nic feliciano Is Blessed With The ‘Curse of an Overactive Creative Mind’
‘Sasquatch Sunset’ Is an Eco Message Buried Beneath Poop-Flinging Anarchy
50 Years Ago, ‘Blazing Saddles’ Broke Wind — and Box Office Expectations
Diablo Cody’s ’80s Satire ‘Lisa Frankenstein’ Lurches From Whimsy to Unwatchable
Even Liberals Aren’t Safe From Francesca Fiorentini’s Political Punchlines
The State at the Warfield, a Recipe For Fun
Behind ‘Bottoms,’ a Wild, Queer and Bloody High School Sex Comedy
‘A Beautiful City’: Comedian Chris Estrada on SF and the Iconic Punch Line
The Teenage Mutant Ninja Turtles Are Back, and Maybe Better Than Ever
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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, Irene 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":1714014291,"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":"2024-04-25T03:04:51.000Z","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, Irene 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_13955729":{"type":"posts","id":"arts_13955729","meta":{"index":"posts_1591205157","site":"arts","id":"13955729","score":null,"sort":[1712791022000]},"guestAuthors":[],"slug":"sasquatch-sunset-review-bigfoot-movie-ari-aster-jesse-eisenberg","title":"‘Sasquatch Sunset’ Is an Eco Message Buried Beneath Poop-Flinging Anarchy","publishDate":1712791022,"format":"standard","headTitle":"‘Sasquatch Sunset’ Is an Eco Message Buried Beneath Poop-Flinging Anarchy | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>\u003cem>Sasquatch Sunset\u003c/em> was always going to be a wild card of a movie. That much should be obvious before you even sit down to watch this dialogue-free, narrator-less, 90-minute musing on the lives of a \u003ca href=\"https://www.kqed.org/arts/13935838/sacramento-mothman-tahoe-tessie-antioch-bigfoot-kooki-davis-vampire-halloween\">Bigfoot\u003c/a> family. But the finished product is even stranger than you might imagine.\u003c/p>\n\u003cp>[aside postid='arts_13935838']At the outset, this Ari Aster production had a choice to make. \u003cem>Sasquatch Sunset\u003c/em> could have leaned into its inherent appeal for the thousands of people who believe Bigfoot is real, and offered ideas about how these mythical creatures actually live(d). It could have been one of those beautifully shot art experiments that forces viewers to ponder the beauty and brutality of nature, and humanity’s place in it. Or it could have simply been a comedy about a bunch of hairy bipeds who walk like humans but are constrained by none of humanity’s social constructs.\u003c/p>\n\u003cp>Instead of picking one path, \u003cem>Sasquatch Sunset\u003c/em> opts for all three. The remarkable thing is that it results in a consistently entertaining movie, despite its wildly uneven tone.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KgfkthLpeXw\u003c/p>\n\u003cp>\u003cem>Sasquatch Sunset\u003c/em>‘s watchability is the product of a very specific alchemy. It starts with the pairing of a \u003ca href=\"https://www.youtube.com/watch?v=12DbW-9YDwE&list=OLAK5uy_lBfWb0fdZQr1zf0vctQw4I8p6ws4OxYy0\">dreamy soundtrack by The Octopus Project\u003c/a> with masterful cinematography that captures the American wilderness in all of its awe-inspiring glory. \u003cem>Sasquatch Sunset\u003c/em> is also elevated by its cast — Nathan Zellner as dad, Riley Keough as mom, and Jesse Eisenberg and Christophe Zajac-Denek as the sons. Each injects their often absurd roles with a surprising sense of pathos. (Keough, in particular, conveys an incredible range of emotions using only her eyes.) \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13952039']All of this helps to propel pertinent messages about ecology and extinction. Don’t let that fool you into thinking this is a sensible film, however. There is nothing subtle or cerebral about the comedic content here. Specifically, there are moments of poop-flinging, mushroom-vomiting, placenta throwing and skunk-sniffing. More than one sasquatch penis makes an appearance. At one point, there’s a birthing scene in which a lady sasquatch gets on all fours while her son stands behind her in a goalie position. It’s not all perfect, but there \u003cem>are\u003c/em> laugh-out-loud moments here. The response of the sasquatch family to the discovery of a freshly built road in their territory, in particular, is both disquieting and hilarious.\u003c/p>\n\u003cp>One ultimately gets the sense that everyone involved in \u003cem>Sasquatch Sunset \u003c/em>wanted to make important points about the ways human beings destroy the natural world. But they also wanted to lay some blame with the hapless sasquatch as well. This is a Bigfoot family with poor impulse control who, try as they might, can’t even figure out how to count to four yet. This is a species which already can’t find any more of its kind before humans even start showing up. Maybe, the film suggests, sasquatches are already on the verge of extinction because they’re not the sharpest tools in the shed. Humanity? Well, we’re just not helping matters.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Sasquatch Sunset’ is released nationwide on April 12, 2024. Screenings at San Francisco’s AMC Metreon and Alamo Drafthouse begin on April 11.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The Ari Aster-produced musing on the lives of a Bigfoot family is even more bizarre than one might think.","status":"publish","parent":0,"modified":1712791022,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":557},"headData":{"title":"‘Sasquatch Sunset’ Review: A Silent Bigfoot Epic Hits Big Screens | KQED","description":"The Ari Aster-produced musing on the lives of a Bigfoot family is even more bizarre than one might think.","ogTitle":"‘Sasquatch Sunset’ Is Poop-Flinging Anarchy With an Eco Message","ogDescription":"","ogImgId":"","twTitle":"‘Sasquatch Sunset’ Is Poop-Flinging Anarchy With an Eco Message","twDescription":"","twImgId":"","socialTitle":"‘Sasquatch Sunset’ Review: A Silent Bigfoot Epic Hits Big Screens %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Sasquatch Sunset’ Is an Eco Message Buried Beneath Poop-Flinging Anarchy","datePublished":"2024-04-10T23:17:02.000Z","dateModified":"2024-04-10T23:17:02.000Z","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/13955729/sasquatch-sunset-review-bigfoot-movie-ari-aster-jesse-eisenberg","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Sasquatch Sunset\u003c/em> was always going to be a wild card of a movie. That much should be obvious before you even sit down to watch this dialogue-free, narrator-less, 90-minute musing on the lives of a \u003ca href=\"https://www.kqed.org/arts/13935838/sacramento-mothman-tahoe-tessie-antioch-bigfoot-kooki-davis-vampire-halloween\">Bigfoot\u003c/a> family. But the finished product is even stranger than you might imagine.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13935838","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>At the outset, this Ari Aster production had a choice to make. \u003cem>Sasquatch Sunset\u003c/em> could have leaned into its inherent appeal for the thousands of people who believe Bigfoot is real, and offered ideas about how these mythical creatures actually live(d). It could have been one of those beautifully shot art experiments that forces viewers to ponder the beauty and brutality of nature, and humanity’s place in it. Or it could have simply been a comedy about a bunch of hairy bipeds who walk like humans but are constrained by none of humanity’s social constructs.\u003c/p>\n\u003cp>Instead of picking one path, \u003cem>Sasquatch Sunset\u003c/em> opts for all three. The remarkable thing is that it results in a consistently entertaining movie, despite its wildly uneven tone.\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/KgfkthLpeXw'\n title='//www.youtube.com/embed/KgfkthLpeXw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Sasquatch Sunset\u003c/em>‘s watchability is the product of a very specific alchemy. It starts with the pairing of a \u003ca href=\"https://www.youtube.com/watch?v=12DbW-9YDwE&list=OLAK5uy_lBfWb0fdZQr1zf0vctQw4I8p6ws4OxYy0\">dreamy soundtrack by The Octopus Project\u003c/a> with masterful cinematography that captures the American wilderness in all of its awe-inspiring glory. \u003cem>Sasquatch Sunset\u003c/em> is also elevated by its cast — Nathan Zellner as dad, Riley Keough as mom, and Jesse Eisenberg and Christophe Zajac-Denek as the sons. Each injects their often absurd roles with a surprising sense of pathos. (Keough, in particular, conveys an incredible range of emotions using only her eyes.) \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":"aside","attributes":{"named":{"postid":"arts_13952039","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>All of this helps to propel pertinent messages about ecology and extinction. Don’t let that fool you into thinking this is a sensible film, however. There is nothing subtle or cerebral about the comedic content here. Specifically, there are moments of poop-flinging, mushroom-vomiting, placenta throwing and skunk-sniffing. More than one sasquatch penis makes an appearance. At one point, there’s a birthing scene in which a lady sasquatch gets on all fours while her son stands behind her in a goalie position. It’s not all perfect, but there \u003cem>are\u003c/em> laugh-out-loud moments here. The response of the sasquatch family to the discovery of a freshly built road in their territory, in particular, is both disquieting and hilarious.\u003c/p>\n\u003cp>One ultimately gets the sense that everyone involved in \u003cem>Sasquatch Sunset \u003c/em>wanted to make important points about the ways human beings destroy the natural world. But they also wanted to lay some blame with the hapless sasquatch as well. This is a Bigfoot family with poor impulse control who, try as they might, can’t even figure out how to count to four yet. This is a species which already can’t find any more of its kind before humans even start showing up. Maybe, the film suggests, sasquatches are already on the verge of extinction because they’re not the sharpest tools in the shed. Humanity? Well, we’re just not helping matters.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Sasquatch Sunset’ is released nationwide on April 12, 2024. Screenings at San Francisco’s AMC Metreon and Alamo Drafthouse begin on April 11.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13955729/sasquatch-sunset-review-bigfoot-movie-ari-aster-jesse-eisenberg","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_75"],"tags":["arts_21933","arts_549","arts_8700","arts_769","arts_585"],"featImg":"arts_13955745","label":"arts_140"},"arts_13953243":{"type":"posts","id":"arts_13953243","meta":{"index":"posts_1591205157","site":"arts","id":"13953243","score":null,"sort":[1709251603000]},"guestAuthors":[],"slug":"50-years-ago-blazing-saddles-broke-wind-and-box-office-expectations","title":"50 Years Ago, ‘Blazing Saddles’ Broke Wind — and Box Office Expectations","publishDate":1709251603,"format":"standard","headTitle":"50 Years Ago, ‘Blazing Saddles’ Broke Wind — and Box Office Expectations | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>Fifty years ago, \u003ca href=\"https://www.npr.org/2021/12/07/1061836388/mel-brooks-all-about-me\">Mel Brooks\u003c/a> released \u003cem>Blazing Saddles\u003c/em> to gales of laughter and a mighty roar of flatulence jokes.\u003c/p>\n\u003cp>Also to mixed reviews from harrumphing critics. \u003ca href=\"https://www.nytimes.com/1974/02/08/archives/screen-blazing-saddles-a-western-in-burlesque.html\">Typical \u003c/a>was Vincent Canby, whose New York Times review lamented the film’s “desperate, bone crushing efforts to be funny.”\u003c/p>\n\u003cp>The critics eventually came around, though it took a while. By the film’s 30th anniversary, NBC’s \u003cem>Today Show \u003c/em>was \u003ca href=\"https://www.today.com/popculture/blazing-saddles-still-has-big-laughs-wbna5263487\">acknowledging \u003c/a>that its laughs were in the service of a plot that “skewers just about every aspect of racial prejudice.”\u003c/p>\n\u003cp>[aside postid='arts_13939927']And in 2006, when NPR’s Linda Wertheimer reported that \u003cem>Blazing Saddles\u003c/em> was being added to the National Film Registry, she was clearly \u003ca href=\"https://www.npr.org/2006/12/30/6700144/blazing-saddles-makes-national-film-registry\">feigning incredulity\u003c/a>. “Who could have imagined a film featuring a bunch of cowboys sitting around the campfire, eating beans and breaking wind, to be enshrined in the Library of Congress?”\u003c/p>\n\u003cp>By then, of course, \u003cem>everyone\u003c/em> could imagine. Brooks had subsequently made a slew of genre-spoof classics (\u003cem>Young Frankenstein, Silent Movie, High Anxiety, Spaceballs, Robin Hood: Men in Tights\u003c/em>) and even riffed on history itself (\u003cem>History of the World: Part I\u003c/em>), not to mention the 2000 Year Old Man routines he created with \u003ca href=\"https://www.npr.org/2020/06/30/510434234/carl-reiner-actor-director-writer-producer-and-mensch-dies-at-98\">Carl Reiner\u003c/a>. The man was a legend.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But in 1974, he was significantly less well-known, having made a couple of mildly successful comedies (\u003cem>The Twelve Chairs\u003c/em> and \u003cem>The Producers\u003c/em>) and worked in\u003ca href=\"https://www.npr.org/2013/07/10/200755247/sid-caesar-who-got-laughs-without-politics-or-putdowns-dies-at-91\"> Sid Caesar\u003c/a>‘s joke-writer stable for TV. So what he was doing in this western parody got, in the words of another of that era’s funnymen, “no respect.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VKayG1TrfuE\u003c/p>\n\u003ch3>Upending Hollywood’s version of the Old West\u003c/h3>\n\u003cp>\u003cem>Blazing Saddles\u003c/em> starts out like many a Western before it: Big Sky country, a wide open prairie in the 1870s being tamed by a railroad. The foreman is white, his workers mostly African American, and he expects them to be singing as they sweat.\u003c/p>\n\u003cp>“When you were slaves you sang like birds,” he smirks. “How about a good ol’ n***** work song.”\u003c/p>\n\u003cp>Brooks worried about using the racial epithet I’ve just elided. But his co-screenwriter \u003ca href=\"https://www.npr.org/2014/12/11/369641000/richard-pryor-a-comedy-pioneer-who-was-always-whittling-on-dynamite\">Richard Pryor\u003c/a> insisted he use it — and use it often — consciously putting it the mouths of evil or unthinking characters, so that star Cleavon Little could comically mock or demolish them.\u003c/p>\n\u003cp>Which he does. Repeatedly. And hilariously.\u003c/p>\n\u003cp>[aside postid='arts_13907576']So, \u003cem>Blazing Saddles\u003c/em> is not really “like many a Western before it.” Brooks was upending Hollywood’s version of the Old West, much as \u003ca href=\"https://www.npr.org/2006/11/21/6520822/film-world-mourns-director-robert-altman\">Robert Altman\u003c/a>‘s dark, land-grab drama \u003cem>McCabe & Mrs. Miller\u003c/em> had, three years earlier. He just took a different tack. To set his comedy in motion, he had \u003ca href=\"https://www.npr.org/2008/05/30/90981454/comedic-actor-harvey-korman-dies-at-81\">Harvey Korman\u003c/a>‘s scheming politician come up with the idea of hiring a Black sheriff to scare the townsfolk of Rock Ridge away from their town, so he can buy it on the cheap before any of them learns the rail line will soon be coming through.\u003c/p>\n\u003cp>His ploy works. When Cleavon Little’s Sheriff Bart rides into view, they are indeed less than welcoming. But they are also less than bright — foiled in their plan to shoot their new sheriff, for instance, when he points his gun at his own head and takes \u003cem>himself\u003c/em> hostage.\u003c/p>\n\u003ch3>‘He’s like wet sauerkraut in my hands’\u003c/h3>\n\u003cp>Bart then teams up with \u003ca href=\"https://www.npr.org/2016/08/30/491944275/in-this-2005-interview-gene-wilder-explains-how-he-learned-to-get-laughs\">Gene Wilder\u003c/a>‘s Waco Kid, a hung-over gunslinger, at which point the film adopts the rhythms of a black/white buddy comedy. Until, that is, it turns into a spoof of \u003cem>The Blue Angel\u003c/em>, as Madeline Kahn’s seductress-for-hire Lili Von Shtupp croons a gloriously off-pitch “I’m Tired” and sets about seducing Sheriff Bart. “He’s like wet sauerkraut in my hands,” she purrs in an accent that suggests she got vocal coaching from both Marlene Dietrich and Elmer Fudd.\u003c/p>\n\u003cp>To satirize 1970s racial prejudice using 1870s characters, Brooks opted to become an equal-opportunity shredder of genres and conventions. A horse gets punched, as does an old lady. Even Busby Berkeley musicals come in for a brief ribbing when a brawl literally breaks the fourth wall and the cast crashes into a dance number on a nearby soundstage.\u003c/p>\n\u003cp>And of course, there’s that campfire scene: cowboys consuming pots of coffee and platefuls of baked beans, with predictable — though unusual for film — results.\u003c/p>\n\u003ch3>‘Bury it.’\u003c/h3>\n\u003cp>When studio executives first saw \u003cem>Blazing Saddles\u003c/em>, they were \u003cem>not\u003c/em> amused. One distributor \u003ca href=\"https://www.youtube.com/watch?v=uv7L6Hrlj58&t=99s\">suggested \u003c/a>they “bury it.” Others wanted rewrites. But Brooks’ \u003ca href=\"https://ew.com/article/2014/05/01/blazing-saddles-mel-brooks/\">contract gave him final cut\u003c/a>, and he flat-out refused to make changes.\u003c/p>\n\u003cp>So on Feb. 7, 1974, the studio opened the film as a test in three cities — NYC, LA, Chicago — considered the most likely to get Brooks’ Borscht Belt sense of humor. Critics were dismissive, but even the most negative reviews conceded that audiences were howling.\u003c/p>\n\u003cp>[aside postid='pop_107664']And word got around. By the time the weather had warmed, \u003cem>Blazing Saddles \u003c/em>was playing to long lines in suburban cinemas across the country.\u003c/p>\n\u003cp>It ended up the biggest box-office hit of 1974, seen by some 63 million moviegoers in North America (more than would, decades later, see \u003cem>any\u003c/em> of the \u003cem>Lord of the Rings\u003c/em> movies in U.S. theaters).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Blazing Saddles\u003c/em> became, in short, a pop culture touchstone. And 50 years later, that’s what it remains.\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=50+years+ago%2C+%27Blazing+Saddles%27+broke+wind+%E2%80%94+and+box+office+expectations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"In 1974, studio executives wanted to bury Mel Brooks' satirical Western. Audiences refused to let that happen.","status":"publish","parent":0,"modified":1709251603,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":949},"headData":{"title":"‘Blazing Saddles’ at 50: The Mel Brooks Comedy Classic Endures | KQED","description":"In 1974, studio executives wanted to bury Mel Brooks' satirical Western. Audiences refused to let that happen.","ogTitle":"50 Years Ago, ‘Blazing Saddles’ Broke Wind — and Box Office Expectations","ogDescription":"","ogImgId":"","twTitle":"50 Years Ago, ‘Blazing Saddles’ Broke Wind — and Box Office Expectations","twDescription":"","twImgId":"","socialTitle":"‘Blazing Saddles’ at 50: The Mel Brooks Comedy Classic Endures %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"50 Years Ago, ‘Blazing Saddles’ Broke Wind — and Box Office Expectations","datePublished":"2024-03-01T00:06:43.000Z","dateModified":"2024-03-01T00:06:43.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Warner Bros.","nprByline":"Bob Mondello","nprImageAgency":"Getty Images","nprStoryId":"1234699365","nprApiLink":"http://api.npr.org/query?id=1234699365&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2024/02/29/1234699365/blazing-saddles-mel-brooks?ft=nprml&f=1234699365","nprRetrievedStory":"1","nprPubDate":"Thu, 29 Feb 2024 17:57:00 -0500","nprStoryDate":"Thu, 29 Feb 2024 14:00:54 -0500","nprLastModifiedDate":"Thu, 29 Feb 2024 14:00:54 -0500","nprAudio":"https://play.podtrac.com/npr-191676894/ondemand.npr.org/anon.npr-mp3/npr/atc/2024/02/20240229_atc_50_years_ago_blazing_saddles_broke_wind_and_box_office_expectations.mp3?orgId=1&topicId=1045&d=273&p=2&story=1234699365&ft=nprml&f=1234699365","nprAudioM3u":"http://api.npr.org/m3u/11234998901-8dd4dd.m3u?orgId=1&topicId=1045&d=273&p=2&story=1234699365&ft=nprml&f=1234699365","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13953243/50-years-ago-blazing-saddles-broke-wind-and-box-office-expectations","audioUrl":"https://play.podtrac.com/npr-191676894/ondemand.npr.org/anon.npr-mp3/npr/atc/2024/02/20240229_atc_50_years_ago_blazing_saddles_broke_wind_and_box_office_expectations.mp3?orgId=1&topicId=1045&d=273&p=2&story=1234699365&ft=nprml&f=1234699365","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fifty years ago, \u003ca href=\"https://www.npr.org/2021/12/07/1061836388/mel-brooks-all-about-me\">Mel Brooks\u003c/a> released \u003cem>Blazing Saddles\u003c/em> to gales of laughter and a mighty roar of flatulence jokes.\u003c/p>\n\u003cp>Also to mixed reviews from harrumphing critics. \u003ca href=\"https://www.nytimes.com/1974/02/08/archives/screen-blazing-saddles-a-western-in-burlesque.html\">Typical \u003c/a>was Vincent Canby, whose New York Times review lamented the film’s “desperate, bone crushing efforts to be funny.”\u003c/p>\n\u003cp>The critics eventually came around, though it took a while. By the film’s 30th anniversary, NBC’s \u003cem>Today Show \u003c/em>was \u003ca href=\"https://www.today.com/popculture/blazing-saddles-still-has-big-laughs-wbna5263487\">acknowledging \u003c/a>that its laughs were in the service of a plot that “skewers just about every aspect of racial prejudice.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13939927","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>And in 2006, when NPR’s Linda Wertheimer reported that \u003cem>Blazing Saddles\u003c/em> was being added to the National Film Registry, she was clearly \u003ca href=\"https://www.npr.org/2006/12/30/6700144/blazing-saddles-makes-national-film-registry\">feigning incredulity\u003c/a>. “Who could have imagined a film featuring a bunch of cowboys sitting around the campfire, eating beans and breaking wind, to be enshrined in the Library of Congress?”\u003c/p>\n\u003cp>By then, of course, \u003cem>everyone\u003c/em> could imagine. Brooks had subsequently made a slew of genre-spoof classics (\u003cem>Young Frankenstein, Silent Movie, High Anxiety, Spaceballs, Robin Hood: Men in Tights\u003c/em>) and even riffed on history itself (\u003cem>History of the World: Part I\u003c/em>), not to mention the 2000 Year Old Man routines he created with \u003ca href=\"https://www.npr.org/2020/06/30/510434234/carl-reiner-actor-director-writer-producer-and-mensch-dies-at-98\">Carl Reiner\u003c/a>. The man was a legend.\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>But in 1974, he was significantly less well-known, having made a couple of mildly successful comedies (\u003cem>The Twelve Chairs\u003c/em> and \u003cem>The Producers\u003c/em>) and worked in\u003ca href=\"https://www.npr.org/2013/07/10/200755247/sid-caesar-who-got-laughs-without-politics-or-putdowns-dies-at-91\"> Sid Caesar\u003c/a>‘s joke-writer stable for TV. So what he was doing in this western parody got, in the words of another of that era’s funnymen, “no respect.”\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/VKayG1TrfuE'\n title='//www.youtube.com/embed/VKayG1TrfuE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Upending Hollywood’s version of the Old West\u003c/h3>\n\u003cp>\u003cem>Blazing Saddles\u003c/em> starts out like many a Western before it: Big Sky country, a wide open prairie in the 1870s being tamed by a railroad. The foreman is white, his workers mostly African American, and he expects them to be singing as they sweat.\u003c/p>\n\u003cp>“When you were slaves you sang like birds,” he smirks. “How about a good ol’ n***** work song.”\u003c/p>\n\u003cp>Brooks worried about using the racial epithet I’ve just elided. But his co-screenwriter \u003ca href=\"https://www.npr.org/2014/12/11/369641000/richard-pryor-a-comedy-pioneer-who-was-always-whittling-on-dynamite\">Richard Pryor\u003c/a> insisted he use it — and use it often — consciously putting it the mouths of evil or unthinking characters, so that star Cleavon Little could comically mock or demolish them.\u003c/p>\n\u003cp>Which he does. Repeatedly. And hilariously.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13907576","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>So, \u003cem>Blazing Saddles\u003c/em> is not really “like many a Western before it.” Brooks was upending Hollywood’s version of the Old West, much as \u003ca href=\"https://www.npr.org/2006/11/21/6520822/film-world-mourns-director-robert-altman\">Robert Altman\u003c/a>‘s dark, land-grab drama \u003cem>McCabe & Mrs. Miller\u003c/em> had, three years earlier. He just took a different tack. To set his comedy in motion, he had \u003ca href=\"https://www.npr.org/2008/05/30/90981454/comedic-actor-harvey-korman-dies-at-81\">Harvey Korman\u003c/a>‘s scheming politician come up with the idea of hiring a Black sheriff to scare the townsfolk of Rock Ridge away from their town, so he can buy it on the cheap before any of them learns the rail line will soon be coming through.\u003c/p>\n\u003cp>His ploy works. When Cleavon Little’s Sheriff Bart rides into view, they are indeed less than welcoming. But they are also less than bright — foiled in their plan to shoot their new sheriff, for instance, when he points his gun at his own head and takes \u003cem>himself\u003c/em> hostage.\u003c/p>\n\u003ch3>‘He’s like wet sauerkraut in my hands’\u003c/h3>\n\u003cp>Bart then teams up with \u003ca href=\"https://www.npr.org/2016/08/30/491944275/in-this-2005-interview-gene-wilder-explains-how-he-learned-to-get-laughs\">Gene Wilder\u003c/a>‘s Waco Kid, a hung-over gunslinger, at which point the film adopts the rhythms of a black/white buddy comedy. Until, that is, it turns into a spoof of \u003cem>The Blue Angel\u003c/em>, as Madeline Kahn’s seductress-for-hire Lili Von Shtupp croons a gloriously off-pitch “I’m Tired” and sets about seducing Sheriff Bart. “He’s like wet sauerkraut in my hands,” she purrs in an accent that suggests she got vocal coaching from both Marlene Dietrich and Elmer Fudd.\u003c/p>\n\u003cp>To satirize 1970s racial prejudice using 1870s characters, Brooks opted to become an equal-opportunity shredder of genres and conventions. A horse gets punched, as does an old lady. Even Busby Berkeley musicals come in for a brief ribbing when a brawl literally breaks the fourth wall and the cast crashes into a dance number on a nearby soundstage.\u003c/p>\n\u003cp>And of course, there’s that campfire scene: cowboys consuming pots of coffee and platefuls of baked beans, with predictable — though unusual for film — results.\u003c/p>\n\u003ch3>‘Bury it.’\u003c/h3>\n\u003cp>When studio executives first saw \u003cem>Blazing Saddles\u003c/em>, they were \u003cem>not\u003c/em> amused. One distributor \u003ca href=\"https://www.youtube.com/watch?v=uv7L6Hrlj58&t=99s\">suggested \u003c/a>they “bury it.” Others wanted rewrites. But Brooks’ \u003ca href=\"https://ew.com/article/2014/05/01/blazing-saddles-mel-brooks/\">contract gave him final cut\u003c/a>, and he flat-out refused to make changes.\u003c/p>\n\u003cp>So on Feb. 7, 1974, the studio opened the film as a test in three cities — NYC, LA, Chicago — considered the most likely to get Brooks’ Borscht Belt sense of humor. Critics were dismissive, but even the most negative reviews conceded that audiences were howling.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_107664","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>And word got around. By the time the weather had warmed, \u003cem>Blazing Saddles \u003c/em>was playing to long lines in suburban cinemas across the country.\u003c/p>\n\u003cp>It ended up the biggest box-office hit of 1974, seen by some 63 million moviegoers in North America (more than would, decades later, see \u003cem>any\u003c/em> of the \u003cem>Lord of the Rings\u003c/em> movies in U.S. theaters).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Blazing Saddles\u003c/em> became, in short, a pop culture touchstone. And 50 years later, that’s what it remains.\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=50+years+ago%2C+%27Blazing+Saddles%27+broke+wind+%E2%80%94+and+box+office+expectations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13953243/50-years-ago-blazing-saddles-broke-wind-and-box-office-expectations","authors":["byline_arts_13953243"],"categories":["arts_1","arts_74","arts_75"],"tags":["arts_21985","arts_21986","arts_549"],"affiliates":["arts_137"],"featImg":"arts_13953244","label":"arts_137"},"arts_13951751":{"type":"posts","id":"arts_13951751","meta":{"index":"posts_1591205157","site":"arts","id":"13951751","score":null,"sort":[1707338080000]},"guestAuthors":[],"slug":"lisa-frankenstein-diablo-cody-80s-satire-weird-science","title":"Diablo Cody’s ’80s Satire ‘Lisa Frankenstein’ Lurches From Whimsy to Unwatchable","publishDate":1707338080,"format":"standard","headTitle":"Diablo Cody’s ’80s Satire ‘Lisa Frankenstein’ Lurches From Whimsy to Unwatchable | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>It will come as no surprise that the new movie \u003cem>Lisa Frankenstein\u003c/em> is a real monster — stitched together from previous movies, painfully incoherent and deeply, deeply dumb.\u003c/p>\n\u003cp>[aside postid='arts_13951126']This is a baffling display of filmmaking, what appears to be a sort of feminist take on the reanimated creature trope that has been shoehorned into a late-1980s setting, complete with New Wave songs, teased hair and brightly colored spandex. Why? Presumably to giggle at shoulder pads, hairspray and Echo and the Bunnymen.\u003c/p>\n\u003cp>Kathryn Newton stars as the goth-like high school misfit teen Lisa Swallows, who befriends a reanimated zombie bachelor who died in 1837. Cole Sprouse plays the corpse, who is missing body parts, uses grunts to communicate and resembles Johnny Depp from \u003cem>Edward Scissorhands\u003c/em>. Whoever suggested he’d shine deserves to be made mute.\u003c/p>\n\u003cp>Lisa’s mother has met a grisly death and she has found herself in a new town with a new family after her dad remarries. Her stepmother (gloriously over-the-top Carla Gugino) hates her and her stepsister (Liza Soberano, hopefully not making a career-ending mistake) is a friendly cheerleader.\u003c/p>\n\u003cp>The arrival of a Victorian-era zombie into 1989 offers many possibilities but all the interesting ones are avoided as the filmmakers embark on a \u003cem>Weird Science\u003c/em>-like, \u003cem>My Fair Lady\u003c/em> reversal — cleaning him up and hiding him in her bedroom. “OK, Sparky, we’ve got to get you some new duds,” Lisa says helpfully. Those duds include a blazer and a Violent Femmes T-shirt.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The other thing the zombie really needs is replacement body parts. “You’re a dead man, not a Chrysler LeBaron,” Lisa tells him in a line that’s sure to kill with Gen Z. So parts are naturally harvested from people who are deemed to have crossed the pair. They use an axe to procure an ear, some fingers and a penis. (Yes, this is a quality movie: Chrysler AND weenie jokes.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=POOeA3zCuUY\u003c/p>\n\u003cp>Director Zelda Williams is simply overmatched here, unable to conjure tension, interest, connection or coherence. \u003cem>Lisa Frankenstein\u003c/em> lurches from idiocy to whimsy to grossness to ultra-violence, obsessed along the way with grade-school toilet humor, like putting worms in fruit salads.\u003c/p>\n\u003cp>But the blame needs to be spread around. I mean, how many jokes can you legally try to make about vibrators and menstrual cycles in one movie? “I got to go change my pad” is one of the lines expected to trigger howls of laughter.\u003c/p>\n\u003cp>Written by Diablo Cody — unhappily a million miles now from \u003cem>Juno\u003c/em> — who has tried, if we use the best possible motive, to write a satire of ’80s teen movies, but has made something unwatchable — unfunny, unclever and dull. \u003cem>Weekend at Bernie’s\u003c/em>, which also dealt with a corpse, looks like a Christopher Nolan film in comparison.\u003c/p>\n\u003cp>[aside postid='arts_13951144']Maybe, like Cody’s previous stab at horror \u003cem>Jennifer’s Body\u003c/em>, this will become a cult hit one day. But that at least had some fun parts. This is pure lazy storytelling, like thinking that just showing us a clip of Bob Ross painting is somehow uproariously funny.\u003c/p>\n\u003cp>Lisa, who by the end of the movie is dressing as Madonna circa \u003cem>Desperately Seeking Susan\u003c/em>, has embarked on a murderous rampage and is rushing to lose her virginity before it all ends. Will she find love? Will she recognize true love before it’s too late? Will we have to endure more jokes at the expense of REO Speedwagon’s “Can’t Fight This Feeling?” Who cares?\u003c/p>\n\u003cp>Filmgoers will note with alarm that by the time the credits roll, the sweet, goth-inclined outcast Lisa has evolved into an unhinged, violent, self-involved, murderous monster while the zombie has gone the other way, becoming more human and compassionate. Talk about losing your way.\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>‘Lisa Frankenstein’ is released nationwide on Feb. 9, 2024.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"‘Weekend at Bernie’s’ (also starring a corpse) looks like a Christopher Nolan film in comparison to this mess.","status":"publish","parent":0,"modified":1707524759,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":680},"headData":{"title":"‘Lisa Frankenstein’ Review: ’80s Teen Movie Satire is Unwatchable | KQED","description":"‘Weekend at Bernie’s’ (also starring a corpse) looks like a Christopher Nolan film in comparison to this mess.","ogTitle":"Diablo Cody’s ’80s Satire ‘Lisa Frankenstein’ Lurches From Whimsy to Unwatchable","ogDescription":"","ogImgId":"","twTitle":"Diablo Cody’s ’80s Satire ‘Lisa Frankenstein’ Lurches From Whimsy to Unwatchable","twDescription":"","twImgId":"","socialTitle":"‘Lisa Frankenstein’ Review: ’80s Teen Movie Satire is Unwatchable %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Diablo Cody’s ’80s Satire ‘Lisa Frankenstein’ Lurches From Whimsy to Unwatchable","datePublished":"2024-02-07T20:34:40.000Z","dateModified":"2024-02-10T00:25:59.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Mark Kennedy, Associated Press","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13951751/lisa-frankenstein-diablo-cody-80s-satire-weird-science","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It will come as no surprise that the new movie \u003cem>Lisa Frankenstein\u003c/em> is a real monster — stitched together from previous movies, painfully incoherent and deeply, deeply dumb.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13951126","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>This is a baffling display of filmmaking, what appears to be a sort of feminist take on the reanimated creature trope that has been shoehorned into a late-1980s setting, complete with New Wave songs, teased hair and brightly colored spandex. Why? Presumably to giggle at shoulder pads, hairspray and Echo and the Bunnymen.\u003c/p>\n\u003cp>Kathryn Newton stars as the goth-like high school misfit teen Lisa Swallows, who befriends a reanimated zombie bachelor who died in 1837. Cole Sprouse plays the corpse, who is missing body parts, uses grunts to communicate and resembles Johnny Depp from \u003cem>Edward Scissorhands\u003c/em>. Whoever suggested he’d shine deserves to be made mute.\u003c/p>\n\u003cp>Lisa’s mother has met a grisly death and she has found herself in a new town with a new family after her dad remarries. Her stepmother (gloriously over-the-top Carla Gugino) hates her and her stepsister (Liza Soberano, hopefully not making a career-ending mistake) is a friendly cheerleader.\u003c/p>\n\u003cp>The arrival of a Victorian-era zombie into 1989 offers many possibilities but all the interesting ones are avoided as the filmmakers embark on a \u003cem>Weird Science\u003c/em>-like, \u003cem>My Fair Lady\u003c/em> reversal — cleaning him up and hiding him in her bedroom. “OK, Sparky, we’ve got to get you some new duds,” Lisa says helpfully. Those duds include a blazer and a Violent Femmes T-shirt.\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>The other thing the zombie really needs is replacement body parts. “You’re a dead man, not a Chrysler LeBaron,” Lisa tells him in a line that’s sure to kill with Gen Z. So parts are naturally harvested from people who are deemed to have crossed the pair. They use an axe to procure an ear, some fingers and a penis. (Yes, this is a quality movie: Chrysler AND weenie jokes.)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/POOeA3zCuUY'\n title='//www.youtube.com/embed/POOeA3zCuUY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Director Zelda Williams is simply overmatched here, unable to conjure tension, interest, connection or coherence. \u003cem>Lisa Frankenstein\u003c/em> lurches from idiocy to whimsy to grossness to ultra-violence, obsessed along the way with grade-school toilet humor, like putting worms in fruit salads.\u003c/p>\n\u003cp>But the blame needs to be spread around. I mean, how many jokes can you legally try to make about vibrators and menstrual cycles in one movie? “I got to go change my pad” is one of the lines expected to trigger howls of laughter.\u003c/p>\n\u003cp>Written by Diablo Cody — unhappily a million miles now from \u003cem>Juno\u003c/em> — who has tried, if we use the best possible motive, to write a satire of ’80s teen movies, but has made something unwatchable — unfunny, unclever and dull. \u003cem>Weekend at Bernie’s\u003c/em>, which also dealt with a corpse, looks like a Christopher Nolan film in comparison.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13951144","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Maybe, like Cody’s previous stab at horror \u003cem>Jennifer’s Body\u003c/em>, this will become a cult hit one day. But that at least had some fun parts. This is pure lazy storytelling, like thinking that just showing us a clip of Bob Ross painting is somehow uproariously funny.\u003c/p>\n\u003cp>Lisa, who by the end of the movie is dressing as Madonna circa \u003cem>Desperately Seeking Susan\u003c/em>, has embarked on a murderous rampage and is rushing to lose her virginity before it all ends. Will she find love? Will she recognize true love before it’s too late? Will we have to endure more jokes at the expense of REO Speedwagon’s “Can’t Fight This Feeling?” Who cares?\u003c/p>\n\u003cp>Filmgoers will note with alarm that by the time the credits roll, the sweet, goth-inclined outcast Lisa has evolved into an unhinged, violent, self-involved, murderous monster while the zombie has gone the other way, becoming more human and compassionate. Talk about losing your way.\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>‘Lisa Frankenstein’ is released nationwide on Feb. 9, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13951751/lisa-frankenstein-diablo-cody-80s-satire-weird-science","authors":["byline_arts_13951751"],"categories":["arts_1","arts_74","arts_75"],"tags":["arts_10493","arts_549","arts_769","arts_931"],"featImg":"arts_13951758","label":"arts"},"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_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_13933589":{"type":"posts","id":"arts_13933589","meta":{"index":"posts_1591205157","site":"arts","id":"13933589","score":null,"sort":[1692729171000]},"guestAuthors":[],"slug":"behind-bottoms-a-wild-queer-and-bloody-high-school-sex-comedy","title":"Behind ‘Bottoms,’ a Wild, Queer and Bloody High School Sex Comedy","publishDate":1692729171,"format":"standard","headTitle":"Behind ‘Bottoms,’ a Wild, Queer and Bloody High School Sex Comedy | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>“Gay High School Fight Club” was the working title of the script that Emma Seligman and Rachel Sennott sent off to a producer a few years ago, riding a surreal wave of virtual goodwill after their film \u003cem>Shiva Baby\u003c/em> became a kind of cult sensation during the pandemic.\u003c/p>\n\u003cp>This story was about two unpopular friends, PJ and Josie, who are eager to lose their virginity (ideally to two beautiful cheerleaders). The only way they can figure out how to get close to said cheerleaders, however, is to form an all-female self-defense class that quickly devolves into a bloody fight club. They knew it had the potential to be riotously funny, slyly insightful and boundary pushing for queer teen representation. But would anyone want to make it?\u003c/p>\n\u003cp>Though the cinematic misadventures of horny, flawed, straight teenage boys may essentially be its own genre with dozens of films spanning decades, there has not been an equivalent for queer girls. Thankfully, though, the producer who got the script was Alison Small, the head of film at Elizabeth Banks and Max Handelman’s Brownstone Productions (also behind another wild hit this year, \u003cem>Cocaine Bear\u003c/em>). Instead of liabilities in untested concepts, Small thought it was the funniest thing she had ever read. It was smart, weird and original. They were in.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vH5NAahf76s\u003c/p>\n\u003cp>The film, now called \u003cem>Bottoms\u003c/em>, is on its way to theaters Friday (and expanding next week), featuring \u003cem>The Bear\u003c/em> breakout Ayo Edebiri as Josie, Kaia Gerber as the cheerleader Sennott’s character PJ is lusting after, \u003cem>Red, White & Royal Blue\u003c/em>’s Nicholas Galitzine as a toxic quarterback, and former NFL player Marshawn Lynch as a very unconventional teacher.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We thought a lot about camp casting and, like, John Waters,” Seligman, who directed, said. “Taking people from all walks of life and all kind of industries — people who could make fun of their personas.”\u003c/p>\n\u003cfigure id=\"attachment_13933623\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933623\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/marshawn-800x508.png\" alt=\"A Black man with long braids stands in the middle of a high school gym wearing sweats, smiling and gesturing. Students can be seen in the background.\" width=\"800\" height=\"508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/marshawn-800x508.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/marshawn-1020x647.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/marshawn-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/marshawn-768x487.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/marshawn-1536x974.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/marshawn.png 1882w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">NFL star Marshawn Lynch stars as Mr. G in ‘Bottoms.’ \u003ccite>(Orion Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seligman and Sennott have been working on \u003cem>Bottoms\u003c/em> since around 2017, writing the part of Josie for Edebiri specifically. The three, who spoke to The Associated Press in June before the actors strike, met as students at New York University. Though they said the school didn’t exactly foster extracurricular collaboration between departments, Sennott helped create an environment where that was possible, encouraging people to help one another instead of just venturing out alone.\u003c/p>\n\u003cp>“You were like, skipping your acting classes to work with the film students and meet the writing students and pushing to do stuff together and make sketches outside of school,” Seligman said in a joint interview with Sennott and Edebiri. “I don’t know what you were skipping to go audition for \u003cem>Shiva\u003c/em> and make that happen, but I’m glad you did.”\u003c/p>\n\u003cp>[aside postid='arts_13930807']The class, Sennott said, was Shakespeare.\u003c/p>\n\u003cp>“Nobody knows what they’re doing once they graduate,” Edebiri said. “Even if you think you have everything lined up, you’re still in the real world and there are still practical things, like how do you get representation? Submit to festivals? How do you meet up with producers who maybe are more established? There aren’t classes for that. We were trying to figure out the answers while we were still in school. So then as soon as we graduated, we could just hit the ground running, like jump into it and do it together.”\u003c/p>\n\u003cp>And they all stayed true to their word, even if they weren’t directly working together. When Edebiri got a writing job, she told her friends what it was like. When Seligman started working on sets, she passed on her experiences. When Sennott and Edebiri teamed up for a short form (and short-lived) Comedy Central series \u003cem>Ayo and Rachel are Single\u003c/em>, they learned how to take notes from a director as actors.\u003c/p>\n\u003cp>“I feel like we all helped each other forward,” Sennott said. “Some things you can only learn from doing.”\u003c/p>\n\u003cp>\u003cem>Bottoms\u003c/em>, which is being released by MGM’s Orion Pictures, is coming at a time when its stars are having a moment too, with Edebiri now a household name after two seasons as Sydney in Hulu’s \u003ca href=\"https://www.kqed.org/arts/13930853/the-bear-deftly-turns-the-corner-into-season-2\">\u003cem>The Bear\u003c/em>\u003c/a> and Sennott having recently co-starred in the conversation-provoking HBO series \u003ca href=\"https://www.kqed.org/arts/13930117/why-cant-hollywood-get-pop-stardom-right\">\u003cem>The Idol\u003c/em>\u003c/a> as well as last year’s wild horror \u003cem>Bodies Bodies Bodies\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13897324']Seligman and Sennott have a library of references that helped inspire the tone of \u003cem>Bottoms\u003c/em>, from \u003cem>Superbad\u003c/em> and \u003cem>Drop Dead Gorgeous\u003c/em> to \u003cem>Scott Pilgrim vs. the World\u003c/em> and \u003cem>Attack the Block\u003c/em>, but it’s also just its own thing too and there were many, many discussions about exactly what reality this world existed in.\u003c/p>\n\u003cp>The answer isn’t abundantly clear — the town is a kind of “Anytown,” the sets and costumes and props are rooted in the 21st century but not anything hyper specific, and the intensity of a rivalry with a local football team is one that reaches absurd heights.\u003c/p>\n\u003cp>And then there’s the fight club, which they had to keep reminding everyone wasn’t just a joke. It was supposed to be very, very real.\u003c/p>\n\u003cp>“Once we actually started to shoot it and talk to other departments, we had to be clear that it was a real fight club and we were going to have real stunts and real blood,” Seligman said. “I think some people still thought it was just going to be a fun comedy … As we kept on coming up against people asking, ’Wait, so are there going to be real stunts?” And for us it was like, ‘What did you think this was going to be like?’\u003c/p>\n\u003cp>“It became even more important as we were filming that we made clear that we wanted these girls to actually look really good as they were kicking ass.”\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>‘Bottoms’ is released Friday, Aug. 25, 2023. Preview screenings at San Francisco’s \u003ca href=\"https://drafthouse.com/sf/show/bottoms\">Alamo Drafthouse New Mission\u003c/a> will take place on Aug. 22 and 24.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Oakland's own Marshawn Lynch stars as a very unconventional teacher in this “gay high school fight club” teen comedy.","status":"publish","parent":0,"modified":1705005120,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1055},"headData":{"title":"With ‘Bottoms,’ Queer Teen Girls Get Their Own Fight Club | KQED","description":"Oakland's own Marshawn Lynch stars as a very unconventional teacher in this “gay high school fight club” teen comedy.","ogTitle":"Behind ‘Bottoms,’ a Wild, Queer and Bloody High School Sex Comedy","ogDescription":"","ogImgId":"","twTitle":"Behind ‘Bottoms,’ a Wild, Queer and Bloody High School Sex Comedy","twDescription":"","twImgId":"","socialTitle":"With ‘Bottoms,’ Queer Teen Girls Get Their Own Fight Club %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"Behind ‘Bottoms,’ a Wild, Queer and Bloody High School Sex Comedy","datePublished":"2023-08-22T18:32:51.000Z","dateModified":"2024-01-11T20:32:00.000Z","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/13933589/behind-bottoms-a-wild-queer-and-bloody-high-school-sex-comedy","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Gay High School Fight Club” was the working title of the script that Emma Seligman and Rachel Sennott sent off to a producer a few years ago, riding a surreal wave of virtual goodwill after their film \u003cem>Shiva Baby\u003c/em> became a kind of cult sensation during the pandemic.\u003c/p>\n\u003cp>This story was about two unpopular friends, PJ and Josie, who are eager to lose their virginity (ideally to two beautiful cheerleaders). The only way they can figure out how to get close to said cheerleaders, however, is to form an all-female self-defense class that quickly devolves into a bloody fight club. They knew it had the potential to be riotously funny, slyly insightful and boundary pushing for queer teen representation. But would anyone want to make it?\u003c/p>\n\u003cp>Though the cinematic misadventures of horny, flawed, straight teenage boys may essentially be its own genre with dozens of films spanning decades, there has not been an equivalent for queer girls. Thankfully, though, the producer who got the script was Alison Small, the head of film at Elizabeth Banks and Max Handelman’s Brownstone Productions (also behind another wild hit this year, \u003cem>Cocaine Bear\u003c/em>). Instead of liabilities in untested concepts, Small thought it was the funniest thing she had ever read. It was smart, weird and original. They were in.\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/vH5NAahf76s'\n title='//www.youtube.com/embed/vH5NAahf76s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The film, now called \u003cem>Bottoms\u003c/em>, is on its way to theaters Friday (and expanding next week), featuring \u003cem>The Bear\u003c/em> breakout Ayo Edebiri as Josie, Kaia Gerber as the cheerleader Sennott’s character PJ is lusting after, \u003cem>Red, White & Royal Blue\u003c/em>’s Nicholas Galitzine as a toxic quarterback, and former NFL player Marshawn Lynch as a very unconventional teacher.\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>“We thought a lot about camp casting and, like, John Waters,” Seligman, who directed, said. “Taking people from all walks of life and all kind of industries — people who could make fun of their personas.”\u003c/p>\n\u003cfigure id=\"attachment_13933623\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13933623\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/marshawn-800x508.png\" alt=\"A Black man with long braids stands in the middle of a high school gym wearing sweats, smiling and gesturing. Students can be seen in the background.\" width=\"800\" height=\"508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/marshawn-800x508.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/marshawn-1020x647.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/marshawn-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/marshawn-768x487.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/marshawn-1536x974.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/marshawn.png 1882w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">NFL star Marshawn Lynch stars as Mr. G in ‘Bottoms.’ \u003ccite>(Orion Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seligman and Sennott have been working on \u003cem>Bottoms\u003c/em> since around 2017, writing the part of Josie for Edebiri specifically. The three, who spoke to The Associated Press in June before the actors strike, met as students at New York University. Though they said the school didn’t exactly foster extracurricular collaboration between departments, Sennott helped create an environment where that was possible, encouraging people to help one another instead of just venturing out alone.\u003c/p>\n\u003cp>“You were like, skipping your acting classes to work with the film students and meet the writing students and pushing to do stuff together and make sketches outside of school,” Seligman said in a joint interview with Sennott and Edebiri. “I don’t know what you were skipping to go audition for \u003cem>Shiva\u003c/em> and make that happen, but I’m glad you did.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13930807","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The class, Sennott said, was Shakespeare.\u003c/p>\n\u003cp>“Nobody knows what they’re doing once they graduate,” Edebiri said. “Even if you think you have everything lined up, you’re still in the real world and there are still practical things, like how do you get representation? Submit to festivals? How do you meet up with producers who maybe are more established? There aren’t classes for that. We were trying to figure out the answers while we were still in school. So then as soon as we graduated, we could just hit the ground running, like jump into it and do it together.”\u003c/p>\n\u003cp>And they all stayed true to their word, even if they weren’t directly working together. When Edebiri got a writing job, she told her friends what it was like. When Seligman started working on sets, she passed on her experiences. When Sennott and Edebiri teamed up for a short form (and short-lived) Comedy Central series \u003cem>Ayo and Rachel are Single\u003c/em>, they learned how to take notes from a director as actors.\u003c/p>\n\u003cp>“I feel like we all helped each other forward,” Sennott said. “Some things you can only learn from doing.”\u003c/p>\n\u003cp>\u003cem>Bottoms\u003c/em>, which is being released by MGM’s Orion Pictures, is coming at a time when its stars are having a moment too, with Edebiri now a household name after two seasons as Sydney in Hulu’s \u003ca href=\"https://www.kqed.org/arts/13930853/the-bear-deftly-turns-the-corner-into-season-2\">\u003cem>The Bear\u003c/em>\u003c/a> and Sennott having recently co-starred in the conversation-provoking HBO series \u003ca href=\"https://www.kqed.org/arts/13930117/why-cant-hollywood-get-pop-stardom-right\">\u003cem>The Idol\u003c/em>\u003c/a> as well as last year’s wild horror \u003cem>Bodies Bodies Bodies\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13897324","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Seligman and Sennott have a library of references that helped inspire the tone of \u003cem>Bottoms\u003c/em>, from \u003cem>Superbad\u003c/em> and \u003cem>Drop Dead Gorgeous\u003c/em> to \u003cem>Scott Pilgrim vs. the World\u003c/em> and \u003cem>Attack the Block\u003c/em>, but it’s also just its own thing too and there were many, many discussions about exactly what reality this world existed in.\u003c/p>\n\u003cp>The answer isn’t abundantly clear — the town is a kind of “Anytown,” the sets and costumes and props are rooted in the 21st century but not anything hyper specific, and the intensity of a rivalry with a local football team is one that reaches absurd heights.\u003c/p>\n\u003cp>And then there’s the fight club, which they had to keep reminding everyone wasn’t just a joke. It was supposed to be very, very real.\u003c/p>\n\u003cp>“Once we actually started to shoot it and talk to other departments, we had to be clear that it was a real fight club and we were going to have real stunts and real blood,” Seligman said. “I think some people still thought it was just going to be a fun comedy … As we kept on coming up against people asking, ’Wait, so are there going to be real stunts?” And for us it was like, ‘What did you think this was going to be like?’\u003c/p>\n\u003cp>“It became even more important as we were filming that we made clear that we wanted these girls to actually look really good as they were kicking ass.”\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>‘Bottoms’ is released Friday, Aug. 25, 2023. Preview screenings at San Francisco’s \u003ca href=\"https://drafthouse.com/sf/show/bottoms\">Alamo Drafthouse New Mission\u003c/a> will take place on Aug. 22 and 24.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13933589/behind-bottoms-a-wild-queer-and-bloody-high-school-sex-comedy","authors":["byline_arts_13933589"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_75"],"tags":["arts_549","arts_3226","arts_585"],"featImg":"arts_13933615","label":"arts_140"},"arts_13933480":{"type":"posts","id":"arts_13933480","meta":{"index":"posts_1591205157","site":"arts","id":"13933480","score":null,"sort":[1692385770000]},"guestAuthors":[],"slug":"a-beautiful-city-comedian-chris-estrada-on-sf-and-the-iconic-punch-line","title":"‘A Beautiful City’: Comedian Chris Estrada on SF and the Iconic Punch Line","publishDate":1692385770,"format":"standard","headTitle":"‘A Beautiful City’: Comedian Chris Estrada on SF and the Iconic Punch Line | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003ca href=\"https://www.instagram.com/chrisestradacomic/?hl=en\">Chris Estrada\u003c/a> loves wandering around San Francisco.\u003c/p>\n\u003cp>Standing on the corner of Columbus and Vallejo with a slicked-back gentlemen’s cut and a crisp, black T-shirt, the Los Angeles-born stand-up comedian is arguably one of today’s funniest entertainers. [pullquote size=\"medium\" align=\"right\" citation=\"Comedian Chris Estrada\"]‘I truly love walking around San Francisco just because it’s such a beautiful city.’[/pullquote] He’s also the star and co-creator of the widely acclaimed TV series \u003cem>This Fool\u003c/em>, now in its second season on Hulu. While actors and writers, including Estrada, continue to \u003ca href=\"https://www.kqed.org/news/11956178/its-now-or-never-writers-and-actors-see-conflict-with-big-tech-as-existential\">strike over labor disputes\u003c/a>, the 39-year-old is making audiences laugh in person at some of the best comedy clubs in the country, including a \u003ca href=\"https://www.punchlinecomedyclub.com/\">current run at the Punch Line\u003c/a> in San Francisco.\u003c/p>\n\u003cp>“I truly love walking around San Francisco just because it’s such a beautiful city,” said Estrada while visiting Molinari Delicatessen for a quick lunch on Thursday afternoon. “We’re right down the street from City Lights. I love City Lights. It’s one of my favorite bookstores in the country.”\u003c/p>\n\u003cp>He’s also a fan of Mr. Bings in North Beach and the quieter side of the Sunset because it’s right by the water (he loves the fog). Estrada’s no stranger to the Punch Line, where he’s previously been an opener, and he’s performed at Cobb’s and Comedy Central’s Clusterfest at the Civic Center.\u003c/p>\n\u003cp>This time, however, Estrada makes his headline debut at the venue where the likes of comedy figures such as the late Robin Williams, Dana Carvey and Dave Chappelle have all stood on stage making audiences laugh through the decades.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This weekend, Estrada isn’t alone. He’s tapped local comedian Allison Hooker as host, and L.A.-based comic Zack Chapaloni to warm up the crowd.\u003c/p>\n\u003cp>Estrada’s comedy style is both personal and universal. He can write a joke with details that instantly resonate with Latinos, and still have the entire audience laughing. He wants everyone in on the joke.\u003c/p>\n\u003cp>He also draws on his own life: the absurdity of missing the thrill of toxic relationships, or how being nice is an “ugly people quality” while calling himself “an ugly fool with a heart of gold.”\u003c/p>\n\u003cp>Making audiences erupt in laughter at clubs like the Punch Line this past week is something Estrada said he’s been working toward for the last decade — and it feels good.\u003c/p>\n\u003cp>“That club is really special. It’s just beautiful in there. To me, it’s one of the perfect clubs in the country,” Estrada said. “It’s low ceilings. It’s incredibly intimate. It fits about 180, maybe 200 [people], which is nice. It’s just small, wide and that backdrop is iconic. That painted backdrop of San Francisco — I love it.”\u003c/p>\n\u003ch2>‘I just kept going and going’\u003c/h2>\n\u003cp>Losing a nighttime job as a valet for the Beverly Hilton changed the trajectory of Estrada’s life. Having grown up in working-class neighborhoods like Inglewood and South Central, he often jokes that he always held “three shitty jobs” that would pay him the equivalent of one shitty job.\u003c/p>\n\u003cp>When he lost the valet gig — parking luxury cars at star-studded events like the Golden Globes — his nights suddenly freed up. Estrada worked up the nerve to finally give his stand-up comedy dreams a chance.\u003c/p>\n\u003cfigure id=\"attachment_13933490\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933490\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut.jpg\" alt=\"A man in a blue jacket sits inside a bookstore with a full bookshelf behind him.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Chris Estrada hangs out at City Lights Bookstore in San Francisco’s North Beach neighborhood on Aug. 17, 2023, during a headlining run at the Punchline comedy club. \u003ccite>(Beth LeBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I went and I had a decent set the first time. And then, I was like, ‘Fuck it. I don’t have anything to do at night anymore so I’m just going to keep doing this,’” he said. “I kept doing it blindly. I just kept going and going.”\u003c/p>\n\u003cp>He said headlining the Punch Line feels like a real stepping stone, especially when he reflects on the trips he used to make to San Francisco from Los Angeles just to watch performances and get a feel for the local scene.\u003c/p>\n\u003cp>“The clubs out here, the people out here, they’re pretty savvy, comedically,” he said. “Audiences, they’re just a sharp, city audience.”\u003c/p>\n\u003ch2>Getting inspiration from Bay Area punk\u003c/h2>\n\u003cp>Besides his affinity for stand-up, Estrada is also a huge music enthusiast. He admits to driving out of his way to places like Going Underground Records in downtown Bakersfield just to pick up a rare album. He loves Joe Strummer, and often wears punk and hardcore T-shirts from local and national bands. So it’s no surprise to learn that Estrada is well-versed in Bay Area punk bands and long-lost music venues in San Francisco. [pullquote size=\"medium\" align=\"right\" citation=\"Comedian Chris Estrada\"]‘San Francisco itself has such a history of punk music. I also love Dead Kennedys. I love Spazz, an old powerviolence band. There are so many Bay Area punk bands that I love.’[/pullquote] “I also like to walk around and look for old punk venues that don’t exist anymore. There was this Filipino place out here in the ’70s called Mabuhay Gardens and they used to rent out its place to punk shows,” he said. “There was another place not too far from here called the Deaf Club. It was a club for deaf people and then a lot of punk bands used to perform there. I always look around for these places.”\u003c/p>\n\u003cp>He’s a fan of Berkeley-formed hardcore punk band Spitboy, and said drummer \u003ca href=\"https://www.kqed.org/arts/11470573/the-struggles-and-victories-of-a-chicana-woman-in-a-hardcore-band\">Michelle Cruz Gonzales\u003c/a> attended one of his Punch Line shows this week. He enjoys The Avengers, The Dils and Crime. He also recommends new bands like Oakland punks Deseos Primitivos, who he found on Bandcamp and whose album he immediately bought at a record store in downtown L.A.\u003c/p>\n\u003cp>“San Francisco itself has such a history of punk music,” he said. “I also love Dead Kennedys. I love Spazz, an old powerviolence band. There are so many Bay Area punk bands that I love.”\u003c/p>\n\u003cp>Music accompanies Estrada on the road, bringing him comfort on long drives and flights while on tour. It’s also what gets him in the right mindset before he takes the stage. [aside label='More on Bay Area Music' tag='bay-area-punk'] “There’s a song, it’s not like an energetic song, it’s called ‘\u003ca href=\"https://youtu.be/3Ifb_Zs0X9s\">State of the Art\u003c/a>’ by Jesse Malin. Then, there’s another song called ‘\u003ca href=\"https://youtu.be/3MUGAxpI0Bc\">Ante Up’\u003c/a> by a hip-hop group called M.O.P. — and that just has such a strong energy,” he said. “‘Ante Up,’ because it’s such an amped-up, hyped song, it’s about robbing rappers, it just gets me in a really good mood when I need it. But when I feel anxiety, the other one calms me down.”\u003c/p>\n\u003cp>With his last remaining performances at the Punch Line, Estrada hopes to win over people in the crowd who aren’t as familiar with his stand-up career. He recognizes that Hollywood fame only lasts a few seasons for many in the industry. It’s comedy he’s betting on — and he aims to leave audiences across the country wanting an encore.\u003c/p>\n\u003cp>“Because of \u003cem>This Fool\u003c/em>, most people are coming to see me because of that. Some of them don’t know me as a stand-up comedian. I don’t know how long I’ll have the show. Maybe we’ll have a third season, maybe we won’t. Who knows? At some point, it ends,” Estrada said.\u003c/p>\n\u003cp>“I don’t want [audiences] to keep coming because they know the show,” he added. “I want a large part of them to keep coming because they know me as a comedian.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Chris Estrada performs at the Punch Line in San Francisco through Aug. 19. \u003c/em>\u003ca href=\"https://www.punchlinecomedyclub.com/\">\u003cem>Details here\u003c/em>\u003c/a>\u003cem>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Ahead of his headlining shows at the famed comedy club, the star of Hulu's 'This Fool' shares his favorite SF treasures. ","status":"publish","parent":0,"modified":1705005131,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":1434},"headData":{"title":"Chris Estrada on Headlining the Punch Line and His Favorite SF Treasures | KQED","description":"Ahead of his headlining shows at the famed comedy club, the star of Hulu's 'This Fool' shares his favorite SF treasures. ","ogTitle":"‘A Beautiful City’: Comedian Chris Estrada on SF and the Iconic Punch Line","ogDescription":"","ogImgId":"","twTitle":"‘A Beautiful City’: Comedian Chris Estrada on SF and the Iconic Punch Line","twDescription":"","twImgId":"","socialTitle":"Chris Estrada on Headlining the Punch Line and His Favorite SF Treasures %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘A Beautiful City’: Comedian Chris Estrada on SF and the Iconic Punch Line","datePublished":"2023-08-18T19:09:30.000Z","dateModified":"2024-01-11T20:32:11.000Z","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/13933480/a-beautiful-city-comedian-chris-estrada-on-sf-and-the-iconic-punch-line","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.instagram.com/chrisestradacomic/?hl=en\">Chris Estrada\u003c/a> loves wandering around San Francisco.\u003c/p>\n\u003cp>Standing on the corner of Columbus and Vallejo with a slicked-back gentlemen’s cut and a crisp, black T-shirt, the Los Angeles-born stand-up comedian is arguably one of today’s funniest entertainers. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘I truly love walking around San Francisco just because it’s such a beautiful city.’","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"Comedian Chris Estrada","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp> He’s also the star and co-creator of the widely acclaimed TV series \u003cem>This Fool\u003c/em>, now in its second season on Hulu. While actors and writers, including Estrada, continue to \u003ca href=\"https://www.kqed.org/news/11956178/its-now-or-never-writers-and-actors-see-conflict-with-big-tech-as-existential\">strike over labor disputes\u003c/a>, the 39-year-old is making audiences laugh in person at some of the best comedy clubs in the country, including a \u003ca href=\"https://www.punchlinecomedyclub.com/\">current run at the Punch Line\u003c/a> in San Francisco.\u003c/p>\n\u003cp>“I truly love walking around San Francisco just because it’s such a beautiful city,” said Estrada while visiting Molinari Delicatessen for a quick lunch on Thursday afternoon. “We’re right down the street from City Lights. I love City Lights. It’s one of my favorite bookstores in the country.”\u003c/p>\n\u003cp>He’s also a fan of Mr. Bings in North Beach and the quieter side of the Sunset because it’s right by the water (he loves the fog). Estrada’s no stranger to the Punch Line, where he’s previously been an opener, and he’s performed at Cobb’s and Comedy Central’s Clusterfest at the Civic Center.\u003c/p>\n\u003cp>This time, however, Estrada makes his headline debut at the venue where the likes of comedy figures such as the late Robin Williams, Dana Carvey and Dave Chappelle have all stood on stage making audiences laugh through the decades.\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>This weekend, Estrada isn’t alone. He’s tapped local comedian Allison Hooker as host, and L.A.-based comic Zack Chapaloni to warm up the crowd.\u003c/p>\n\u003cp>Estrada’s comedy style is both personal and universal. He can write a joke with details that instantly resonate with Latinos, and still have the entire audience laughing. He wants everyone in on the joke.\u003c/p>\n\u003cp>He also draws on his own life: the absurdity of missing the thrill of toxic relationships, or how being nice is an “ugly people quality” while calling himself “an ugly fool with a heart of gold.”\u003c/p>\n\u003cp>Making audiences erupt in laughter at clubs like the Punch Line this past week is something Estrada said he’s been working toward for the last decade — and it feels good.\u003c/p>\n\u003cp>“That club is really special. It’s just beautiful in there. To me, it’s one of the perfect clubs in the country,” Estrada said. “It’s low ceilings. It’s incredibly intimate. It fits about 180, maybe 200 [people], which is nice. It’s just small, wide and that backdrop is iconic. That painted backdrop of San Francisco — I love it.”\u003c/p>\n\u003ch2>‘I just kept going and going’\u003c/h2>\n\u003cp>Losing a nighttime job as a valet for the Beverly Hilton changed the trajectory of Estrada’s life. Having grown up in working-class neighborhoods like Inglewood and South Central, he often jokes that he always held “three shitty jobs” that would pay him the equivalent of one shitty job.\u003c/p>\n\u003cp>When he lost the valet gig — parking luxury cars at star-studded events like the Golden Globes — his nights suddenly freed up. Estrada worked up the nerve to finally give his stand-up comedy dreams a chance.\u003c/p>\n\u003cfigure id=\"attachment_13933490\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13933490\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut.jpg\" alt=\"A man in a blue jacket sits inside a bookstore with a full bookshelf behind him.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/RS68038_230817-ComedianChrisEstrada-12-BL-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Chris Estrada hangs out at City Lights Bookstore in San Francisco’s North Beach neighborhood on Aug. 17, 2023, during a headlining run at the Punchline comedy club. \u003ccite>(Beth LeBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I went and I had a decent set the first time. And then, I was like, ‘Fuck it. I don’t have anything to do at night anymore so I’m just going to keep doing this,’” he said. “I kept doing it blindly. I just kept going and going.”\u003c/p>\n\u003cp>He said headlining the Punch Line feels like a real stepping stone, especially when he reflects on the trips he used to make to San Francisco from Los Angeles just to watch performances and get a feel for the local scene.\u003c/p>\n\u003cp>“The clubs out here, the people out here, they’re pretty savvy, comedically,” he said. “Audiences, they’re just a sharp, city audience.”\u003c/p>\n\u003ch2>Getting inspiration from Bay Area punk\u003c/h2>\n\u003cp>Besides his affinity for stand-up, Estrada is also a huge music enthusiast. He admits to driving out of his way to places like Going Underground Records in downtown Bakersfield just to pick up a rare album. He loves Joe Strummer, and often wears punk and hardcore T-shirts from local and national bands. So it’s no surprise to learn that Estrada is well-versed in Bay Area punk bands and long-lost music venues in San Francisco. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘San Francisco itself has such a history of punk music. I also love Dead Kennedys. I love Spazz, an old powerviolence band. There are so many Bay Area punk bands that I love.’","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"Comedian Chris Estrada","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp> “I also like to walk around and look for old punk venues that don’t exist anymore. There was this Filipino place out here in the ’70s called Mabuhay Gardens and they used to rent out its place to punk shows,” he said. “There was another place not too far from here called the Deaf Club. It was a club for deaf people and then a lot of punk bands used to perform there. I always look around for these places.”\u003c/p>\n\u003cp>He’s a fan of Berkeley-formed hardcore punk band Spitboy, and said drummer \u003ca href=\"https://www.kqed.org/arts/11470573/the-struggles-and-victories-of-a-chicana-woman-in-a-hardcore-band\">Michelle Cruz Gonzales\u003c/a> attended one of his Punch Line shows this week. He enjoys The Avengers, The Dils and Crime. He also recommends new bands like Oakland punks Deseos Primitivos, who he found on Bandcamp and whose album he immediately bought at a record store in downtown L.A.\u003c/p>\n\u003cp>“San Francisco itself has such a history of punk music,” he said. “I also love Dead Kennedys. I love Spazz, an old powerviolence band. There are so many Bay Area punk bands that I love.”\u003c/p>\n\u003cp>Music accompanies Estrada on the road, bringing him comfort on long drives and flights while on tour. It’s also what gets him in the right mindset before he takes the stage. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"label":"More on Bay Area Music ","tag":"bay-area-punk"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp> “There’s a song, it’s not like an energetic song, it’s called ‘\u003ca href=\"https://youtu.be/3Ifb_Zs0X9s\">State of the Art\u003c/a>’ by Jesse Malin. Then, there’s another song called ‘\u003ca href=\"https://youtu.be/3MUGAxpI0Bc\">Ante Up’\u003c/a> by a hip-hop group called M.O.P. — and that just has such a strong energy,” he said. “‘Ante Up,’ because it’s such an amped-up, hyped song, it’s about robbing rappers, it just gets me in a really good mood when I need it. But when I feel anxiety, the other one calms me down.”\u003c/p>\n\u003cp>With his last remaining performances at the Punch Line, Estrada hopes to win over people in the crowd who aren’t as familiar with his stand-up career. He recognizes that Hollywood fame only lasts a few seasons for many in the industry. It’s comedy he’s betting on — and he aims to leave audiences across the country wanting an encore.\u003c/p>\n\u003cp>“Because of \u003cem>This Fool\u003c/em>, most people are coming to see me because of that. Some of them don’t know me as a stand-up comedian. I don’t know how long I’ll have the show. Maybe we’ll have a third season, maybe we won’t. Who knows? At some point, it ends,” Estrada said.\u003c/p>\n\u003cp>“I don’t want [audiences] to keep coming because they know the show,” he added. “I want a large part of them to keep coming because they know me as a comedian.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Chris Estrada performs at the Punch Line in San Francisco through Aug. 19. \u003c/em>\u003ca href=\"https://www.punchlinecomedyclub.com/\">\u003cem>Details here\u003c/em>\u003c/a>\u003cem>. \u003c/em>\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/13933480/a-beautiful-city-comedian-chris-estrada-on-sf-and-the-iconic-punch-line","authors":["11852"],"categories":["arts_1","arts_968"],"tags":["arts_6425","arts_9964","arts_549","arts_13501","arts_5234","arts_1256","arts_4681","arts_5732","arts_3986","arts_913","arts_3432"],"featImg":"arts_13933444","label":"arts"},"arts_13932527":{"type":"posts","id":"arts_13932527","meta":{"index":"posts_1591205157","site":"arts","id":"13932527","score":null,"sort":[1690985835000]},"guestAuthors":[],"slug":"the-teenage-mutant-ninja-turtles-are-back-and-maybe-better-than-ever","title":"The Teenage Mutant Ninja Turtles Are Back, and Maybe Better Than Ever","publishDate":1690985835,"format":"standard","headTitle":"The Teenage Mutant Ninja Turtles Are Back, and Maybe Better Than Ever | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>There are some good gags and clever innovations in the animated \u003cem>Teenage Mutant Ninja Turtles: Mutant Mayhem\u003c/em>, but there is one brilliant idea: casting Ice Cube as the voice of the movie’s mutant insect supervillain Super Fly.\u003c/p>\n\u003cp>It might have once been hard to foresee the value of having the emcee who rapped of “dropping bombs on your moms” as the MVP of a PG-rated kids movie. But we’re now up to the seventh \u003cem>Teenage Mutant Ninja Turtles\u003c/em> film, not counting all the series and videogames. That’s a lot of movies for a bit of IP that’s clung more firmly to lunch boxes than it has to pop culture. For the turtles, it was getting to be time to either, as Ice Cube would say, “chickity-check yo’ self” or try something new.\u003c/p>\n\u003cp>[aside postid='arts_13931753']\u003cem>Mutant Mayhem\u003c/em>, which opens in theaters Wednesday, can’t entirely get over the feeling of trodding over well-covered turtle ground. But if we must go once more into the ooze, the film by director Jeff Rowe (co-director of \u003cem>The Mitchells vs. the Machines\u003c/em>) and co-written by co-producers Seth Rogen and Evan Goldberg, is probably the best of a not-so-stellar franchise. It’s certainly the one most invested with that “teenage” part of the turtles’ name. Plus, it’s got Ice Cube as a fly who quotes from the O’Jays.\u003c/p>\n\u003cp>The animation is vividly textured, the beat is persistently hip-hop (Lauryn Hill, De La Soul, Ol’ Dirty Bastard and others pack the electronic score by Trent Reznor and Atticus Ross) and the New York of the film is impressively detailed. But the most important twist to this \u003cem>Teenage Mutant Ninja Turtles\u003c/em> iteration may be diving into the teenage-ness of its 15-year-old turtles.\u003c/p>\n\u003cp>If \u003cem>Barbi\u003c/em>e was balanced between Greta Gerwig’s childhood memories and her adult feminism, \u003cem>Mutant Mayhem\u003c/em> gives itself over more fully to the mindset of adolescence. That’s in the gross-out humor and the comic book-like feel of the animation. But these are also recognizable teenagers who watch movies (\u003cem>Ferris Bueller’s Day Off\u003c/em>), pine for concert tickets and make goofy phone videos of themselves slicing watermelons.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JhXRNRmuYcc\u003c/p>\n\u003cp>What Donatello (Micah Abbey), Michelangelo (Shamon Brown Jr.), Leonardo (Nicolas Cantu) and Raphael (Brady Noon) really want is to fit in and go to high school like other teens. They have been relegated to the sewer ever since Splinter, a rat voiced by Jackie Chan, happened upon them after they were exposed as hatchlings to the same ooze that spawned Super Fly — who himself was the product of experiments by scientist Baxter Stockman (Giancarlo Esposito, fated to dubious laboratories).\u003c/p>\n\u003cp>Splinter has much the same opinion of the majority of the rats in \u003cem>Ratatouille\u003c/em>: Humans can’t be trusted. (Splinter’s particular fear is that they will “milk” him.) So the turtles have grown up underground, a little like the homeschooled family of \u003cem>The Wolfpack\u003c/em>, while yearning for the wider world.\u003c/p>\n\u003cp>[aside postid='arts_13932259']They find a hint of it with a high-school journalist named April O’Neil (Ayo Edebiri), who wants to document, and thus prove to humankind, their decency. At the same, the turtles meet the charismatic Super Fly (voiced with bombastic aplomb by Ice Cube) and his band of mutants. At first, they’re fast-friends — “cousins,” Super Fly says — but the turtles then start hearing of Super Fly’s plans to turn all animals into mutants and eradicate the world of humans.\u003c/p>\n\u003cp>“Peoples, they got to go,” chimes one mutant.\u003c/p>\n\u003cp>Some of the thunder of \u003cem>Mutant Mayhem\u003c/em> has been stolen by \u003cem>Into the Spider-Verse\u003c/em> and this year’s \u003cem>Across the Spider-Verse\u003c/em> — films that likewise upend the typical look of studio animation and do it with a pulsing soundtrack; but they did it more eclectically.\u003c/p>\n\u003cp>Yet this \u003cem>Teenage Mutant Ninja Turtles\u003c/em>, while a half shell of those films, has its own low-key charms. It’s goofier, grosser and mostly fun. The four turtles are never more than a hard-to-differentiate bale of overlapping dialogue of doubt and anxiety. But that first word in their name finally feels genuine. Seven films in, it’s only right that Donatello, Michelangelo, Leonardo and Raphael should get a renaissance.\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>‘Teenage Mutant Ninja Turtles: Mutant Mayhem’ is out nationwide on August 2, 2023.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"It's a movie about turtles trying to stop a giant fly from turning animals into mutants to eradicate humans. Oh, go on then.","status":"publish","parent":0,"modified":1705005201,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":777},"headData":{"title":"Movie Review: ‘Teenage Mutant Ninja Turtles: Mutant Mayhem‘ | KQED","description":"It's a movie about turtles trying to stop a giant fly from turning animals into mutants to eradicate humans. Oh, go on then.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialTitle":"Movie Review: ‘Teenage Mutant Ninja Turtles: Mutant Mayhem‘ %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Teenage Mutant Ninja Turtles Are Back, and Maybe Better Than Ever","datePublished":"2023-08-02T14:17:15.000Z","dateModified":"2024-01-11T20:33:21.000Z","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/13932527/the-teenage-mutant-ninja-turtles-are-back-and-maybe-better-than-ever","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are some good gags and clever innovations in the animated \u003cem>Teenage Mutant Ninja Turtles: Mutant Mayhem\u003c/em>, but there is one brilliant idea: casting Ice Cube as the voice of the movie’s mutant insect supervillain Super Fly.\u003c/p>\n\u003cp>It might have once been hard to foresee the value of having the emcee who rapped of “dropping bombs on your moms” as the MVP of a PG-rated kids movie. But we’re now up to the seventh \u003cem>Teenage Mutant Ninja Turtles\u003c/em> film, not counting all the series and videogames. That’s a lot of movies for a bit of IP that’s clung more firmly to lunch boxes than it has to pop culture. For the turtles, it was getting to be time to either, as Ice Cube would say, “chickity-check yo’ self” or try something new.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13931753","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cem>Mutant Mayhem\u003c/em>, which opens in theaters Wednesday, can’t entirely get over the feeling of trodding over well-covered turtle ground. But if we must go once more into the ooze, the film by director Jeff Rowe (co-director of \u003cem>The Mitchells vs. the Machines\u003c/em>) and co-written by co-producers Seth Rogen and Evan Goldberg, is probably the best of a not-so-stellar franchise. It’s certainly the one most invested with that “teenage” part of the turtles’ name. Plus, it’s got Ice Cube as a fly who quotes from the O’Jays.\u003c/p>\n\u003cp>The animation is vividly textured, the beat is persistently hip-hop (Lauryn Hill, De La Soul, Ol’ Dirty Bastard and others pack the electronic score by Trent Reznor and Atticus Ross) and the New York of the film is impressively detailed. But the most important twist to this \u003cem>Teenage Mutant Ninja Turtles\u003c/em> iteration may be diving into the teenage-ness of its 15-year-old turtles.\u003c/p>\n\u003cp>If \u003cem>Barbi\u003c/em>e was balanced between Greta Gerwig’s childhood memories and her adult feminism, \u003cem>Mutant Mayhem\u003c/em> gives itself over more fully to the mindset of adolescence. That’s in the gross-out humor and the comic book-like feel of the animation. But these are also recognizable teenagers who watch movies (\u003cem>Ferris Bueller’s Day Off\u003c/em>), pine for concert tickets and make goofy phone videos of themselves slicing watermelons.\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/JhXRNRmuYcc'\n title='//www.youtube.com/embed/JhXRNRmuYcc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What Donatello (Micah Abbey), Michelangelo (Shamon Brown Jr.), Leonardo (Nicolas Cantu) and Raphael (Brady Noon) really want is to fit in and go to high school like other teens. They have been relegated to the sewer ever since Splinter, a rat voiced by Jackie Chan, happened upon them after they were exposed as hatchlings to the same ooze that spawned Super Fly — who himself was the product of experiments by scientist Baxter Stockman (Giancarlo Esposito, fated to dubious laboratories).\u003c/p>\n\u003cp>Splinter has much the same opinion of the majority of the rats in \u003cem>Ratatouille\u003c/em>: Humans can’t be trusted. (Splinter’s particular fear is that they will “milk” him.) So the turtles have grown up underground, a little like the homeschooled family of \u003cem>The Wolfpack\u003c/em>, while yearning for the wider world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13932259","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>They find a hint of it with a high-school journalist named April O’Neil (Ayo Edebiri), who wants to document, and thus prove to humankind, their decency. At the same, the turtles meet the charismatic Super Fly (voiced with bombastic aplomb by Ice Cube) and his band of mutants. At first, they’re fast-friends — “cousins,” Super Fly says — but the turtles then start hearing of Super Fly’s plans to turn all animals into mutants and eradicate the world of humans.\u003c/p>\n\u003cp>“Peoples, they got to go,” chimes one mutant.\u003c/p>\n\u003cp>Some of the thunder of \u003cem>Mutant Mayhem\u003c/em> has been stolen by \u003cem>Into the Spider-Verse\u003c/em> and this year’s \u003cem>Across the Spider-Verse\u003c/em> — films that likewise upend the typical look of studio animation and do it with a pulsing soundtrack; but they did it more eclectically.\u003c/p>\n\u003cp>Yet this \u003cem>Teenage Mutant Ninja Turtles\u003c/em>, while a half shell of those films, has its own low-key charms. It’s goofier, grosser and mostly fun. The four turtles are never more than a hard-to-differentiate bale of overlapping dialogue of doubt and anxiety. But that first word in their name finally feels genuine. Seven films in, it’s only right that Donatello, Michelangelo, Leonardo and Raphael should get a renaissance.\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>‘Teenage Mutant Ninja Turtles: Mutant Mayhem’ is out nationwide on August 2, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13932527/the-teenage-mutant-ninja-turtles-are-back-and-maybe-better-than-ever","authors":["byline_arts_13932527"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_75"],"tags":["arts_20975","arts_549","arts_831","arts_585","arts_9689"],"featImg":"arts_13932528","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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But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","tagline":"Exploring the Bay Area, one question at a time","info":"KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. 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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. 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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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The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.","airtime":"SAT 4pm-5pm","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png","officialWebsiteLink":"https://www.revealnews.org/episodes/","meta":{"site":"news","source":"npr"},"link":"/radio/program/reveal","subscribe":{"apple":"https://itunes.apple.com/us/podcast/reveal/id886009669","tuneIn":"https://tunein.com/radio/Reveal-p679597/","rss":"http://feeds.revealradio.org/revealpodcast"}},"says-you":{"id":"says-you","title":"Says You!","info":"Public radio's game show of bluff and bluster, words and whimsy. 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