The Brief

Nick Kroll is no stranger to L.A.’s comedy scene.

After starting his career in New York, Kroll moved to L.A. in 2007.

“I remember my dream was to perform at Largo back when it was on Fairfax and now it’s Largo at the Coronet, which has become my sort of home stand-up club in L.A.,” Kroll told Larry Mantle on AirTalk, LAist 89.3’s daily news program.

The comedian has far surpassed those dreams. He's now the co-creator and voice actor of the hit adult animated series Big Mouth and star of comedy specials such as Little Big Boy and Oh, Hello on Broadway (all on Netflix).

Still, Kroll maintains his love for L.A. as a unique place for stand-up comedy.

Kroll shared his thoughts on L.A.’s vibrant comedy scene and the changing landscape of modern stand-up comedy ahead of one of the biggest comedy events of the year, Netflix Is A Joke Fest.

The evolution of L.A.'s comedy scene

“There was a sort of an alternative scene and then there was sort of a club comedy scene. But now there’s The Comedy Store and the Improv and the Laugh Factory, as well as amazing alternative venues all over the city.

What’s been fun is to watch all of those different scenes begin to integrate and create a much larger comedy world where that serves so many different audiences and so many different audiences are finding crossover inside those different kinds of spaces.”

Netflix's influence on comedy

Actress and comedian Ali Wong accepts the award for Outstanding Lead Actress In A Limited Or Anthology Series Or Movie for "Beef" during the 75th Emmy Awards.

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“I think it can take a comedian who would have, in the past, been able to perform at clubs around the country just as a working comedian, and really expand their audience. Like someone like Ali Wong, who before her special, was an amazing comedian and was a working comedian. The exposure that Netflix gave her has made her a household name. And she’s obviously gone on to do other kinds of stuff, like Beef for Netflix.

Someone like Ali or John Mulaney, who I have known forever, since college — those specials really expanded their audience on a scale that has made comedy not just a niche element of American entertainment, but a central pivotal venue for entertainment.”

The economics of comedy in the internet age

“It’s opened up tremendously from where it was. Montreal, it was a comedy festival, and there was another one in Aspen when I was starting out. If you were at my stage, or at the beginning of your career, you really needed to go to one of those festivals and get noticed, get signed by agents, managers. Hopefully get some sort of deal to develop a sitcom, or maybe, once in a blue moon, get an HBO special.

That has changed dramatically. Aspen is no more. Montreal is in real financial trouble.

I think it’s because the internet has just opened all of that up so much. If you’re a funny person and you start to make funny videos on TikTok, or you have a podcast that builds an audience, or you’re on Patreon and you have a dedicated group of people … you can build audiences in so many ways and build revenue streams for yourself in so many ways. That has changed the economics of it.”

Comedy as a mode to tell universal truths

Hosts John Mulaney (L) and Nick Kroll speak onstage during the 2018 Film Independent Spirit Awards.

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“I think it allowed people to speak to their specific experience and that in turn will speak to an audience that has either a shared experience or an interest in another point of view.

I think what sets apart certain comedians inside of that is that they speak to their specific experience, but in doing so, speak to some universal truths or a relatability to a broader audience that might not have the same shared experience but can feel, you know, frustrations about parenting, or being unlucky in love, or just observations on culture — that allow people to engage and relate, even if its not exactly what their point of view or life is.”

Favorite venues

There are still thriving comedy clubs in L.A. for comedians looking to perform live. Kroll recommends “doing spots at the Comedy Store” or places like Largo, Dynasty Typewriter, or The Elysian.

“There’s plenty of venues that aren’t going to necessarily make you an incredible living but can help you get out of having a day job so that you can focus on your comedy,” he said.

Netflix is a Joke Fest runs from May 1-12 in Los Angeles. Learn more at Netflixisajokefest.com.    

There will be a “Big Mouth” live event at the Greek Theatre on May 2 at 8 p.m., featuring Kroll, John Mulaney, Maya Rudolph, Jessi Klein, Fred Armisen and many more as part of Netflix is a Joke Fest.  

Listen here

Listen to Larry’s conversation with Nick Kroll and Robbie Praw, Netflix's head of comedy and creator of Netflix is a Joke Fest.

In the wake of the Eaton Fire, Altadena and Pasadena’s music community have really shown up to support fire survivors, especially fellow musicians who lost instruments and record collections.

That effort continues this weekend with a special donation concert at a Pasadena record store, with the aim of getting vinyl records back in the hands of survivors who lost their collections.

“You know, our name is Healing Force of the Universe, and I think that gives me a pretty clear direction… especially after the fires,” said Austin Manuel, founder of Pasadena record store, where Sunday’s show will be held.

The record donation effort is the brainchild of musician Brandon Jay, who founded the nonprofit Altadena Musicians after losing his home and almost all of his family’s instruments in the Eaton Fire. Through Altadena Musicians’s donation and registry platform, Jay said he and his partners have helped some 1,200 fire survivors get their music instruments back.

Brandon Jay.

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Now, that effort has fanned out to restoring vinyl record collections.

“All of that stuff evaporated for thousands of people,” Jay said. “Look at your own record collection and be like, ‘Wow, what if that whole thing disappeared?’”

You might know Jay from several bands over the years, including Lutefisk, a 1990s alt-rock band based in Los Angeles. He and his wife, Gwendolyn Sanford, composed music for TV shows, including Orange is the New Black and Weeds.

Jay plans to play some holiday tunes at Sunday's record donation show (which LAist is the media sponsor), along with fellow musician Daniel Brummel of Sanglorians. Brummel, who was also a founding member of Pasadena’s indie-rock sensation Ozma, said he was grateful to Jay for his fire recovery work and to Manuel for making Healing Force available for shows like this.

Brummel, who came close to losing his own home in the Eaton Fire, recalled a show he played at Healing Force back in March.

Ryen Slegr (left) and Daniel Brummel perform with their band, Ozma, on the 2014 Weezer Cruise.

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“The trauma of the fires was still really fresh,” Brummel said. After playing a cover of Rufus Wainwright’s “Going to a Town,” that night — which includes the lyrics “I’m going to a town that has already been burnt down” — Brummel said his neighbors in the audience told him the rendition hit them hard. “It felt really powerful. And without that space, it just wouldn’t have occurred.”

Details

Healing Force of the Universe Record Donation Show
Featuring: Quasar (aka Brandon Jay), Sanglorians (Daniel Brummel) and The Acrylic.
Sunday, Dec. 14; 2 to 5 p.m.
1200 E. Walnut St., Pasadena
Tickets are $15 or you can donate 5 or more records at the door. More info here.

Topline:

The case: In September, the city settled a lawsuit brought forward by two brothers in their 70s who said they suffered serious injuries after an LAPD officer crashed into their car. Days before the $18 million settlement was reached, lawyers for the brothers said Feldstein Soto called an expert witness testifying for the plaintiffs and “attempted to ingratiate herself with him and asked him to make a contribution to her political campaign,” according to a sworn declaration to the court by the plaintiffs’ attorney, Robert Glassman.

The response: Feldstein Soto did not respond to an interview request. Her spokesperson said the settlement “had nothing to do” with the expert witness. Her campaign manager told LAist the city attorney had been making a routine fundraising call and did not know the person had a role in the case, nor that there were pending requests for her office to pay him fees.

What Jurado says: In a statement to LAist, Jurado said she wants to “make sure that the city’s legal leadership is guided by integrity and accountability, especially when their choices affect public trust, civic rights and the city’s limited resources."

What’s next: The motion needs to go through a few committees before reaching the full City Council. If it passes, the motion calls for the city attorney to “report to council in closed session within 45 days regarding the ethics breach violation and give updates to the City Council."

Every year in Santa Ana, Luis Cantabrana turns the front of his home into an elaborate altar in honor of La Virgen de Guadalupe that draws hundreds of visitors.

Along the front of the house, the multi-colored altar is filled with lights, flowers and a stained-glass tapestry behind a sculpture of the Lady of Guadalupe. Cantabrana’s roof also is lit up with the green, white and red lights that spell out “Virgen de Guadalupe” and a cross.

Visitors are welcomed with music and the smell of roses as they celebrate the saint, but this year’s gathering comes after a dark year for immigrant communities.

Luis Cantabrana stands in front of the stunning altar he built in front of his home in honor of La Virgen de Guadalupe. Every year, his display draws hundreds of visitors.

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Why do they celebrate? 

In 1513, the Virgin Mary appeared before St. Juan Diego between Dec. 9 and Dec. 12, asking him to build a church in her honor. Her image — a brown-skinned woman wearing a green veil with her hands together in prayer and an angel at her feet — miraculously appeared on his cloak.

To celebrate in Santa Ana, worshippers gathered late-night Wednesday and in the very early hours Dec. 12 to pray the rosary, sing hymns and celebrate the saint.

Cantabrana has hosted worshippers at his home for 27 years — 17 in Santa Ana.

The altar started out small, he said, and over the years, he added a fabric background, more lights and flowers (lots and lots of flowers).

“It started with me making a promise to la Virgen de Guadalupe that while I had life and a home to build an altar, that I would do it,” Cantabrana said. “Everything you see in photos and videos is pretty, but when you come and see it live, it's more than pretty. It's beautiful.”

The Santa Ana home's elaborate altar in honor of La Virgen de Guadalupe draws hundreds of visitors each year.

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Gathering in a time of turmoil 

Many also look to the Lady of Guadalupe for protection, especially at a time when federal enforcement has rattled immigrant communities.

“People don’t want to go to work, they don’t want to take their kids to school, but the love we have for our Virgen de Guadalupe,” Cantabrana said. “We see that la Virgen de Guadalupe has a lot of power, and so we know immigration [enforcement] won’t come here.”

Margarita Lopez of Garden Grove has been visiting the altar for three years with her husband. She’s been celebrating the Virgencita since she was a young girl. Honoring the saint is as important now as ever, she said.

“We ask, and she performs miracles,” Lopez said.

Claudia Tapia, a lifelong Santa Ana resident, said the Virgin Mary represents strength.

“Right now, with everything going on, a lot of our families [have] turned and prayed to the Virgen for strength during these times,” Tapia said. “She's a very strong symbol of Mexican culture, of unity, of faith and of resilience.”

See it for yourself

The shrine will stay up into the new year on the corner of Broadway and Camile Street.