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Ryen shows off his many talents on “De Mi”on March 21, 2020 at 12:02 am

City of Wind

Ryen shows off his many talents on “De Mi”

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Ryen shows off his many talents on “De Mi”on March 21, 2020 at 12:02 am Read More »

Release Radar 3/20/20: Morrissey vs Alkaline Trioon March 21, 2020 at 12:36 am

Cut Out Kid

Release Radar 3/20/20: Morrissey vs Alkaline Trio

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Release Radar 3/20/20: Morrissey vs Alkaline Trioon March 21, 2020 at 12:36 am Read More »

Teenage Dick livestreams Shakespeare by way of high schoolon March 20, 2020 at 7:15 pm

I spend more evenings than most people in the dark with other people, watching yet other people pretend to be . . . well, other people. So seeing Teenage Dick at Theater Wit Monday night, knowing it was the last live performance I’d be at for a while, had a special poignancy to it. (Mixed with pandemic guilt–“Should I even be out here tonight?”)

Mike Lew’s play, directed in its Chicago premiere by Brian Balcom, lives on for Chicago audiences for a short time in a streaming version on Vimeo, recorded at that invitation-only performance. The schedule remains the same as if it were live, and each performance is limited to 98 views. (You receive a private URL and password prior to the streaming time, though of course how many people watch it with you in your preferred place of social distancing is up to you.) To maintain the theatrical experience of demanding heightened attention, you can’t go back to see something you might have missed, though you can pause the video during the 100-minute intermissionless running time.

Afterward, you can join a virtual town-hall discussion with the cast and crew via GoToMeeting.com, in keeping with Theater Wit artistic director Jeremy Wechsler’s desire to, as he told the Reader‘s Deanna Isaacs earlier this week, “preserve as much of the in-theater experience as possible.”

Though squinting and straining for of-the-moment relevance is a parlor game for critics even in putatively normal times, it’s hard not to view Lew’s play (which premiered with New York’s Ma-Yi Theater at the Public in 2018), as being particularly apropos right now. By taking Shakespeare’s Richard III and setting it in the cutthroat world of a contemporary high school, Lew has forged an unholy and unsettling alliance between 1980s teen comedies (despite one character declaring “We’re not in some old-timey John Hughes movie with easily definable cliques”), Alexander Payne’s 1999 satirical film Election (in which a scheming Reese Witherspoon tries to win the crown of class president), and eventually some much darker influences. Much, much darker. (Hi, have you met Shakespeare?)

It also draws on the narrative trope of social media as a driver of conflict, a la Dear Evan Hansen, with tweets projected on the walls of Sotirios Livaditis’s locker-lined set. (You can’t see those projections in the video version, but most of them are accompanied by voice-over so you won’t miss much.)

Above all, Teenage Dick is about social isolation and how it can create existential voids too easily filled with dark imaginings and twisted solipsism.

Richard–played with an arresting mix of pathos and creepiness by MacGregor Arney–is an unpopular teen (despite his standing as junior class secretary) who blames his cerebral palsy for his social isolation. He plots to get even with alpha male Eddie (Ty Fanning), the school quarterback and current class president whose relentless mockery of Richard’s disability feeds the boy’s resentment and desire for revenge. “He’s Phoebus Apollo, whereas I am just feeble,” Arney’s Richard laments in Lew’s version of that famous opening soliloquy. Lew’s adroit gift for mixing faux-Elizabethan dialogue with contemporary locution is commendable and the source of much humor. Richard never seems to grok that his tendency to talk like The Riverside Shakespeare (calling a classmate “a pox-scrabbled harlot,” for example) might be as big an impediment to his peer acceptance as his CP-affected gait.

To stop Eddie, Richard also has to take down Christian overachiever and class vice president, Clarissa, the target of his nasty “harlot” riposte. (Kathleen Niemann stepped into the role late and delivered a fine take on nerd-girl histrionics–I say that as a former high-school nerd girl.) His frenemy, Buck (Tamara Rozofsky), who uses a wheelchair but doesn’t get the same grief for her disability from Eddie, sees through his schemes, but prefers not to get too involved once she helps Richard knock smarmy, patronizing Clarissa out of contention. His English teacher, Miss York (Liz Cloud), is blind to his ambitions, even when, in a bit of foreshadowing, he lays out the how-tos in Machiavelli’s The Prince point by point in class. But when Richard woos Anne (Courtney Rikki Green), Eddie’s ex and a talented dancer, things get much stickier.

Unlike Shakespeare’s original, Green’s Anne is a fully dimensional person and not merely a plot device. Indeed, Lew makes this her story even more than Richard’s. But it’s also significant that Lew has taken the questions of what drives Shakespeare’s antihero and given them a relatable contemporary makeover.

Is Arney’s Richard morally warped because of how the world treats him as a person with a disability, or is he an inherently off-putting person who uses that disability as an excuse for his behavior? (Is he depraved on account he’s deprived?) Does the politics of dominance, so pronounced in our current shitshow, turn everybody into a dick?

By putting Anne’s own relationship with Richard in a central place in the story–first acceding to his transparent pleas for sympathy in asking him to the Sadie Hawkins Dance, then actually growing to like Richard as she teaches him some dance moves and shares her own vulnerabilities–Lew creates a mirror for the nondisabled audience members. What is the line between compassion and pity? Anne and Richard’s joyous dance in the gym (sharp choreographic work from Jake Ganzer) is followed by a gut-punch turn into tragedy that feels like a reminder that all of our lives are fragile, pandemic or no pandemic.

A character with a disability who isn’t there to make people without disabilities feel good about themselves, or to serve as what disability rights activist Stella Young terms “inspiration porn,” is still, sadly, a rare thing in theater and film. Richard is indeed a teenage dick: watching him both onstage and on video, I was reminded of a line from the 2005 documentary Murderball, about the U.S. mens’ Paralympic rugby team. A friend of team member Mark Zupran, who became a quadriplegic after a car accident, noted that Zupran hadn’t really changed: he was “an asshole” before his accident, and remained one afterward. It’s also notable that Rozofsky’s Buck has the confidence Richard lacks, and doesn’t feel the need to lash out at everyone around her. “I’m not like you, yearning to fly beyond nature’s boundaries like some kind of disabled nerd Icarus,” Buck declares.

It’s especially meaningful to watch this story unfold online when one realizes that access to theater itself is often a limiting experience for both artists and audience members. Director Balcom, Rozofsky, and Arney are all artists with physical disabilities. In the online postshow discussion, Balcom noted that access barriers to theater also include cost and geographic limitations. Theater Wit is charging for the livestream, but they’re also paying their artists through the run. (Wechsler notes that they worked out an arrangement with Actors Equity to make this online version of the production possible.)

Watching the show on a screen isn’t the same as watching it live. But in these times, it’s a good way to help keep the theater flame alive. And it’s also a reminder that even in good times, it’s often the only way many people ever get to experience the liveness and community of theater. v






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Friday is buy stuff from Bandcamp dayon March 19, 2020 at 9:10 pm

six_albums_web.jpg

Many of us are already starting to go stir-crazy at home, and social-distancing measures haven’t even been in place for a week. If you can afford to invest in new music, now’s the time. Did you get ticket refunds for the canceled shows you were planning to go see? Or do you just have beer money in your pocket that you suddenly can’t spend? You can use it to support musicians without making the pandemic worse.

COVID-19 has hit musicians hard–most have had to cancel or postpone tours and upcoming shows. Venues and bars have shut their doors until the end of March, possibly much longer, leaving many industry workers without income for the foreseeable future. Lots of bands rely on touring and selling merchandise at shows, so as important as these cancellations are for public health, they could also mean artists won’t have enough money to pay bills or rent.

Thankfully for musicians, they have an advantage over other artists suffering from the pandemic–unlike theatrical actors or dancers, for instance, they can easily sell their work digitally or by mail. This Tuesday, online music company Bandcamp announced that it would waive its usual revenue share on Friday, March 20, and pass along 100 percent of proceeds from all sales to artists. (For these purposes, Friday lasts from midnight to midnight, Pacific Daylight Time.)

Some artists let customers name their price for downloads, and it’ll be especially helpful now to name the biggest number you can. When there is a fixed asking price, Bandcamp also allows buyers to pay more if they’d like to show extra support. If you want to offer encouragement beyond money, you can add a note or a review of your purchase. The Friday waiver is a small step on Bandcamp’s part, but it could go a long way for musicians–especially if it drives a big sales spike in downloads and merchandise.

Bandcamp offers a huge universe of music, as well as tools to help you discover artists from around the world. It’s also a great way to explore the scene outside your doorstep without leaving your home–you can find a new local favorite and extend a hand to your musician neighbors. These six Chicago acts are a fine place to start: they all have music on Bandcamp, and they’ve all had to cancel or postpone shows due to COVID-19 precautions.


Uma Bloo
“Marguerite’s Novels”

Fans of Angel Olsen or Lucy Dacus should be keen on Uma Bloo’s soft bedroom-pop sound. After the singer-songwriter canceled a March 26 DIY show and a March 27 date at Cole’s Bar, she wrote on Facebook that she’s taking this involuntary time away from live dates to focus on writing. Bloo released her latest single, “Marguerite’s Novels,” last month, and it’s perfect for pining in solitude over a love kept at a pandemic-imposed distance.


Half Gringa
“Teggsas”

With her band Half Gringa, singer-songwriter Izzy Olive sings of identity, ethnicity, and self-exploration with an indie-folk twang. Her solo set at the Hideout on March 25 was canceled, but she’s announced on Facebook that she’ll livestream a set the same night. You can get a sneak peek with the languid 2019 single “Teggsas” (pronounced like “Texas”)–it’s as expansive as the Lone Star State, and worth more than the $1 Olive is asking for it.


Sick/Tired
Split 12-inch with Triac

Thrashcore band Sick/Tired haven’t put out new music since 2016, but they remain a staple at underground punk and hardcore shows–they were supposed to play Subterranean on March 21. The four-piece’s discography is full of seven-inch splits with fellow thrash bands such as Baltimore’s Triac and Fort Wayne’s Nak’ay. You may not be scared of COVID-19, but Sick/Tired’s mix of guttural death growls and piercing emoviolence screams will make the hair stand up on your neck.


Sorespot
Teased Pt. II: “Shockin’ and Rockin’ You”

Shoegazers Sorespot released the cassette Teased Pt. II: “Shockin’ and Rockin’ You” in December to preview tracks from the album Gifts of Consciousness, set for release April 2. The airy harmonies of vocalists Maggie Gard and Josh Snader float above murky reverbed melodies. The band will let you have the three-song tape for free, but it’s tempting enough to be worth throwing down a few bucks.


Stuck
Change Is Bad

Postpunk quartet Stuck will release their first full-length, Change Is Bad, on Friday, April 3. While their record-release show that day at the Hideout is still on the books, it doesn’t seem likely to stay that way–and the rest of their tour through the east coast and Canada has already been canceled. The single “Bells” is streaming now, and you can preorder the entire album (digitally for $7 or on vinyl for $15).


Typesetter
Nothing Blues

Typesetter’s discography deserves a deep listen–especially now that you can’t hear the band play its highlights on March 23 at Sleeping Village, where they were supposed to open for UK hardcore band Petrol Girls. Formed in 2012, they’ve got a sound that spans the vast landscape of hardcore-adjacent genres–it can be as gentle as twinkly midwest emo or as rough as the feedback fuzz of modern posthardcore. Their 2018 album, Nothing Blues, displays the best of the band’s versatile experimentation, and it’s yours for $8 digitally or $18 on vinyl. v

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Chicago Bears: 3 options to replace Ryan Paceon March 20, 2020 at 11:00 am

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Chicago Bears, Ryan Pace

Chicago Bears (Photo by Nuccio DiNuzzo/Getty Images)

If things don’t go according to plan for the Chicago Bears in 2020, they could be in the market for a new general manager.

After a surprising 2018 campaign, the Chicago Bears had an incredibly disappointing 2019 season. A season that started out with hopes of a Super Bowl run ended with an offseason that saw them signing a high-priced veteran quarterback in free agency. Needless to say, if things don’t go well for the Monsters of the Midway in 2020, they could hit the reset button and be in the market for a new general manager.

Look, this piece isn’t an overreaction to trading a fourth-round pick for Nick Foles. It’s not even an argument in favor of firing Ryan Pace. It’s simply an acknowledgment of the reality that Pace has so much riding on the outcome of this season.

While Pace inherited a bare cupboard from Jerry Angelo and deserves a ton of credit for building an elite defense, he has struggled mightily on the offensive side of the ball. His failure to find a competent quarterback is largely responsible for his 34-46 record as a general manager. During his five-year tenure, they have only one winning season and have won exactly zero playoff games.

To his credit, he realized he needed an upgrade at the quarterback position and attempted to address that with the Foles signing. However, hitching your job security to the wagon of a career journeyman is a risky proposition — like eating at the Golden Corral buffet at the height of the COVID-19 pandemic.

So if this doesn’t pan out, and the Bears clean house (which would likely include Pace and head coach Matt Nagy) who are some options to keep an eye on? We identify three who could be realistic options.

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Chicago Bears: Quarterback moves to make after Nick Foles tradeon March 20, 2020 at 12:00 pm

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Chicago Bears, Nick Foles

Chicago Bears (Photo by James Gilbert/Getty Images)

Would the Chicago Bears entertain another move at quarterback following the trade for Nick Foles?

Wednesday, Ryan Pace and the Chicago Bears went and got their guy, bringing in quarterback Nick Foles from the Jacksonville Jaguars. The Bears sent their fourth-round compensatory draft pick back to the Jaguars in exchange for the veteran quarterback.

Foles comes to the Bears with plenty of experience, having played on the biggest stage and winning a Super Bowl MVP with the Philadelphia Eagles just a short while ago. Now, the question becomes, will he supplant Mitchell Trubisky as the starter before Week 1?

Everyone has their opinion on the matter, but the fact is, Foles is getting paid a decent amount of money, and backups generally don’t make over $15 million annually — which is what Foles’ salary looks like for 2020.

Foles has a history with a few coaches in Chicago, namely head coach Matt Nagy. Also having worked with Foles in the past is Bears offensive coordinator Bill Lazor and quarterbacks coach John DeFilippo. There is no denying this was Nagy’s ideal candidate to come in and push Trubisky — or potentially replace him.

The Bears probably won’t do much of anything else in free agency after trading for Foles, unless they do a bit of moving around in some existing contracts. Some cash would have to be re-worked or shuffled if they were to be any more than minor players the rest of the way.

But, what if the Bears aren’t done at quarterback? It might sound odd, but hear me out. Maybe this is just my inner hopes speaking, but I think they could still make a handful of moves at the position, actually.

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Chicago Blackhawks: Five players to trade this summeron March 20, 2020 at 1:00 pm

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Chicago Blackhawks Patrick Kane

(Photo by Jonathan Daniel/Getty Images)

The Chicago Blackhawks are not going to the playoffs so there need to be some changes made this summer. These five guys could be traded as a result.

The Chicago Blackhawks had a tough year. They were not as good as some people predicted they might be. That has caused some people to wonder if Stan Bowman or Jeremy Colliton are done in their current roles after this season is over. A lot of strong decisions need to be made because this team is never going anywhere as currently constructed.

They have superstars like Jonathan Toews, Patrick Kane, and Duncan Keith that have all gotten it done for them in the past. Those guys, however, are all over 30 now which means that the window is closing on them to still be able to carry a team by themselves. In the case of Toews and Kane, they still have a while longer before they really fall off but they need some more help. This is going to be a big summer in determining what these guys need in order to help them.

Obviously, with so many trades that have gone wrong over the past few years, it is fair to wonder if Bowman is the right guy to be pulling the trigger on any of these future trades. He has made so many terrible moves over the past three seasons. You can argue that his lack of success on trades is why they aren’t going to the playoffs for three straight seasons. Some of them were disasters, even. With all of that being said, these are the five players that are the likeliest to be on the trade block once the season is over:

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From Catholicism to comedyon March 19, 2020 at 7:00 pm

Comedian Cameron Esposito has never shied away from talking about her personal life onstage. In her reflective new memoir Save Yourself (Grand Central Publishing) she dives even deeper, looking back on her childhood in suburban Western Springs and the personal self-discovery that came with recognizing her own sexuality, coming out to her parents, and finding a home in the comedy world. The live stand-up performances at the Den that were set to coincide with the release of the book on March 24 have been cancelled, but lockdown is a good time to indulge in a read that’s both heart-breaking and heart-warming, with a heavy dose of laugh out loud humor.

It seems like your work over the last several years has been getting more and more personal, from Marriage Material to Back to Back to Rape Jokes as well as your show Take My Wife, and now this book. What’s led you down this path of public self-examination and openness?

I think that is a path that actually many comics walk. I started out doing stand-up and I wanted to comment on the stuff around me, and I think over time it just feels less and less helpful to talk about other people and other things and more helpful to talk about yourself. Because the thing that’s universal in stand-up are the feelings, not the experiences. Speaking honestly about your feelings is kind of really what everyone is showing up for, it’s just that sometimes that’s so couched in sarcasm or distance that you don’t even recognize it as that. But that’s really what stand-up is. It’s a bunch of people standing around being like, “I feel this way about this.”

What was the process of writing a book like for you?

Demoralizing in every way. [Laughs.] It’s isolating. It’s incredibly frustrating, because there is no feedback to get. I’m used to a live medium. It feels self-important. It was sometimes extremely harsh to live through some traumas that happened in my life that are included in the book. But also it was pretty amazing to revisit my younger self and find a lot of affection for myself. I don’t know if you liked yourself as a kid but I found myself humiliating, so to go back and meet that kid and realize that I was actually pretty awesome? I knew who I was. I had stuff I was into. I was really doing my own thing with gender nonconforming interests and presentation. And I kind of love that kid actually.

What do you hope people take away from the book?

I think for some straight people marriage equality happened and folks think everything is sorted out and so then they can’t understand when queer folks are talking about ourselves as still a marginalized community. So I hope there are some straight folks who read this and get a better handle on what is happening right now for the queer community. And I also hope that there are queer folks who read this and feel seen in that experience. I also hope people laugh their heads off: I think there’s some really funny stuff in here.

What was the difference in crafting the language for a book versus crafting language for your stand-up?

I think I was, without realizing it, sort of performing the book in my head as I was writing it. And then essentially kind of transcribing. I wasn’t looking for it to be a setup/punchline situation but more so I think I have a particular way of speaking and I wanted the book to sound like it was written by me. So I did sort of talk my way through it. Which might not be how other writers are doing their work, but it was like translating it; doing it first in the performative language and then translating it to the page.

You talk about internalized homophobia in the book–do you have a message for people who are working through that themselves?

I do not know a queer person who isn’t struggling with that. I think we deal with it for the rest of our lives. When you’re inside of a system that marginalizes you on a daily basis across all vectors it’s impossible to not be a part of that system. That’s really where Pride comes from is expression, trying to do whatever small thing we can to balance that system just a little bit and remember that we can love ourselves. But for queer people I would say if you are not sure if you look okay, if you don’t know what to wear to a fancy event, if you don’t know how to deal with the fact that your parents aren’t responding exactly the way you want them to, or you don’t feel like you fit in the queer community because there’s a certain expectation about how your hair should look or how your body should look, that’s all of us. There’s nothing wrong with having those feelings of self-hatred. You’re meant to. We are all bred to. And realizing that can help you put them away, even just in the moment. It doesn’t mean you’re overcoming them, it means identifying them as they happen. So if I walk down the street and a dude says a shitty thing to me and I feel shame, that’s what’s supposed to happen. Like that’s the system at work and so it’s just about identifying, “Oh, I feel shame because I was taught to feel shame.” And I don’t have to feel bad about that.

You talk about your relationship with your parents in the book–both past and present–and how coming out affected your relationship with them. What can parents do to let their kids know that they’re supported?

I think the biggest thing that friends or family can do is not center themselves in somebody else’s queer or coming out experience. So if you’re a parent: asking questions, listening. It’s not necessarily about what’s the thing that you say that’s the perfect thing. I think it’s about taking your feelings–if you have them–about somebody’s finding themselves and dealing with that elsewhere. Not making your kid or your family member be the one who helps you process your feelings. Because they’re doing enough work finding themselves.

In the book you talk about the world of comedy being more accepting than the world of religion in your experience. Do you think that stand-up comedy–where everyone gathers to hear someone speak–kind of offers a secular version of the kind of community that organized religion offers people?

One hundred percent. When I talk about the fact that I used to want to be a priest and now I became a comic, to me that seems like such a direct through line. It literally feels like, “Oh, I ended up doing the same job!” because it really is about a group of people trying to figure out what is the most important thing. Like what are important things on the planet? The thing about religion is that most religions are corporations. That’s what the Catholic church is and so it creates corruption, self-interest and all the other things that happen when ideas are delivered by humans who are trying to preserve wealth and power.

What does the Chicago comedy scene mean to you in terms of your career and your style of comedy and how it evolved?

I do think that there’s a specific sort of talk-joking that is a part of my generation of comics and also some of the generation of comics ahead of me–like Kyle Kinane or Pete Holmes or Kumail Nanjiani–the way that those folks operated as stand-ups. That’s who I watched and I think influenced my style a bunch. A sort of super dry but powerfully delivered screaming your cultural criticism from a position of being shat on because you are from Chicago. That feels like it’s still very much a part of my style as a comic. v






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Jokes in the time of coronaviruson March 19, 2020 at 10:00 pm

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DOME DUSSADEECHETTAKUL FROM PEXELS

I’m in a great position going into indefinite isolation, because I get to read jokes, like this one from Malic White (@malicwhite), on Twitter all day, every day: “Any queer who makes it through quarantine without giving themself a weird haircut wins 9 lives.” While some people are avoiding social media altogether to keep themselves from having a panic attack, over the past handful of years I have surrounded myself with comedians on every platform. And let me tell you, even in the midst of a pandemic these comics are WORKING. Lauren Harsh has been hosting a weekly virtual open mic called Cabin Fever. Scott Duff has been hosting his own cooking show daily on Facebook. Podcasts are recording remotely, talk show hosts are monologuing to empty audiences, and the hilarious tweets and Facebook statuses have been multiplying like bunnies. But in these unusual times, is it even OK to be joking? How can you determine if something is “too soon” when you’re living in it every day? I reached out to some comics (virtually!) to get their jokes and thoughts.

Tessa Orzech
@tessa_saysrelax
“Interesting to learn that a global pandemic was the only thing that could cure my FOMO.”

I definitely think jokes are appropriate, to keep us sane and laughing, but I really hate all the jokes that skew too dark. Like the doomsday ones, it’s like, alright this is too scary to make me laugh. We can joke about the way it’s affecting everyone’s lives, but it has to be funny, not just sad or scary. It’s like you can joke about the fact that you won’t see your friends for a month, but you can’t joke about the fact that one of them might be really sick. If you do go too dark during this climate, the joke actually has the opposite intention and it adds to the collective fear and paranoia. I think times like these separate smart comics from people who just want attention for their ideas. The whole point of comedy is to relieve the tension.

Andrew Tavin
@andrewtavin
“I think it’s weird that everyone was calling it coronavirus and then suddenly some people started calling it the Chinese Virus. It’s like if I woke up one day and people were just calling bagels ‘Jew Bread,’ but when I asked about it they got mad at me for not focusing on what’s really important: saving all the people being killed by bagels. Like, oh, sorry, I’ll go back to my job researching bagel vaccines instead of wasting my time on Facebook.” (Don’t know if that’s any good, but I don’t really have a place to try out new material right now . . .)

I think we can–it’s a pretty universal thing we’re all going through even though it’s obviously not going to hit everyone equally. I know people who are either confirmed to have it or probably do. I haven’t been writing about it too much but I am going to be doing a livestream show. The technical issues are the big problem. Like, I’ve been on shows where the mic doesn’t work before and it sucks, but [if] worse comes to worst you can do a cappella. I tried to join an Instagram live mic yesterday, and it wouldn’t show my video and kept kicking me out. I wanted to do this show on Twitter, but I absolutely couldn’t get Twitter livestream to work. Obviously finding an audience when there’s already a glut of content is also going to be an issue. But I’ve done bar shows for three people plenty of times, so, you know, better than literally talking to myself.

Julie Merica
@jmerica
“If all of these ‘Social Distancing: Day One’ meltdown posts don’t encourage at least a few of y’all to foster a cat or dog over the next few weeks I am gonna be so dang disappointed.”

I think jokes about traumatic events are unavoidable. Making light of heavy things is how many people cope, including myself. In any happening that tries my emotions, my automatic response is to lighten that mood any way possible. That said, after some life experience, I learned that there is a time and a place for joking about tragedy and the like. The only way you and your “audience” is going to walk away feeling good is if your reaction also incorporates a little empathy towards those at the heartbeat of the trauma. If you remember that there are real people being dramatically affected, consider that, and still think your joke is worthy, shoot your shot. Making people laugh in a time of sorrow is a magical gift. Not everyone has that power. But wield it carefully and tactfully. My thinking is, if you are being a helper in some way, feel free to make jokes that ease the pain. If you’re making a joke that is not from a place of love, support, and empathy? Well, it better be fucking good.

Jamie Shriner Biddle
@jamieshrinerbiddle
“I ran a red light and the camera clicked, and I said out loud ‘I guess that’s what I get for trying to escape corona!’ THANKS CORONA.” (Not great for print.)

I think not only can we joke about it, we HAVE to joke about it while also taking precautions to take it seriously. I mean, this is upending the world as we know it. We are gonna be the grandparents with pandemic stories. It’s a terrifying thing, and the jokes keep us from losing hope that although things are gonna get a lot worse first, they will eventually get better. I am working on some videos of new songs to post–they feel silly ’cause I almost feel like your content HAS to be corona related. I think knowing I’m not gonna get to get up and hear laughs right away is making it harder to put my songs out there. Like what if I post something that isn’t actually all that funny? I’m only seeing corona jokes and bits and quarantine life, so I’m like, ‘Oh maybe this rap about how messy my car is isn’t really what the people need right now?’

Katie Baker
@katiebcomedy
“As a lifelong hypochondriac, watching everyone freak out over coronavirus makes me feel so seen.”

We’re coming off of a long period in which a lot of people felt like they couldn’t joke about things anymore. To me, it’s like the universe said, “Everybody is doing way too much right now. This is gonna level the playing field and give everyone the same thing to be upset about.” As devastating as this has been for humankind on a global scale, I feel like in this horrifying moment, we’re almost unified as a species.

Ryan P. C. Trimble
@ryntern
“Sex with me is like COVID-19: it happened in Europe long before it happened here.”

Mainly, as always in comedy, you CAN joke about COVID-19, as long as you’re not punching down. Like, am I going to joke about people suffering, or food shortages? No. I’ve already seen the community band together and do like, Skype open mics or stream canceled shows from an empty theater. I’m part of an improv group called Frogprov, which improvises in French and English, and we were supposed to have a show at iO at the end of the month. We’re now discussing the possibility of doing the show but streaming it live from someone’s living room after we’ve all quarantined for two weeks and know we won’t spread it to each other. Like, COVID-19 isn’t a person. It can’t hear our words. That we know of!

Daniella Mazzio
@daniellamazzio
“Kevin Costner is a dad who is ALL WORK and NO PLAY whose kid gets sick a lot and whose wife passed away five years ago from a *vague illness* but when a new virus is sweeping the nation, his high-paying important job doing BUSINESS goes REMOTE quarantined with his son who he’s been estranged from since his wife’s passing and the nanny who can’t go home because of lockdown kevin costner’s first concern is making sure his BUSINESS stays in BUSINESS but as the days in quarantine go on, this makeshift family won’t just find new ways to pass the time… they’ll find each other
Quarantine Quality Time (2021), dir. by Steven Spielberg”

I think like anything, it’s not a matter of “too soon,” it’s a matter of “what’s the why?” Because a lot of people are out there making jokes about it because they don’t think it’s serious, and they think the people taking it seriously are idiots. Using humor to put down folks–especially ones at risk, ones who are scared or who were already disenfranchised and are seeing that magnified times a thousand–what’s the point of that? Comedy doesn’t need to be a noble cause, but it’s gonna be a damaging one right now when it aims to isolate (“This is why I’m right and all of you are stupid,” “I would never do this and that,” “It’s funny that you’re upset”) rather than connect our experiences (“Have you noticed?” “Wow, this is just like,” “Taking a shit during a quarantine–we’re all doing it!”) I think a lot about comedy around Trump back during the 2016 election, and a lot of it wasn’t about our collective witnessing of a nightmare, but it was isolating him as something so absurd, so improbable, it couldn’t be taken seriously–then it had to be. It just isn’t safe to deny our reality right now, but we can connect on what’s totally, hilariously, unworldly about it.

Kendall Klitzke
@kendallklitzke
“If only we had just called #MeToo ‘#SocialDistancing’ maybe it wouldn’t have gotten as much pushback.”

I think we definitely can. The best stuff I have seen is just making fun of anyone not taking this seriously at all, which I suppose people would assume to be an uncommon stance for a stereotypical comic to take. Also it’s mostly just comics making fun of other comics’ reaction to the pandemic, which is kind of a snake eating its own tail, but if you have a news feed that is entirely comics, it’s really evident. My only public joke on the matter was a tweet that went: “Customer touches me at work Him: Oh wow. I guess I shouldn’t have touched you with all of the virus stuff happening. Oh yes, the virus. THAT’S why you shouldn’t have touched me.”

Jess Martinez
@have_youmetjess
“Coronavirus is right though, I really do need to stay in and save money.”

Things like a pandemic mean that everyone is going through a wide range of emotions all at the same time, and progress through a crisis is not linear–the same person can feel really good and hopeful one minute and drop to total despair the next. While I understand that some people aren’t ready to laugh or don’t think it’s appropriate to laugh, there are still people out there who are desperate for a release, and that’s my audience. I make jokes when I’m at my worst to keep myself from spiraling. It’s a coping mechanism I developed after years of being devastatingly single and not having that one person to run to with everything that ails me. (That’s what a relationship is for right? Please advise.) A lot of people are having a really hard time right now and I’m here for them if they need a laugh. I have nothing else to offer in trying times . . . or ever. So, cry, laugh, yell–do you, boo! Just be aware that everyone manages stress differently and many of us haven’t experienced anything like this, so even our feelings are like “Wait . . . back up, what’s going on?”

Tori Kilkenny
@torikilkenny
“A friend of mine asked what I thought of The Irishman. Let me tell you–too long, hard to finish, and required way too much focus than I anticipated. From now on I’m stickin to Scots and Englishmen.”

I think joking about the matter was fun in the beginning, but like all joke fodder, it can get old fast. I feel so inundated with information and opinions on COVID-19. Right now I want comedy to be my escape. On a very real parallel, it feels like joking about Trump. It was funny when it still felt like a joke. Now we’re just all living in hell on earth, and I don’t want to constantly be reminded of it. And for that reason, I don’t have any jokes about it! I “write” as I’m ruminating on something, and I haven’t wanted to devote a ton of time to overthinking this current apocalypse.

Liz Stockwell
@lizb0t1
“Ah fuck, now I gotta actually clean with all these wipes I got?”

I think it’s really important that we joke about this, especially due to the social isolation factor of this pandemic. People need jokes, they don’t all need to be about coronavirus but even those I appreciate. Especially for me. I live alone, so I’m feeling especially isolated and love that people still have the will to create right now. I hope any little joke I make now about any topic will help someone else feel connected too.

Amber Autry
@amberautrycomedy
“My boyfriend has been casually teaching me Jiu jitsu and now is scheduling ‘classes’ daily. I bought all these brownies for the lockdown and I’m being forced to exercise.”

It’s weird, I’m getting more opportunity to write, which I wanted but I asked myself today, “If I don’t want to write about coronavirus, what else do I wanna write about? Is anything goofy funny right now?” As of now I’m going to continue to write and trust myself. Laughter always prevails! v






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Jokes in the time of coronaviruson March 19, 2020 at 10:00 pm Read More »

A trillion in coronavirus relief cash! Anything for the arts?on March 19, 2020 at 10:15 pm

The federal government’s getting ready to unleash a flood of coronavirus relief cash, much of which will, as usual, end up in big corporate coffers.

The Trump administration has asked for a trillion dollars so far, reportedly including $50 billion for the airline industry and $150 billion for businesses like cruise ships, casinos, and shopping malls.

Americans for the Arts thinks some of this windfall should go to nonprofit arts organizations which, they estimate, have already lost $3.2 billion to social distancing and shutdowns.

According to their own survey of 3,000 organizations, 91 percent have had to cancel events and a third expect to lay off staff — and that’s just the beginning. “Given that losses documented in the survey have occurred only in the last two months, Americans for the Arts anticipates additional billions in potential revenue losses for the nonprofit arts and culture field,” they say.

They’re asking us to contact our congresspeople now, to tell them to earmark at least $4 billion for the arts (to be distributed by the National Endowment for the Arts), and to expand eligibility for business interruption relief programs so that artists and small arts businesses can participate. They’ve made it easy to do from their website. v






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A trillion in coronavirus relief cash! Anything for the arts?on March 19, 2020 at 10:15 pm Read More »