Features

Detained

Detained pane
Cristian Padilla Romero with his mother, Tania Romero, after her release from custody.

Cristian Padilla Romero with his mother, Tania Romero, after her release from custody.

IT’S A FAMILIAR STORY. An undocumented immigrant is stopped for a routine traffic violation—a few miles above the speed limit or a burnt-out brake light—and winds up in a detention center awaiting deportation, turning a family’s lives upside down. Like the rest of us, Cristian Padilla Romero ’18 had heard it all before—read it in the papers, seen it on TV. This time, however, the news was personal. It came in a frantic call from his sister. And this time, it wasn’t some unfortunate stranger who was threatened with imminent removal. It was his mom.

It was news that Padilla Romero—now living his own American dream as a doctoral student in history at Yale University—had feared on some barely acknowledged level ever since he was old enough to understand the full import of his family’s immigration status, but still, it came as a shock.

When he got the call, he was in the midst of a road trip, driving from Chicago to Claremont with his girlfriend, who was returning to Pomona for the start of her senior year. They had spent the night in Oklahoma City and were planning to take their time, stopping again in Albuquerque, New Mexico, before pushing on to California. But once they got the news, they decided to drive straight through so that he could catch the first flight home to Georgia.

For Padilla Romero, that was the start of a desperate, six-month battle that would grow into a national campaign to prevent his mom’s deportation and to gain her release from custody—a fight against the odds that would be waged in the courts, on social media, through the press and behind the political scenes. A fight that would pull in an army of allies and see some surprising results.

A fight that isn’t over yet.

TANIA ROMERO CAME TO the U.S. from Honduras almost 20 years ago, joining her husband who was already here. Living in Georgia and Florida, she did whatever it took to keep her family going, sometimes holding down three jobs at a time—changing hotel beds, working in restaurant kitchens and laundromats, finishing drywall at construction sites, selling food out of her home. “She was always working like that,” her son recalls. “As a kid, you see the things your parents do for you, but you don’t get the gravity of it until maybe later. I always say my mom is the biggest reason why I’ve been able to get to where I am now.”

Padilla Romero’s own status is protected, at least for now, by the Deferred Action for Childhood Arrivals program, better known as DACA, but that’s cold comfort given the fact that if she were actually deported, he would be unable to visit her. Or rather, if he did, he would probably be unable to return. And to make the prospect even more frightening, Ms. Romero is a recent stage-4 cancer survivor.

Diagnosed with oral cancer in 2016, she spent the better part of a year undergoing aggressive treatments, including chemo, radiation and a very tough surgery. “The surgery ended up being basically cut across her whole neck, almost 360 degrees,” Padilla Romero says. By summer of 2017 she was declared in remission, but two years later she remained in precarious health and under an oncologist’s ongoing care.

Then, on August 15, 2019, in Greene County, Georgia, she was stopped for speeding and arrested for driving without a driver’s license—a common predicament for undocumented immigrants, who are barred by Georgia law from obtaining a license. The family hired an attorney and quickly paid her bail. The local authorities, however, declined to release her, choosing instead to hand her over to ICE—Immigration and Customs Enforcement—through its controversial 287(g) program. ICE immediately transferred her to the Irwin County Detention Center, a privately run facility in Ocilla, Georgia.

Padilla Romero feels fortunate that his mom didn’t simply vanish into the system, as has happened to many other detainees. “I don’t remember if the attorney notified us or, when she got booked, she was able to give us a call,” he says. “At least, it’s not like we spent days without knowing where she was.”

Legally, the case was complicated by the fact that Ms. Romero had an outstanding deportation order from 2008. “But we didn’t know about that deportation order until 2018, when my mom was applying for asylum,” Padilla Romero explains. “So the first week or two weeks after she was detained, our attorney filed two things. First, a stay of removal, which was on humanitarian grounds, basically arguing that she should be released because she needed to see her oncologist. She had an appointment coming up in a few weeks. The attorney also filed a second one, which was a motion to reopen. That was a much more legalistic argument, saying, ‘This removal order in 2008 was unlawful because my client didn’t know she even had this hearing, and we have proof from the government itself through the Freedom of Information Act, showing that the notices were returned to sender, undeliverable.’”

Padilla Romero thought they had a strong case, but in October the motion to reopen was denied. He realized they might be running out of time. “My mother meets all the criteria for ICE discretion—that’s undeniable,” he says. “But after that motion to reopen was ruled against us, we knew that ICE could deport her at any moment. Once that happened, we knew there was pretty much nothing else to lose, and we had to go public.”

Pomona alumnus Cristian Romero photographed with his mother Tania Romero.THOUGH HE’D BEEN WORRIED about the danger of retaliation if he went public, Padilla Romero had already been reaching out to friends at Pomona and Yale, and now they were eager to pitch in. Some organized a petition drive while others steered him to media and governmental contacts. Before he knew it, he was at the epicenter of a minor media whirlwind.

“My friends were the first ones to hop on and help,” he recalls. “I get more credit than I deserve. There were so many people involved in this. When you see a campaign, you never see the faces and the number of people that put their labor into it. All of my Pomona friends were really helpful in terms of their social media presence—they were all reaching out. Here at Yale, two of my peers were helping me in contacting different people. We were dealing with congressional help, media folks, immigration advocacy organizations, the Honduran embassy. There were so many people involved.”

Many of his supporters, he was amazed to discover, were people he’d never met. “One of my peers here told me that her 90-something-year-old grandmother was, like, calling ICE daily advocating for my mother,” he says.

The campaign got its first big break in The New York Times, which published a long article on Oct. 31, 2019, titled “She’s Fighting Cancer. Her Son Is Fighting Her Deportation.”

Then a Yale speaker series brought in a history scholar and journalist named Rachel Nolan, who heard the story and took an interest. “She was like, ‘Hey, you know, I can pitch this story to The New Yorker,’” he remembers. “And it ended up happening. The New Yorker story is, I think, still my favorite because of the personal touch in dealing with the human story. And after that it was just a whole bunch of different media requests.”

Meanwhile, he was making the rounds on Capitol Hill, speaking with staff members for Connecticut senators Chris Murphy and Richard Blumenthal, Georgia Congresswoman Lucy McBath and Connecticut Congresswoman Rosa DeLauro. “DeLauro was the person that, in my view, provided the strongest support,” he says.

Yale University stepped up as well, with support that ranged from Lynn Cooley, dean of the Yale Graduate School of Arts and Sciences, penning an op-ed for the Atlanta Journal-Constitution, to Yale’s Worker and Immigrant Rights Advocacy Clinic (WIRAC) pouring resources into his mom’s case in court.

Padilla Romero also reached out to professional advocates in the field of immigration, including Hemly Ordonez, digital campaigns director at FWD.us, and Miriam Feldblum, the former dean of students at Pomona, now executive director of the Presidents’ Alliance on Higher Education and Immigration in Washington. Among other advice, both encouraged him to contact the Honduran consulate. Ordonez, he says, was particularly helpful in putting him in touch with officials there.

It’s a little-known fact that before ICE officials can expel an immigrant from the U.S., they must first obtain travel documents from the consulate of the receiving nation. That’s important for a couple of reasons, Feldblum explains. “When they go to ask for travel documents, you know that deportation could be imminent,” she says. “but it’s also the case that some consulates have been able to not comply.”

Padilla Romero now considers that to be some of the most invaluable advice he received. He recalls: “We told the consulate that, you know, my mother, she’s a cancer survivor, and with her situation, she shouldn’t be deported. She’s also awaiting resolutions. And they were like, ‘Oh, yeah, of course, there’s no way we would issue travel documents knowing that situation.’ That was really a great relief.”

That promise was soon to be tested, however.

“The consul general received a call from one of the ICE directors—I’m not sure who—but they were really upset at her for not issuing those papers at the consulate,” Padilla Romero says. “That prompted her to reach out to her bosses at the Honduran embassy in D.C., and they backed her and us up, saying, ‘Yeah, we can’t issue those papers.’”

All told, he says, ICE tried to deport his mom at least three times, and three times the Honduran consulate steadfastly declined to provide the necessary paperwork.

The most frightening of those episodes, Padilla Romero says, happened one night about midnight. “I got a call from one of my mother’s inmate friends there, and to this day we’re still surprised at how she managed to call. My understanding is that after certain hours you can’t even make calls. But she told me, ‘Hey, they took your mom. They took her by force.’”

Later on, he would learn the details. “They just put her in a van,” he says. “They didn’t even take any of her medication. It was a long drive, at least three hours. She wasn’t even given water until like 10 in the morning, according to her. She didn’t eat that whole day until they were on their way back, around 3 p.m. She had bruises on her arms from the physical abuse. It was a very scary day. According to the consul, ICE was hoping to get the travel documents at the last minute.”

The seriousness of that episode was underscored when Padilla Romero spoke with some of the people who receive deportees in Honduras. “They said her name was on the list,” he says. “They were expecting her that day.”

THROUGH IT ALL, PADILLA ROMERO was able to speak with his mom almost daily, updating her about the campaign, the petition, the media. “She always tried to put on a brave face and, like, ‘I’m okay—I’m doing fine,’” he says. “My mom has always been a very spiritual person, a religious person. Although her physical health may be in decline, her spirits have always been very high.”

On the legal side, two professors and several students from WIRAC were now working on the case, along with a lawyer in Atlanta who was working pro bono. “They filed a stay at the 11th Circuit, which wasn’t rejected—just dismissed due to jurisdictional grounds, which was really upsetting,” he recalls. “But then they submitted a stay at the Macon District Court, I think it was. They were making a habeas argument, saying that her whole detention was unlawful. And surprisingly, we got a hearing in Macon, Georgia, and the judge granted a temporary stay for, like, two weeks.”

On the heels of that small victory, the family learned that ICE was reconsidering granting Ms. Romero a temporary stay. Then, just before Thanksgiving, word came from inside the detention center that something was up. Padilla Romero got the news in another call from his sister. “I was at my apartment in Connecticut. My sister called saying that one of my mom’s inmate friends called her saying my mom was being released.”

Family members immediately set off for the detention center, four hours away. “I contacted the WIRAC team here and told them, and so they got in contact with the attorney in Atlanta who was doing the pro bono services,” Padilla Romero says. “He got confirmation that yes, she was being released and transported to Atlanta ICE headquarters. My family was almost halfway to the detention center, and they turned back to Atlanta, and that’s where she was released.”

Padilla Romero prefers not to discuss the conditions surrounding his mom’s release, other than to say that it’s framed as a six-month stay. He’s also refrained from claiming any sort of victory or even announcing his mom’s release through the national press. “In terms of national news, we asked The New York Times and other folks to not necessarily report on it, for reasons that I told them,” he says. “That’s how we’ve been working it ever since. I don’t want to do anything that’s going to hurt our chances.”

STATISTICS ARE HARD TO COME BY, but according to Feldblum, in cases such as Ms. Romero’s, any sort of reprieve—even the temporary kind—is rare. For Padilla Romero, the six months he’s been granted with his mom are precious, come what may. Beyond that, the legal challenges continue, and he tries not to think about what will happen if they ultimately lose.

“I can’t really think about that, you know?” he says. “We have our grandparents there, so she would be with our grandparents. The main thing is that we would have to do everything we can to find the medical resources she would need. That’s our main preoccupation. But my family hasn’t really come to terms with how we would deal with it. At the moment, none of us would be able to leave the country to visit her, and obviously she wouldn’t be able to come back.”

Along the way, he’s learned more about the legal system surrounding immigration that he ever wanted to know. “My mom’s case should be such a straightforward case. We have really good evidence. The whole removal order was just not done right. It tells me a lot about the way the legal system is so entrenched.”

On the other hand, he’s learned never to give up hope. “The ultimate reason why she wasn’t deported was the Honduran consulate not providing those papers. That’s what stopped her from getting on the plane. That alone, for example, shows that there’s always something that can be done. It requires a lot of coordination, a lot of effort and a lot of public support.”

Indeed, it’s the extraordinary outpouring of support from friends and strangers that keeps Padilla Romero hopeful in spite of a system that strikes him as heartless.

“I’ve learned a lot about cruelty,” he says, “but I’ve also learned a lot about kindness.”

For the Defense

For the Defense pane
Emi Young ’13

Photos by Robert Durell

COURT STREET IN MARTINEZ, California, lives up to its name. On a gray morning in December, four imposing stone courthouses in a row loom out of the cold fog, steamy glass doors accepting the occasional be-suited prosecutor or latecomer for jury duty.

Inside one of those courthouses this morning, Emi Young ’13 is waiting in a dimly lit courtroom gallery for a restitution conference to begin. Young, who works as a deputy public defender for Contra Costa County, will be representing a client who pleaded guilty to possession of a stolen vehicle. As part of the conviction process, she is participating in discussions about how much money will be awarded to the victim to help with damages—discussions that are often, but not always, straightforward, since both sides need to agree that the restitution requested is sufficiently related to the crime. (“I had a vandalism case where the city requested compensation for all of the tagging or graffiti that they thought were similar from the preceding year,” Young notes.)

The beige-carpet-on-beige-wood courtroom is crowded with cases, and the judge moves swiftly through the docket. Normally the prosecutor would have conferred with the victim’s assigned restitution specialist by now, but this time that hasn’t happened. So, a few minutes before the conference begins, Young hands him her copy of the handwritten list, which totals $126,000. Along with the value of the stolen vehicle, the victim is requesting restitution for multiple other vehicles, several marine batteries and damage to a barn door—all seemingly unrelated to the crime for which her client was convicted.

“That… is a lot of money,” the prosecutor says, running his eyes down the list. When the judge has turned her attention to the case, she agrees, noting with raised eyebrows that the request would make for an “interesting” hearing. “What do you want to do, Ms. Young?” she asks. A pause, then Young and the prosecutor agree to delay the conference, giving more time to talk to all parties and perhaps find a solution.

“It’s frustrating that he didn’t have more time to look at the request before,” Young says as she walks through the fog back to her office a few blocks from the courthouse. Under normal circumstances, these things can take as little as 20 minutes—that is, when the prosecutor is prepared and when victims limit themselves to amounts directly related to the crime and provide adequate documentation.

It’s lucky, she notes, that her office had not yet closed the case file, leaving her client without representation. Then, the court might just have sent a letter instructing him to request a hearing or agree to pay the full amount—and many of her clients are transient, with no fixed addresses and unreliable mail service.

But such frustrations are an inherent part of a job with limited time, limited funding, limited attention. “I talk about the system I work in as the ‘criminal legal system,’” she says. “The term ‘criminal justice system’ is aspirational. It’s not the reality for many people.”

Emi Young ’13AT 28, YOUNG, WHO favors bold colored scarves, long sweaters and a silver hoop in her nose, is, well, young for her profession. She was born in Omaha, Nebraska, and her parents divorced in her early childhood. Growing up with a single, Japanese mother profoundly shaped her— especially in a school district that had been created by conservative white parents who were trying to skirt anti-segregation laws. “It felt like our family was very different,” she says. “I know my mom also really struggled sometimes.”

As part of continued efforts to support her family, Young’s mother went back to school to become a paralegal. She sometimes brought home articles about important Supreme Court cases and news from the legal system to share with her daughter, who at the time aspired to be a musician. It wasn’t until Young attended Pomona, graduating in 2013, that she changed her mind.

Her experience at Pomona was profoundly “consciousness raising,” she says. Conversations happening on campus helped her understand earlier experiences from her own life in a new light—her experience as a biracial person in a school district with segregationist roots, for example. And it was at Pomona that she first learned about what she calls the “disparate impacts of our legal system on certain communities.”

That nascent interest prompted Young to major in political science and philosophy; her Pomona education “helped me have a vocabulary for certain ways in which people are systemically disenfranchised,” she says. She volunteered for a semester at the Camp Afflerbaugh-Paige juvenile detention facility near campus, producing Othello with some of the students. While she was there, one of the teenaged boys disappeared for a week. When he returned, she was struck by how dramatically different he was: subdued where he had been animated, depressed where he had been bright and playful, cracking jokes.

It turned out that he had gotten in trouble and been kept in isolation for some time as a disciplinary measure. “This doesn’t seem fair or good for a person who we hope will turn out to be happy and productive,” she remembers thinking. “I feel like I can’t advocate on his behalf right now, but it’s something I’d like to be able to do someday.” In pursuit of that goal, she attended law school at Stanford and spent her first summer interning at the New York Civil Liberties Union—but was surprised to find herself unhappy with the experience, which felt too divorced from the people she hoped to help. “I realized I should be trying to come at it from a different angle,” she says.

Young is aware that public defender stereotypes paint a picture of a harried, overburdened lawyer who doesn’t fight for her clients, “interested in trying to plead you out as quickly as possible because we don’t have the time or resources to defend you adequately.” But Contra Costa’s public defenders maintain one of the highest trial rates in California, part of the reason she applied for a job here. Encouraging plea bargains “does not lend itself towards keeping the system accountable or ensuring accurate or fair results,” she says.

Emi Young ’13THE ROLE OF PUBLIC DEFENDER doesn’t come with much of a runway. Once she graduated from law school, Young clerked for several months at the Contra Costa Public Defenders Office—then began representing a full load of clients on misdemeanor charges soon after she passed the bar in January 2017. “When I got hired, I quite literally had three days’ transition to begin representing 110 clients, some of whom had trials set,” she remembers with a shudder and smile.

These days, she works instead with clients facing felony charges, which run the gamut from evading the police to gun possession to attempted murder—around 40 at a time and between 50 and 60 hours a week. It’s a more manageable load than she had in misdemeanors: the cases move slower because there’s more at stake, so there’s more time to work on them. That creates opportunities to occasionally play her violin; take a bread-making class; or go on walks with her mother (who moved to the Bay Area several years ago) and the family dog, Teeter.

Beyond the frantic pace, Young has slowly adjusted to a professional life that can demand a difficult balancing act between practicality and justice. Some clients with immigration concerns prioritize protecting that status, even beyond proving their innocence; some clients value the chance to have the proverbial “day in court” and tell a judge what happened over the safety of a plea bargain. There have been cases where she believed her clients were innocent but struggled with how to advise them, because their prior history put them at deep risk if they were to be convicted of a serious crime. And when her clients are kept in custody as they await trial, she must decide how to ask to schedule their hearings, keeping in mind that the longer she spends preparing their cases, the longer they’ll spend away from their families, friends, worlds.

“There’s an older philosophy that as attorney you’re the person who is educated and knows the law, and you should be the person responsible for making decisions about best outcomes,” she says. Instead, “our duty is to learn about and understand our client’s perspective.”

It’s also a professional life that melds stereotypical courtroom drama with the ordinary, obligatory mechanics of the justice system: jail visits, written motions, the series of hearings that precede a jury trial. The fabric of Young’s daily routine is threaded with the half-hour drives between courtrooms in various towns; the waits to get into jails; the police officers who are late to give testimony; the judges trying to sort out the daily docket. In the week that I shadowed her, she had three separate hearings delayed at the last minute. That week featured pockets of the pursuit of justice, yes—but they were glued together with pauses during which judges took bathroom breaks and bailiffs watched pet videos on the phones of district attorneys.

The stops, starts and delays can be “really frustrating,” she says, but they have had a surprising benefit: teaching her adaptability, honing her capacity to adjust and respond to new tasks at a moment’s notice. Before this work, “I was very good at planning for something, preparing a lot for something and doing it,” she says. “But the thing you learn with this job is that you can’t prepare for all the possibilities. You have to be okay with the unexpected sometimes.”

AFTER THE CANCELED RESTITUTION HEARING, Young settles in at her office to spend the rest of the day wading through the seas of mundane justice: drafting motions, reviewing new evidence, preparing for an upcoming trial. The room is small but friendly, featuring a coffee machine tucked into a corner and an assortment of button-down shirts hanging off the doorknob for clients to try on. The walls are decorated with photos of Teeter and a few pieces of art.

Beside a selection of client thank you notes hangs a Ta-Nahesi Coates quote on a note card that reads, in part: a society that “can only protect you with a club of criminal justice has failed at enforcing its good intention or has succeeded at something much darker.” It’s a reminder of the losses and disappointments: the young man who was prevented by his co-defendant from taking a probation plea deal and ended up in prison; the client whose immigration status she worked to protect during a DUI case but who ended up in ICE custody later, anyway.

Even victory, when it comes, has been bittersweet. Young remembers one client who was charged with elder abuse of his own mother. During the trial, it became clear that the mother’s mental state was deteriorating, especially as her reports of abuse were not corroborated by evidence; she died soon after the verdict. Although Young’s client was cleared of wrongdoing, she struggles to find vindication when thinking about how he must have felt—accused of a cruel and violent act, separated from a beloved parent during the last weeks of her life. “There’s nothing that the acquittal in and of itself can do to repair the damage,” she says, sighing.

A victory is “gratifying,” she adds, but “just because a case was ultimately dismissed, or was acquitted, it doesn’t mean the experience hasn’t taken a toll.” Even with positive outcomes, her clients still deal with negative impacts: the costs of bail, missed work and immigration risks.

Taking a moment to celebrate the work that’s done can be difficult when there’s always another seven things to do. Yes, today’s delayed restitution hearing was a small victory. In this case, she hadn’t been reassigned, so she was able to continue to represent her client in a quest for a fairer outcome. She’ll likely be able to renegotiate that request, saving him money and helping him start fresh.

Tomorrow will bring another hearing, another jail visit, another trial. More new clients will arrive, more new evidence will be unearthed, as the American penal organism churns on. But today, she added a little justice to that system. That has to be enough.

Talking While Black

Talking While Black

Talking While BlackSIMPLE TRAFFIC STOPS escalate, ending in unnecessary deaths. In courtrooms, justice is not always served. And in prisons, the voices of many of the incarcerated sound alike.

As a sociolinguist, Assistant Professor of Linguistics Nicole Holliday specializes in the study of how language and identity interact. More specifically, she focuses on the many implications of a central question: What does it mean to sound Black?

Holliday’s research on race and intonational variation examines wide aspects of society, including political speech. Yet there are few areas where the impact of race and linguistic differences is more stark than in the criminal justice system.

In just one example, in 2015 a college-educated African American woman named Sandra Bland was arrested in Texas after a minor traffic stop turned into a confrontation. Three days later, Bland died in jail in a suspicious death that was ruled a suicide.

After hearing the dash-cam audio of the incident, Holliday and fellow linguists Rachel Burdin and Joseph Tyler analyzed it and wrote an article, “Sandra Bland: Talking While Black,” that was published by Language Log, a linguistics blog hosted by the University of Pennsylvania.

With the help of linguistics tools such as the software program Praat and spectrograms that provide visual representations of variation in pitch, the researchers argued that the state trooper and Bland were, in essence, speaking different languages.

“What we did is we went through and used this annotation system, and we coded where the phrases are broken up and where the pitch moves up and down, the voice moves up and down, for each of them,” Holliday says.

“What we came to was she is using an identifiably African American tone pattern and he is not really matching her. So she starts in one place. He starts in another place. And it’s clear that as the situation escalates, he’s increasingly interpreting her as disrespectful, hostile, something like that. She does a few things in particular where she uses these kinds of tones, where her voice falls and rises on the same syllable. This is a pattern that we see more frequently with African American speakers.

“With the officer, he doesn’t really do that at first, but as he moves through the interaction with her, he starts to be more like that. So we think there is a mismatch in his expectations of what she was supposed to sound like as a respectful citizen. But this mismatch is fundamentally about the fact that she speaks African American English and he doesn’t.”

Bland died in jail after an incident that appeared to start with no more than a failure to signal. Her family ultimately sued, settling a wrongful death suit for $1.9 million. A misdemeanor perjury charge against the state trooper, Brian Encinia, was dismissed after he surrendered his law enforcement license and agreed not to work in the field again.

Another prominent case examined by linguists is the outcome of the trial in the shooting death of unarmed Black teenager Trayvon Martin in Florida in 2012. George Zimmerman, a neighborhood watch volunteer, was acquitted of second-degree murder and manslaughter in Martin’s death.

In a paper titled “Language and Linguistics on Trial,” Stanford University Professor John Rickford, now retired, and co-author Sharese King, now an assistant professor at the University of Chicago, argued that the testimony of key prosecution witness Rachel Jeantel, a 19-year-old Black teenager, was dismissed as not credible because she spoke in African American English, contributing to the not-guilty verdicts. Jeantel was on the phone with Martin as the incident unfolded.

“They lay out all of these moments where she’s using these features of African American English that could clearly be misinterpreted by people unfamiliar with the variety,” Holliday says. “So basically, she’s speaking really differently than the lawyers, than the jury, than the public.

“There are a number of features of African American English that Jeantel employs that may be unfamiliar to mainstream listeners. For example, Rickford and King point out the use of ‘zero copula’, or the omission of the overt ‘is’ or ‘are’ verb in a sentence. Jeantel also uses differences in use of plural and possessive forms, which are also forms that may distinguish African American English from mainstream varieties.”

Jeantel’s testimony included phrases incorporating those styles, and some listeners may be unable or unwilling to hear beyond a highly socially stigmatized way of speaking.

“So when you hear somebody speak this way and you have these biases, you might just say, ‘Oh, this person is not educated and I’m going to stop listening,’” Holliday says.

“People attach a lot of judgments about morality and character to the way that people talk. And these biases that we have are almost always racist, classist, sexist, problematic in some other way, but it’s not the fault of the language. The language just varies. And that’s a natural part of what language does. But the variation gets interpreted as a problem.

“It’s very transparent that people’s ideas about language aren’t really about language,” she says. “They’re about other sociological phenomena.”

A Journey of Faith and Inquiry

A Journey of Faith and Inquiry
Paul Kiefer '20 outside the Shabazz Restaurant

Paul Kiefer ’20 outside the Shabazz Restaurant in Durham, N.C., adjacent to the state’s oldest mosque.

PAUL KIEFER’S JOURNEY of faith and inquiry already has taken him great distances. An American Muslim from Seattle who converted as a teenager, Kiefer ’20 studied abroad in Morocco during his junior year to experience the Arabic-speaking Muslim world. Back home in the United States, he looked toward the American South as he prepared to write his senior thesis in history.

There, he was an outsider of a different sort, a white Muslim gathering oral histories and conducting research on the Southern Black Muslim community that emerged in North Carolina in the 1950s and has grown deep roots in the Tar Heel State—a place where the festival of Eid is sometimes celebrated with fried fish and grits.

“They’re doing it right, the whole Southern thing,” says Kiefer, who was partly drawn to the region because of his family’s history there, though his relatives were not Muslim.

The Black Muslim community in North Carolina that was first planted by the Nation of Islam and later gravitated toward the teachings of W. Deen Muhammad is the subject of Kiefer’s thesis, “A Crescent Moon Rises in Dixie: The Foundation and Development of a Southern Black Muslim Community, 1955-1985.”

“Paul is writing about a topic few historians have investigated. So his work is filling a gap in our collective understanding of the Nation of Islam in the South,” says Tomás Summers Sandoval, associate professor of history and Chicana/o-Latina/o studies. “The archival work he’s done so far is already helping to write that history.”

Kiefer’s research weaves source material such as mosque records and contemporary newspaper reports with oral history interviews he conducted in North Carolina during a Summer Undergraduate Research Program project before his senior year.

“We often think of Islam in the U.S. as a present-day story but Paul’s work is a reminder of the importance of both Islam and Muslims to the U.S. past,” Summers Sandoval says. “At the same time, his work helps us better understand the roles various congregations and faiths played in the mid-century quest for Black liberation and autonomy in the South.”

Islam was not truly new to the South when it was imported from Northern cities such as Philadelphia and Baltimore in the second half of the 20th century. Kiefer found records of Black mosques in the South as early as 1928 and a Black Muslim farm by 1943, though those groups were members of the Moorish Science Temple of America, not the Nation of Islam.

Even less widely known: Islam’s original roots in the South preceded the Civil War.

“About 15 to 20 percent of enslaved people in what became the United States were Muslims,” Kiefer says. “There are many well-documented examples of Muslims who practiced openly, who ran Friday prayers on plantations, who wrote letters home. At least three actually wound up going back to West Africa thanks to letters they wrote home in Arabic.”

The history of Muslims in the South is a story worth telling, and Kiefer plans to tell many more. He has applied for a Fulbright-National Geographic Storytelling Fellowship and the NPR Kroc Fellowship, both designed to develop journalists as well as storytellers in other mediums. While awaiting fellowship announcements in the spring, Kiefer also plans to apply for public radio jobs, pursuing his determination to uncover little-known stories and histories.

Defy the Odds

Defy the Odds pane
Entrepreneurs in Training (EITs) welcome Glazier and other volunteers at a prison event in Lancaster, Calif.

Entrepreneurs in Training (EITs) welcome Glazier and other volunteers at a prison event in Lancaster, Calif.

GAMES AND ICEBREAKERS are often used at business conferences to create some fun and make strangers comfortable with each other. But at a recent meeting of Defy Ventures, which helps people from prisons prepare for life on the outside, one empathy-building exercise quickly turns dead serious. It’s called Step to the Line, and though not a word is spoken, much is revealed.

On a sunny Saturday in mid-January, about a dozen former inmates from two Los Angeles halfway houses gather for the event at a modern downtown office complex. They are met there by a group of volunteers, men and women from the business world recruited to lend their expertise on writing résumés, polishing personal statements and perfecting business plans.

Defy calls the event a Business Coaching Day, and it’s led by Andrew Glazier ’97, the nonprofit’s national president and CEO. It’s part of the organization’s overall prison rehabilitation program called CEO of Your New Life, which aims to build self-confidence as well as skills.

At Defy, the group exercises are meant to be healing. They help participants develop a healthy self-image and positive attitudes. The organizers provide a well-studied set of aphorisms to live by.

Shame is destructive. Learn to forgive, not judge. You are not defined by your mistakes. You deserve a second chance. Foreswear negative labels. You are not criminals, convicts or felons. You are EITs— Entrepreneurs In Training.

Above all, realize that the solution is already inside you. Many of the same skills that brought you success as, say, a drug dealer can be applied to any legal enterprise.

In short, to quote Defy’s main motto: Transform the Hustle.

Glazier listening to an EIT share his personal statement during a coaching day.

Glazier listening to an EIT share his personal statement during a coaching day.

GLAZIER HIMSELF COMES from a privileged background that could not be more remote from the life experience of his incarcerated clientele. For the public face of Defy Ventures and its chief fundraiser, that disparity can be a handicap, he concedes. Sometimes he finds himself forced to answer questions of class and race when pitching new potential donors.

“In the funding community now there’s a lot of interest in seeing people who have ‘lived experience’ running organizations and working in the nonprofit space,” he explains. “I think part of it comes from the idea that, look, for a long time it’s been just a bunch of well-meaning white people who come and work in communities of color. So sometimes I find I still battle this credibility stuff: What are you doing here?”

Glazier understands why people perceive a disconnect between his upbringing and his prison work and why they might challenge his street cred, so to speak. But he bristles at being “on the receiving end” of that mistrust. “It can be an uncomfortable spot to be in,” he says. “Look, I can’t change who I am. I do know that it’s critical to have people with lived experience within our organization, informing our work. And we do.”

If you’re looking for personal information on Glazier, you won’t find much on social media. He’s not one to overshare; so he keeps a light digital footprint, mostly on LinkedIn and all about business. But Glazier opened up during a casual lunch recently at the Wasabi Japanese Noodle House, a five-minute walk from his Wilshire Boulevard offices in Koreatown. He talked easily about his evolving life goals, his family, education and the circuitous career path that brought him to the transformative prison work he never dreamed he’d be doing.

Unlike many other Angelenos, Glazier’s roots in the city run deep. His mother descended from immigrants with a long history in Los Angeles. Her maternal relatives arrived from Italy, just in time for his great-grandmother to be “born off the boat from Sicily” in 1908.

Glazier’s father was a doctor who worked for the Veteran’s Administration, where he met his mother, who worked as a secretary for the agency. They married, had three children and settled in Studio City, a well-to-do neighborhood in the eastern San Fernando Valley.

Glazier attended Harvard-Westlake, a college prep he calls “the most elite private school in Los Angeles.” Today, he concedes that his exclusive education had put him in a protective bubble, cloistered from the social ills mushrooming all around him.

But all that changed on April 29, 1992, the day the Los Angeles Riots erupted over the verdict in the Rodney King case.

One of Defy’s entrepreneurs in training, referred to as EIPs.

One of Defy’s entrepreneurs in training, referred to as EIPs.

GLAZIER WAS 16. “I had lived my whole childhood in the valley, and I had no idea what was going on eight miles away,” he says. “Then the riots happened. I remember seeing Rodney King getting beaten on TV. Then the city burning. And even in the valley, where it wasn’t nearly as intense, you could still see all the smoke coming over the hill.

“That was really a moment for me of waking up: Oh, my life is not their life. There are things happening that are really close-by that I’m really not aware of. And when I suddenly had greater awareness of my opportunity and privilege, it felt all the more extreme, which in part, I think, drives me to do this work.”

Yet, Glazier never actually planned to work in prison reform. Until recently, if you had told this classically trained cellist with an MBA and a medium build that he would someday wind up working with hard-core prison inmates, he would have scoffed at the notion.

Nothing was further from his mind when he applied to college. He picked Pomona because he wanted a small school, and his parents wanted him to stay close-by.

The Claremont campus also had a strong academic appeal. “I’m a huge fan of the liberal arts,” he says. “It doesn’t matter what you get a degree in, because you’re learning critical thinking and writing. And that’s the education I came out with—a degree in critical thinking and knowing how to write, both important skills that are hard to find.”

Glazier majored in international relations, studied Spanish and Japanese, and spent a semester in Pomona’s program at Tokyo’s International Christian University.  At first, he considered joining the foreign service, but that plan never materialized. (Fun fact: his suitemate during junior year was David Holmes ’97, a U.S. State Department employee based in Ukraine who recently testified during the impeachment hearings against President Donald Trump.)

After graduation, Glazier took time to explore. He returned to Japan and taught English for a year. He travelled, settled down and started a family. From 2001 to 2004, he was chief of staff to Marlene Canter, then a newly elected member of the Los Angeles City Board of Education.

“Originally, I wanted to be an elected official,” he recalls, “but five years of working in local and state government sort of cured me of that impulse.”

Nevertheless, the experience continued to stoke a civic calling. The problems he saw in L.A. schools opened his eyes to new realities—kids who are afraid to go to school, who can’t read, who smoke weed in the hallways.

“This is where you really start to see inequities in the system, to see more of the injustices that exist in society,” he says. “I spent my life in private education; now suddenly I have this front-row seat in public schools, and you think, ‘How is this even possible?’”

Glazier then switched gears and joined a small real estate development team, managing an award-winning restoration of historic bungalows in Silverlake. On that job, he recalls, he met and interacted with people with criminal histories for the first time, giving him a glimpse into the challenges they face after prison.

EITs welcoming a volunteer at the start of a Defy coaching day

EITs welcoming a volunteer at the start of a Defy coaching day.

Meanwhile, Glazier also went back to school, earning his master’s in business administration from UCLA’s Anderson School of Management in 2006.

Two years later, he decided he’d had enough of real estate, which “didn’t feel meaningful to me.” In October of 2009, he took a job with City Year Los Angeles, a nonprofit that plunged him back into those vexing education problems. The agency works with AmeriCorps volunteers to serve as tutors, mentors, and role models for students in Los Angeles, grades three through 10.

The job gave Glazier his entrée into nonprofit work, where he finally found his mission. He stayed eight years with the education agency, having ascended to second in command in the Los Angeles chapter.  When he decided to leave—again with no job lined up—a friend referred him to the opening at Defy, which had recently launched a new Southern California branch.

Glazier has come to see parallels between the problems in public schools and those in public prisons. “They are both large bureau­cracies within the state government that are dealing with large numbers of people who are in need of intervention and education,” he explains. “So some of the basic reform ideas that apply to public education apply to prisons too.”

In either system, steering an organization in a new direction can be a herculean task. Glazier was well aware of the enormous challenge when he entered the criminal justice reform world three years ago, full of optimism and ambition. But he had no idea of the organizational landmines that awaited him at Defy Ventures, where a scandal was about to shake the nonprofit to its foundation while abruptly catapulting Glazier to the top job.

DEFY VENTURES WAS FOUNDED in 2010 in New York by a charismatic woman named Catherine Hoke, a UC Berkeley graduate and former Wall Street executive. But in 2018, she was forced to resign in the midst of accusations of sexual harassment, misuse of funds and misleading donors with inflated performance reports.

Glazier said the controversial leader had come to personify the organization. She had a golden touch for fundraising and promotion; she courted powerful people in politics and Silicon Valley and had a knack for drawing high-profile media coverage. When she stepped down, Glazier says, Defy seemed doomed, as donors rapidly retreated.

Hoke has denied the allegations, though she previously admitted having sex with ex-prisoners participating in a similar program she had established in Houston in 2004. After being banned from Texas prisons in 2009, she resurfaced in New York where she later faced the new allegations from former Defy employees. An internal investigation, conducted by an outside law firm, found evidence of personal impropriety, but no proof that program results were embellished, donors misled or funds misused.

Glazier joined Defy in May of 2017, charged with building the new L.A. chapter. But before he had completed his first year on the job, the scandal hit, and he was suddenly promoted to president and CEO as the organization ran out of money.

Glazier recalls how he perceived the promotion: “You’re in charge. Here’s a dumpster fire.”

The newcomer scrambled to keep the sinking agency afloat. He was forced to lay off two thirds of the staff, then proceeded “to engineer a turnaround.” Today, the agency is back on solid footing.

A Defy Ventures volunteer giving résumé feedback.Defy’s top goal, says Glazier, is cutting the rate of recidivism, the all-important measure that tracks the proportion of released offenders who return to prison over time. Nationwide, the rate has remained stubbornly high for decades. According to the most recent study released in 2018 by the federal Bureau of Justice Statistics, more than 83 percent of inmates released in 2005 had been re-arrested at least once within nine years. Most, 68 percent, were re-arrested within the first three years. The study followed a random sample of 67,966 prisoners from 30 states, including California, Colorado and New York, all places where Defy programs operate.

Defy’s strategy is essentially simple: Help men and women inside prisons prepare for a successful re-entry by teaching them business and career skills and personal development. Once they’re released, the agency provides continued support through a structured program to help them get a job or start a business.

While still in prison, participants engage in a seven-month curriculum that culminates in a Shark Tank-style competition, in which they pitch their ideas to a panel of business leaders and investors. After graduation and release, winners can bring their ideas to fruition through Defy’s Business Incubator.

ON ITS WEBSITE, Defy tracks results by the numbers: More than 5,200 prison participants, 4,800 volunteers, a one-year recidivism rate of 7.2 percent, an 84 percent employment rate and 143 businesses incorporated over the past eight years.

Like Defy itself, several of these small enterprises go on to employ former prisoners. Two Defy graduates work for Glazier at the agency’s spare and utilitarian offices, where the décor is corkboards and calendars.

Quan Huynh, the organization’s post-release program manager, joined the Defy program as a participant in 2015 while serving a life sentence for murder. He had been convicted in connection with a car-to-car shootout on the Santa Ana Freeway between his Vietnamese gang and members of a rival gang in the other car. He did time in some of the state’s toughest prisons, including Soledad and Pelican Bay.

“For the first 10 or 12 years, I never thought I was going to go home,” says Quan, whose parents fled the Vietnam War when he was an infant. At his parole hearing, he gambled on telling the truth, admitting he had lied in court and coached witnesses. His honesty paid off.

After his release, Defy helped him start his own cleaning company in Fountain Valley. Today, he is founder and CEO of Jade Janitors, currently with six employees, including five who were formerly incarcerated. He was Glazier’s first hire at Defy in 2017.

Another volunteer offering feedback to an EIT at a California prison.

Another volunteer offering feedback to an EIT at a California prison.

When asked, Quan thinks before offering a job assessment on his boss. “He’s very strategic and organized,” he says. “He’s all about systems and processes. He does not micromanage me at all. He empowers me. He sets the goal and sets high expectations, and we follow through with it.”

For Quan, that management style says, “I trust you.”

PRIVATELY, GLAZIER CAN “sometimes seem a little socially awkward,” Quan says, but he’s confident in the spotlight as Defy’s workshop leader. “He’s right in his comfort zone right there, actually connecting with the participants.”

During the recent Business Coaching Day, Glazier is clearly comfortable leading the icebreakers. In one, he asks people to introduce themselves by dancing their way from their seats to the front of the large hall.

“Quan, have you got some good dance music ready?”

There is no room to be bashful in this exercise. The participants, both budding entrepreneurs and volunteer counselors, make their way to the front, displaying individuality in their step. They strut, stroll, glide, vamp and slow-walk their way to the front, announcing the nicknames they gave themselves. There is Graceful Grace, Fantastic Frank, Kind Kyra and Bashful Benny. And here come Musical Michele, Ambitious Albert, Incredible Ian and Resilient Raul.

In the role of moderator, Glazier as Awesome Andrew is a cross between a motivational speaker, group therapy leader and game-show host. By the time these icebreakers work their wonder, the room is buzzing with laughter and chatter like a nightclub at midnight.

But when it comes time for Step to the Line, Glazier asks for silence. He instructs the group to form two lines along blue tape laid on the floor a few feet apart. Volunteers stand shoulder-to-shoulder on one side facing the Entrepreneurs in Training on the other. Then they all take two steps back from their respective lines, making the distance greater between them.

Glazier ’97 leading one of Defy's signature exercises, Step to the Line.

Glazier ’97 leading one of Defy’s signature exercises, Step to the Line.

Glazier then reads a series of questions. For each one, participants must step forward to their line if they feel the statement is “true for you.” As the exercise goes along, people on both sides of the divide step forward and back with each question, revealing both differences and commonalities.

Soothing guitar and piano music start playing, relaxing as a spa. Glazier’s words float over the room like spiritual meditations. “We don’t do shame at Defy,” he says, speaking slowly with deliberate pauses. “We’re forward-looking. We do empathy. Now, empathy is not pity. Nobody is asking for anybody to feel sorry for them. Feeling sorry for someone isn’t built on respect. But empathy is built on respect and shared humanity. Empathy says that I see you. I hear you. And I understand.”

The first few questions are for fun.

I like scary movies.

I know who Billie Eilish is.

I was the class clown.

As the statements get more probing, responses reveal social divisions. Only two of the EITs, but half of the volunteers, indicate their parents paid for private schools. Only one former prisoner earned a four-year college degree; most dropped out of high school.

Yet people on both sides share sad experiences, with random movements back and forth from the line of truth.

I struggle with my self-confidence to this day.

My mother or father have been to jail or prison.

My parents split up and their divorce deeply wounded me.

I’ve lost someone I love to violence.

An EIT hugs members of his family during an emotional Defy Ventures graduation exercise.

An EIT hugs members of his family during an emotional Defy Ventures graduation exercise.

When the questions turn to crime, the results are both surprising and shocking. Surprising to learn that many of the mostly white mentors have been stopped or questioned by police for no reason, and almost all have been arrested. Shocking to see what the EITs have endured in prison. The majority have spent more than four years behind bars, a few more than 20. The visual of men stepping back or remaining on the line as the number of years are called out makes for a powerful moment. Even more so when Glazier asks about a harsh psychological punishment.

I’ve spent time in solitary confinement. (All but two step foward.)

More than two years. (Two men step back.)

Three years. (Three men remain.)

Five years. (Two left.)

Seven. (One man still on the line.)

Ten years. (Finally, all have stepped back.)

The exercise has succeeded. It has stirred passion and compassion, even from this casual observer. And it has forged strong bonds among this unlikely team of strangers, as indicated by their collective shared movement when Glazier delivers the final statements.

I feel proud of the person I am becoming.

Everybody steps up to the lines, and a couple give high fives across the quickly closing gap.

Okay, last one. If it’s true for you, let me hear it. I love being part of the Defy community.

The session ends with cheers, laughter, spontaneous hugs all around.

Inside Out

Inside Out thumbnail

fences topped with razor-sharp wireBEHIND FENCES TOPPED with razor-sharp wire, students from the 5Cs sit next to incarcerated students each semester in classes taught by Claremont Colleges professors at the California state prison in Norco.

They are part of the Inside-Out Prison Exchange program, an international effort introduced locally by Pitzer College in 2014 and expanded in 2018 to include courses from Pomona College and the other 5Cs. The classes inside the 3,600-inmate California Rehabilitation Center (CRC) are part of the groundbreaking Inside-Out program created by Temple University Professor Lori Pompa in 1997—an effort that took ‘outside’ undergraduate students into classes with ‘inside’ students serving sentences in Pennsylvania prisons. Since then, it has expanded to more than 150 colleges and universities at some 200 jails and prisons.

Education isn’t the only goal of the college-credit classes; it’s also an attempt to create dialogue between groups with profound social differences. But the inside and outside students are equals in the classroom: They read the same materials, complete the same assignments, earn the same college credit and in small ways start to echo each other. As one incarcerated student in Professor Jo Hardin’s Math 57 class, Thinking with Data, writes:

In the future I hope to organize communities that focus on sustainable, environmentally beneficial practices. With the skills I learned in this class I feel prepared to communicate and interpret complex scientific data in ways that are easily understood and enjoyable to contemplate. Also by broadening my interactions with young scholars I’m exposed to the issues pertinent to the change makers of tomorrow.

Ultimately, the differences are stark. The outside students get to leave after class and return to a bus where their cell phones and lives await. The inside students at the medium-security men’s facility will eventually be eligible for release, but for now their lives are confined by both fences and regulations. They answered questions about the program in anonymous handwritten responses, including this one from a student in Linguistics 114, a course on language and discrimination taught by Nicole Holliday, an assistant professor of linguistics at Pomona:

I thought I would just be an outcast for the rest of my life, but my interactions with the outside students showed me that not everyone will judge me, and maybe I’ll get to find a place I fit into society after all.

And another student:

Being part of an “inside-out” class also makes me feel like a regular person, not an inmate. It is a welcome reprieve from the highly punitive correctional environment that I live in.

And another:

Being treated like a human and not a monster.

The buses leave The Claremont Colleges at 12:30 p.m. on the days of classes at the prison. Six courses were offered in fall 2019 and another half-dozen this spring, each meeting once a week. The students and professors must be cleared by prison security and undergo orientation, as well as being tested for tuberculosis before classes begin. They invest a full afternoon for one class, often returning to campus as late as 5:30. “Walking into the prison for the first time, it felt incredibly surreal,” says Pomona student Sarah Sundermeyer ’21. “But I think that feeling of trepidation dissipated as soon as we were inside the classroom with the other students. They were so warm and friendly and just open and willing to share in a way that I don’t know that I expected.”

An experience different from what they expected is a common refrain. “I guess it’s been more striking how unremarkable it is,” Hardin says. “You think, ’Oh, this is a really big deal.’ Everybody says it’s really impactful, and in some ways it has been. But in terms of the class structure and the class dynamics, it’s really just a class.”

“And that’s what you’re actually trying to do, right?” interjects Holliday. “Part of the innovation is treating people who are incarcerated like people—and that means treating them like students, for us.”

The courses are partly tailored for the setting, with Hardin’s data class focused on interpreting such information as census statistics and medical research, but also on the probabilities involved in DNA analysis of the sort used in criminal investigations and trials. Discussion is also an integral part of the model. “The topic was statistics and right off the bat people were saying, ‘I feel I’m reduced to a number in the system,’” says Ahana Ganguly ’21.

Holliday’s class examines linguistic prejudice in the educational system as well as the criminal justice system. “Every single inside student had a story about being told that they talked ‘ghetto’ or literally having the Spanish beaten out of them in school,” she says. “When people tell you your language doesn’t work because of their racism, you don’t use your language. And then what happens to you in school? It’s really, really powerful. And maybe in some small way, you know, what the program is trying to do is just restore a little bit of the dignity that they lost through the way they were treated in the educational system to begin with.”

Inside students earn course credits and a small amount of time off their sentences. Outside students earn credit and a first-person experience of a system most had considered only in theory.

“I think the greatest benefit actually—I hope—accrues to the larger society,” Holliday says. “What does a world look like when every judge, every lawyer, every politician has had a real human connection with someone that’s incarcerated? And we know our students go on to do wonderful things. They’re going to grad school; they’re going to law school; they’re going to be important and powerful. I want a generation of people that have had that experience and seen how fundamentally unfair our system is, that have the power to change it when they get out.”

Involvement in research or activism involving the criminal justice system is nothing new at The Claremont Colleges, with a decades-long tradition among many faculty, particularly at Pitzer. Pomona Professor of Religious Studies Erin Runions has facilitated writing workshops inside a women’s prison and teaches a popular course on Religion, Punishment and Restoration that is now part of the Inside-Out program.

But it was Pitzer’s Tessa Hicks Peterson—an associate professor of urban studies and assistant vice president of community engagement who also heads the Office of Consortial Academic Collaboration—who piloted the first Inside-Out course, Healing Arts and Social Change, which took place at CRC in the spring of 2014. Since then she has worked to spread this model to the other Claremont Colleges, with the support from the 7C Deans and many engaged faculty.

The expansion came with the support of a $1.1 million grant Pitzer received from the Andrew W. Mellon Foundation in 2018 and is now run by Pitzer’s Tyee Griffith, founding manager of the Justice Education Initiative. In fall 2020, Pitzer will become the first Inside-Out program in the nation to offer a pathway to a bachelor’s degree for incarcerated students, who previously only have been able to earn associate’s degrees. The first class of incarcerated students to earn bachelor’s degrees in organizational studies from Pitzer would be in 2022.

All of these are complex issues, of course, involved in crime and punishment. Even on the Claremont campuses, a club called the 5C Prison Abolition Collective staged a panel last fall examining the ethics of Inside-Out that included formerly incarcerated speakers as well as Pomona’s Runions, a longtime activist and Inside-Out professor. Some who support the dismantling or reduction of the prison system over traditional reform contend that the Inside-Out program makes participants complicit with the system itself.

“There’s an idea that this ‘makes the prison look good,’” Peterson says. “But the prison is not necessarily pushing for this: We are really advocating for it on behalf of those inside who have asked us to do it. We’re there because we’re invited; we’re there because it’s their right to education, just like anyone else’s. And the educational experience is really transformative and does often provide a level of agency, like any educational experience does. That in and of itself is what we hope will change the system—both girding the folks inside with that sense of agency and education but also girding our 5C undergraduates with knowledge about this system, that for many people they have a luxury to not have to know and care what’s happening in these facilities that are state-run, that our tax dollars are going to. So we’re complicit with these institutions, regardless of whether we’re teaching inside or sitting here ignoring them. Those of us involved feel like we’d much rather be complicit with a solution of educating ourselves about these institutions so that we can become better advocates. Because certainly, you can’t teach inside without having resulting very strong feelings about the prison-industrial complex. It’s just impossible.”

The ideas a professor or student comes in with are not often the ones they leave with, says Darryl Yong, a professor of mathematics at Harvey Mudd who serves as faculty liaison for Inside-Out.

“It’s so black and white at first for many students,” he says. “Then when they see it and experience it, they realize it’s way more complicated than they could have possibly imagined. I think that complication is part of the learning. You learn by feeling squeezed in both worlds. Even the experience of having to walk through the gate, walk to our classroom, just being in the space, understanding what people are subjected to, it opens your eyes.”

Pomona students and others say they walk away changed.

“I love that idea that learning could provide an escape, and education could provide a kind of inner freedom for them and for us as well, as Claremont students,” Sundermeyer says.

The Many Faces of James Davis

The Many Faces of James Davis
James Davis

Photos By David Zaitz

JAMES DAVIS HAS been sitting at our table at Roscoe’s Chicken and Waffles in L.A. for no more than five minutes when his phone lights up with a call. He hasn’t even had time to order yet, and already, his attention is being diverted in another direction.

It’s a girl. Davis answers and tells her playfully: “I’m mid-interview, but I was, like, ‘I have to pick this up.’”

If she’s not used to hearing it from him yet, she will be soon: Davis’s work as a comedian, actor and writer is more in demand than ever these days. Since leaving Pomona to pursue a career in entertainment, Davis has appeared on shows like Kevin Hart’s Real Husbands of Hollywood, created and starred in Hood Adjacent with James Davis, which aired on Comedy Central for a season in 2017, and, most recently, acted as the host for a game show called Awake: The Million Dollar Game, which premiered on Netflix in June. He’s got 50,000 Instagram followers and a newly released stand-up special. He’s not all the way on top of the world yet, but he is definitely making a rapid ascent.

Davis is balanced on a precipice: He’s already achieved what many people would consider a lifetime’s worth of career milestones; on the other hand, he’s only 32, and he has “very big” goals he’s still aiming to achieve, he says.

On the day we meet, however, he’s just back from a weekend trip to Las Vegas for a friend’s birthday, where he learned he loves to gamble (“like, too much”). So for the moment, he’s less comedy superstar in the making, and more relatable hungover 30-something. For today, his goals are a little smaller: He wants to reassure his girl he’s still into her, eat some fried chicken, and then take a well-deserved nap.

Despite the fact that he didn’t end up graduating, Davis says that he loved his time at Pomona. He enrolled expecting to become a lawyer, but instead, he got distracted by studying English and taking acting classes. He liked the acting part so much that he started doing some work as an extra in L.A., and that was it for him, he says: “I was like, ‘This is what I want to do.’”

“I chose the school; I chose my major,” he continues. “But that bug, when it hits you, it really hits you. And when that passion is so strong, everything else really starts to feel like a distraction.”

He quickly discovered that passion would only take him so far: “That was way more daunting than I’d assume it was going to be, coming from the Pomona bubble,” Davis says now, laughing at his youthful hubris. “Like, Hollywood. I’ll conquer that next!”

James Davis performing the rap-song intro to Hood Adjacent, which aired on Comedy Central in 2017.Luckily he’d grown up in L.A., so Davis had a place to crash while he was making a name for himself: His mom took him in while he went to auditions and started pulling together material for a stand-up routine. He doesn’t take that for granted, he says: “I didn’t have to sleep on any couches. I didn’t have that desperation with my comedy where I was like, ‘If this joke doesn’t land, or I don’t book this one gig, I’ll have to fly back home.’” Davis looks around the restaurant, which has been a touchstone in his life since he and his friends hung out here on weekend nights in high school, and smiles. “I’m already back home.”

Still, the climb from being a nameless nobody to the top-billed star of a Comedy Central show was a grind. Davis started out at the very bottom, doing what he describes as “bring a room” shows, which anyone can perform at as long as they have a friend who’s willing to accompany them (and buy a couple of drinks). From there, he befriended other comedians and persuaded them to watch his tapes; they, in turn, spoke to Ens Mitchell, who owns a mid-city LA club called The Comedy Union, on his behalf.

James Davis performing the rap-song intro to Hood Adjacent, which aired on Comedy Central in 2017.The Comedy Union was the perfect place for Davis to hone his craft, he says, in part because it tends to draw racially diverse audiences. Davis grew up toggling between black and white spaces: he was born and raised in Baldwin Hills, a historically black neighborhood, but as a teenager he would travel crosstown to Santa Monica to attend a majority-white private school, Crossroads School for Arts & Sciences.

So The Comedy Union immediately felt like home because “it’s predominantly black, but not all black. For someone who’s self-proclaimed hood-adjacent, it was important for me to have jokes that appealed to everybody. I didn’t just want to do rooms that were all black, and I didn’t want to be the comedian that only does all-white rooms either. When my friends come to the show, I want them to laugh, both white and non-white,” Davis says.

Davis credits his education with helping him craft the kinds of jokes that caught Mitchell’s eye and made him popular with those diverse audiences. “Those classes,” he says, talking about the time he spent in college, “are what I think make my jokes different from the majority of my peers’. Those classes are what gave me a certain awareness about the world, to then use comedy as a platform.”

When Davis is writing a joke, he says, he’s not just trying to be funny (though he acknowledges that getting a laugh is a critical part of his job description).  “I’m writing with multiple motivations,” he says. “I want it to catch you off guard, shock you a little bit. Under all of my jokes I feel like there is a message, some kind of actual statement.”

Davis sees himself as an activist for “my own causes, whatever I feel is important to me.” These concerns range from jokes about the absurdity of the NCAA’s rules about compensating student athletes to taking on police violence in black communities. One of his favorite bits from his stand-up routine, he says, is about the murder of one of his uncles by a police officer. There’s a joke in there, a standard laugh line: Davis riffing on how he never got to know what kind of uncle stereotype his uncle would have inhabited—the cheap one, the drunk one, etc.

But also, “I’m using this moment to say, ‘Hey, me too,’” Davis explains. “This person performing for you—I am one of those people who’s had a family member killed by a police officer. So if you think you’ve never seen somebody who’s been affected by this—here’s someone who has.”

He cites studying with ex–Black Panther Phyllis Jackson while at Pomona as an experience that helped him realize how important it was to share his perspective. “You realize that the rest of the world didn’t take this class; the rest of the world doesn’t see that particular point of view,” Davis says. “People say that I’m a smart comedian, that I’m clever. To me, I’m a product of the education I’ve been put in.”

He also recognizes that he’s lucky to have an audience to share with. “Not everybody is blessed with the opportunity to walk on a stage and be guaranteed a listening audience even for a split second,” he says. “I feel called to, in some way, use that platform for more than just self-gain.”

But putting so much into his comedy can be emotionally draining, and some days he’s not really in the mood to give his experiences a punch line. “I care about a lot of serious issues, but I’m a comedian,” Davis says. “I’m going through a lot of serious things in my personal life right now, but I’m a comedian. Right now, comedy is a little more challenging.” He pauses and considers. He also writes and acts; he could focus on those pursuits instead, and to some extent, he’s doing so. But he can’t bring himself to give up on comedy, because, he says, when he’s doing it well, it feels better than anything else on Earth.

When Davis first got into comedy, having his own show was the dream. “I remember watching Chapelle’s Show and being like, ‘This is what I want to do,’” he says. He was so focused on getting there that he regularly turned down gigs guest-starring in other people’s projects, which “would make people look at me weird, like I’m crazy.”

But his focus paid off: Hood Adjacent premiered on Comedy Central in June 2017. The show is formally similar to  Chappelle’s: It features Davis doing stand-up bits for a live audience before introducing prerecorded segments where he does things like gather a bunch of minority students from a local college campus to interview them about what it’s like to be the token in their friend groups, or takes his bougiest friends to try to earn their “hood passes” from a Compton native.

The show is extremely personal, and extremely specific to Davis: It’s his attempt to translate to a larger audience his experiences of blackness, of growing up in Los Angeles, of simultaneously belonging and not belonging in various communities. It was thrilling to get it made, but also “so stressful,” Davis says. At the time, it was hard to appreciate the full extent of what he’d accomplished, and even now, “I’ll sit back and realize, ‘I did it,’” he says, shaking his head, still amazed.

To be fair, he didn’t have very long to get used to the idea: Hood Adajcent lasted just eight episodes. “It didn’t stay on like Chapelle’s Show,” Davis says. So, on to the next one: “Then I was like, ‘I gotta create another show.’”

Davis hosting his new game show Awake on Netflix.That next show is still gestating; in the meantime, he has to earn a living, which is how he ended up on a Burbank backlot shooting Awake, a show that feels like a hard left turn for a comedian whose work is usually fairly personal and political. There’s no discussion of the nuances of the black American experience on Awake; instead, Davis is responsible for shepherding a group of contestants through a series of goofy challenges made harder by the fact that they haven’t slept in 24 hours: They chug Slushies, thread needles, and turn off alarm clocks with bleary, sometimes daffy determination.

Davis recalls a Netflix executive calling to offer him the job and asking, essentially, Are you all in on this? Is this show the biggest thing in your life right now?

“I remember saying, ‘Listen, when I left college, it was not to be a game show host,’” Davis reports, laughing. “‘But I think this is gonna be a great show. I love the premise. I’m gonna take it seriously and do my best.’”

He saw Awake as an opportunity, and he’s been in Hollywood long enough to know that you should never turn down one of those. “Unless you’re a superstar, and you have that skyrocketing trajectory of a career, every appearance moves you a little bit closer, gives you more eyes,” he says. “Hood Adjacent opened up a lot of people to me. I did a Facebook game show with charities, and that helped me get Awake. Awake is going to open me up to more hosting opportunities. Which is not what I was trying to do, but if that’s what I do in between my passion projects, that’s super cool with me.”

Davis is at an interesting juncture in his career, and his life. He’s successful enough that friends are starting to ask him for favors. (He tells them, “Appearances versus payment are very different. I’m not Tom Cruise; I’m not Will Smith. I’m not anything close to that. I can get a couple of bills—like, dinner bills.”). And Twitter haters are popping up regularly. (“If they’re tweeting at you, they know about you. I remember when I had no haters because no one knew of me. There’s just too many people on the Internet to worry about whether it’s all positive.”) But he also still feels like he has a lot left that he wants to accomplish—getting another show of his own being just one of them.

“I shot a pilot for TruTV; TruTV went through some internal issues and didn’t pick up a bunch of pilots, including mine,” he says. “But I feel really good about what we shot, so I feel like it’s going to land somewhere. I feel like there’s going to be me hosting some other stuff—I’ve had a couple of meetings and some tests.”

“Right now,” he continues, “I’m really an open slate; it’s about what I choose to do. I know for a fact that I’m going to be doing short films, maybe put some stuff in some festivals. Just elevating, and continuing to use whatever craft to speak my mind.”

He’s particularly excited about doing more writing in every format: “Writing is always my favorite, because writing is at the base of everything,” Davis says. “My favorite part is receiving a blessing of an idea, and then just capturing it and executing it, no matter what the genre is.”

And maybe he’ll help some of those friends get ahead too: His rise has given him the opportunity to open doors for old pals, a position he says he both relishes and resents. It comes with a lot of pressure: “I’ve got friends who, the plan was always, I get on, and I help them get on,” he says. Which means he has to succeed for their sake as well as for his own: “If I can’t get on, I can’t help them get on.”

Davis feels the weight of his community on his shoulders, as well as his own high expectations for himself. But most days, the challenge excites him.

“I embraced that I’m the star of the team,” he says. “I’m Kobe. Comes with the territory. Heavy lies the crown, but I still like how the crown fits.” He tilts his head back and forth and smiles knowingly. “Even though it’s heavy and it hurts, I like how it looks on me.”

Slightly Out of Tune

Slightly Out of Tune
Mrs. Miller performs on TV’s The Hollywood Palace.

Mrs. Miller performs on TV’s The Hollywood Palace.

Hear for Yourself


If you’ve never heard Mrs. Miller, or even if you haven’t heard her lately, go to YouTube, and then get back to us …

FEW POP SONGS are as delicate, lovely and sophisticated as Antônio Carlos Jobim’s bossa nova classic, “The Girl from Ipanema.” Most know it from the version recorded by Stan Getz and João Gilberto with vocals by Gilberto’s wife, Astrud. She is neither a trained nor technically proficient singer, which lends the song its magic. Her soft, shy sibilance fits the song’s irresistible sway, the perfect marriage of dreamy soundscape and insouciant delivery. “And when she passes, each one she passes goes, ‘Ah!’”

This, then, is the setup for one of the greatest jokes in pop music history. Mrs. Miller’s trip to “Ipanema” is a master class in her art. The track opens with 34 seconds of what may be the lushest, most sweeping treatment the song has ever known.

And then at 0:35—to adapt a phrase from today’s electronic dance music scene—Mrs. Miller delivers the drop. “AhhhOHH, but I watch her so saaAAad­-le-EE-ee….” If Astrud is the voice of the seductive Rio beauty, then Mrs. Miller is a rogue elephant stampeding down the beach, trumpeting away without a care in the world. It’s not that Mrs. Miller can’t sing; it’s how she can’t sing. She proclaims each syllable as grand opera—the kind that’s shouted above thunderous tympani—and her vibrato is seismic. Pitch is of no concern; that she often comes close, in fact, renders her delivery even more maddening. And she never met a downbeat she couldn’t miss.

If this sounds vicious, please know that a handful of music nuts—myself included—adore Mrs. Miller, and being objective isn’t easy, especially about an artist—an alumna of the College—whose notoriety came seemingly as the butt of an extremely cruel joke.

Because this issue of PCM is dedicated to humor, I felt I had to check to see if her music is still potent nearly 50 years on. Is the joke funny? Was it ever? An uninitiated friend was driving us to dinner. “Mind if I play something?” I asked, slipping in a CD. Thirty-four seconds of instrumental intro. My friend smiled and nodded. This is good! Then it happened. He started laughing so hard, he had to pull over. “Oh my god!” he said, gasping to contain himself. “What is she … ? MAKE IT STOP!”

Meet Mrs. Miller

Mrs. Miller’s Greatest HitsShe had a first name. It was Elva. The fact that she didn’t use it professionally is a clue for understanding the joke and determining if Elva Ruby Connes Miller ’39 was in on it or not. More clues in unraveling the mystery: She released three albums—Mrs. Miller’s Greatest Hits, Will Success Spoil Mrs. Miller?, and The Country Soul of Mrs. Miller, covering everyone from the Beatles to Buck Owens—in under two years (1966–67) on entertainment industry behemoth Capitol Records. A fourth album, Mrs. Miller Does Her Thing, was released in 1968 on a tiny label out of Hollywood. That Mrs. Miller disowned this effort is the strongest evidence we have that she wasn’t fully in on but later caught on to what was happening. We’ll get to all of that soon enough, but first we have to meet Mrs. Miller.

She was born and raised in mid-American cattle country, where she met and married John Richardson Miller, a man nearly 40 years her senior. They survived the Depression and retired to Claremont (as people do) in 1935. As a housewife with time on her hands, Elva studied music at Pomona, where, she told a Life magazine reporter, the students warmed up to a more mature classmate. “They liked the idea of an older woman there,” she said. “And within three weeks they were coming to my house, to copy my notes or listen to my records.”

And by records, she meant the ones she’d recorded. Mrs. Miller booked time at local studios (paid for by Mr. Miller) to indulge her love of singing. She told the Progress Bulletin, “[Making Greatest Hits] certainly wasn’t my idea. It was just a series of coincidences that could happen to anyone. Everyone has a hobby. Some people take pictures and file them in albums. Others paint pictures and store them in the garage. I’ve made records of sacred or classical songs for my own amusement. A closet at home is filled with them.”

Some of them found their way out of that closet: She would give records to churches and day care centers. Along the way she met three men who would steer her toward becoming a reluctant recording star. Gary Owens was a deejay at Los Angeles radio station KMPC who, following Mrs. Miller’s success, became a regular on ’60s TV comedy sketch show Laugh-In. He heard one of her records and sought her out to record comic jingles and station IDs. In his tongue-in-cheek Greatest Hits liner notes, Owens claimed to have discovered Mrs. Miller. That honor actually belonged to Fred Bock, a church musician whom Mr. and Mrs. Miller hired to accompany Elva on her hobby recordings. Bock, in turn, introduced the Millers to Lex de Azevedo, a novice record producer who had industry “connections” thanks to being the son of one of the King Sisters.

With that, the stage was set.

A Capitol Idea

The Country Soul of Mrs. MillerSo why would a leading record label—home to the Beatles and the Beach Boys, to Frank Sinatra’s imperial period and Peggy Lee’s renaissancewant to have anything to do with Mrs. Miller? Maybe because Jonathan and Darlene Edwards won a Grammy.

Cocktail club singer Darlene Edwards sang sharp—distressingly so—and her pianist husband Jonathan had the unique ability to play different keys and separate time signatures simultaneously. As illustrated by the cover to their debut album (on Columbia, Capitol’s main rival), he was born freakishly with two right hands.

It was a funny joke perpetrated by jazz vocal great Jo Stafford and her big band–leader husband Paul Weston. Stafford was known to have stunningly perfect pitch; so sure was her instrument that she could sustain the Herculean feat of intentionally singing above pitch. And he was so nimble on the 88s that he could accompany in fitting style by throwing in extra beats per measure and flying off into impossibly inept cadenzas. They used these dubious talents to personify two ditzy, dreadful lounge lizards—Jonathan and Darlene Edwards—to entertain their friends at parties. The gag was so popular among jazzbo hipsters that Stafford and Weston released The Piano Artistry of Jonathan Edwards just for kicks.

Imagine their surprise when its follow-up brought home the 1961 Grammy for Best Comedy Album and revved up the market for musical comedy albums in general. With the industry’s need to give the people more of the same, record company halls soon resounded with, “Get me the next Jonathan and Darlene Edwards!” At Capitol, Mrs. Miller’s do-it-yourself 45s ended up in some talent screener’s inbox; by that time Bock had convinced her to record a couple of the day’s pop hits. The pitch was made: Rather than find someone talented to play dumb like Stafford—someone who would expect to be paid—why not go with someone actually untalented?

Mrs. Miller was signed. De Azevedo was tapped to produce. Bock helped with the arrangements and recording. Owens came on board to add industry cred. And this juicy bonus: Rumors persisted, once the album was a hit, that Mr. Miller had footed the bill for the whole enterprise, as he had done for all of his wife’s hobbies. (Confronted with this by the Progress Bulletin’s Vonne Robertson, Mrs. Miller reportedly snapped, “He didn’t buy me a career!”)

There was a significant and telling departure from the Edwards formula—a ready-for-pasture lounge act massacring yesterday’s moldy oldies much to the delight of the hipper-than-thou cool school. (Stafford and Weston enjoyed a stupendously long career and would eventually have the Edwards record hits of the day as well, including the Bee Gees’ falsetto-driven disco smash “Stayin’ Alive” in a parody so wicked and on-the-nose that Barry Gibb allegedly was not amused.)

Capitol’s grand plan for Mrs. Miller drew inspiration from the nascent Silent Majority v. Hippie Freak culture wars. The joke was funny because she was someone on the wrong side of cultural history, proving how far behind Mom and Pop had been left by the rock ’n’ roll revolution. Not that she would be brought in on the joke; that might ruin its purity. They told her she would be presenting rock ’n’ roll as opera.

What follows is Mrs. Miller’s recounting of how Greatest Hits was made, assembled from several chronological news sources spanning a two-year period, a period where what had happened to her slowly dawned on Mrs. Miller: “[Recording] it was easy. We didn’t even have rehearsals. If there ever was a square, I’m it. I’d never attempted popular songs [before]. The studio men just popped the music in my hands—sorta sneaky like—and I started. I don’t sing off-key and I don’t sing off-rhythm. They got me to do so by waiting until I was tired and then making the record. Or they would cut the record before I could become familiar with the song. [I suspected something was up] when they printed [my worst performance of] ‘The Shadow of Your Smile.’ They told me it was an experiment. I am naïve, and I am somewhat lacking in musicianship, but I really [didn’t think it was] a gag. At first I didn’t understand what was going on. But later I did, and I resented it.

“I don’t like to be used.”

The Hits Just Keep on Coming

Capitol released Mrs. Miller’s cover of Petula Clark’s “Downtown” as a single along with the album. What happened next was well captured by Joe Cappo writing in the April 21 Chicago Daily News: “Wally Phillips, WGN’s zany morning disk jockey, premiered the LP on air last Friday. [He reports] the first batch of people who called said, ‘Get that nut off the air.’ Then after a few more plays, the listeners said, ‘We want more Mrs. Miller. She’s better than the rest of the junk you play.’ Phillips says he has received hundreds of telephone calls since the first playing and is scheduling at least one Mrs. Miller tune every day. Phillips said, ‘I play her records when I want to work off my hostilities against the world.’”

Greatest Hits sold out of its initial run of 50,000 in a matter of days. Another 150,000 were quickly pressed. They sold in a matter of weeks. Reports vary on how many finally were sold, ranging from 250,000 to 600,000.

Will Success Spoil Mrs. Miller?Mrs. Miller Mania had hit. This was her itinerary for 1966–68: She was whisked to New York to be on the Ed Sullivan Show. She would also be a guest of Merv Griffin, Mike Douglas and Art Linkletter. There was The Joey Bishop Show. There was an appearance on TV’s Hollywood Palace where she sat atop a piano to sing “Inka Dinka Doo” with Jimmy Durante. There was an appearance at Carnegie Hall with Red Skelton. Hollywood came calling. She played a version of herself in a low-budget film called The Cool Ones with Roddy McDowell.

A nightclub act was quickly pulled together with a backing band and chorus. (An ad in the trades may or may not have read, “Wanted: musicians who can keep a straight face.) Mrs. Miller’s first appearance was in Ontario at the Royal Tahitian. (A review had positive things to say … about the “good chicken stuffed with almonds and apples.”) Two more albums were made, each selling significantly fewer copies than the previous. A fourth appeared on a small independent label, Amaret Records. It disappeared without a trace, despite a promotional appearance with Johnny Carson on The Tonight Show.

And then it was over.

Reports also vary on profits. Capitol is said to have made millions off of the Mrs. Miller phenomenon. She is reported to have earned less than $40,000 from Greatest Hits and not more than $100,000 in total earnings from royalties, fees and personal appearances.

The May 13, 1966, issue of Time magazine mentioned in what amounted to a parenthetical aside that Mrs. Miller had put her earnings into a medical-care trust fund. Likely over the course of Mrs. Miller Mania and certainly by its end, Mr. Miller had needed round-the-clock nursing care. He died at age 96 in December 1968.

I Don’t Get It

Mrs. Miller Does Her ThingHow do you explain Mrs. Miller Mania? She was interviewed by The Collegian after her initial success and said, “I just don’t know what to think about it, because I have never done anything which has brought any attention of any kind whatsoever, and I just don’t know what to say. Now the boys in Vietnam, they want me to come, but I have to go back East first. I will go there because I think the service boys come first.” On further reflection, she told reporter Bob Thomas, “I don’t understand [my record sales], but teenagers seem to be buying them. As I see it, there are two kinds of teenagers. There are the sophisticated ones, who dress like Sonny and Cher. They don’t buy my album. Then there are the teenagers who dress neatly; they are the ones who do buy my records.”

This points to the 1960s culture wars, but in her admitted naïveté, Mrs. Miller overlooked something crucial. Like the boys in Vietnam or the hippies in their freaky frippery, her “character” embodies a sign of the times. As she warbles opera in her fusty frock and Sunday hat, she is the priggish society matron, the antithesis of all things with-it and groovy, practically begging for our smug derision. Think Margaret Drysdale on The Beverly Hillbillies, Mrs. Stephens on Bewitched, or, more benignly, even dear Aunt Bee and neighbor Clara on The Andy Griffith Show. Humor in those shows was often generated by letting the air out of such old gas bags. She’s singing rock ’n’ roll! But she can’t! It’s hilarious!

Recall as well that during Mrs. Miller Mania, America had its love affair with camp. We watched Batman on TV and listened to Tiny Tim (a hippie with talent who nevertheless warbled the hoariest of musical chestnuts while coyly strumming a ukulele). Even the Beatles got into the act with the likes of “When I’m 64” and “Yellow Submarine.” (Mrs. Miller took a ride on the latter.)

Capitol Records—home to polar opposites like “A Hard Day’s Night” and “Dear Heart,” both songs scaled by Mrs. Miller—had its fingers on that pulse. Ultimately, Mrs. Miller wised up as well. In a review of her February 1967 appearance at L.A.’s Cocoanut Grove nightclub, John L. Scott noted that Mrs. Miller was playing the show as pure comedy, noting that she delivered very deliberate one-liners with great comic timing. And she was very aware that she had the audience in stitches. She knows’cause when she passes, each one she passes goes, “Ha!”

But that didn’t mean she gave in or pretended to be anything she wasn’t. She went by “Mrs. Miller” for a reason, and it wasn’t because it had a marketing ring to it. It was polite that wives were properly identified in public as their husband’s property. Interviewed by Skip Heller in an article in Cool and Strange Music Magazine, Mrs. Fred Bock—to sustain a trope—recalled when, after a gig, she, her husband and Mrs. Miller met actress Natalie Schafer (Mrs. Thurston Howell III, the Gilligan’s Island version of the blue-blooded old biddy). The actress said to Mrs. Miller, “You can call me Natalie.” To which Mrs. Miller replied, “And you can call me Mrs. Miller.”

Desafinado

Antônio Carlos Jobim, who gave us “The Girl from Ipanema,” penned another classic, “Desafinado” (translation: slightly out of tune). Its English lyrics speak of love gone sour; the original Portuguese gets at something deeper, suggesting that only privileged ears can hear things perfectly, that bossa nova can’t help but be out of tune. It chides, “What you don’t know and cannot feel is that those out of tune also have a heart.”

Mrs. Miller wasn’t the first pop sensation to have been lauded for singing poorly. In her day she was compared to the Cherry Sisters, a 19th-century vaudeville act popular although—no, probably because—it was said “they couldn’t speak, sing or act. They were simply awful.” And then there was Florence Foster Jenkins, the grossly untalented opera singer who rented grand opera halls to torture her friends. (In a 2016 film, Jenkins was played by no less than Meryl Streep, who proclaims, “People may say I couldn’t sing, but no one can ever say I didn’t sing.”) Susan Alexander Kane’s atrocious public screeching is a central plot point of Citizen Kane. And try as you might, you cannot forget William Hung, can you?

Music is a particularly prickly muse. We are very quick to accept, even champion, foibles and faux pas in other art forms. We celebrate primitive painters. We keep Norman Mailer in the pantheon despite his having opened Harlot’s Ghost with an egregious dangling participle. And Nicolas Cage keeps getting acting gigs, for crying out loud. But stray one iota off key….

It’s often said visionaries are ahead of their time. In 2019 we have a word for the Mrs. Millers of the world—disrupters—and it’s the hot thing to be. So isn’t it odd that the chaotic disrupter of the music industry’s professional norms and expectations—the joyous elephant stampeding down that Ipanema beach—was none other than the persona of the stuffy establishment matron whose comeuppance we so deeply desired? And if you’re having trouble wrapping your head around that double irony, here’s the mindblower. When it comes to cooler-than-thou, competence isn’t spared, either.

Nearly concurrently, 30 miles to the southwest, another transplant from the East who blossomed in a college music department was about to become a thousand times more famous than Mrs. Miller and come crashing down a hundred times harder. Only she was the best voice of her generation. Karen Carpenter came out of Downey, Calif., and the music department of California State University, Long Beach, to sell more than 90 million records. Carpenters records dramatically changed popular music—yes, even rock ’n’ roll. The duo invented the guitar-driven power ballad, and their recording, performing and marketing techniques set standards throughout the industry. But they could not break the critical determination that they were unhip and square—okay, they were unhip and square—and that disservice lingers. Riots likely will break out should they ever be inducted into Cleveland’s Rock ’n’ Roll Hall of Fame.

Karen now is regarded as a preeminent interpretive pop singer, yet frustrations with the duo’s inability to shake their negative image, coupled with her own personal demons, led her to die of anorexia at age 32. Elva couldn’t sing a good note. Karen couldn’t sing a bad one. And both were out of tune with their times. Which just goes to show you that the arbiters of taste in their indifferent and often unfounded dismissals can be truly heartless monsters.

One for the Boys

Mrs. Miller and Jimmy Durante sing a duet on TV’s The Hollywood Palace.

Mrs. Miller and Jimmy Durante sing a duet on TV’s The Hollywood Palace.

Two postscripts. One bitten, twice shy? Hardly. It seems Mrs. Miller could not catch a break. After she was dropped by Capitol, news articles appeared noting that she was going to change her image. In April of 1968, she released Mrs. Miller Does Her Own Thing, working with noted L.A. producer Mike Curb. (He would go on to produce the Osmonds, date Karen Carpenter and serve as California’s lieutenant governor.) Scattered among the usual pop hits that anyone but her should be singing, were suggestive, trippy titles such as “The Roach,” “Mary Jane,” “Granny Bopper” and “Renaissance of Smut,” that would have been better if the pot and porno references had at least been dressed up with coy double entendre. The cover was psychedelic and garish. Mrs. Miller is winking knowingly and offering a salver of brownies presumably enhanced with what we now call “edibles.”

Her new image was a pusher? Yet again, she had been hornswoggled. She didn’t get the sex and drug references. The cover art had been manipulated. She didn’t even get it when a winking Johnny Carson asked how the weeds were in her garden. (Was there ever a time when male entertainment honchos didn’t exploit their power differential with women? MAKE IT STOP!)

When she was woke to this new betrayal, Mrs. Miller said “Enough!” She lived quietly in Claremont but remained engaged in her community. She was the grand marshal for the Fourth of July parade, and she judged The Claremont Colleges’ Spring Sing. She moved to Hollywood, where she enjoyed classical concerts and theatre. She later moved to an apartment in Northridge that was destroyed in the 1994 quake. She was relocated to an elder-care facility, where she died in 1997. She was 90.

She did keep her promise to the boys in Nam. In 1967 she joined Bob Hope’s annual USO tour. Life magazine’s Jordan Bonfante covered it, noting of her performance, “In Vietnam, clad in jungle boots and a muumuu, she chatted with audiences about the 15 years she spent studying music, lopped five years off at each burst of laughter, and finally offered, ‘Would you believe one?’ When that was howled down, she confessed she was starting lessons ‘tomorrow.’”

She had timing. She had one-liners. And—as captured in photos of her among the adoring troops—she had the time of her life.

“And when she passes, each one she passes goes, ‘Ah!’”

This Is Your Brain on Humor

This Is Your Brain on Humor

Ori AmirON A RANDOM weeknight at a comedy club in Burbank, Pomona College Professor Ori Amir bounds onto the stage.

“Hello, party people!”

By day, the bearded redhead with perpetually tousled hair is a visiting professor of psychology who has taught at Pomona since 2017.  By night? An amateur stand-up comic.

“As you can tell by my accent, I am a neuroscientist,” the native Israeli says, drawing titters from an audience that doesn’t quite know what to believe. “Sorry, I forgot I’m in Hollywood: I’m a neuroscientist-slash-model,” he says.

“I did get a new haircut. I went to Floyd’s and I told them I work at a college, so could you just give me the haircut of whatever celebrity is most popular among college students these days? So they gave me the Bernie Sanders.”

This time, the laughter is in full.

To Amir, stand-up comedy is like a scientific experiment that provides immediate results. You test the hypothesis that your joke is funny: They either laugh or they don’t. There are variables such as word choice, delivery and audience demographics, but the feedback is instant—sometimes painfully so.

His academic research is a far more sophisticated inquiry. Other researchers have used fMRI analysis, or functional magnetic resonance imaging, to study the brain’s responses to humor. Amir’s work with fMRIs and eye-tracking technology is groundbreaking: He studies the workings of the brain during the actual creation of humor.

Comedy, it turns out, is a nearly perfect subject for exploring the creative process.

“It’s a cognitive process that under the right setting could take 15 seconds, and you can replicate it many times. Anybody can at least try to do it,” Amir says. “It’s hard to ask a novelist to come up with a novel while you’re watching.”

Ori AmirAmir’s research has been featured by Forbes, and the journal Nature reported on his work last fall in an article about how neuroscience is breaking out of the lab, citing his doctoral research at the University of Southern California with Irving Biederman on the neural correlates of humor creativity. The Guardian, Reader’s Digest and the website Live Science also have featured Amir’s work.

For his research at USC, Amir recruited professional comedians—including some from the Groundlings, the famed Los Angeles improv troupe that helped spark the careers of Melissa McCarthy and Will Ferrell—along with amateur comedians and a control group of students and faculty. He then showed them examples of the classically quirky cartoons from The New Yorker with the original captions removed and asked the subjects to come up with their own captions—some humorous, some mundane and sometimes no caption at all—as he recorded which areas of the brain were activated.

What Amir found was somewhat unexpected: The regions of the brain lit up by the creation of the funniest jokes by the most experienced comedians weren’t so much in the medial prefrontal cortex, the area of the brain associated with cognitive control, but in the temporal lobes, the regions of the brain connected to more-spontaneous association. The findings fit perfectly, he says, with the classic but decidedly unscientific advice by improv comedy coaches to “get out of your head.”

Amir has expanded his work at Pomona, where he teaches such courses as Psychology of Humor, Data Mining for Psychologists and fMRI Explorations into Cognition. His current work uses eye-tracking technology to examine the relationship between visual attention and the creation of humor.

That study has given undergraduate students who are headed toward entirely different careers an opportunity to contribute to research that Amir expects to publish in a scientific journal next year. Recent cognitive graduates Konrad Utterback ’19, who is beginning his career as a financial analyst, and Justin Lee ’19, who plans to go to law school, will be among the paper’s coauthors. Other collaborators include Alexandra Papoutsaki—a computer science professor at Pomona whose expertise in the emerging uses and potential of eye tracking has been featured in Fortune and Fast Company—and students Sue Hyun Kwon ’18 and Kevin Lee ’20, who wrote computer code for the project.

Konrad Utterback ’19 models the use of the Tobii eye tracker to track eye movements as subjects try to create a punchline for an uncaptioned New Yorker cartoon.

Konrad Utterback ’19 models the use of the Tobii eye tracker to track eye movements as subjects try to create a punchline for an uncaptioned New Yorker cartoon.

Once again using uncaptioned New Yorker cartoons as prompts, Utterback and Justin Lee conducted experiments using a similar assortment of professional comedians that included comics from the Groundlings and Second City, along with amateur comedians and students.

The eye-tracking device—a low-end model by Tobii that costs about $170 and looks like a narrow black bar attached to the bottom of a standard computer monitor—allowed the researchers to chart the movement of the subjects’ eyes on an X-Y coordinate plane over the 30 seconds they were given to look at each cartoon.

Konrad Utterback ’19 models the use of the Tobii eye tracker to track eye movements as subjects try to create a punchline for an uncaptioned New Yorker cartoon.The results were then compared to something called a saliency map of the cartoon image.

“It’s this algorithm that basically determines which part of the cartoon is the most visually salient; it defines visual saliency in terms of things like edges and contrast and light—factors which are likely to attract low-level, primitive visual attention,” Utterback explains.

Once again, the results were surprising. The expert comedians focused most closely on the salient or conspicuous features of the cartoon, including faces.

“It’s actually a little counterintuitive because you would think, well, you have all this experience doing comedy and then you end up looking at those features that the low-level algorithm has determined to be the most salient ones,” Amir says. “Our interpretation was that it has to do with them actually using the image to generate the captions, using the input to generate associations to come up with something funny, as opposed to trying to sort of top-down impose their ideas.”

That made sense to Utterback.

“The fact that these were improv comedians in particular is relevant because that’s consistent with how comedians do improv comedy,” he says. “They’re basically trained to listen to what other people are saying first and not ruminate internally too much trying to think of something funny on their own, and sort of just be reactive. It makes perfect sense with these results because they were focusing much more on the actual content of the image to create the joke rather than trying to generate it themselves and forcing it to fit the cartoon, which is what we would expect people with no comedy experience to do.”

Justin Lee’s part of the study built on those results, adding the captions the subjects produced to the original cartoons and then asking three different people to rate the funniness of the cartoons and their captions. “We were able to use the data to determine that this fixation on the salient parts of the image directly correlates with how funny the caption actually ends up being,” Lee says.

The students’ findings support Amir’s earlier results. “We basically proved the same thing that he did using a different modality (eye tracking versus fMRI),” Utterback says. “In a nutshell, both experiments show that people with more comedy experience display a higher level of bottom-up, automatic control and less top-down, intentional influence on the humor creation process.”

Growing up in Israel, Amir watched his father “joke all the time” around the house and even do some comedic appearances on Israeli television.He tried his own hand at stand-up for the first time about seven years ago while still in graduate school at USC, telling a couple of jokes at a campus comedy event. Later, he started showing up around L.A. for open-mic nights. He has appeared at some famous L.A. comedy clubs and can even be seen on TV’s Comedy Central and CMT—“assuming you watch those channels 24-7 on a split screen, without blinking,” Amir writes on his comedy website.

His mainstay is performing at smaller clubs, joints still dotted with appearances by famous or once-famous comics, where he can continue to hone his craft. The life of most comedians, he quickly learned, is not what he saw on TV growing up, somebody telling jokes for an hour in a big arena.

Ori Amir“You don’t know the path,” he says. “The path is—you’re going to end up performing for a long time in front of three apathetic strangers at an open mic, and you’re going to wait two hours to do that and have to buy something from the place. Especially in Los Angeles, it’s an extremely competitive sort of thing. But obviously if it wasn’t so rewarding, people would not be working with so much effort.”

Amir’s influences include George Carlin, the late comedian remembered for his HBO specials and his sharp political and social commentary, as well as British comedians Eddie Izzard and Bill Bailey.

As a foreigner and an academic, Amir has an uncommon perspective for a comic. Audiences don’t always believe he is who he says he is. “I had a couple of times when people said, ‘You’re not really a neuroscientist, and your accent is so fake,’” he says with a laugh. Amir also likes to needle Americans with the insight of an outsider.

“I do like being a foreigner, but sometimes I’m a little concerned that Trump is going to deport me now to Mexico,” he says onstage. “I’m trying to seem more like an American by walking around saying American things, like, ‘Hey, this is America—speak English. Jesus loves you. Sign here.’

“I love the American English,” he goes on. “I love how rich your vocabulary is. You have words like communist, socialist, Marxist, anti-American—and these are only just the synonyms for poor.”

Social and political commentary and the typical off-color comedy club fare can be a little dicey for an academic, particularly one without tenure, Amir knows. He doesn’t invite students to his gigs, but his act was squeaky clean the night PCM visited.

“I do actually have a reporter from my college here,” he told the crowd, “so I can’t say any jokes that could be offensive or construed as prejudiced or sexist or dirty in any way, so … Thank you very much, ladies and gentlemen!”

That one, he says later, would have worked better if he had led with it. His comedy is part improv and partly always being refined. He doesn’t expect to give up his day job any time soon, nor does he plan to quit performing.

“I do want to see how far I can get with it,” he says. “Very few people actually make money doing it—and also, my visa doesn’t allow me to do that for money anyway.”

Ba-dum-bump.

Back in the lab, Amir plans to turn his gaze to the potential for artificial intelligence to produce comedy.

His initial instinct is that comedy is an “AI-complete problem”—one of the few things robots are not soon going to be able to do better than humans. There are types of humor, however, that computers should be able to excel at—such as puns, the proverbial lowest form of humor.

“That’s the first type of humor computers are able to do,” he says.

By the way, Amir—who performs around Los Angeles maybe a couple of times a week—already has had the distinction of being the opening act for a joke-telling robot.

The electronic novice of the stand-up circuit was pretty funny, he admits. However, there was a catch.

“The robot told jokes written by a good comedy writer.”

The World According to Bob’s Burgers

The World According to Bob’s Burgers
Wendy Molyneux holds a stuffed version of the mysterious Kuchi Kopi character from Bob’s Burgers.

Wendy Molyneux holds a stuffed version of the mysterious Kuchi Kopi character from Bob’s Burgers.

TV FANS MIGHT get their notions of a comedy writer’s workplace from the sitcom 30 Rock, with its gaggle of unkempt guys tossing around food and sexist jokes. But reality is the polar opposite at the gleaming new offices of Fox’s long-running animated series Bob’s Burgers, where Wendy Molyneux ’97 works as a writer and an executive producer.

Molyneux’s private office is colorful and comfortable, but also tidy and sunny. Artwork by fans, depicting the show’s goofy but lovable characters, adorns the walls, attractively framed and carefully aligned. Beyond her door, the common areas provide roomy and serene spaces where colleagues can convene for group writing sessions or have a bite at a working lunch counter, a replica of the one on the show.

The offices reflect a designer’s orderly touch, not the unruly, chaotically creative mind of a comedy writer.

Tidiness, Molyneux will admit, is not her strong suit. She once hired a professional organizer to help get her life in order, as she explained to podcast host and fellow Pomona alumna Alison Rosen ’97. During that assisted cleanup, Molyneux rummaged through boxes of her old college stuff and got a glimpse of herself more than 20 years ago as an aspiring scribe. She didn’t like what she saw.

“I looked at some of the things I had written and thought, ‘Oh God, how did I have a single friend?’” Molyneux said on the episode of Alison Rosen Is Your New Best Friend. “Some people are better than I was at that age, but I think I was really pretentious.”

If so, Molyneux, now 43 and expecting her fourth child in just a few weeks, certainly seems to have grown out of it. Dressed casually with hair uncoiffed, she takes a seat on a cozy couch. At times, she seems self-effacing. Interrupted by the reporter, she apologizes: “Sorry, I ramble.” Asked a follow-up question for clarification, she takes the blame for the confusion: “This is, like, the least-clean bio of all times.” But she says it with a friendly laugh. Not a belly laugh or knee slapper, but a natural, spontaneous laugh that punctuates and ripples through her sentences, as if what she hears herself say just struck her funny.

That lighthearted quality hasn’t changed since her college years.

“I remember Wendy vividly and fondly,” says Thomas G. Leabhart, resident artist and professor of theatre at Pomona. “The mischievous twinkle in her eye and her love of a good hearty laugh did not prevent her taking her studies seriously. She performed classic roles with as much authority and ease as contemporary ones and seemed perfectly at home on stage.”

For Molyneux, the road from college theatre to professional comedy would be long and winding, with more than its share of potholes, detours and dead ends.

Wendy Molyneux (left) and her sister Lizzie Molyneux-Logelin chat in a working replica of the diner in Bob’s Burgers.

Wendy Molyneux (left) and her sister Lizzie Molyneux-Logelin chat in a working replica of the diner in Bob’s Burgers.

Molyneux  was born in New York and grew up in Indiana, the second child in a family of four girls and one boy. Asking if her family name is French elicits another laugh. “Our last name sounds a lot more sophisticated than we are,” she says. “We’re like 80 percent Irish, or more. We’re actually potato people.”

She attended Franklin Central High School on the outskirts of Indianapolis, an area that was, at the time, primarily white, staunchly conservative and stubbornly bent on maintaining its rural lifestyle. She calls it “very proto-Trump country.” Her parents, Richard and Susan Molyneaux, were “Democrats in a sea of Republicans.”

The kids, however, did not see the world in political reds and blues. For them, it was a fascinating playland of childhood adventures and sibling shenanigans. They were “free-range kids,” recalls Molyneux, out of the house in the morning, back at night. There were no fences, and no adult supervision.

It smacks of the idyllic suburban life nostalgically portrayed in Steven Spielberg movies. “We literally had a cornfield at the end of our street,” recalls Molyneux. There was also a creek running through their backyard, and endless open space where they could run wild, along with their imaginations.

That carefree lifestyle is still a source of inspiration for story lines on Bob’s Burgers, focused on the off-kilter but loveable Belcher family: owner Bob, his wife Linda, and their three rascals, Tina, Gene and little Louise with her perennial pink rabbit ears. Molyneux does not rely on her children for ideas; she draws on her own childhood experience to animate the episodes she co-writes with her sister and longtime collaborator, Lizzie Molyneux-Logelin. To them, the cartoon Belchers share much in common with the real-life Molyneux family of a bygone era.

That era came to an end when Wendy was 15. Her father, an engineer, got a new job with Mattel, the corporate toymaker based in El Segundo, and the family moved nearby to the tony suburb of Manhattan Beach. Wendy enrolled at Mira Costa High School, among the best in the country. Lizzie, who is eight and a half years younger, was barely starting grade school.

California real estate prices gave her parents sticker shock. But the political climate on the left coast gave them a new sense of belonging. “It was a revelation,” Molyneux recalls, “like, ‘Oh my God, not everyone is conservative!’”

Despite their age difference, Wendy and Lizzie were great friends. They went to the movies and joked around together. It would be another 15 years before they would start writing together too.

After graduating from Mira Costa in 1993, Molyneux started weighing her college options, though not too rigorously.  All she needed to make her choice was a casual glance through a promotional booklet for Pomona College that belonged to her sister Jenny, older by a year and a half, who had preceded her at Pomona.

Wendy zeroed in on a small boxed feature in the booklet, and there it was—her mission in life. “I literally can remember where it was on the page: bottom right-hand corner, somewhere in the middle of the book. A little box says, ‘Pomona College has an improv comedy group called Without a Box,’ and I was like, ‘Well, I have to go here,’” Molyneux recalls. “Literally, I didn’t care about anything else. I didn’t understand that most colleges have improv groups. I thought this was incredibly special.”

At Pomona, Wendy and her older sister took different tracks. Jenny majored in economics and sang in the Glee Club. After graduating, she worked in Pomona’s admissions office.

Wendy Molyneux works on a script with some of her colleagues at Bob’s Burgers.

Wendy Molyneux works on a script with some of her colleagues at Bob’s Burgers.

Meanwhile, Molyneux was performing leading roles in classical theatre(Sophocles, Shakespeare, Molière) as well as contemporary theatre(Sam Shepard, María Irene Fornés). When not on stage, she was immersed in the study of English literature and poetry, informed at times by her passion for feminist issues. Mixing the two did not always please her professors.

In her junior year, Molyneux took a course on modernist poetry, a seminar led by then English Professor Cristanne Miller, a foremost authority on Emily Dickinson with a strong interest in women’s studies.

“Only seven students were in the class, and Wendy was among the strongest, although I recall that we had a few conversations about the need to moderate her tone in her papers,” recalls Miller, now a SUNY Distinguished Professor and Edward H. Butler Professor of English at the University at Buffalo. “A note in my grade book indicates that I handed Wendy’s first paper back ungraded, asking her to rewrite it, since it mostly raved about a single idea rather than developing an argument. The idea was in essence feminist and I was sympathetic to it, but expressing anger about T. S. Eliot’s portrayal of women is not sufficient for a literary critical paper—even a short one. Her second essay in the class was much better.”

Nowadays, Molyneux is not restrained by academic rigor in expressing her strong opinions on a host of topics, from feminism and gun control to motherhood, women’s rights and her none-too-subtle feelings about President Trump. Her Twitter feed (@WendyMolyneux) is peppered with F-bombs and other profane put-downs aimed at trolls, bots and other critics.

Some of her tweets are funny. Others are deadly serious.

“It’s going to be funny right until I get murdered,” she says, still laughing. “I did attract NRA trolls for a while. They send you pictures of guns and basically be like, ‘I hope you lock your doors at night.’ And then you report it to Twitter, and Twitter does absolutely nothing.”

Molyneux decided she would not be intimidated or back down. They want people to be afraid, she says, as a way to silence the opposition.

Recently, Molyneux spoke out against the diet industry as harmful to women’s self-image. She was particularly critical of a weight-loss app for kids called Kurbo from Weight Watchers. She tweeted a link and a deeply personal observation: “The first time I was told my body wasn’t okay, I was 4 or 5. Sad, right?!

Molyneux graduated from college with an English    degree and a lack of direction. “I think a lot of people came out of Pomona being like, ‘I’m gonna be a doctor. I’m going to be on Wall Street.’ And I was like, ‘I’m going to move to San Francisco and work at a crepe restaurant. It was not a good plan. But now I work on a show about a restaurant, so I guess in a way, I was being incredibly smart.”

For a few years after college, Molyneux “floundered around” in search of a clear career path in comedy, but with no map.

“I had literally no idea how to make anything happen,” she says. “I didn’t have any family in the business, and I didn’t know how you were supposed to get started. It’s not like jobs are on LinkedIn. It’s more like a room that you want to be in, but nobody’s ever seen the door, and you don’t know where the door is. So you kind of, like, have to feel your way into it.”

Molyneux “flamed out” in San Francisco after a year. She moved back to L.A., waited tables, took temp jobs, worked for an answering service. Through trial and error, she eventually “stumbled sideways” into comedy as a life-sustaining endeavor.

She got a day job selling group tickets for the Hollywood Pantages Theatre, “a little troll that they kept in the basement … and no one checked on me all day.” In her downtime, she started writing short humor pieces for the website McSweeney’s Internet Tendency, “which is still a great place for young people to get their humor-writing published.” After hours, Molyneux pursued her passion at the legendary ImprovOlympic West in Hollywood (later the iO West), a training ground and cultural hub for comedians in L.A. until it closed last year.

But there’s one thing that Molyneux, a self-described introvert, would never, ever even try—stand-up comedy.

“I was too intimidated to do stand-up,” she says, recoiling at the thought. “Oh, no, no, no. I found it frightening to be on stage by myself.”

Improv, on the other hand, has been very, very good to Wendy Molyneux. It not only put her on a career path, but also on a path to starting her own family. She met her husband, fellow writer Jeff Drake, through the improv world, and their career paths merged along with their personal lives. At one point, Drake had a job writing promotional pitches for shows on NBC, and she joined him on the in-house staff when another job opened up.

They’ve worked closely together ever since.

In 2006, they were both hired as writers for a new NBC talk show featuring Megan Mullally, of Will and Grace fame. Though short-lived (less than five months), the show marked Molyneux’s first break into the TV-writing business.

During that time, Molyneux also started working for the first time with her sister Lizzie, who was still in college and doing a summer internship in entertainment. When Lizzie pitched a script idea to a producer, he liked it. With no experience, she turned to her older sister for advice. They worked on the script together, and though it didn’t go anywhere, a successful sibling writing team was born.

Theirs was no overnight success. They continued to work on pilots that didn’t get picked up and specs (or sample scripts) in hopes someone would like their ideas. They’re not sure how, but one of those specs made it to the desk of Bob’s Burgers creator Loren Bouchard. Suddenly—miraculously, they still think—they were hired for the show’s very first season in 2009.

“That’s the thing with entertainment,” Molyneux said on the podcast. “You have to keep throwing stuff at the wall until something sticks.”

The Burbank offices of Bento Box, the animation studio behind Bob’s Burgers, has been home to Wendy and Lizzie Molyneux for the past 10 years. Wendy’s husband Jeff (@hatethedrake, for all you Seinfeld fans) works on a different show in the same building, with offices just upstairs. Molyneux also thinks of her colleagues as family, all pitching in ideas, punching up jokes, putting final touches on scripts.

Fans are part of the family, too. They not only contribute artwork, but also fanatically keep track of episodes, minor characters, and running gags. One website ranked the show’s 149 special burgers by pun (no. 5: the Poblano Picasso Burger). Other fans intently try to catch all the punny names on neighboring storefronts (a pottery shop called “Welcome Back Potter,” or one of Wendy’s favorites, “Maxi Pads: Large Apartment Rentals.”)

The Molyneux sisters have become their own brand in the business, racking up writing awards together and getting hired as a team for new projects. Last month, they began work as showrunners and executive producers on a show they created themselves, along with Regular Show alumna Minty Lewis, called The Great North, about a single father in Alaska and his weird bunch of kids.

Molyneux is at the top of her game. But like many adults, she’s astounded how fast time passes. At heart, she admits, she’s “super sentimental and nostalgic,” especially when thinking back on those seemingly endless days of her childhood.

“I think that’s one of the reasons it’s good to work on an animated show,” she said on the podcast. “You get to stop time with these characters sort of permanently, which is maybe what all of us want to do at certain points in our lives. Like, ‘Oh, this is good right here. Let’s stop! Like everything’s fine right now. Let’s just stay here, getting to live in the eternal present.”

 

Photos by Iris Schneider