and the desire to still make art outside of, like what pays your bills? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">I always like, kind of gave myself a hard time about that and been like, what’s wrong with you? Like, why wouldn’t you want to go all in on your art and like, really be about it, live it or whatnot? And I think that for me, not depending on it financially has always sustained it. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I think I just am one of those people who were blessed or cursed with an overactive creative mind that is constantly feeling the need to like express and release or whatever. But I realized that every time it got to a point where it was time to take it serious, or even like the idea of living off of my art, or like any of that, I feel like — personally, like it kind of kills it a little bit and it doesn’t feel super aligned. I’m not super inspired by it. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So it’s just about like finding work that’s not going to keep me there, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> like beyond the hours that I need to be. And my brain doesn’t get going until the nighttime anyway. So like, I take advantage of like whatever time, you know, I have outside of that.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so, I’m grateful, I feel grateful that my day jobs haven’t completely, like, overshadowed my my creative work. You know, how I pay my bills is kind of like the smallest part of my identity. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> It’s just… no to careers and no to making art a career either, I don’t know. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Balance. It sounds like balance. And also making sure that you work within what’s best for you. You said your night hours, you know, being at home. You know yourself. \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">I’m trying you know, it’s the journey. It’s part of the ride! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Diving into your artistic endeavors. You’re on the cusp of finishing your first comic book, so I hear. And it’s a sci-fi thriller based on Filipino folklore?\u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, gosh!\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Please tell me about the inspiration for this. \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">This has been in the works for quite a while. Inspired by a PBS documentary called The Cleaners, which was about a third party company in the Philippines that was being hired by, like, the Googles, the Facebooks, all that kind of stuff. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Basically, when something gets flagged on any of these platforms, they’re going to these workers — oftentimes, you know, in the Global South: Philippines, India, and a human is processing these images and they’re deciding whether to delete or to keep. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">They’re getting PTSD. They’re like processing 8,000 images a day, you know, just like constant, just the worst images you can imagine!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">One of my favorite folkloric creatures in Filipino folklore is this creature called the manananggal. And it’s oftentimes a femme creature. They stay in the trees, they’re kind of vampiric or what have you. And their top half comes off, and that’s what goes flying around at night looking for food, primarily victims or whatnot. They’re known to suck the life through belly buttons.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Typically, it’s represented as a scary thing that, you know, growing up, if you didn’t, like, go to sleep right away, they’d be like, “oh, the Manananggal is going to come get you.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As I’ve like, gotten older and whatnot, I’m just like, well, like, what if it actually was like a creature that, like, went out and did stuff for justice, you know what I mean? I just, like, made up all this stuff in my head. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So anyway, I wrote this short one act play that was from the perspective of this Manananggalgal who didn’t realize they were a Manananggal until they were exploited super hard at work. They snap. And they go and kill, like, all the CEOs. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Thank god Bindlestiff Studios, shout out to Bindlestiff Studios over there in the SOMA, 6th and Howard. The only place for Filipino and Filippinx performing arts, like, they put this play up. It’s pretty ridiculous, but I’m obsessed with this world, like… it’s kind of like the prequel to this piece that I wrote. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so I feel like — comic book, that’s a good way to kind of… not so much lighten it, but like not make it so realistic. The fact that it’s not the real thing, I think feels sort of liberating to tell the story in the way that it is in my head, without it being too, like, real. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I’m really excited about it, and it’s taken a while, but I’m glad we’ve taken our time because I’ve been collaborating with this incredible illustrator Corpser. Shout out Corpser from Bulacan, in the Philippines. He and I have been going back and forth and he’s illustrated the whole thing and he snapped on the illustration. Neither of us had done this before, but oh man, like, with his vision and my crazy, gross world building. It’s nasty and I can’t wait to share it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">You’ve spoken a lot about Bindlestiff, can you tell us what drew you to that space? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">So it’s just my mom, my sister and I here in the U.S., everybody else is back in Manila.\u003c/span>\u003cb> \u003c/b>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Sound design: birds chirping]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I have like 25 cousins back home that I when I’m there, like everyone’s around and just kind of really missing like that sense of home, or what have you.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so this thing happens to me every time I go back and forth where my reality gets really shook up. Like, I can’t tell what’s real. I feel a lot of guilt of living here and not being a part of what my family back home has to go through to survive, you know what I mean? It’s very- our lives are very different, and jumping back and forth is kind of a challenging thing for me. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And so I remember being on the bus on my way home from work, and I saw that Bindlestiff- I was in their mailing list somehow, and I saw that they were auditioning for Tagalog speaking actors.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I was like, “Oh, maybe… that’s scary, I don’t know.” And then a month later, I see it again. And so I was like, “Okay, they’re still looking. Obviously it’s been a month. Like, maybe this is a sign I should just go and just do it.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">By the grace of God, I somehow still remember, like the Tagalog Pledge of Allegiance from school! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Giggles]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> I pulled up and I did the best pledge of allegiance with feelings that I could like a fool, and sang my little song, and I guess they were down because they called me back! \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">From that point on, I’ve never said no to anything Bindlestiff-related again. It’s just 30 years, volunteer-run. Beyond just the theater space, the amount of work that they do in the SOMA neighborhood, like over the pandemic, their artistic director, Irene, ran a program where a bunch of, like, actors were volunteering- everyone, like, delivering groceries to the elders around there.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s put so much purpose to my art. I’ve had to reverse engineer my, even my own knowledge of, like, Philippine history and pre-colonial history. Like, I wouldn’t have probably learned that there, but coming here and being around other people in diaspora and learning about how other cultures have looked inward to be able to, like, get through our experiences out here — I feel like, in some sense, we owe it to really center like those who are still living in the land and the and the realities that they face every day and support their art. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I feel like Bindlestiff does a really good job doing that. Like, they’re in direct communication with the community here and always trying to, like, bridge that- that ocean, you know, those thousands and thousands of miles ya know? So it feels good. I’m so grateful to have found them and create a- like a creative family of misfit Filipino kids who didn’t follow the path. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">You’re a part of a crew called Granny Cart Gangstas. What does that entail?\u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">So, Granny Cart Gangstas is an open-door \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> comedy troupe — mostly Asian American, femme, multi-gender folks — who have been around for ten years, thank you very much. We just celebrated our ten-year anniversary last year. Basically, yeah, we- we’re a sketch comedy troupe. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Our two founders, Aureen and Ava, came up with the name because they’re always riding around with their granny cart, getting on the bus with it, you know, like as you see all around town. People move when it’s time to roll the granny cart full of laundry or groceries or whatever. It’s like, okay! So that’s kind of what inspired the name. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We do 2 to 3 week shows once a year at Bindlestiff. We all write all our own material. And we- when it’s time to put it up. Oh, man. It’s a hoot. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Video Clip, Granny Cart Gangstas: \u003c/b>\u003cspan style=\"font-weight: 400\">Good evening. I am Lauren Goodman, and welcome to \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Quarantine Now\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">. Our top story is about the “Adobo Hoes,” a retired roller derby squad. They are leading the way in roller skating security escort tactics. Now being adopted around the San Francisco Bay Area to protect Asian American seniors. The community at large is now reporting feeling more confident and more secure with the hoes working the streets.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Before you got into theater, you were part of a group called HOTTUB…\u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">Oh my gosh.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Yeah, we’re going there. You were involved in Oakland’s underground music scene — a lot of warehouse parties. Tell me about that music and how that era really shaped your perspective on life today? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\">[Exhales breath]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> That era was wild, number one. Proved to be unsustainable. It started mid-2000s, like 2006 and we’re pretty active all the way to 2013. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There was so much reaction to, kind of like now, like to what was going on there. That was, like, the tail end of the, kind of like, Bush era. Oh my gosh, Occupy- like the Occupy Movement. So there was a lot of just like tension, especially in the East Bay, where the, the, the trickle of like what was going on in San Francisco hadn’t quite made it over there, but you could still start to feel it. And there was just a real sort of tension there. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And I think out of that came just a very confrontational time, I would say. There wasn’t a lot of, like, femme acts at the time when we were, when, when we were performing. And so it’s three girls to the front, you know, it was, like, rough! \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">In that vein of like being you said confrontational, loud, using your voice to claim space on stage. Sonically, what did your set sound like? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">My gosh, a battle. Like our producers Jaysonic, Funky Finger Mark. We would bring out an MPC drum machine and a ASR ten sampler keyboard. Those were like our two things. They didn’t have, like, didn’t use laptops, nothing. And these are, like, really textured, heavy sounds that are going straight into sound systems. And then three girl MC chanting banshees like wild women. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music: “Shoot the Lights Out” by HOTTUB]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Looking at my Casio it’s about that time\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">I’m ’bout to pick it up stat on my hustle and grind\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">I got nothin in my pocket but motha-fuckin’ fuck it\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">I can get a fat loan if you can co-sign it\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">But who cares!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">I ain’t tripin’ I ain’t tryin to trick for the man\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Just to get a couple grand in my hand…\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">The original concept of HOTTUB was, was going to be like Tagalog-Miami bass-type stuff. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was always represent- you know, representing my, my shit. And so when I would write raps in Tagalog, lucky for us, we’re here in the Bay area with hella Filipinos. So every so often, like someone would be like “Yo!!!!” you know, and really like kind of recognizing. And that’s always, like, such a gift. But even though it feels like screaming in the void, like I- it just, feels great! \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Shoot the lights out shoot the lights out!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Shoot the lights out shoot the lights out, oh!!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Shoot the lights out shoot the lights out!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Shoot the lights out shoot the lights out, whoa!!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cb>nic feliciano: \u003c/b>I’m so glad that I was able to come up creatively during that time because it never felt like there was so much to lose, because it was already coming from nothing. It was like so beyond DIY, you know, like… There was no fear in what we wanted to say. And we could just confront, like, every issue- You know, creating like this, like safe space for like, femme energy to kind of aggressively take over! \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music: “M.A.N.B.I.T.C.H” by HOTTUB]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Don’t disrespect\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">You gotta come correct\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">I’m tired of your nasty-ass…\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cb>nic feliciano: \u003c/b>It really was so empowering to- to be doing this with two of my best friends, you know, Jen and Amber shout out. Just making the most noise and just trying to, like, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Yells]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> get it out! \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Definitely formative. And it, it it it gave me the guts to do things that are creative and to actually allow yourself to express, like, some of the stuff that’s going on in, in our minds takes so much guts. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m so grateful for that time in my life. And I’m also so grateful that I’ve recovered. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Laughs] \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> It’s out. It’s done. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">M. A. N. B. I. T. C. H.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">We know what it is,\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">It’s written all over your face!\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena: \u003c/b>\u003cspan style=\"font-weight: 400\">Just hearing you talk, there’s like this throughline between the comic book, the band HOTTUB, the work you do with Bindlestiff, of like centering Filipino culture. Is there like a thesis or like mission statement behind that, or is that just who you are? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano:\u003c/b>\u003cspan style=\"font-weight: 400\"> I think about this all the time. I think it’s just who I’ve always been. The very first day of school, of American school, ten years old, Orange County of all places. It was just so clear that I was not… of here. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s so many times that my creative mind and like this idea of trying to reconcile, you know, my- my existence here to home. Like I still think Philippines is home. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was five years old when the Philippine Revolution happened. So in 1986, the Filipino people banded together, got the support of the military, and ousted Ferdinand Marcos, who was dictator for like, the last 26 years or whatever. And so I kind of feel like I’m a kid of revolution. Like, I understand that there is… that people can really get together and like, do something great, like, I believe in it, I seen it happen with my own eyes. And I feel like coming here, there’s always just been this sense of, like, refusing to be erased. \u003c/span>\u003c/p>\n\u003cp>\u003cb>Marisol Medina-Cadena:\u003c/b>\u003cspan style=\"font-weight: 400\"> The last question that we have for you is: being in your expansive era now, and all the personal values you have for yourself. What do you need from, like, the art scene or your peers or art spaces to do the kind of work you want to do? \u003c/span>\u003c/p>\n\u003cp>\u003cb>nic feliciano: \u003c/b>\u003cspan style=\"font-weight: 400\">Watching how — especially here in the Bay Area — watching how artists come together to like, really fight for what they believe in, and really, like, put their necks on the line and really support certain movements, like it’s fired up right now. And I think that, you know, what we can all do for each other is provide ways that we can build our stamina, because I really think that’s what we’re gonna need. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And the more of that we use our art as leverage and as power, and the more that we understand how powerful we are together… I think that’s probably my greatest ask for myself and our community. It’s like, figure out ways to build stamina because we’re really gonna need it for the long haul.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Credits music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Big thank you nic feliciano for dropping by the KQED stu’ to talk about the important things and for making us laugh through it all. You can find her on instagram @cocomachetez. That’s spelled c-o-c-o-m-a-c-h-e-t-e-z. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">From May 16th through June 1st, nic will be taking part in an original production at Bindlestiff Studios called Dark Heart. Be sure to check that out. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This episode was hosted by me, Pendarvis Harshaw. Marisol Medina-Cadena produced this episode. Chris Hambrick held it down for edits on this one. Christopher Beale engineered this joint. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The music you heard was courtesy of HOTTUB and Audio Network.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Rightnowish team is also supported by Jen Chien, Ugur Dursun, Holly Kernan, Cesar Saldaña and Katie Sprenger. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Thank you all for listening! For longtime fans of the show, y’all know how we roll. But if you’re new here, welcome! We’re glad to have you, it’s our honor to introduce you to Bay Area culture keepers and change makers you may not have the privilege of knowing… yet. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So, if you enjoy what we’re doing at Rightnowish, please share the podcast with a friend or a coworker. Subscribe and rate the podcast on whatever platform you choose. Every little action goes a long way. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Ok, y’all be easy! \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED production.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Peace.\u003c/span>\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>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956388/nic-feliciano-is-blessed-with-the-curse-of-an-overactive-creative-mind","authors":["11491","11528"],"programs":["arts_8720"],"categories":["arts_1","arts_73","arts_968","arts_835","arts_69","arts_1003"],"tags":["arts_820","arts_549","arts_7584","arts_1942","arts_10278","arts_2855","arts_831","arts_1072"],"featImg":"arts_13956394","label":"arts_8720"},"arts_13956040":{"type":"posts","id":"arts_13956040","meta":{"index":"posts_1591205157","site":"arts","id":"13956040","score":null,"sort":[1713287716000]},"guestAuthors":[],"slug":"tickets-presale-code-kevin-hart-paramount-theatre-oakland","title":"Ticket Alert: Kevin Hart at the Paramount Theatre in Oakland","publishDate":1713287716,"format":"standard","headTitle":"Ticket Alert: Kevin Hart at the Paramount Theatre in Oakland | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Comedian Kevin Hart usually plays arenas. Sometimes he even \u003ca href=\"https://thecomicscomic.com/2015/08/31/kevin-hart-plays-to-53000-at-philadelphia-stadium-for-new-stand-up-concert-film-what-now-tour/\">headlines stadiums for over 50,000 people\u003c/a>.\u003c/p>\n\u003cp>So when tickets go on sale for the star comedian’s Oct. 25 show at the Paramount Theatre in Oakland — with just 3,000 seats — expect them to sell out quickly.\u003c/p>\n\u003cp>Fortunately, you can get \u003ca href=\"https://www.ticketmaster.com/event/1C00608BD32A5816\">presale tickets\u003c/a> on Wednesday, April 17, at 10 a.m. using the presale code COMEDY. Tickets go on sale to the general public two days later, on Friday, April 19, at 10 a.m.\u003c/p>\n\u003cp>[aside postID='arts_13955679']Playing smaller venues on this tour was a deliberate decision by the comedian. “I wanted to change things up by creating a more intimate environment,” Hart said in a statement. “This hour is about connecting with the audience and feeding off the crowd’s energy and laughter.”\u003c/p>\n\u003cp>At the ornate art-deco Paramount Theatre in Oakland, that energy should be especially evident. Be quick with the click for tickets \u003ca href=\"https://www.ticketmaster.com/event/1C00608BD32A5816\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The star comedian's Oct. 25 show at the Paramount Theatre in Oakland is sure to sell out quickly. ","status":"publish","parent":0,"modified":1713287716,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":168},"headData":{"title":"Kevin Hart Presale Code for Tickets at the Paramount Theatre in Oakland | KQED","description":"The star comedian's Oct. 25 show at the Paramount Theatre in Oakland is sure to sell out quickly. ","ogTitle":"Ticket Alert: Kevin Hart at the Paramount Theatre in Oakland","ogDescription":"","ogImgId":"","twTitle":"Ticket Alert: Kevin Hart at the Paramount Theatre in Oakland","twDescription":"","twImgId":"","socialTitle":"Kevin Hart Presale Code for Tickets at the Paramount Theatre in Oakland %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Ticket Alert: Kevin Hart at the Paramount Theatre in Oakland","datePublished":"2024-04-16T17:15:16.000Z","dateModified":"2024-04-16T17:15:16.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13956040/tickets-presale-code-kevin-hart-paramount-theatre-oakland","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Comedian Kevin Hart usually plays arenas. Sometimes he even \u003ca href=\"https://thecomicscomic.com/2015/08/31/kevin-hart-plays-to-53000-at-philadelphia-stadium-for-new-stand-up-concert-film-what-now-tour/\">headlines stadiums for over 50,000 people\u003c/a>.\u003c/p>\n\u003cp>So when tickets go on sale for the star comedian’s Oct. 25 show at the Paramount Theatre in Oakland — with just 3,000 seats — expect them to sell out quickly.\u003c/p>\n\u003cp>Fortunately, you can get \u003ca href=\"https://www.ticketmaster.com/event/1C00608BD32A5816\">presale tickets\u003c/a> on Wednesday, April 17, at 10 a.m. using the presale code COMEDY. Tickets go on sale to the general public two days later, on Friday, April 19, at 10 a.m.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955679","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Playing smaller venues on this tour was a deliberate decision by the comedian. “I wanted to change things up by creating a more intimate environment,” Hart said in a statement. “This hour is about connecting with the audience and feeding off the crowd’s energy and laughter.”\u003c/p>\n\u003cp>At the ornate art-deco Paramount Theatre in Oakland, that energy should be especially evident. Be quick with the click for tickets \u003ca href=\"https://www.ticketmaster.com/event/1C00608BD32A5816\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13956040/tickets-presale-code-kevin-hart-paramount-theatre-oakland","authors":["185"],"programs":["arts_140"],"categories":["arts_1","arts_968","arts_74","arts_990"],"tags":["arts_1143","arts_21734","arts_700","arts_4798"],"featImg":"arts_12832319","label":"arts_140"},"arts_13955913":{"type":"posts","id":"arts_13955913","meta":{"index":"posts_1591205157","site":"arts","id":"13955913","score":null,"sort":[1712956692000]},"guestAuthors":[],"slug":"conan-obrien-hot-ones-best-guest-ever","title":"Is Conan O’Brien the Most Perfect ‘Hot Ones’ Guest Ever?","publishDate":1712956692,"format":"standard","headTitle":"Is Conan O’Brien the Most Perfect ‘Hot Ones’ Guest Ever? | KQED","labelTerm":{},"content":"\u003cp>By now, someone’s probably sent you the clip of \u003ca href=\"https://www.youtube.com/watch?v=FALlhXl6CmA\">Conan O’Brien on the internet series \u003cem>Hot Ones\u003c/em>\u003c/a>, going full chaos gremlin: red-cheeked, sweating, drooling, his face smeared with hot sauce and bellowing about seizing the moment (“This isn’t a bit! This is LIIIIIFE!”). He looks crazed. If you haven’t yet seen that clip, sit tight. It’s going viral, as the kids used to say.\u003c/p>\n\u003cp>And it’s not the first time. You know that Paul Rudd meme, where \u003ca href=\"https://www.youtube.com/watch?v=3Yd3lQVbkYc\">he grins widely, radiating warmth and camaraderie\u003c/a> (“Hey. Look at us.”)? That’s from \u003cem>Hot Ones\u003c/em>, too.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13955916\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/giphy.gif\" alt=\"\" width=\"480\" height=\"270\">\u003c/p>\n\u003cp>Ditto \u003ca href=\"https://www.youtube.com/watch?v=1ntwS9EbaQ8\">Jennifer Lawrence panicking and laugh-sobbing\u003c/a> (“What do you mean? What do you MEAN?”).\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13955917\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/giphy-1.gif\" alt=\"\" width=\"480\" height=\"318\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now it’s Conan’s turn. He turned up on the show to promote\u003ca href=\"https://www.youtube.com/watch?v=eDFFY6swDY0\"> his new Max travel series \u003c/a>and wasted no time seizing control of the interview and the premise itself. O’Brien is known as a performer who can’t help but be “on” all the time, no matter the size of his audience. When he wrote on \u003cem>The Simpsons\u003c/em>, he and his colleagues in the writers’ room would be sitting around a table; they’d be pitching jokes, and he’d be miming an elaborate routine in which he was an astronaut strapping himself into a rocket ship — all for the benefit of the guys across the table from him. On his podcast,\u003cem> Conan O’Brien Needs a Friend\u003c/em>, he tosses out an incessant series of bits to the delight (mostly) of his producer and assistant. There’s a restless, needy quality to his comedy that would be worrisome if his instincts weren’t so sharp if he wasn’t funny as he is.\u003c/p>\n\u003ch3>The perfect guest?\u003c/h3>\n\u003cp>But before we unpack how and why O’Brien just became the best \u003cem>Hot Ones\u003c/em> guest ever, we need to consider the show itself.\u003c/p>\n\u003cp>The first time you heard the premise of \u003cem>Hot Ones\u003c/em>, the YouTube series on which celebrities are interviewed by the affable and scrupulously well-prepared host Sean Evans as they consume a series of increasingly spicy buffalo wings, you probably thought it sounded like a dumb gimmick. Then you probably started poking around to see if any of your favorite celebrities had been a guest. Then you watched one episode. And then, it was all over.\u003c/p>\n\u003cp>[aside postid='arts_13952823']There are entire Reddit forums dedicated to ranking which \u003cem>Hot Ones\u003c/em> guests are “the best,” but determining that involves a very subjective calculus. Some want to see guests melt down; others want them to power through without breaking a sweat. Some watch in the hope that they’ll gain new insights into the personality of a given celebrity as the various hot sauces start to dissolve their pat, media-trained soundbites like the blood of the \u003ca href=\"https://www.youtube.com/watch?v=gEqHJ1tomnk\">Xenomorph eats through the Nostromo\u003c/a>.\u003c/p>\n\u003cp>The good news is that there’s a \u003cem>Hot Ones\u003c/em> episode for whatever you’re looking for. Different guests react very differently, and your favorite episode may not be anyone else’s.\u003c/p>\n\u003cp>For me, a great guest has to come in with hubris — the excessive pride of tragic heroes — because they bring their own narrative arc to the endeavor. Because Idris Elba approached the challenge with dismissive bravado, \u003ca href=\"https://www.youtube.com/watch?v=tYRS0aXaBC8\">his downfall — coughing, sweating, swearing, mock-threatening a producer\u003c/a> — was all the more satisfying. Ditto \u003ca href=\"https://www.youtube.com/watch?v=U9DyHthJ6LA\">Gordon Ramsay\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=A7ClNliCW0w\u003c/p>\n\u003cp>But it’s also delightful when an episode seems to confirm your pre-existing impression of a guest. Padma Lakshmi \u003ca href=\"https://www.youtube.com/watch?v=p-P5-7eV9GE\">stayed cool in every sense of the word \u003c/a>as she answered Evans’ questions and commented insightfully on the flavor profiles of the various sauces (even the infamous Da Bomb, which clocks in at 119,700 Scoville units and reportedly tastes as if kerosene were angry at you).\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=2-cQ_Wtv0sQ\">Elijah Wood\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=qxGmGGmvFD8\">Tom Holland\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=uBJq-XCP27c\">Michael Cera\u003c/a> demonstrated a deep knowledge of the show, endearing them to fans. Alton Brown brought a \u003ca href=\"https://www.youtube.com/watch?v=T1-k7VYwsHg\">know-it-all diffidence\u003c/a>, which was not particularly endearing. \u003ca href=\"https://www.youtube.com/watch?v=3_9v-7rtVDk\">Key & Peele \u003c/a>belong to that cohort of guests who turn on the host hilariously (see also: \u003ca href=\"https://www.youtube.com/watch?v=_sZH-psg9yE\">Shaq\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=8Lvrikv6oPs\">Bill Burr\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=Tdje6vlVXuA\">Lizzo\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=f4lxK6EU04k\">Michael Rapaport\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=A5YxwFgRRCI\">Ed Helms\u003c/a>). \u003ca href=\"https://www.youtube.com/watch?v=qaoEyTZpv18\">Lorde\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=UGuC6wunr-I&t=1s\">Jenna Ortega\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=ZgQMW4eVrzw\">Charlize Theron\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=t69oHRPb4E8\">Rachael Ray\u003c/a> weren’t bothered by the heat.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7SuBAKIHdLU\u003c/p>\n\u003cp>Many guests have raved about interviewer Sean Evans over the years. Specifically, they’ve marveled at his questions, which are both deeply researched and novel. It’s fun to watch celebrities who have repeatedly spent their careers answering the same questions on press junkets realize that they’ve just been asked a question about something they dearly love and no one else has ever asked them about.\u003c/p>\n\u003cp>And it’s true — Evans is a good interviewer. But as a host myself, I’d love to hear him give his researchers some of the love he gets from guests. And if I have any quibble with the show, it’s that Evans is so thoroughly prepared that his questions always sound more like written English than spoken English; there’s a formality in the wording that doesn’t quite jibe with the looseness of the chemistry the show aims for.\u003c/p>\n\u003ch3>Now, about that Conan episode.\u003c/h3>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@firstwefeast/video/7356962983794314539\" data-video-id=\"7356962983794314539\">\n\u003csection>\u003ca title=\"@firstwefeast\" href=\"https://www.tiktok.com/@firstwefeast?refer=embed\" target=\"_blank\" rel=\"noopener\">@firstwefeast\u003c/a> @Team Coco \u003ca title=\"♬ original sound - Firstwefeast\" href=\"https://www.tiktok.com/music/original-sound-7356963250321230634?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Firstwefeast\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>Conan has catapulted himself to the top of the list of \u003cem>Hot Ones\u003c/em> All-Stars because he knew exactly what he was getting into and what he had to do.\u003c/p>\n\u003ch3>1. He came prepared\u003c/h3>\n\u003cp>Conan brought along a human bit. He introduced us to his personal doctor (actually longtime writer and producer José Arroyo). It felt like an old-school show-biz gag, something you could picture Johnny Carson or Steve Allen doing. O’Brien’s ability to genuflect to his comedy forbears while striking out and doing something ridiculous on his own has endeared him to millions.\u003c/p>\n\u003ch3>2. He came to conquer\u003c/h3>\n\u003cp>Conan not only demonstrated a breezy familiarity with the show, but he also wasted little time ridiculing its premise (“What’s WRONG with you people? You don’t know what real danger looks like anymore!”).\u003c/p>\n\u003ch3>3. He was, predictably, nuts\u003c/h3>\n\u003cp>\u003cem>Hot Ones\u003c/em> fans talk admiringly about the Padmas and the Charlizes – celebrities who run the show’s gauntlet without being bothered by the heat. Conan decided that he wouldn’t just mock the show’s premise; he’d put every previous guest who shrugged off the sauces’ spiciness to shame. He used his innate comic sensibility — that artisanal mix of restless/needy — to achieve icon status.\u003c/p>\n\u003cp>He didn’t merely dab the wings with hot sauce; he doused them with it. He loaded them up and smeared them across the table until they were laden with every stray drop. He licked them — lovingly, yet somehow angrily at the same time. He spread them across his face like woad; he slathered them around his nipples. He guzzled Da Bomb straight from the bottle.\u003c/p>\n\u003cp>I’ll say that again:\u003cem> He guzzled Da Bomb straight from the bottle! \u003c/em>\u003c/p>\n\u003cp>More importantly, He committed to the bit. Completely. Consummately.\u003c/p>\n\u003cp>He kept up the show of not being bothered, even as his face began to redden and his brow began to sweat. He kept it up, even as he started to drool, guzzle milk, pant, and give increasingly abstruse, rambling answers to Evans’ questions. And all that red sauce around his mouth made him look like an extra from \u003cem>Cannibal Holocaust\u003c/em> if it had been set in County Cork.\u003c/p>\n\u003cp>[aside postid='arts_13955884']Even those of us who delighted in, say, an Aubrey Plaza managing to maintain her too-cool-for-school composure even as \u003ca href=\"https://www.youtube.com/watch?v=iS68LmqFVeA\">she snorted milk up her nose\u003c/a> to cool the burn had never seen anything like this. We likely never will again.\u003c/p>\n\u003cp>Conan was so clearly suffering, and he’d done it to himself. We knew that because A. we have eyes, and B. because he began the interview by joking that, growing up as he did in an Irish household, “I never saw a spice until I was about 52 years old.” And yet here he’d joyously hurled himself into a swirling miasma of extreme pain and gastric distress, all for a lousy YouTube show bit, just to be an idiot capering for our delight in the global village.\u003c/p>\n\u003cp>We watched in helpless confusion and wonder (and a bit of fear) as he strapped himself into that rocket and took off.\u003c/p>\n\u003cp>Fans of \u003cem>Hot Ones\u003c/em> refer to those celebrities who make it through the sauces without complaint as Spice Lords.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>This week, Conan O’Brien went them all one better. Not because he could endure the spice but because he gave himself over to it. He became a Spice Legend.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Is+Conan+O%27Brien+the+best+%27Hot+Ones%27+guest+ever%3F+Discuss.&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"‘Hot Ones’ fans refer to guests who make it through without complaint as Spice Lords. This week, Conan became a Spice Legend. ","status":"publish","parent":0,"modified":1712959290,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":31,"wordCount":1527},"headData":{"title":"‘Hot Ones’ Best Guest of all Time? Spice Legend, Conan O’Brien | KQED","description":"‘Hot Ones’ fans refer to guests who make it through without complaint as Spice Lords. This week, Conan became a Spice Legend. 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Spice Legend, Conan O’Brien %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Is Conan O’Brien the Most Perfect ‘Hot Ones’ Guest Ever?","datePublished":"2024-04-12T21:18:12.000Z","dateModified":"2024-04-12T22:01:30.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Food","sourceUrl":"https://www.kqed.org/food","sticky":false,"nprImageCredit":"Tim Mosenfelder","nprByline":"Glen Weldon","nprImageAgency":"Getty Images","nprStoryId":"1244413652","nprApiLink":"http://api.npr.org/query?id=1244413652&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2024/04/12/1244413652/conan-obrien-hot-ones?ft=nprml&f=1244413652","nprRetrievedStory":"1","nprPubDate":"Fri, 12 Apr 2024 15:28:00 -0400","nprStoryDate":"Fri, 12 Apr 2024 15:21:41 -0400","nprLastModifiedDate":"Fri, 12 Apr 2024 15:28:11 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13955913/conan-obrien-hot-ones-best-guest-ever","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>By now, someone’s probably sent you the clip of \u003ca href=\"https://www.youtube.com/watch?v=FALlhXl6CmA\">Conan O’Brien on the internet series \u003cem>Hot Ones\u003c/em>\u003c/a>, going full chaos gremlin: red-cheeked, sweating, drooling, his face smeared with hot sauce and bellowing about seizing the moment (“This isn’t a bit! This is LIIIIIFE!”). He looks crazed. If you haven’t yet seen that clip, sit tight. It’s going viral, as the kids used to say.\u003c/p>\n\u003cp>And it’s not the first time. You know that Paul Rudd meme, where \u003ca href=\"https://www.youtube.com/watch?v=3Yd3lQVbkYc\">he grins widely, radiating warmth and camaraderie\u003c/a> (“Hey. Look at us.”)? That’s from \u003cem>Hot Ones\u003c/em>, too.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13955916\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/giphy.gif\" alt=\"\" width=\"480\" height=\"270\">\u003c/p>\n\u003cp>Ditto \u003ca href=\"https://www.youtube.com/watch?v=1ntwS9EbaQ8\">Jennifer Lawrence panicking and laugh-sobbing\u003c/a> (“What do you mean? What do you MEAN?”).\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13955917\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/giphy-1.gif\" alt=\"\" width=\"480\" height=\"318\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now it’s Conan’s turn. He turned up on the show to promote\u003ca href=\"https://www.youtube.com/watch?v=eDFFY6swDY0\"> his new Max travel series \u003c/a>and wasted no time seizing control of the interview and the premise itself. O’Brien is known as a performer who can’t help but be “on” all the time, no matter the size of his audience. When he wrote on \u003cem>The Simpsons\u003c/em>, he and his colleagues in the writers’ room would be sitting around a table; they’d be pitching jokes, and he’d be miming an elaborate routine in which he was an astronaut strapping himself into a rocket ship — all for the benefit of the guys across the table from him. On his podcast,\u003cem> Conan O’Brien Needs a Friend\u003c/em>, he tosses out an incessant series of bits to the delight (mostly) of his producer and assistant. There’s a restless, needy quality to his comedy that would be worrisome if his instincts weren’t so sharp if he wasn’t funny as he is.\u003c/p>\n\u003ch3>The perfect guest?\u003c/h3>\n\u003cp>But before we unpack how and why O’Brien just became the best \u003cem>Hot Ones\u003c/em> guest ever, we need to consider the show itself.\u003c/p>\n\u003cp>The first time you heard the premise of \u003cem>Hot Ones\u003c/em>, the YouTube series on which celebrities are interviewed by the affable and scrupulously well-prepared host Sean Evans as they consume a series of increasingly spicy buffalo wings, you probably thought it sounded like a dumb gimmick. Then you probably started poking around to see if any of your favorite celebrities had been a guest. Then you watched one episode. And then, it was all over.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13952823","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>There are entire Reddit forums dedicated to ranking which \u003cem>Hot Ones\u003c/em> guests are “the best,” but determining that involves a very subjective calculus. Some want to see guests melt down; others want them to power through without breaking a sweat. Some watch in the hope that they’ll gain new insights into the personality of a given celebrity as the various hot sauces start to dissolve their pat, media-trained soundbites like the blood of the \u003ca href=\"https://www.youtube.com/watch?v=gEqHJ1tomnk\">Xenomorph eats through the Nostromo\u003c/a>.\u003c/p>\n\u003cp>The good news is that there’s a \u003cem>Hot Ones\u003c/em> episode for whatever you’re looking for. Different guests react very differently, and your favorite episode may not be anyone else’s.\u003c/p>\n\u003cp>For me, a great guest has to come in with hubris — the excessive pride of tragic heroes — because they bring their own narrative arc to the endeavor. Because Idris Elba approached the challenge with dismissive bravado, \u003ca href=\"https://www.youtube.com/watch?v=tYRS0aXaBC8\">his downfall — coughing, sweating, swearing, mock-threatening a producer\u003c/a> — was all the more satisfying. Ditto \u003ca href=\"https://www.youtube.com/watch?v=U9DyHthJ6LA\">Gordon Ramsay\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/A7ClNliCW0w'\n title='//www.youtube.com/embed/A7ClNliCW0w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But it’s also delightful when an episode seems to confirm your pre-existing impression of a guest. Padma Lakshmi \u003ca href=\"https://www.youtube.com/watch?v=p-P5-7eV9GE\">stayed cool in every sense of the word \u003c/a>as she answered Evans’ questions and commented insightfully on the flavor profiles of the various sauces (even the infamous Da Bomb, which clocks in at 119,700 Scoville units and reportedly tastes as if kerosene were angry at you).\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=2-cQ_Wtv0sQ\">Elijah Wood\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=qxGmGGmvFD8\">Tom Holland\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=uBJq-XCP27c\">Michael Cera\u003c/a> demonstrated a deep knowledge of the show, endearing them to fans. Alton Brown brought a \u003ca href=\"https://www.youtube.com/watch?v=T1-k7VYwsHg\">know-it-all diffidence\u003c/a>, which was not particularly endearing. \u003ca href=\"https://www.youtube.com/watch?v=3_9v-7rtVDk\">Key & Peele \u003c/a>belong to that cohort of guests who turn on the host hilariously (see also: \u003ca href=\"https://www.youtube.com/watch?v=_sZH-psg9yE\">Shaq\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=8Lvrikv6oPs\">Bill Burr\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=Tdje6vlVXuA\">Lizzo\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=f4lxK6EU04k\">Michael Rapaport\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=A5YxwFgRRCI\">Ed Helms\u003c/a>). \u003ca href=\"https://www.youtube.com/watch?v=qaoEyTZpv18\">Lorde\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=UGuC6wunr-I&t=1s\">Jenna Ortega\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=ZgQMW4eVrzw\">Charlize Theron\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=t69oHRPb4E8\">Rachael Ray\u003c/a> weren’t bothered by the heat.\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/7SuBAKIHdLU'\n title='//www.youtube.com/embed/7SuBAKIHdLU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Many guests have raved about interviewer Sean Evans over the years. Specifically, they’ve marveled at his questions, which are both deeply researched and novel. It’s fun to watch celebrities who have repeatedly spent their careers answering the same questions on press junkets realize that they’ve just been asked a question about something they dearly love and no one else has ever asked them about.\u003c/p>\n\u003cp>And it’s true — Evans is a good interviewer. But as a host myself, I’d love to hear him give his researchers some of the love he gets from guests. And if I have any quibble with the show, it’s that Evans is so thoroughly prepared that his questions always sound more like written English than spoken English; there’s a formality in the wording that doesn’t quite jibe with the looseness of the chemistry the show aims for.\u003c/p>\n\u003ch3>Now, about that Conan episode.\u003c/h3>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@firstwefeast/video/7356962983794314539\" data-video-id=\"7356962983794314539\">\n\u003csection>\u003ca title=\"@firstwefeast\" href=\"https://www.tiktok.com/@firstwefeast?refer=embed\" target=\"_blank\" rel=\"noopener\">@firstwefeast\u003c/a> @Team Coco \u003ca title=\"♬ original sound - Firstwefeast\" href=\"https://www.tiktok.com/music/original-sound-7356963250321230634?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Firstwefeast\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"tiktok","attributes":{"named":{"label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Conan has catapulted himself to the top of the list of \u003cem>Hot Ones\u003c/em> All-Stars because he knew exactly what he was getting into and what he had to do.\u003c/p>\n\u003ch3>1. He came prepared\u003c/h3>\n\u003cp>Conan brought along a human bit. He introduced us to his personal doctor (actually longtime writer and producer José Arroyo). It felt like an old-school show-biz gag, something you could picture Johnny Carson or Steve Allen doing. O’Brien’s ability to genuflect to his comedy forbears while striking out and doing something ridiculous on his own has endeared him to millions.\u003c/p>\n\u003ch3>2. He came to conquer\u003c/h3>\n\u003cp>Conan not only demonstrated a breezy familiarity with the show, but he also wasted little time ridiculing its premise (“What’s WRONG with you people? You don’t know what real danger looks like anymore!”).\u003c/p>\n\u003ch3>3. He was, predictably, nuts\u003c/h3>\n\u003cp>\u003cem>Hot Ones\u003c/em> fans talk admiringly about the Padmas and the Charlizes – celebrities who run the show’s gauntlet without being bothered by the heat. Conan decided that he wouldn’t just mock the show’s premise; he’d put every previous guest who shrugged off the sauces’ spiciness to shame. He used his innate comic sensibility — that artisanal mix of restless/needy — to achieve icon status.\u003c/p>\n\u003cp>He didn’t merely dab the wings with hot sauce; he doused them with it. He loaded them up and smeared them across the table until they were laden with every stray drop. He licked them — lovingly, yet somehow angrily at the same time. He spread them across his face like woad; he slathered them around his nipples. He guzzled Da Bomb straight from the bottle.\u003c/p>\n\u003cp>I’ll say that again:\u003cem> He guzzled Da Bomb straight from the bottle! \u003c/em>\u003c/p>\n\u003cp>More importantly, He committed to the bit. Completely. Consummately.\u003c/p>\n\u003cp>He kept up the show of not being bothered, even as his face began to redden and his brow began to sweat. He kept it up, even as he started to drool, guzzle milk, pant, and give increasingly abstruse, rambling answers to Evans’ questions. And all that red sauce around his mouth made him look like an extra from \u003cem>Cannibal Holocaust\u003c/em> if it had been set in County Cork.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13955884","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Even those of us who delighted in, say, an Aubrey Plaza managing to maintain her too-cool-for-school composure even as \u003ca href=\"https://www.youtube.com/watch?v=iS68LmqFVeA\">she snorted milk up her nose\u003c/a> to cool the burn had never seen anything like this. We likely never will again.\u003c/p>\n\u003cp>Conan was so clearly suffering, and he’d done it to himself. We knew that because A. we have eyes, and B. because he began the interview by joking that, growing up as he did in an Irish household, “I never saw a spice until I was about 52 years old.” And yet here he’d joyously hurled himself into a swirling miasma of extreme pain and gastric distress, all for a lousy YouTube show bit, just to be an idiot capering for our delight in the global village.\u003c/p>\n\u003cp>We watched in helpless confusion and wonder (and a bit of fear) as he strapped himself into that rocket and took off.\u003c/p>\n\u003cp>Fans of \u003cem>Hot Ones\u003c/em> refer to those celebrities who make it through the sauces without complaint as Spice Lords.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This week, Conan O’Brien went them all one better. Not because he could endure the spice but because he gave himself over to it. He became a Spice Legend.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Is+Conan+O%27Brien+the+best+%27Hot+Ones%27+guest+ever%3F+Discuss.&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955913/conan-obrien-hot-ones-best-guest-ever","authors":["byline_arts_13955913"],"categories":["arts_1","arts_968","arts_12276","arts_75"],"tags":["arts_1297","arts_2391","arts_585"],"affiliates":["arts_137"],"featImg":"arts_13955919","label":"source_arts_13955913"},"arts_13955101":{"type":"posts","id":"arts_13955101","meta":{"index":"posts_1591205157","site":"arts","id":"13955101","score":null,"sort":[1711995147000]},"guestAuthors":[],"slug":"snl-tiny-desk-skit-npr-bowen-yang-ramy-youssef","title":"‘SNL’ Sends Up the NPR Tiny Desk With an Intern Who Pleads, ‘Keep the Ruckus Down’","publishDate":1711995147,"format":"standard","headTitle":"‘SNL’ Sends Up the NPR Tiny Desk With an Intern Who Pleads, ‘Keep the Ruckus Down’ | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>If imitation is the sincerest form of flattery, count us flattered. \u003ca href=\"https://www.kqed.org/arts/tag/saturday-night-live\">\u003cem>Saturday Night Live\u003c/em>\u003c/a> poked fun at \u003ca href=\"https://www.npr.org/series/tiny-desk-concerts/\">NPR’s Tiny Desk\u003c/a> this weekend in a skit about an office concert gone awry after it gets interrupted by a work-obsessed NPR intern.\u003c/p>\n\u003cp>The skit opens up at the Tiny Desk with this weekend’s host, \u003ca href=\"https://video.kqed.org/video/ramy-youssef-discusses-his-hulu-comedy-series-ramy-x9ovpl/\">Ramy Youssef\u003c/a>, playing the part of the lead singer of a band that’s performing to a crowd of NPR staff.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=e_Ae2uz4IJU\u003c/p>\n\u003cp>“Thank you so much NPR. We are the Jonah Hughes Band. I’m Jonah Hughes,” Youssef says. “That last one usually has a lot more synth, but since this is a Tiny Desk concert, we got to be quirking it up.”\u003c/p>\n\u003cp>His bandmate interjects, “Yup, that’s why I play a milk carton shaker.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“She is usually on the cello,” Youssef says.\u003c/p>\n\u003cp>As the band starts up its next song about an ex-girlfriend — titled “Crazy Girl (Amanda)” — a 35-year-old NPR intern played by Bowen Yang walks in asks the band to “keep the ruckus down.”\u003c/p>\n\u003cp>Another employee explains that Yang is working on a podcast about “AI and rural queers,” to which Yang waltzes back in to announce that he landed on a title for the podcast.\u003c/p>\n\u003cp>[aside postid='arts_13919975']“It’s called \u003cem>Beep Boop I’m Gay Now\u003c/em>. It’s a play on \u003ca href=\"https://www.npr.org/programs/wait-wait-dont-tell-me/\">\u003cem>Wait Wait Don’t Tell Me\u003c/em>\u003c/a>, but it’s not funny at all,” Yang says.\u003c/p>\n\u003cp>Youssef attempts to keep performing, but Yang interrupts again to say, “I’m just on an important zoom with Ira and Terry — Glass and Gross.”\u003c/p>\n\u003cp>Facing backlash from the angry crowd, Yang’s character tries to drop a hard truth: “I’m brave enough to say it, that desk is not tiny. Never was. Just feels small because there’s so much crap on it,” he says.\u003c/p>\n\u003cp>As the argument grows, Yang picks up a microphone and breaks into an impromptu taping for his podcast. Youssef agrees to participate — and even comes up with a theme song for the show.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If you’re gay or a robot in a small rural town, beep beep beep boop,” the band sings.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27SNL%27+sends+up+the+NPR+Tiny+Desk+with+an+intern+who+pleads%2C+%27keep+the+ruckus+down%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"‘Saturday Night Live’ poked fun at NPR’s Tiny Desk over the weekend, with the assistance of Bowen Yang and Ramy Youssef.","status":"publish","parent":0,"modified":1711995147,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":415},"headData":{"title":"SNL’s Tiny Desk Skit With Ramy Youssef Lovingly Prods NPR | KQED","description":"‘Saturday Night Live’ poked fun at NPR’s Tiny Desk over the weekend, with the assistance of Bowen Yang and Ramy Youssef.","ogTitle":"‘SNL’ Sends Up the NPR Tiny Desk With an Intern Who Pleads, ‘Keep the Ruckus Down’","ogDescription":"","ogImgId":"","twTitle":"‘SNL’ Sends Up the NPR Tiny Desk With an Intern Who Pleads, ‘Keep the Ruckus Down’","twDescription":"","twImgId":"","socialTitle":"SNL’s Tiny Desk Skit With Ramy Youssef Lovingly Prods NPR%%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘SNL’ Sends Up the NPR Tiny Desk With an Intern Who Pleads, ‘Keep the Ruckus Down’","datePublished":"2024-04-01T18:12:27.000Z","dateModified":"2024-04-01T18:12:27.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Juliana Kim","nprImageAgency":"NPR","nprStoryId":"1241891854","nprApiLink":"http://api.npr.org/query?id=1241891854&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2024/03/31/1241891854/snl-tiny-desk?ft=nprml&f=1241891854","nprRetrievedStory":"1","nprPubDate":"Mon, 01 Apr 2024 07:08:00 -0400","nprStoryDate":"Sun, 31 Mar 2024 11:54:59 -0400","nprLastModifiedDate":"Mon, 01 Apr 2024 07:08:53 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13955101/snl-tiny-desk-skit-npr-bowen-yang-ramy-youssef","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If imitation is the sincerest form of flattery, count us flattered. \u003ca href=\"https://www.kqed.org/arts/tag/saturday-night-live\">\u003cem>Saturday Night Live\u003c/em>\u003c/a> poked fun at \u003ca href=\"https://www.npr.org/series/tiny-desk-concerts/\">NPR’s Tiny Desk\u003c/a> this weekend in a skit about an office concert gone awry after it gets interrupted by a work-obsessed NPR intern.\u003c/p>\n\u003cp>The skit opens up at the Tiny Desk with this weekend’s host, \u003ca href=\"https://video.kqed.org/video/ramy-youssef-discusses-his-hulu-comedy-series-ramy-x9ovpl/\">Ramy Youssef\u003c/a>, playing the part of the lead singer of a band that’s performing to a crowd of NPR staff.\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/e_Ae2uz4IJU'\n title='//www.youtube.com/embed/e_Ae2uz4IJU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Thank you so much NPR. We are the Jonah Hughes Band. I’m Jonah Hughes,” Youssef says. “That last one usually has a lot more synth, but since this is a Tiny Desk concert, we got to be quirking it up.”\u003c/p>\n\u003cp>His bandmate interjects, “Yup, that’s why I play a milk carton shaker.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“She is usually on the cello,” Youssef says.\u003c/p>\n\u003cp>As the band starts up its next song about an ex-girlfriend — titled “Crazy Girl (Amanda)” — a 35-year-old NPR intern played by Bowen Yang walks in asks the band to “keep the ruckus down.”\u003c/p>\n\u003cp>Another employee explains that Yang is working on a podcast about “AI and rural queers,” to which Yang waltzes back in to announce that he landed on a title for the podcast.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13919975","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“It’s called \u003cem>Beep Boop I’m Gay Now\u003c/em>. It’s a play on \u003ca href=\"https://www.npr.org/programs/wait-wait-dont-tell-me/\">\u003cem>Wait Wait Don’t Tell Me\u003c/em>\u003c/a>, but it’s not funny at all,” Yang says.\u003c/p>\n\u003cp>Youssef attempts to keep performing, but Yang interrupts again to say, “I’m just on an important zoom with Ira and Terry — Glass and Gross.”\u003c/p>\n\u003cp>Facing backlash from the angry crowd, Yang’s character tries to drop a hard truth: “I’m brave enough to say it, that desk is not tiny. Never was. Just feels small because there’s so much crap on it,” he says.\u003c/p>\n\u003cp>As the argument grows, Yang picks up a microphone and breaks into an impromptu taping for his podcast. Youssef agrees to participate — and even comes up with a theme song for the show.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If you’re gay or a robot in a small rural town, beep beep beep boop,” the band sings.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27SNL%27+sends+up+the+NPR+Tiny+Desk+with+an+intern+who+pleads%2C+%27keep+the+ruckus+down%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955101/snl-tiny-desk-skit-npr-bowen-yang-ramy-youssef","authors":["byline_arts_13955101"],"categories":["arts_1","arts_968","arts_69","arts_75"],"tags":["arts_8480","arts_9247"],"affiliates":["arts_137"],"featImg":"arts_13955104","label":"arts_137"},"arts_13954796":{"type":"posts","id":"arts_13954796","meta":{"index":"posts_1591205157","site":"arts","id":"13954796","score":null,"sort":[1711494809000]},"guestAuthors":[],"slug":"steve-martin-apple-tv-documentary-then-now-stand-up","title":"‘STEVE! (martin)’ Looks at Past, Present in a Lovely, Intimate 2-Part Documentary","publishDate":1711494809,"format":"standard","headTitle":"‘STEVE! (martin)’ Looks at Past, Present in a Lovely, Intimate 2-Part Documentary | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Steve Martin has never been one to follow any sort of playbook. It is fitting the first official documentary about his life is similarly unconventional: A freewheeling story told in two parts, one part focused on “Then” and one part focused on “Now” (kind of) with both parts debuting on Apple TV+ on Friday. Both documentarian and subject are trying, the best they can, to make sense of whatever “Steve Martin” is.\u003c/p>\n\u003cp>Directed by self-proclaimed superfan Morgan Neville (the Oscar-winner who has told the story of Fred Rogers and Anthony Bourdain), \u003cem>STEVE! (martin)\u003c/em> never commits to one form. Like its subject, it allows itself to be a little looser, utilizing every technique available to help paint a truer picture of Martin, a man so enigmatic that his close friends don’t even seem to have a handle on him. He’d hardly be the first performer to save it all for the stage: Martin says that it was somewhat comforting to be able to put on a persona during shows. He was also able to continually reinvent himself. Who else could have walked away from stand-up just as they’d reached rock star status?\u003c/p>\n\u003cp>[aside postid='arts_13954358']And so the medium becomes a kitchen sink: There is stock footage, animation, reenactment, home videos, movie clips, stand-up segments, talk show appearances, new interviews with famous friends (Martin and Jerry Seinfeld in conversation, for example), scripted voiceover and some fly-on-the-wall footage of him just spending time with Martin (Marty) Short bike riding, walking through town, playing cards and workshopping jokes for their show. It’s probably the only way to capture an artist who has taken the hyphenate to absurd levels: Magician/balloon artist/novelist/banjo player/screenwriter/essayist/art collector/joke teller/cartoonist/movie star/father/husband/friend. What am I missing?\u003c/p>\n\u003cp>For anyone who’s read Martin’s memoir \u003cem>Born Standing Up\u003c/em>, “Then” might not be especially revelatory, but it’s all context and it remains interesting to hear Martin reflect candidly on a moment that now feels “like a blip.” While he might not have had a plan, he did possess a keen sense of when he’d hit a dead end, whether that be in magic, stand-up or even movies.\u003c/p>\n\u003cp>His life in movies is saved for “Now,” and you see someone still struggling with the agony of never really knowing if a thing would work. Everyone misses once in a while, but Martin had a brutal back-to-back of a wild success in \u003cem>The Jerk\u003c/em> followed by an epic flop in \u003cem>Pennies From Heaven\u003c/em> and that was just the start of his rollercoaster in Hollywood. He’s kind of moved on from that (and \u003cem>Mixed Nuts\u003c/em>) but also kind of not. He said he had to do 40 movies to get five good ones. He’s being a little sarcastic, but hopefully he knows that a lot of people out there love far more than a measly five Steve Martin movies.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=d30IaPx5Qc8\u003c/p>\n\u003cp>It is especially fascinating to get a glimpse into his complex relationship with critics and how he found an outlet in writing both fiction and non-fiction. Personally, I wish even more time had been spent on the movies and his writings, like \u003cem>Shopgirl\u003c/em>. Everyone is bound to have a favorite that this doesn’t cover enough.\u003c/p>\n\u003cp>If you want to keep Steve Martin in your mind as that wild and crazy guy, or George Banks or Navin or Lucky Day (the list could go on), and don’t care about his relationship with his father, his decision to become a father late in life, reflections on his art collection, the memorabilia he kept over the years and the things he didn’t do that he wishes he did, these films might not be for you. There are no rules to being a fan. For some, biography can mean everything. For others, it matters little when there’s so much joy to be had without it.\u003c/p>\n\u003cp>[aside postid='arts_13954225']Martin, who has been both an open book in some ways and also guarded in others, is really quite vulnerable here — especially in “Now.” Neville captures him looking at the script for \u003cem>Planes, Trains and Automobiles\u003c/em> and reflecting on his late friend and co-star John Candy. There was a great monologue, he said, in which Candy’s Del Griffith tells the story of his life. Martin recalled bawling off camera as Candy delivered it. And yet for whatever reason, it was chopped down to a line or two. He reads a bit of it and starts to cry.\u003c/p>\n\u003cp>There’s more, but if that sounds intriguing, you should really just watch it. Neville has said it doesn’t matter which order. And what does it add up to? On a certain level he’s still an enigma. It’s hard for mere mortals to comprehend a half century of otherworldly fame, but it’s also just nice to watch a familiar face reflect on how he has, at 78, finally found happiness. Besides, Steve Martin’s story is not even remotely finished. These are just two parts.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘STEVE! (martin)’ begins streaming on Apple TV+ on March 29, 2024.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"It may be hard to comprehend his half century of otherworldly fame, but it’s nice to watch a beloved comic reflect on life.","status":"publish","parent":0,"modified":1711494809,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":918},"headData":{"title":"Review: ‘STEVE! (martin)’ Documentary on Apple TV+ | KQED","description":"It may be hard to comprehend his half century of otherworldly fame, but it’s nice to watch a beloved comic reflect on life.","ogTitle":"‘STEVE! (martin)’ Looks at Past, Present in a Lovely, Intimate 2-Part Documentary","ogDescription":"","ogImgId":"","twTitle":"‘STEVE! (martin)’ Looks at Past, Present in a Lovely, Intimate 2-Part Documentary","twDescription":"","twImgId":"","socialTitle":"Review: ‘STEVE! (martin)’ Documentary on Apple TV+%%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘STEVE! (martin)’ Looks at Past, Present in a Lovely, Intimate 2-Part Documentary","datePublished":"2024-03-26T23:13:29.000Z","dateModified":"2024-03-26T23:13:29.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Lindsey Bahr, Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13954796/steve-martin-apple-tv-documentary-then-now-stand-up","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Steve Martin has never been one to follow any sort of playbook. It is fitting the first official documentary about his life is similarly unconventional: A freewheeling story told in two parts, one part focused on “Then” and one part focused on “Now” (kind of) with both parts debuting on Apple TV+ on Friday. Both documentarian and subject are trying, the best they can, to make sense of whatever “Steve Martin” is.\u003c/p>\n\u003cp>Directed by self-proclaimed superfan Morgan Neville (the Oscar-winner who has told the story of Fred Rogers and Anthony Bourdain), \u003cem>STEVE! (martin)\u003c/em> never commits to one form. Like its subject, it allows itself to be a little looser, utilizing every technique available to help paint a truer picture of Martin, a man so enigmatic that his close friends don’t even seem to have a handle on him. He’d hardly be the first performer to save it all for the stage: Martin says that it was somewhat comforting to be able to put on a persona during shows. He was also able to continually reinvent himself. Who else could have walked away from stand-up just as they’d reached rock star status?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954358","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>And so the medium becomes a kitchen sink: There is stock footage, animation, reenactment, home videos, movie clips, stand-up segments, talk show appearances, new interviews with famous friends (Martin and Jerry Seinfeld in conversation, for example), scripted voiceover and some fly-on-the-wall footage of him just spending time with Martin (Marty) Short bike riding, walking through town, playing cards and workshopping jokes for their show. It’s probably the only way to capture an artist who has taken the hyphenate to absurd levels: Magician/balloon artist/novelist/banjo player/screenwriter/essayist/art collector/joke teller/cartoonist/movie star/father/husband/friend. What am I missing?\u003c/p>\n\u003cp>For anyone who’s read Martin’s memoir \u003cem>Born Standing Up\u003c/em>, “Then” might not be especially revelatory, but it’s all context and it remains interesting to hear Martin reflect candidly on a moment that now feels “like a blip.” While he might not have had a plan, he did possess a keen sense of when he’d hit a dead end, whether that be in magic, stand-up or even movies.\u003c/p>\n\u003cp>His life in movies is saved for “Now,” and you see someone still struggling with the agony of never really knowing if a thing would work. Everyone misses once in a while, but Martin had a brutal back-to-back of a wild success in \u003cem>The Jerk\u003c/em> followed by an epic flop in \u003cem>Pennies From Heaven\u003c/em> and that was just the start of his rollercoaster in Hollywood. He’s kind of moved on from that (and \u003cem>Mixed Nuts\u003c/em>) but also kind of not. He said he had to do 40 movies to get five good ones. He’s being a little sarcastic, but hopefully he knows that a lot of people out there love far more than a measly five Steve Martin movies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/d30IaPx5Qc8'\n title='//www.youtube.com/embed/d30IaPx5Qc8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It is especially fascinating to get a glimpse into his complex relationship with critics and how he found an outlet in writing both fiction and non-fiction. Personally, I wish even more time had been spent on the movies and his writings, like \u003cem>Shopgirl\u003c/em>. Everyone is bound to have a favorite that this doesn’t cover enough.\u003c/p>\n\u003cp>If you want to keep Steve Martin in your mind as that wild and crazy guy, or George Banks or Navin or Lucky Day (the list could go on), and don’t care about his relationship with his father, his decision to become a father late in life, reflections on his art collection, the memorabilia he kept over the years and the things he didn’t do that he wishes he did, these films might not be for you. There are no rules to being a fan. For some, biography can mean everything. For others, it matters little when there’s so much joy to be had without it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13954225","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Martin, who has been both an open book in some ways and also guarded in others, is really quite vulnerable here — especially in “Now.” Neville captures him looking at the script for \u003cem>Planes, Trains and Automobiles\u003c/em> and reflecting on his late friend and co-star John Candy. There was a great monologue, he said, in which Candy’s Del Griffith tells the story of his life. Martin recalled bawling off camera as Candy delivered it. And yet for whatever reason, it was chopped down to a line or two. He reads a bit of it and starts to cry.\u003c/p>\n\u003cp>There’s more, but if that sounds intriguing, you should really just watch it. Neville has said it doesn’t matter which order. And what does it add up to? On a certain level he’s still an enigma. It’s hard for mere mortals to comprehend a half century of otherworldly fame, but it’s also just nice to watch a familiar face reflect on how he has, at 78, finally found happiness. Besides, Steve Martin’s story is not even remotely finished. These are just two parts.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘STEVE! (martin)’ begins streaming on Apple TV+ on March 29, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13954796/steve-martin-apple-tv-documentary-then-now-stand-up","authors":["byline_arts_13954796"],"programs":["arts_140"],"categories":["arts_1","arts_968","arts_75","arts_990"],"tags":["arts_13672","arts_769","arts_585"],"featImg":"arts_13954799","label":"arts_140"},"arts_13950399":{"type":"posts","id":"arts_13950399","meta":{"index":"posts_1591205157","site":"arts","id":"13950399","score":null,"sort":[1705435833000]},"guestAuthors":[],"slug":"francesca-fiorentini-sf-sketchfest-bitchuation-room","title":"Even Liberals Aren’t Safe From Francesca Fiorentini’s Political Punchlines","publishDate":1705435833,"format":"standard","headTitle":"Even Liberals Aren’t Safe From Francesca Fiorentini’s Political Punchlines | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Comedian and journalist \u003ca href=\"https://www.francescafiorentini.com/\">Francesca Fiorentini\u003c/a> will always refer to her hometown of Palo Alto as “Shallow Alto.” If she tries, she may remember it fondly for being a Peninsula town with great affinity for The Grateful Dead or the occasional Jerry Rice or Joe Montana sighting. But she can’t separate it from its modern persona — a \u003ca href=\"https://www.kqed.org/arts/13923665/palo-alto-book-malcolm-harris-marxist-social-history-capitalism-silicon-valley\">Silicon Valley avatar for tech-fueled excess\u003c/a>.\u003c/p>\n\u003cp>Fiorentini started her 15-year stand-up comedy journey in an unlikely locale, Argentina, but the veteran jokester cultivated her voice on the Bay Area stand-up scene for the better part of the last decade. In addition, she honed it as the host of her viral AJ+ show, the Emmy-shortlisted \u003ca href=\"https://www.ajplus.net/newsbroke\">\u003ci>Newsbroke\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>After listening to hundreds of hours of her weekly comedy podcast \u003ca href=\"https://www.youtube.com/franifio\">\u003ci>The Bitchuation\u003c/i> \u003cem>Room\u003c/em>\u003c/a>, which launched in October 2018, this writer noticed she’s not as outwardly enthusiastic about representing the Bay Area as many of us creatives from San Francisco, Oakland or San Jose. Which led to the inquiry, is it difficult for the Menlo-Atherton High School alumna to throw down for the Peninsula? [aside postid='arts_13950363']\u003c/p>\n\u003cp>“It’s beautiful,” Fiorentini tells KQED. “It’s probably the best weather in the country wasted on some of the worst people in the country. Is that repping enough? I love my mom. Is that repping enough? I love public schools down there, I rep that.”\u003c/p>\n\u003cp>Fiorentini will soon return home for the annual comedy festival \u003ca href=\"https://sfsketchfest.com/\">SF Sketchfest\u003c/a>, which kicks off on Jan. 18 and continues through Feb. 4. She’ll host a \u003ca href=\"https://sched.co/1VUtt\">\u003ci>Bitchuation Room\u003c/i> live show\u003c/a> on Jan. 28 at San Francisco’s Gateway Theatre with comic and labor organizer Nato Green, Emma Vigeland (\u003cem>The Majority Report\u003c/em>) and Miles Gray (\u003cem>The Daily Zeitgeist\u003c/em>). And Fiorentini and Green will perform political stand-up alongside Karinda Dobbins and Dhaya Lakshminarayanan on Jan. 27 for a night dubbed “\u003ca href=\"https://sched.co/1VUwM\">Cornpops and Space Lasers\u003c/a>” at the Lost Church.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fiorentini’s always been a multi-hyphenate at the intersections of journalism and comedy. After \u003cem>Newsbroke\u003c/em> dissolved, \u003ci>The Bitchuation Room\u003c/i> became her independent follow-up project, adopted into the audio space. Losing AJ+’s stability opened her path to work on a special \u003ci>MSNBC\u003c/i> show and contribute to \u003ci>National Geographic\u003c/i>. She previously battled with the idea of only talking about politics seriously and keeping a separate social media account for her irreverent and silly side, before settling firmly against it. Fiorentini asserts that four years of a Donald Trump White House proved that decision right, and so have three years of our rebound President Joe Biden.\u003c/p>\n\u003cp>“We need lots of information with high doses of humor,” says Fiorentini. “Otherwise, it is all too bleak and miserable, and the people who can do both at the same time are true treasures. Like me. I am a treasure — come to my show.”\u003c/p>\n\u003cp>https://youtu.be/ZLmv9oKfLtU?si=H9qyuWpQrq540Cg2\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Fiorentini embraces the idea of challenging her audience, and she affirms it’s necessary to keep complacent liberals — the kind she grew up and lives around — from taking important rights for granted. “That out-of-touch liberal mindset I find even more offensive sometimes because yeah, the right might believe in Q[Anon], but at least they believe in something,” she says.\u003c/p>\n\u003cp>When it comes to covering the right, “it’s important to laugh in the face of absolute impunity and corruption,” she says. “You kinda gotta laugh because you don’t want them to have the last laugh.” [aside postid='arts_13940325']\u003c/p>\n\u003cp>Presidents come and go. While there is and should be a place to make fun of those in power, after the boom of \u003ci>The Daily Show\u003c/i>-style programming from a wide array of popular comics like Samantha Bee, Jim Jefferies and Hasan Minhaj, it’s almost low-hanging fruit at this point. Fiorentini believes comedy requires more than grains of truth; it’s necessary to dig in and name the issues more than the figureheads.\u003c/p>\n\u003cp>“As soon as you really talk about some of these underlying issues of power, of white supremacy, of capitalism, of patriarchy, suddenly things start to get a little uneasy,” explains Fiorentini. “The money starts to dry up. The people who want to support you don’t feel comfortable supporting you. You start talking about colonialism and the West Bank and people start to freak out.”\u003c/p>\n\u003cp>https://youtu.be/UEKJUr4Uv0Y?si=xDVYxGfSqOGmkAWS\u003c/p>\n\u003cp>On The\u003cem> Bitchuation Room, \u003c/em>Fiorentini has the freedom to speak her truth to power thanks to its listener-supported format. But working for herself also comes with the reality of no days off. She returned to work shortly after giving birth to her first child in 2022 with her husband, fellow comedian Matt Lieb.\u003c/p>\n\u003cp>“I didn’t have maternity [leave],” says Fiorentini. “You know, no rest for the vaginally torn.”\u003c/p>\n\u003cp>Despite her critiques of the Bay Area’s obscene wealth inequality, Fiorentini relishes the opportunity to return home. As a “lefty stand-up comic who likes kombucha and kale, I could not be from anywhere else,” she admits.\u003c/p>\n\u003cp>\u003ci>The Bitchuation Room\u003c/i> platforms many Bay Area comedians and activists both currently residing here and repping from elsewhere. It’s the notion of the Bay Area’s comedic identity that coaxes some more boisterous pride out of the comic, who deals with the most cynical news of the day for listeners’ information and entertainment.\u003c/p>\n\u003cp>“Joke writing is a muscle, and monologue joke writing is the crossfit of comedy. So I’ve put meat on my bones and learned how to succinctly get across potentially tough concepts by using comedy,” says Fiorentini. “In fact, I think jokes might be the best way of explaining how our world and our country work… ’cause often it feels like we’re living inside of one big joke, and we’re the punchline.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/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>\u003c/p>\n\u003cp>\u003cem>Francesca Fiorentini performs a \u003ca href=\"https://sched.co/1VUwM\">stand-up set at SF Sketchfest on Jan. 27\u003c/a>, and hosts a \u003ca href=\"https://sfsketchfest.com/schedule-and-tickets/\">live edition of ‘The Bitchuation Room’ on Jan. 28\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The Bay Area-raised, progressive comedian returns home for SF Sketchfest, which kicks off Jan. 18.","status":"publish","parent":0,"modified":1705435833,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":1051},"headData":{"title":"Even Liberals Aren’t Safe From Francesca Fiorentini’s Political Punchlines | KQED","description":"The Bay Area-raised, progressive comedian returns home for SF Sketchfest, which kicks off Jan. 18.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Even Liberals Aren’t Safe From Francesca Fiorentini’s Political Punchlines","datePublished":"2024-01-16T20:10:33.000Z","dateModified":"2024-01-16T20:10:33.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Danny Acosta","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13950399/francesca-fiorentini-sf-sketchfest-bitchuation-room","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Comedian and journalist \u003ca href=\"https://www.francescafiorentini.com/\">Francesca Fiorentini\u003c/a> will always refer to her hometown of Palo Alto as “Shallow Alto.” If she tries, she may remember it fondly for being a Peninsula town with great affinity for The Grateful Dead or the occasional Jerry Rice or Joe Montana sighting. But she can’t separate it from its modern persona — a \u003ca href=\"https://www.kqed.org/arts/13923665/palo-alto-book-malcolm-harris-marxist-social-history-capitalism-silicon-valley\">Silicon Valley avatar for tech-fueled excess\u003c/a>.\u003c/p>\n\u003cp>Fiorentini started her 15-year stand-up comedy journey in an unlikely locale, Argentina, but the veteran jokester cultivated her voice on the Bay Area stand-up scene for the better part of the last decade. In addition, she honed it as the host of her viral AJ+ show, the Emmy-shortlisted \u003ca href=\"https://www.ajplus.net/newsbroke\">\u003ci>Newsbroke\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>After listening to hundreds of hours of her weekly comedy podcast \u003ca href=\"https://www.youtube.com/franifio\">\u003ci>The Bitchuation\u003c/i> \u003cem>Room\u003c/em>\u003c/a>, which launched in October 2018, this writer noticed she’s not as outwardly enthusiastic about representing the Bay Area as many of us creatives from San Francisco, Oakland or San Jose. Which led to the inquiry, is it difficult for the Menlo-Atherton High School alumna to throw down for the Peninsula? \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13950363","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s beautiful,” Fiorentini tells KQED. “It’s probably the best weather in the country wasted on some of the worst people in the country. Is that repping enough? I love my mom. Is that repping enough? I love public schools down there, I rep that.”\u003c/p>\n\u003cp>Fiorentini will soon return home for the annual comedy festival \u003ca href=\"https://sfsketchfest.com/\">SF Sketchfest\u003c/a>, which kicks off on Jan. 18 and continues through Feb. 4. She’ll host a \u003ca href=\"https://sched.co/1VUtt\">\u003ci>Bitchuation Room\u003c/i> live show\u003c/a> on Jan. 28 at San Francisco’s Gateway Theatre with comic and labor organizer Nato Green, Emma Vigeland (\u003cem>The Majority Report\u003c/em>) and Miles Gray (\u003cem>The Daily Zeitgeist\u003c/em>). And Fiorentini and Green will perform political stand-up alongside Karinda Dobbins and Dhaya Lakshminarayanan on Jan. 27 for a night dubbed “\u003ca href=\"https://sched.co/1VUwM\">Cornpops and Space Lasers\u003c/a>” at the Lost Church.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Fiorentini’s always been a multi-hyphenate at the intersections of journalism and comedy. After \u003cem>Newsbroke\u003c/em> dissolved, \u003ci>The Bitchuation Room\u003c/i> became her independent follow-up project, adopted into the audio space. Losing AJ+’s stability opened her path to work on a special \u003ci>MSNBC\u003c/i> show and contribute to \u003ci>National Geographic\u003c/i>. She previously battled with the idea of only talking about politics seriously and keeping a separate social media account for her irreverent and silly side, before settling firmly against it. Fiorentini asserts that four years of a Donald Trump White House proved that decision right, and so have three years of our rebound President Joe Biden.\u003c/p>\n\u003cp>“We need lots of information with high doses of humor,” says Fiorentini. “Otherwise, it is all too bleak and miserable, and the people who can do both at the same time are true treasures. Like me. I am a treasure — come to my show.”\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/ZLmv9oKfLtU'\n title='//www.youtube.com/embed/ZLmv9oKfLtU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>Fiorentini embraces the idea of challenging her audience, and she affirms it’s necessary to keep complacent liberals — the kind she grew up and lives around — from taking important rights for granted. “That out-of-touch liberal mindset I find even more offensive sometimes because yeah, the right might believe in Q[Anon], but at least they believe in something,” she says.\u003c/p>\n\u003cp>When it comes to covering the right, “it’s important to laugh in the face of absolute impunity and corruption,” she says. “You kinda gotta laugh because you don’t want them to have the last laugh.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13940325","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Presidents come and go. While there is and should be a place to make fun of those in power, after the boom of \u003ci>The Daily Show\u003c/i>-style programming from a wide array of popular comics like Samantha Bee, Jim Jefferies and Hasan Minhaj, it’s almost low-hanging fruit at this point. Fiorentini believes comedy requires more than grains of truth; it’s necessary to dig in and name the issues more than the figureheads.\u003c/p>\n\u003cp>“As soon as you really talk about some of these underlying issues of power, of white supremacy, of capitalism, of patriarchy, suddenly things start to get a little uneasy,” explains Fiorentini. “The money starts to dry up. The people who want to support you don’t feel comfortable supporting you. You start talking about colonialism and the West Bank and people start to freak out.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/UEKJUr4Uv0Y'\n title='//www.youtube.com/embed/UEKJUr4Uv0Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On The\u003cem> Bitchuation Room, \u003c/em>Fiorentini has the freedom to speak her truth to power thanks to its listener-supported format. But working for herself also comes with the reality of no days off. She returned to work shortly after giving birth to her first child in 2022 with her husband, fellow comedian Matt Lieb.\u003c/p>\n\u003cp>“I didn’t have maternity [leave],” says Fiorentini. “You know, no rest for the vaginally torn.”\u003c/p>\n\u003cp>Despite her critiques of the Bay Area’s obscene wealth inequality, Fiorentini relishes the opportunity to return home. As a “lefty stand-up comic who likes kombucha and kale, I could not be from anywhere else,” she admits.\u003c/p>\n\u003cp>\u003ci>The Bitchuation Room\u003c/i> platforms many Bay Area comedians and activists both currently residing here and repping from elsewhere. It’s the notion of the Bay Area’s comedic identity that coaxes some more boisterous pride out of the comic, who deals with the most cynical news of the day for listeners’ information and entertainment.\u003c/p>\n\u003cp>“Joke writing is a muscle, and monologue joke writing is the crossfit of comedy. So I’ve put meat on my bones and learned how to succinctly get across potentially tough concepts by using comedy,” says Fiorentini. “In fact, I think jokes might be the best way of explaining how our world and our country work… ’cause often it feels like we’re living inside of one big joke, and we’re the punchline.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/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>\u003c/p>\n\u003cp>\u003cem>Francesca Fiorentini performs a \u003ca href=\"https://sched.co/1VUwM\">stand-up set at SF Sketchfest on Jan. 27\u003c/a>, and hosts a \u003ca href=\"https://sfsketchfest.com/schedule-and-tickets/\">live edition of ‘The Bitchuation Room’ on Jan. 28\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13950399/francesca-fiorentini-sf-sketchfest-bitchuation-room","authors":["byline_arts_13950399"],"programs":["arts_140"],"categories":["arts_1","arts_968"],"tags":["arts_549","arts_10278","arts_21845","arts_585"],"featImg":"arts_13950411","label":"arts_140"},"arts_13939340":{"type":"posts","id":"arts_13939340","meta":{"index":"posts_1591205157","site":"arts","id":"13939340","score":null,"sort":[1702496777000]},"guestAuthors":[],"slug":"monk-returns-for-one-last-case-and-its-a-heaping-serving-of-tv-comfort-food","title":"‘Monk’ Returns for One ‘Last Case’ and It’s a Heaping Serving of TV Comfort Food","publishDate":1702496777,"format":"standard","headTitle":"‘Monk’ Returns for One ‘Last Case’ and It’s a Heaping Serving of TV Comfort Food | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The USA Network detective series \u003cem>Monk\u003c/em>, like its title character, always stood out as being a little … unusual.\u003c/p>\n\u003cp>An hour-long police procedural, the show aired from 2002 until 2009 and presented a different murder to solve each episode. Yet — like the classic TV series \u003cem>Columbo\u003c/em> — it not only focused on the particulars of its central mystery, but also took time to have fun with the quirky brilliance of its lead investigator, Adrian Monk (played by \u003ca href=\"https://www.npr.org/2018/07/31/634299761/tony-shalhoub-on-mrs-maisel-and-questioning-his-worth-as-an-actor\">Tony Shalhoub\u003c/a>), who had obsessive-compulsive disorder. Now, after almost 15 years, Shalhoub and most of his original castmates are back, in a new movie on the Peacock streaming service, titled \u003cem>Mr. Monk’s Last Case.\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13939092']Despite some dark and dramatic moments, the original \u003cem>Monk \u003c/em>played like a comedy. In fact, creator Andy Breckman submitted the show for Emmy consideration in the comedy categories, and Shalhoub competed against sitcom stars to win the award for lead actor three times. And until \u003ca href=\"https://www.npr.org/2017/10/23/559035940/the-walking-dead-returns-to-form-in-season-8-premiere\">\u003cem>The Walking Dead\u003c/em>\u003c/a> came along, the finale of \u003cem>Monk \u003c/em>held the record as the most-viewed scripted drama on cable television.\u003c/p>\n\u003cp>In that last episode of \u003cem>Monk\u003c/em>, back in 2009, Adrian finally cracked the case that had triggered his OCD compulsions — the unsolved murder of his wife, Trudy. Now, in this movie sequel, writer Breckman and director Randy Zisk revisit the character after all this time.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Krfd3OWb4hs\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Mr. Monk’s Last Case\u003c/em> begins by establishing how the title character has, and hasn’t, moved on since we last saw him. We learn that Adrian retired from the crime-solving business and got a hefty cash advance to write a book about all the murders he’d solved.\u003c/p>\n\u003cp>[aside postid='arts_13938662']Unfortunately, Adrian’s fears and compulsions didn’t leave him, and while working obsessively on his memoirs, he became a relative recluse. The outbreak of COVID didn’t help, but his stepdaughter Molly, a newly introduced character played by Caitlin McGee, moved in with Adrian during the pandemic. She quickly became the most important person in his life, and he was so grateful, he promised to use his book advance to pay for her impending wedding.\u003c/p>\n\u003cp>As this new \u003cem>Monk \u003c/em>movie begins, all seems fine — but not for long. Very quickly, there’s a murder that Adrian feels compelled to solve. And even before that, there’s bad news when Adrian visits the office of his publisher. She’s read the first several hundred pages of his manuscript — and hates them.\u003c/p>\n\u003cp>Adrian’s attention to detail, which helps him solve crimes, apparently doesn’t help so much when it comes to writing memoirs — especially when he goes on for pages about how one murder suspect and he coincidentally used the exact same model of vacuum cleaner. The publisher delivers the blow that she’s rejecting Adrian’s manuscript — and she demands he returns the advance.\u003c/p>\n\u003cfigure id=\"attachment_13939342\" class=\"wp-caption aligncenter\" style=\"max-width: 851px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939342\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de.jpg\" alt=\"A smiling woman wearing a white shirt places something in the jacket pocket of an older man.\" width=\"851\" height=\"638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de.jpg 851w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de-768x576.jpg 768w\" sizes=\"(max-width: 851px) 100vw, 851px\">\u003cfigcaption class=\"wp-caption-text\">Molly (Caitlin McGee) helps look after Monk (Tony Shalhoub) in ‘Mr. Monk’s Last Case.’ \u003ccite>(Steve Wilkie/ Peacock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The publisher’s concern that people may not care as much about Monk after all these years is a sly little nod to what this TV movie is facing. It’s waited so long to reintroduce the character that it’s a whole new world out here — reflected by the fact that \u003cem>Mr. Monk’s Last Case \u003c/em>is premiering not on cable, but streaming on Peacock.\u003c/p>\n\u003cp>[aside postid='arts_13939170']But Adrian Monk and his cohorts do just fine in their 2023 return. Shalhoub slips back into the character with assurance and precision, nailing the comedy in each scene while making room for some somber tones of loss and depression.\u003c/p>\n\u003cp>This movie sequel, however, is anything but depressing. It’s TV comfort food, and it’s enjoyable to catch up not only with Adrian Monk, but with his castmates from the original series. The title of this new Peacock movie is \u003cem>Mr. Monk’s Last Case —\u003c/em> but given how well its ingredients fold together, I wouldn’t necessarily take that title literally.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Monk%27+returns+for+one+%27Last+Case%27+and+it%27s+a+heaping+serving+of+TV+comfort+food&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003cem>‘Mr. Monk’s Last Case’ is streaming now on Peacock.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"After nearly 15 years, Tony Shalhoub slips back into his Adrian Monk character with assurance and precision.","status":"publish","parent":0,"modified":1705002983,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":731},"headData":{"title":"‘Mr. Monk’s Last Case’ Is Comfort TV at Its Best | KQED","description":"After nearly 15 years, Tony Shalhoub slips back into his Adrian Monk character with assurance and precision.","ogTitle":"‘Monk’ Returns for One ‘Last Case’ and It's a Heaping Serving of TV Comfort Food","ogDescription":"","ogImgId":"","twTitle":"‘Monk’ Returns for One ‘Last Case’ and It's a Heaping Serving of TV Comfort Food","twDescription":"","twImgId":"","socialTitle":"‘Mr. Monk’s Last Case’ Is Comfort TV at Its Best %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Monk’ Returns for One ‘Last Case’ and It’s a Heaping Serving of TV Comfort Food","datePublished":"2023-12-13T19:46:17.000Z","dateModified":"2024-01-11T19:56:23.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Steve Wilkie","nprByline":"David Bianculli","nprImageAgency":"Peacock","nprStoryId":"1218765740","nprApiLink":"http://api.npr.org/query?id=1218765740&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2023/12/13/1218765740/mr-monks-last-case-review-tony-shalhoub?ft=nprml&f=1218765740","nprRetrievedStory":"1","nprPubDate":"Wed, 13 Dec 2023 13:35:00 -0500","nprStoryDate":"Wed, 13 Dec 2023 10:46:33 -0500","nprLastModifiedDate":"Wed, 13 Dec 2023 13:35:47 -0500","nprAudio":"https://play.podtrac.com/npr-1069977606/ondemand.npr.org/anon.npr-mp3/npr/fa/2023/12/20231213_fa_1e01d824-08ec-4148-b993-64f6c649560b.mp3?orgId=427869011&topicId=1163&d=447&p=13&story=1218765740&ft=nprml&f=1218765740","nprAudioM3u":"http://api.npr.org/m3u/11219095930-c65769.m3u?orgId=427869011&topicId=1163&d=447&p=13&story=1218765740&ft=nprml&f=1218765740","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13939340/monk-returns-for-one-last-case-and-its-a-heaping-serving-of-tv-comfort-food","audioUrl":"https://play.podtrac.com/npr-1069977606/ondemand.npr.org/anon.npr-mp3/npr/fa/2023/12/20231213_fa_1e01d824-08ec-4148-b993-64f6c649560b.mp3?orgId=427869011&topicId=1163&d=447&p=13&story=1218765740&ft=nprml&f=1218765740","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The USA Network detective series \u003cem>Monk\u003c/em>, like its title character, always stood out as being a little … unusual.\u003c/p>\n\u003cp>An hour-long police procedural, the show aired from 2002 until 2009 and presented a different murder to solve each episode. Yet — like the classic TV series \u003cem>Columbo\u003c/em> — it not only focused on the particulars of its central mystery, but also took time to have fun with the quirky brilliance of its lead investigator, Adrian Monk (played by \u003ca href=\"https://www.npr.org/2018/07/31/634299761/tony-shalhoub-on-mrs-maisel-and-questioning-his-worth-as-an-actor\">Tony Shalhoub\u003c/a>), who had obsessive-compulsive disorder. Now, after almost 15 years, Shalhoub and most of his original castmates are back, in a new movie on the Peacock streaming service, titled \u003cem>Mr. Monk’s Last Case.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13939092","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Despite some dark and dramatic moments, the original \u003cem>Monk \u003c/em>played like a comedy. In fact, creator Andy Breckman submitted the show for Emmy consideration in the comedy categories, and Shalhoub competed against sitcom stars to win the award for lead actor three times. And until \u003ca href=\"https://www.npr.org/2017/10/23/559035940/the-walking-dead-returns-to-form-in-season-8-premiere\">\u003cem>The Walking Dead\u003c/em>\u003c/a> came along, the finale of \u003cem>Monk \u003c/em>held the record as the most-viewed scripted drama on cable television.\u003c/p>\n\u003cp>In that last episode of \u003cem>Monk\u003c/em>, back in 2009, Adrian finally cracked the case that had triggered his OCD compulsions — the unsolved murder of his wife, Trudy. Now, in this movie sequel, writer Breckman and director Randy Zisk revisit the character after all this time.\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/Krfd3OWb4hs'\n title='//www.youtube.com/embed/Krfd3OWb4hs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Mr. Monk’s Last Case\u003c/em> begins by establishing how the title character has, and hasn’t, moved on since we last saw him. We learn that Adrian retired from the crime-solving business and got a hefty cash advance to write a book about all the murders he’d solved.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13938662","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Unfortunately, Adrian’s fears and compulsions didn’t leave him, and while working obsessively on his memoirs, he became a relative recluse. The outbreak of COVID didn’t help, but his stepdaughter Molly, a newly introduced character played by Caitlin McGee, moved in with Adrian during the pandemic. She quickly became the most important person in his life, and he was so grateful, he promised to use his book advance to pay for her impending wedding.\u003c/p>\n\u003cp>As this new \u003cem>Monk \u003c/em>movie begins, all seems fine — but not for long. Very quickly, there’s a murder that Adrian feels compelled to solve. And even before that, there’s bad news when Adrian visits the office of his publisher. She’s read the first several hundred pages of his manuscript — and hates them.\u003c/p>\n\u003cp>Adrian’s attention to detail, which helps him solve crimes, apparently doesn’t help so much when it comes to writing memoirs — especially when he goes on for pages about how one murder suspect and he coincidentally used the exact same model of vacuum cleaner. The publisher delivers the blow that she’s rejecting Adrian’s manuscript — and she demands he returns the advance.\u003c/p>\n\u003cfigure id=\"attachment_13939342\" class=\"wp-caption aligncenter\" style=\"max-width: 851px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13939342\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de.jpg\" alt=\"A smiling woman wearing a white shirt places something in the jacket pocket of an older man.\" width=\"851\" height=\"638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de.jpg 851w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/12/nup_201497_02111-c90ff640ccec697f12dfe5823205bb6c788700de-768x576.jpg 768w\" sizes=\"(max-width: 851px) 100vw, 851px\">\u003cfigcaption class=\"wp-caption-text\">Molly (Caitlin McGee) helps look after Monk (Tony Shalhoub) in ‘Mr. Monk’s Last Case.’ \u003ccite>(Steve Wilkie/ Peacock)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The publisher’s concern that people may not care as much about Monk after all these years is a sly little nod to what this TV movie is facing. It’s waited so long to reintroduce the character that it’s a whole new world out here — reflected by the fact that \u003cem>Mr. Monk’s Last Case \u003c/em>is premiering not on cable, but streaming on Peacock.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13939170","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>But Adrian Monk and his cohorts do just fine in their 2023 return. Shalhoub slips back into the character with assurance and precision, nailing the comedy in each scene while making room for some somber tones of loss and depression.\u003c/p>\n\u003cp>This movie sequel, however, is anything but depressing. It’s TV comfort food, and it’s enjoyable to catch up not only with Adrian Monk, but with his castmates from the original series. The title of this new Peacock movie is \u003cem>Mr. Monk’s Last Case —\u003c/em> but given how well its ingredients fold together, I wouldn’t necessarily take that title literally.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Monk%27+returns+for+one+%27Last+Case%27+and+it%27s+a+heaping+serving+of+TV+comfort+food&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003cem>‘Mr. Monk’s Last Case’ is streaming now on Peacock.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13939340/monk-returns-for-one-last-case-and-its-a-heaping-serving-of-tv-comfort-food","authors":["byline_arts_13939340"],"programs":["arts_140"],"categories":["arts_1","arts_968","arts_74","arts_75","arts_990"],"tags":["arts_21794","arts_585"],"featImg":"arts_13939348","label":"arts_140"},"arts_13936507":{"type":"posts","id":"arts_13936507","meta":{"index":"posts_1591205157","site":"arts","id":"13936507","score":null,"sort":[1697641203000]},"guestAuthors":[],"slug":"the-state-comedy-warfield-a-recipe-for-fun","title":"The State at the Warfield, a Recipe For Fun","publishDate":1697641203,"format":"standard","headTitle":"The State at the Warfield, a Recipe For Fun | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>There are two kinds of people in this world: people for whom the words “porcupine racetrack” mean very little. And those for whom the phrase sparks pure, stupid, unfettered joy — and an urge to watch the 1995 cult-classic sketch from MTV’s \u003cem>The State\u003c/em> for the 400th time, then rant at you about their favorite part. (Ken Marino as the gambling priest, obviously.)\u003c/p>\n\u003cp>Well, fellow members of the latter group, assemble! Specifically, assemble at the Warfield on Oct. 25, when members of The State will deliver the only Bay Area performance on their 2023 reunion tour. David Wain, Michael Ian Black, Thomas Lennon, Kerri Kenney-Silver, Michael Showalter and the rest of the gang have all steadily worked together in various combinations over the years — \u003cem>Reno 911!\u003c/em>, \u003cem>Stella\u003c/em>, the sacred text that is \u003cem>Wet Hot American Summer\u003c/em>. But this show marks a rare live appearance for the original, NYU-born sketch comedy troupe, performing material from their show that aired for two short but highly influential years in the mid-90s.\u003c/p>\n\u003cp>https://vimeo.com/410325198\u003c/p>\n\u003cp>America may not have been ready for \u003cem>The State\u003c/em> during its original run. The show was mostly panned by critics, and the fact that the group began writing recurring characters that essentially mocked MTV’s demand for recurring characters is pretty telling re: the extent that the network knew what to do with them.\u003c/p>\n\u003cp>But in the years since the show went off the air, its mythos has only grown. Meanwhile other cult favorites like \u003cem>Mr. Show\u003c/em> and \u003cem>Tim and Eric Awesome Show, Great Job!\u003c/em> — both of which had more than a dash of \u003cem>The State\u003c/em>’s absurdism in their DNA — helped to further dismantle the lines between what used to be called “alt” and mainstream comedy. For more recent evidence of the group’s reach, check out the crop of comedians currently on the rise in Hollywood, like the creators of the gleefully deranged \u003cem>Bottoms\u003c/em>, \u003ca href=\"https://www.vanityfair.com/hollywood/2023/08/emma-seligman-bottoms-interview\">who cited \u003cem>Wet Hot American Summer\u003c/em>\u003c/a> as a creative “North Star.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Which is to say, The State ultimately helped nudge comedy to the left of center. They made it a little more irreverent, more subversive, more delightfully strange. That means the modern comedic landscape is one in which two off-brand Barry Whites \u003ca href=\"https://archive.nytimes.com/artsbeat.blogs.nytimes.com/2009/07/15/more-state-secrets-when-barry-and-le-von-met-240-worth-of-pudding/\">dancing suggestively around $240 worth of pudding\u003c/a>, six dudes in blue and pink sweatsuits acting out \u003ca href=\"https://vimeo.com/643746338\">the concept of hormones\u003c/a>, a whole sketch that’s just the cast talking in funny voices about \u003ca href=\"https://www.youtube.com/watch?v=WzCoEM6aDpc\">fried bumblebees\u003c/a> — they all come off as somehow \u003cem>not that weird\u003c/em>.\u003c/p>\n\u003cp>So thank you, The State. And fellow devotees: \u003ca href=\"https://www.youtube.com/watch?v=tCp42HcPheE\">Put a bag on your head and hop on the ugly bus\u003c/a> to the Warfield with me next week, so we can thank ‘em in person.\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>\u003c/p>\n\u003cp>\u003cem>‘The State: Breakin’ Hearts and Dippin’ Balls Tour’ takes place at 8 p.m. at The Warfield (982 Market St., San Francisco) \u003ca href=\"https://www.thewarfieldtheatre.com/events/detail/502339\">Tickets and more info here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A rare live show from the cult-favorite comedy troupe that birthed ‘Wet Hot American Summer,’ ‘Reno 911!’ and more.","status":"publish","parent":0,"modified":1705003219,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":503},"headData":{"title":"The State at the Warfield, a Recipe For Fun | KQED","description":"A rare live show from the cult-favorite comedy troupe that birthed ‘Wet Hot American Summer,’ ‘Reno 911!’ and more.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The State at the Warfield, a Recipe For Fun","datePublished":"2023-10-18T15:00:03.000Z","dateModified":"2024-01-11T20:00:19.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"WpOldSlug":"the-state-comdey-warfield-a-recipe-for-fun","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13936507/the-state-comedy-warfield-a-recipe-for-fun","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are two kinds of people in this world: people for whom the words “porcupine racetrack” mean very little. And those for whom the phrase sparks pure, stupid, unfettered joy — and an urge to watch the 1995 cult-classic sketch from MTV’s \u003cem>The State\u003c/em> for the 400th time, then rant at you about their favorite part. (Ken Marino as the gambling priest, obviously.)\u003c/p>\n\u003cp>Well, fellow members of the latter group, assemble! Specifically, assemble at the Warfield on Oct. 25, when members of The State will deliver the only Bay Area performance on their 2023 reunion tour. David Wain, Michael Ian Black, Thomas Lennon, Kerri Kenney-Silver, Michael Showalter and the rest of the gang have all steadily worked together in various combinations over the years — \u003cem>Reno 911!\u003c/em>, \u003cem>Stella\u003c/em>, the sacred text that is \u003cem>Wet Hot American Summer\u003c/em>. But this show marks a rare live appearance for the original, NYU-born sketch comedy troupe, performing material from their show that aired for two short but highly influential years in the mid-90s.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"vimeoLink","attributes":{"named":{"vimeoId":"410325198"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>America may not have been ready for \u003cem>The State\u003c/em> during its original run. The show was mostly panned by critics, and the fact that the group began writing recurring characters that essentially mocked MTV’s demand for recurring characters is pretty telling re: the extent that the network knew what to do with them.\u003c/p>\n\u003cp>But in the years since the show went off the air, its mythos has only grown. Meanwhile other cult favorites like \u003cem>Mr. Show\u003c/em> and \u003cem>Tim and Eric Awesome Show, Great Job!\u003c/em> — both of which had more than a dash of \u003cem>The State\u003c/em>’s absurdism in their DNA — helped to further dismantle the lines between what used to be called “alt” and mainstream comedy. For more recent evidence of the group’s reach, check out the crop of comedians currently on the rise in Hollywood, like the creators of the gleefully deranged \u003cem>Bottoms\u003c/em>, \u003ca href=\"https://www.vanityfair.com/hollywood/2023/08/emma-seligman-bottoms-interview\">who cited \u003cem>Wet Hot American Summer\u003c/em>\u003c/a> as a creative “North Star.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Which is to say, The State ultimately helped nudge comedy to the left of center. They made it a little more irreverent, more subversive, more delightfully strange. That means the modern comedic landscape is one in which two off-brand Barry Whites \u003ca href=\"https://archive.nytimes.com/artsbeat.blogs.nytimes.com/2009/07/15/more-state-secrets-when-barry-and-le-von-met-240-worth-of-pudding/\">dancing suggestively around $240 worth of pudding\u003c/a>, six dudes in blue and pink sweatsuits acting out \u003ca href=\"https://vimeo.com/643746338\">the concept of hormones\u003c/a>, a whole sketch that’s just the cast talking in funny voices about \u003ca href=\"https://www.youtube.com/watch?v=WzCoEM6aDpc\">fried bumblebees\u003c/a> — they all come off as somehow \u003cem>not that weird\u003c/em>.\u003c/p>\n\u003cp>So thank you, The State. And fellow devotees: \u003ca href=\"https://www.youtube.com/watch?v=tCp42HcPheE\">Put a bag on your head and hop on the ugly bus\u003c/a> to the Warfield with me next week, so we can thank ‘em in person.\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>\u003c/p>\n\u003cp>\u003cem>‘The State: Breakin’ Hearts and Dippin’ Balls Tour’ takes place at 8 p.m. at The Warfield (982 Market St., San Francisco) \u003ca href=\"https://www.thewarfieldtheatre.com/events/detail/502339\">Tickets and more info here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13936507/the-state-comedy-warfield-a-recipe-for-fun","authors":["7237"],"programs":["arts_140"],"categories":["arts_1","arts_968"],"tags":["arts_549","arts_18884","arts_585"],"featImg":"arts_13936529","label":"arts_140"},"arts_13935844":{"type":"posts","id":"arts_13935844","meta":{"index":"posts_1591205157","site":"arts","id":"13935844","score":null,"sort":[1696444400000]},"guestAuthors":[],"slug":"with-an-audacious-title-and-bowen-yang-as-god-dicks-the-musical-dares-to-be-gonzo","title":"With an Audacious Title and Bowen Yang as God, ‘Dicks: The Musical’ Dares to Be Gonzo","publishDate":1696444400,"format":"standard","headTitle":"With an Audacious Title and Bowen Yang as God, ‘Dicks: The Musical’ Dares to Be Gonzo | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>You don’t expect to see a movie named \u003cem>Dicks: The Musical\u003c/em> on the marquee and neither did its makers.\u003c/p>\n\u003cp>It’s the nature of creating a delirious, Dadaist riff on \u003cem>The Parent Trap\u003c/em> — only with two obviously dissimilar gay men as long-lost identical twins and Bowen Yang playing God — that you can never be sure it’s really happening. Josh Sharp and Aaron Jackson, who created and star in \u003cem>Dicks: The Musical,\u003c/em> certainly struggled to believe it.\u003c/p>\n\u003cp>[aside postid='arts_13935703']“Every step of the way we thought it would fall through,” Jackson says. “It really wasn’t until visiting the sets and walking through those that it was like: ‘Oh my God, they’re going to make it.’”\u003c/p>\n\u003cp>The movies are awash in more of the same, but\u003cem> Dicks: The Musical\u003c/em> — nobody’s idea of a retread — may be the most demented riff on a familiar story yet. The film, which A24 releases in theaters Friday, has been called the most gonzo movie of the year. It’s lewd, ridiculous and surreal. Hanna-Barbera was an inspiration.\u003c/p>\n\u003cp>Megan Thee Stallion plays the boys’ boss. A disembodied part of their mother’s (Megan Mullally) female anatomy is a prominent character. A pair of monstrous pets kept by the boys’ father (Nathan Lane) named the Sewer Boys have surprisingly integral roles. Director Larry Charles calls “the ultimate anti-AI movie.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SQDmT_Cih2Q\u003c/p>\n\u003cp>For even for the adventurous A24, \u003cem>Dicks: The Musical\u003c/em> is a test of just how far the specialty studio can push the envelope. It’s especially notable, too, for a big-screen comedy landscape that’s been moribund for years. Few comedies are released theatrically, and most of the ones that are timidly stick to familiar territory. But \u003cem>Dicks: The Musical\u003c/em>, a freewheeling queer cult-favorite-to-be, is a gleefully tasteless bid to break free of comedy doldrums.\u003c/p>\n\u003cp>“I sometimes miss comedies that were just like: This is dumb and we’re going to do a bunch of jokes,” says Sharp. “We just tried to make our own favorite movie. It’s just sort of the movie we wish existed.”\u003c/p>\n\u003cp>[aside postid='arts_13935225']Sharp and Jackson spoke the day after \u003cem>Dicks: The Musical\u003c/em> made its raucous premiere last month at the Toronto International Film Festival’s midnight program. As the movie ended, inflatable penises rained from above and a chorus of singers burst forth to sing the unprintable final song.\u003c/p>\n\u003cp>That next day, Sharp, Jackson and Yang sat on a couch, still enthralled by the outrageous experience and surprised that they were even there, in the first place. Just days earlier, the A24 film received an interim agreement from the actors union allowing them to promote the movie.\u003c/p>\n\u003cp>“It’s going to make more money than \u003cem>Barbie\u003c/em>,” joked Jackson. “We’re excited to see its life and we’re excited for the Sewer Boys to spread their wings.”\u003c/p>\n\u003cp>“They’re really hitting,” chimed Yang, the \u003cem>Saturday Night Live\u003c/em> standout.\u003c/p>\n\u003cfigure id=\"attachment_13935846\" class=\"wp-caption aligncenter\" style=\"max-width: 1794px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935846\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM.png\" alt=\"A Black woman wearing a pale yellow business suit leans in and admonishes two shocked looking white men wearing button down shirts and pants.\" width=\"1794\" height=\"1260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM.png 1794w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM-800x562.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM-1020x716.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM-768x539.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM-1536x1079.png 1536w\" sizes=\"(max-width: 1794px) 100vw, 1794px\">\u003cfigcaption class=\"wp-caption-text\">Megan Thee Stallion, Josh Sharp and Aaron Jackson in ‘Dicks: The Musical.’ \u003ccite>(A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Dicks: The Musical\u003c/em> is derived from a 40-minute sketch show that Sharp and Jackson began performing at New York’s Upright Citizens Brigade Theatre in 2014. They used \u003cem>The Parent Trap\u003c/em> as a template in part simply because its one-on-one scenes worked well for a two-man show. They start off playing aggressively heterosexual business bros.\u003c/p>\n\u003cp>“We never wanted it to feel like parody. It was more using it as a trope,” says Sharp. “\u003cem>The Parent Trap\u003c/em> now is basically \u003cem>The Odyssey\u003c/em>. It’s a form we all know.”\u003c/p>\n\u003cp>But while \u003cem>The Parent Trap\u003c/em> (the 1961 original and its 1998 remake) celebrates the reunion of a nuclear family, \u003cem>Dicks: The Musical\u003c/em> is an outlandishly bizarro hard-R fantasia that delights in transgressing gender roles, moviemaking rules, basic decency — whatever you got.\u003c/p>\n\u003cp>[aside postid='arts_13933589']“It’s certainly queer but we always talked about it as being queer in the way of just being able to push in a lot of different directions,’” says Sharp. “We just like the idea that we can be sort of off-leash and be absurdist and stupid and silly and foul and profane and broad.”\u003c/p>\n\u003cp>Charles, a writer on \u003cem>Seinfeld\u003c/em> and director of \u003cem>Curb Your Enthusiasm\u003c/em> and \u003cem>Borat\u003c/em>, has long sought out original comic voices. After seeing the UCB show (it was titled \u003cem>Identical F—ing Twins\u003c/em>; A24 came up with the movie title) and reading a draft of Jackson and Sharp’s script, Charles sensed, he says, “If I could trick everybody, we could make this movie.”\u003c/p>\n\u003cp>“To me, they’re like a gay Abbott and Costello,” says Charles. “The possibilities of what they can do together are boundless. Like Sacha (Baron Cohen) they’re undiscovered treasures that the audience is waiting for and doesn’t even realize it.”\u003c/p>\n\u003cp>From the beginning, Charles wanted to preserve as much of the live-wire nature of the show. Nothing was too much, too silly or too grotesque. Jokes would fly at \u003cem>Blazing Saddles\u003c/em> speed.\u003c/p>\n\u003cp>“There’s a tentativeness around comedy right now,” Charles says. “People maybe want to go for a bigger laugh but they’re afraid they’re going to offend too many people. And there’s often too many people involved in the decision making of what’s funny.”\u003c/p>\n\u003cp>\u003cem>Dicks: The Musical\u003c/em>, though, was principally a brain trust of Sharp, Jackson and Charles. (Producer Kori Adelson with Chernin Entertainment, who first approached the duo about a movie adaptation, was also integral.)\u003c/p>\n\u003cp>[aside postid='arts_13930323']As others joined, they had to be prepared for just what they were stepping into. Megan Thee Stallion — whose high-octane performance has some calling for a best-song Oscar nomination — spoke to Jackson and Sharp about the business her character runs in the film — a sales company for “Vroomba” parts.\u003c/p>\n\u003cp>“She was like, ‘So what do we do again?’” Sharp recalls. “We’d explain it to her and she was like, ‘Oh so it’s dumb.’ We were like, ‘Yeah, it’s really dumb.’”\u003c/p>\n\u003cp>Yang had seen the UCB show. “I remember from go it was like: I love this,” he says. As Jackson and Sharp developed the movie, they carved out the role of God, as narrator, for Yang. As he read the screenplay, Yang could tell this wasn’t exactly a traditional deity.\u003c/p>\n\u003cp>“That was all good raw material for me to be like, ’Oh, he’s God but he’s going to do drugs and not be super invested in the story and make comments like, ‘That number was fierce,’” says Yang.\u003c/p>\n\u003cp>There are risks, of course, in total irreverence. Yang’s show-stopping final number isn’t one likely to be cheered by some religious conservatives. At the premiere, Sharp said during that scene’s shoot Mullally walked over to him and Jackson and said: “You guys are going to get death threats … We’re all going to get death threats.”\u003c/p>\n\u003cfigure id=\"attachment_13935848\" class=\"wp-caption aligncenter\" style=\"max-width: 1808px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935848\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM.png\" alt=\"A senior bohemian couple sit close together on a couch. He is wearing a white feather jacket and white pants and smoking a cigarette. She is decked out in flowing 1970s brown skirts and layers. They are both wearing spectacles.\" width=\"1808\" height=\"1194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM.png 1808w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM-768x507.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM-1536x1014.png 1536w\" sizes=\"(max-width: 1808px) 100vw, 1808px\">\u003cfigcaption class=\"wp-caption-text\">Nathan Lane and Megan Mullally in ‘Dicks: The Musical.’ \u003ccite>(A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I really love the idea of trying to get that audience to laugh almost like a horror movie,” he adds. “I want people to scream until they’re laughing.”\u003c/p>\n\u003cp>The joy of \u003cem>Dicks: The Musical\u003c/em> is how it doesn’t take anything — most of all itself — even the slightest bit serious. The movie deconstructs along the way. One moment catches an actor breaking. One shot pulls back to reveal the Dolly track it. A New York street scene zooms out to show the surrounding hills of Los Angeles. What is this, exactly, you might wonder.\u003c/p>\n\u003cp>“It’s its own world,” says Sharp.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Dicks: The Musical’ is released nationwide on Oct. 6, 2023.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"This freewheeling, queer, cult-favorite-to-be is a gleefully tasteless bid to break free of comedy doldrums.","status":"publish","parent":0,"modified":1705003278,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":32,"wordCount":1415},"headData":{"title":"‘Dicks: The Musical’: Behind-the-Scenes of the Audacious Comedy | KQED","description":"This freewheeling, queer, cult-favorite-to-be is a gleefully tasteless bid to break free of comedy doldrums.","ogTitle":"With an Audacious Title and Bowen Yang as God, ‘Dicks: The Musical’ Dares to be Gonzo","ogDescription":"","ogImgId":"","twTitle":"With an Audacious Title and Bowen Yang as God, ‘Dicks: The Musical’ Dares to be Gonzo","twDescription":"","twImgId":"","socialTitle":"‘Dicks: The Musical’: Behind-the-Scenes of the Audacious Comedy %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"With an Audacious Title and Bowen Yang as God, ‘Dicks: The Musical’ Dares to Be Gonzo","datePublished":"2023-10-04T18:33:20.000Z","dateModified":"2024-01-11T20:01:18.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Jake Coyle, Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13935844/with-an-audacious-title-and-bowen-yang-as-god-dicks-the-musical-dares-to-be-gonzo","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>You don’t expect to see a movie named \u003cem>Dicks: The Musical\u003c/em> on the marquee and neither did its makers.\u003c/p>\n\u003cp>It’s the nature of creating a delirious, Dadaist riff on \u003cem>The Parent Trap\u003c/em> — only with two obviously dissimilar gay men as long-lost identical twins and Bowen Yang playing God — that you can never be sure it’s really happening. Josh Sharp and Aaron Jackson, who created and star in \u003cem>Dicks: The Musical,\u003c/em> certainly struggled to believe it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13935703","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“Every step of the way we thought it would fall through,” Jackson says. “It really wasn’t until visiting the sets and walking through those that it was like: ‘Oh my God, they’re going to make it.’”\u003c/p>\n\u003cp>The movies are awash in more of the same, but\u003cem> Dicks: The Musical\u003c/em> — nobody’s idea of a retread — may be the most demented riff on a familiar story yet. The film, which A24 releases in theaters Friday, has been called the most gonzo movie of the year. It’s lewd, ridiculous and surreal. Hanna-Barbera was an inspiration.\u003c/p>\n\u003cp>Megan Thee Stallion plays the boys’ boss. A disembodied part of their mother’s (Megan Mullally) female anatomy is a prominent character. A pair of monstrous pets kept by the boys’ father (Nathan Lane) named the Sewer Boys have surprisingly integral roles. Director Larry Charles calls “the ultimate anti-AI movie.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/SQDmT_Cih2Q'\n title='//www.youtube.com/embed/SQDmT_Cih2Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For even for the adventurous A24, \u003cem>Dicks: The Musical\u003c/em> is a test of just how far the specialty studio can push the envelope. It’s especially notable, too, for a big-screen comedy landscape that’s been moribund for years. Few comedies are released theatrically, and most of the ones that are timidly stick to familiar territory. But \u003cem>Dicks: The Musical\u003c/em>, a freewheeling queer cult-favorite-to-be, is a gleefully tasteless bid to break free of comedy doldrums.\u003c/p>\n\u003cp>“I sometimes miss comedies that were just like: This is dumb and we’re going to do a bunch of jokes,” says Sharp. “We just tried to make our own favorite movie. It’s just sort of the movie we wish existed.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13935225","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Sharp and Jackson spoke the day after \u003cem>Dicks: The Musical\u003c/em> made its raucous premiere last month at the Toronto International Film Festival’s midnight program. As the movie ended, inflatable penises rained from above and a chorus of singers burst forth to sing the unprintable final song.\u003c/p>\n\u003cp>That next day, Sharp, Jackson and Yang sat on a couch, still enthralled by the outrageous experience and surprised that they were even there, in the first place. Just days earlier, the A24 film received an interim agreement from the actors union allowing them to promote the movie.\u003c/p>\n\u003cp>“It’s going to make more money than \u003cem>Barbie\u003c/em>,” joked Jackson. “We’re excited to see its life and we’re excited for the Sewer Boys to spread their wings.”\u003c/p>\n\u003cp>“They’re really hitting,” chimed Yang, the \u003cem>Saturday Night Live\u003c/em> standout.\u003c/p>\n\u003cfigure id=\"attachment_13935846\" class=\"wp-caption aligncenter\" style=\"max-width: 1794px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935846\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM.png\" alt=\"A Black woman wearing a pale yellow business suit leans in and admonishes two shocked looking white men wearing button down shirts and pants.\" width=\"1794\" height=\"1260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM.png 1794w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM-800x562.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM-1020x716.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM-768x539.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.42-AM-1536x1079.png 1536w\" sizes=\"(max-width: 1794px) 100vw, 1794px\">\u003cfigcaption class=\"wp-caption-text\">Megan Thee Stallion, Josh Sharp and Aaron Jackson in ‘Dicks: The Musical.’ \u003ccite>(A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Dicks: The Musical\u003c/em> is derived from a 40-minute sketch show that Sharp and Jackson began performing at New York’s Upright Citizens Brigade Theatre in 2014. They used \u003cem>The Parent Trap\u003c/em> as a template in part simply because its one-on-one scenes worked well for a two-man show. They start off playing aggressively heterosexual business bros.\u003c/p>\n\u003cp>“We never wanted it to feel like parody. It was more using it as a trope,” says Sharp. “\u003cem>The Parent Trap\u003c/em> now is basically \u003cem>The Odyssey\u003c/em>. It’s a form we all know.”\u003c/p>\n\u003cp>But while \u003cem>The Parent Trap\u003c/em> (the 1961 original and its 1998 remake) celebrates the reunion of a nuclear family, \u003cem>Dicks: The Musical\u003c/em> is an outlandishly bizarro hard-R fantasia that delights in transgressing gender roles, moviemaking rules, basic decency — whatever you got.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13933589","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“It’s certainly queer but we always talked about it as being queer in the way of just being able to push in a lot of different directions,’” says Sharp. “We just like the idea that we can be sort of off-leash and be absurdist and stupid and silly and foul and profane and broad.”\u003c/p>\n\u003cp>Charles, a writer on \u003cem>Seinfeld\u003c/em> and director of \u003cem>Curb Your Enthusiasm\u003c/em> and \u003cem>Borat\u003c/em>, has long sought out original comic voices. After seeing the UCB show (it was titled \u003cem>Identical F—ing Twins\u003c/em>; A24 came up with the movie title) and reading a draft of Jackson and Sharp’s script, Charles sensed, he says, “If I could trick everybody, we could make this movie.”\u003c/p>\n\u003cp>“To me, they’re like a gay Abbott and Costello,” says Charles. “The possibilities of what they can do together are boundless. Like Sacha (Baron Cohen) they’re undiscovered treasures that the audience is waiting for and doesn’t even realize it.”\u003c/p>\n\u003cp>From the beginning, Charles wanted to preserve as much of the live-wire nature of the show. Nothing was too much, too silly or too grotesque. Jokes would fly at \u003cem>Blazing Saddles\u003c/em> speed.\u003c/p>\n\u003cp>“There’s a tentativeness around comedy right now,” Charles says. “People maybe want to go for a bigger laugh but they’re afraid they’re going to offend too many people. And there’s often too many people involved in the decision making of what’s funny.”\u003c/p>\n\u003cp>\u003cem>Dicks: The Musical\u003c/em>, though, was principally a brain trust of Sharp, Jackson and Charles. (Producer Kori Adelson with Chernin Entertainment, who first approached the duo about a movie adaptation, was also integral.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13930323","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>As others joined, they had to be prepared for just what they were stepping into. Megan Thee Stallion — whose high-octane performance has some calling for a best-song Oscar nomination — spoke to Jackson and Sharp about the business her character runs in the film — a sales company for “Vroomba” parts.\u003c/p>\n\u003cp>“She was like, ‘So what do we do again?’” Sharp recalls. “We’d explain it to her and she was like, ‘Oh so it’s dumb.’ We were like, ‘Yeah, it’s really dumb.’”\u003c/p>\n\u003cp>Yang had seen the UCB show. “I remember from go it was like: I love this,” he says. As Jackson and Sharp developed the movie, they carved out the role of God, as narrator, for Yang. As he read the screenplay, Yang could tell this wasn’t exactly a traditional deity.\u003c/p>\n\u003cp>“That was all good raw material for me to be like, ’Oh, he’s God but he’s going to do drugs and not be super invested in the story and make comments like, ‘That number was fierce,’” says Yang.\u003c/p>\n\u003cp>There are risks, of course, in total irreverence. Yang’s show-stopping final number isn’t one likely to be cheered by some religious conservatives. At the premiere, Sharp said during that scene’s shoot Mullally walked over to him and Jackson and said: “You guys are going to get death threats … We’re all going to get death threats.”\u003c/p>\n\u003cfigure id=\"attachment_13935848\" class=\"wp-caption aligncenter\" style=\"max-width: 1808px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13935848\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM.png\" alt=\"A senior bohemian couple sit close together on a couch. He is wearing a white feather jacket and white pants and smoking a cigarette. She is decked out in flowing 1970s brown skirts and layers. They are both wearing spectacles.\" width=\"1808\" height=\"1194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM.png 1808w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM-768x507.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-04-at-11.16.16-AM-1536x1014.png 1536w\" sizes=\"(max-width: 1808px) 100vw, 1808px\">\u003cfigcaption class=\"wp-caption-text\">Nathan Lane and Megan Mullally in ‘Dicks: The Musical.’ \u003ccite>(A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I really love the idea of trying to get that audience to laugh almost like a horror movie,” he adds. “I want people to scream until they’re laughing.”\u003c/p>\n\u003cp>The joy of \u003cem>Dicks: The Musical\u003c/em> is how it doesn’t take anything — most of all itself — even the slightest bit serious. The movie deconstructs along the way. One moment catches an actor breaking. One shot pulls back to reveal the Dolly track it. A New York street scene zooms out to show the surrounding hills of Los Angeles. What is this, exactly, you might wonder.\u003c/p>\n\u003cp>“It’s its own world,” says Sharp.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dicks: The Musical’ is released nationwide on Oct. 6, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13935844/with-an-audacious-title-and-bowen-yang-as-god-dicks-the-musical-dares-to-be-gonzo","authors":["byline_arts_13935844"],"programs":["arts_140"],"categories":["arts_1","arts_968","arts_74","arts_69","arts_75"],"tags":["arts_977","arts_3226","arts_13825","arts_585"],"featImg":"arts_13935845","label":"arts_140"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","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.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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You ask the questions. You decide what Bay Curious investigates. 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Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.","airtime":"MON-FRI 3am-9am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/morning-edition/","meta":{"site":"news","source":"npr"},"link":"/radio/program/morning-edition"},"onourwatch":{"id":"onourwatch","title":"On Our Watch","tagline":"Police secrets, unsealed","info":"For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg","imageAlt":"On Our Watch from NPR and KQED","officialWebsiteLink":"/podcasts/onourwatch","meta":{"site":"news","source":"kqed","order":"1"},"link":"/podcasts/onourwatch","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1567098962","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw","npr":"https://rpb3r.app.goo.gl/onourwatch","spotify":"https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x","tuneIn":"https://tunein.com/radio/On-Our-Watch-p1436229/","stitcher":"https://www.stitcher.com/show/on-our-watch","rss":"https://feeds.npr.org/510360/podcast.xml"}},"on-the-media":{"id":"on-the-media","title":"On The Media","info":"Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us","airtime":"SUN 2pm-3pm, MON 12am-1am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png","officialWebsiteLink":"https://www.wnycstudios.org/shows/otm","meta":{"site":"news","source":"wnyc"},"link":"/radio/program/on-the-media","subscribe":{"apple":"https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2","tuneIn":"https://tunein.com/radio/On-the-Media-p69/","rss":"http://feeds.wnyc.org/onthemedia"}},"our-body-politic":{"id":"our-body-politic","title":"Our Body Politic","info":"Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.","airtime":"SAT 6pm-7pm, SUN 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Our-Body-Politic-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://our-body-politic.simplecast.com/","meta":{"site":"news","source":"kcrw"},"link":"/radio/program/our-body-politic","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/our-body-politic/id1533069868","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw","spotify":"https://open.spotify.com/show/4ApAiLT1kV153TttWAmqmc","rss":"https://feeds.simplecast.com/_xaPhs1s","tuneIn":"https://tunein.com/podcasts/News--Politics-Podcasts/Our-Body-Politic-p1369211/"}},"pbs-newshour":{"id":"pbs-newshour","title":"PBS NewsHour","info":"Analysis, background reports and updates from the PBS NewsHour putting today's news in context.","airtime":"MON-FRI 3pm-4pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.pbs.org/newshour/","meta":{"site":"news","source":"pbs"},"link":"/radio/program/pbs-newshour","subscribe":{"apple":"https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2","tuneIn":"https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/","rss":"https://www.pbs.org/newshour/feeds/rss/podcasts/show"}},"perspectives":{"id":"perspectives","title":"Perspectives","tagline":"KQED's series of of daily listener commentaries since 1991","info":"KQED's series of of daily listener commentaries since 1991.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Perspectives-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/perspectives/","meta":{"site":"radio","source":"kqed","order":"15"},"link":"/perspectives","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/id73801135","npr":"https://www.npr.org/podcasts/432309616/perspectives","rss":"https://ww2.kqed.org/perspectives/category/perspectives/feed/","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"}},"planet-money":{"id":"planet-money","title":"Planet Money","info":"The economy explained. 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