The performance artist aka Dynasty Handbag recounts her journey from the San Francisco DIY scene to New York’s avant-garde theater world and ultimately to Hollywood.
The poet’s new collection of essays, Minor Feelings, threads intense friendships, “bad” English, and standup comedy into a meditation on the Asian-American experience.
The writer discusses growing up in the Borscht Belt, the prevalence of literary humor, and the power of feminist punch lines.
The performers consider memory, autobiography, and stand-up in Truscott’s groundbreaking comedy about rape, Asking for It, showing this November at NYU’s Skirball Center.
“As writers, we have the tendency to get disgusted by our own filth and start throwing it all away, spraying disinfectant and removing words, instead of using creativity to construct buoyancy.”
“What’s the point of being queer, or an artist, or a radical, if you don’t veer?”
“It’s not really subversion, it’s catching something before it becomes what we’re accustomed to.”
“She isn’t all completely me, but somehow she’s a part of me, or some sort of art-making tool.”
“A cat and mouse game between attraction and repulsion.”
“What’s the difference between New York and LA? In New York, you cry in the street, but in LA, you cry in your car.”
The fine art of the romantic-comedy-thriller-mystery.
Jerry Stahl on fatherhood, pharmaceuticals, and the subversive humor of his new novel, Happy Mutant Baby Pills.
Tim Heidecker discusses his second soft-rock album with Heidecker and Wood, his online beefs, and blurring the lines between his various public personae.
Tina Satter speaks about formalism, her perverse sense of humour and the importance of family drama.
Filmmakers and friends Swanberg and Decker—who both have features at the 2013 La Di Da Film Festival—discuss the immorality of not making comedies and the challenges of making sexually charged films.