Liz Fosslien ’09 is the co-author and illustrator of the Wall Street Journal bestseller No Hard Feelings: The Secret Power of Embracing Emotions at Work. She is also the head of content at Humu, a company founded by Laszlo Bock ‘93 that uses behavioral science to make work better. In her spare time, she draws cartoons that have been featured in The Economist, The New York Times, and TIME.

Q: When did you first start drawing?

I’ve always been an avid doodler. While I was working as an economic consultant in my early 20s, I started putting my feelings into charts and illustrations. One of the earliest projects I put online was “14 Ways an Economist Says I Love You”—super nerdy, but economists seemed to like it, which gave me the motivation to continue drawing in a more serious way.

Q: How do you come up with ideas?

A comedian friend of mine once said he only goes to gatherings he knows will be amazing or horrendous, because extremes give him the best material. I feel similarly. When I’m brainstorming ideas, I try to think back on the moments when I felt intense emotion, good or bad.

For example, last summer I went to a wedding that started at noon, which is a very early time to start an event that goes until midnight. I’m an introvert, so around 7 p.m. I could not bear the thought of one more small talk. The only closed-off, quiet area was the coat closet, so I went inside it, sat on the floor and started messing around on my phone. A few minutes later, another woman came in to do the same thing. We quickly bonded over being in the coat closet and then had a long and lovely discussion about all the things we’d done just to get some peace and quiet at a party. I made a cartoon out of that.

Q: How do you keep track of your ideas?

I send myself text messages. I tried writing ideas in a notebook, but it became too cumbersome to constantly be responsible for a notebook. Here are a bunch of idea texts I recently sent to myself: “weather forecast,” “coffee and garbage can,” “sharing and oversharing firehose.” They’re semi-nonsensical, but they usually do the job of jogging my memory. I don’t remember what the “coffee and garbage can” text meant, though, so it’s not a perfect system.

Q: What do you find funny?

Economics, the comic series Calvin and Hobbes, the book Catch-22, the human Larry David. And my partner—he is pretty funny.

Q: Many artists seem to have rituals. Do you have any?

So many. I’m most rigid about my morning routine. I’ve eaten the same thing for several years: seven mini-scoops of Trader Joe’s plain nonfat Greek yogurt and one s’mores Luna Bar. While eating breakfast, I read academic abstracts or, if there is a new episode, listen to the podcast Reply All.

Trader Joe’s has the best plain, non-fat Greek yogurt. My partner doubted there was any real difference between this yogurt and other brands, so we did a blind taste test. He fed me seven random spoonfuls of Trader Joe’s, Fage, Chobani, and Wallaby yogurts, and I had to identify which one was the Trader Joe’s yogurt. I got a perfect score.

More recently I’ve been experimenting with a new breakfast by swapping out the Luna Bar and swapping in peanut butter and walnuts. This is for health reasons only. The new breakfast is not as delicious.

Q: Have you ever had a cartoon bomb?

Sort of. I posted this cartoon [next column] on Reddit, where it made it to the front page and was then promptly ripped to shreds by Internet trolls. The top comment was “Hooray, I get to have a colonoscopy!” and it went downhill from there. My parents thought it was hilarious. My dad, who lives in Chicago, still texts me from time to time. “I get to shovel the driveway again,” he’ll write. “I get to file my taxes.”

Q: You’ve written a book about work. What’s a good joke to tell when you’re late to an important meeting?

My advice is to be punctual to important meetings.

Illustrations by Liz Fosslien ’09

Odds are high that food is one of your favorite topics. Office conversations about where to go for lunch. Calls home on your commute asking what’s for dinner. Recounting a delicious meal in meticulous detail to a friend. Binging on the Food Network. And, of course, your Instagram feed (no pun intended). Food is a near and dear topic for Samuel Yamashita, too. The Pomona College Henry E. Sheffield Professor of History combined two great loves—food and, of course, history—and wrote Hawai‘i Regional Cuisine: The Food Movement That Changed the Way Hawai‘i Eats. In the book, Yamashita chronicles the way Hawaiians have eaten over time, and the way good, local island eats combined with French and Continental mainland fare to create a distinctive style of cuisine.

PCM’s Sneha Abraham sat down for a chat with Yamashita on all things food.

PCM: You grew up on the Hawaiian Islands?

Yamashita: I did. I grew up in a suburb of Honolulu, a place called Kailua, which has one of the most beautiful beaches in the world, top 10. And it’s where Obama would rent a house during his presidency, but, of course, he really couldn’t go on to the beach because of too many people.

PCM: Security.

Yamashita: Yeah. So, I grew up in a beach town. I didn’t really wear shoes until I was 12. And so I had huge feet with really hard, kind of leathery soles. I had a great childhood. I mean, I played, I fished. I didn’t study much.

PCM: You’ve made up for it in the years since.

Yamashita: Well, I had to.

PCM: Were you born there as well?

Yamashita: I was born in Honolulu, in the same hospital where Obama was born.

PCM: What inspired you to do food studies?

Yamashita: In about 2007 or ’08, my editor at the University of Hawai‘i Press asked me out of the blue if I’d be interested in writing the history of Japanese food. She knew I was interested in food, and she was too. We’d have great lunches, and it was at the end of one of these celebratory lunches (on the occasion of the publication of my book Leaves from an Autumn of Emergencies, that she oversaw) that she asked me, “How would you like to write a history of Japanese food?” I was old enough to know that I really needed to think about this. To think about what sources I would use, how I would organize it, what kinds of narratives I would write. And I said, “Let me think about this.”

I thought about it for half a year, and then I said, “Sure, I’d be happy to give it a try.” But I said, “You and I know that you’ll be long retired by the time I finish.” She was exactly my age, and I sensed that she was going to retire in a few years, and I was right. So she retired about four or five years ago, and I’ll finish this history of Japanese food in 2025 or so. It’ll probably be my last book. That was the beginning of my interest in food studies.

I also had collected and read many dozens of wartime Japanese diaries and had written some pieces on the food situation in Japan during World War II. My first food pieces were actually on the food situation in wartime Japan. And then in around 2009, or ’08 maybe, I was having to visit my widowed father in Hawai‘i about four times a year, and I thought, “I need to be able to write off these trips.”

So I began to interview chefs—the chefs for the Hawai‘i Regional Cuisine movement. And I ended up interviewing 36 people, including eight of the 12 founding chefs of Hawai‘i Regional Cuisine. And then I wrote a paper called “The Significance of Hawai‘i Regional Cuisine in Post-Colonial Hawai‘i” and presented it at a conference, and somebody who heard it said, “How would you like to contribute it to a volume?” And so a volume called Eating Asian America was assembled and published by NYU in 2013. That was another important piece for me. And then I began to map out a book on Hawai‘i Regional Cuisine. And in the meantime, I published in 2015 a book called Daily Life in Wartime Japan, 1940–1945 that used about 100 of the diaries I collected.

Once I finished with that, then I was able to concentrate on what became Hawai‘i Regional Cuisine. I’ve also had good support from the College, chiefly in the form of the Frederick Sontag research fellowships, which are for senior faculty. So without those and without a series of spring leaves, I wouldn’t have been able to finish.

PCM: Talk about the perceptions of Hawaiian food that you write about.

Yamashita: Well, people who traveled to Hawai‘i didn’t go for the food, and Alice Waters once said to a friend, “If you go to Hawai‘i, be sure to take some good olive oil and vinegar so you can make a dressing and buy some watercress and have a good salad at least”—right? That was the prevailing view—that you went to Hawai‘i to spend time at the beach, to do other fun things, but not to eat. And the one food phenomenon that was somewhat popular was the so-called luau, a kind of Hawaiian feast. And I certainly grew up attending luaus because our Hawaiian friends and neighbors would usually have a luau whenever there was something to celebrate. When a new child was born or a child graduated from high school or somebody got married or when there was a new baby, often there’d be a luau. And this is pretty typical of the Pacific and parts of Southeast Asia—you raise a pig especially for the luau, and the pig is ready at a certain point, and it becomes the main item in the luau. And so, our neighbors would dig an underground pit called an imu, and they cooked the pig in the pit. They’d also make all sorts of dishes that accompanied it, including poke, which is very popular now in the U.S., but poke was … I could never eat poke outside Hawai‘i. Often they misspell it, P-O-K-I; it’s really P-O-K-E.

PCM: People here pronounce it poke-EE, too, right?

Yamashita: Yeah, yeah, it’s po-KEH. So, I’d say Alice Waters’s characterization of food in Hawai‘i and then the construction of the luau as a tourist food event were probably the two prevailing views of food in the islands. And, of course, as I point out in my book, there was fine dining in the islands, usually at the top hotels that would hire Anglo chefs, usually European or American French-trained chefs. And what’s interesting is that they would cook the very same things that their counterparts on the mainland or in Europe cooked. They would make the same French dishes, and they would use imported, generally imported fish, meat, vegetables and things of that sort. They weren’t using local, locally sourced ingredients much at all. And, of course, all the chefs, all the top chefs were Anglo, and locals served in subordinate positions as cooks.

So-called “local food” is the food that the local ethnic communities brought to Hawai‘i when they immigrated. The food they ate was denigrated by these Anglo chefs. So, there was a pretty stark hierarchy that separated haute cuisine, which was French and continental, from local food.

PCM: Can you talk a little bit about colonialism and then food, that relationship?

Yamashita: In almost all colonial situations, the food of the colonial masters is valued and elevated and affirmed. Of course, it is served in the homes and in the clubs of the colonial elite, and local food is denigrated. I have cookbooks from the 19th century and the recipes are typical of New England. And they added a few Hawaiian things, but about 96 percent, 97 percent of the dishes in those cookbooks were American.

There’s a scholar whose work I admire named Zilkia Janer who has written about food in Central America and Latin America. And, of course, there it’s the Spanish cuisine that’s elevated, and local cuisine of local indigenous people was denigrated. I actually use her piece in my book, as well as a number of other works on colonialism in South Asia, which offer a framework. So I also placed Hawai‘i in that broader colonial context.

PCM: Do you think we’re seeing kind of an iteration of that today in terms of globalization—the standard American diet is being adopted across the world?

Yamashita: Globalization is spreading American fast food as well as American popular culture. So McDonald’s is in many places, even places where you don’t expect to find it. Of course, now it’s almost everywhere. And that’s very typical, but it’s a new kind of colonialism; it’s a latter-day, postmodern colonialism that’s a little different from what existed earlier.

PCM: Talk a little bit more about the historical distinctions between fine-dining food versus local food. What dishes did you find in fine dining? What dishes in local food?

Yamashita: Before Hawai‘i Regional Cuisine?

PCM: Yes.

Yamashita: So essentially, fine dining was dominated by continental and/or French cuisine. And so lots of emphasis on heavy sauces, as was the case with the French cuisine served with imported wines. Usually not served with rice, but with potatoes. I analyzed menus from some of the top restaurants in the islands before HRC, and the menus would be recognizable to anyone familiar with fine dining on the mainland as well. It’s actually what you would find at top fine-dining establishments, especially French restaurants, in New York, in San Francisco and in Chicago. And you wouldn’t find local dishes on the menu.

What really suggested to me that something had happened was the following: My wife and I went to this really wonderful, well-regarded restaurant called CanoeHouse on the Big Island. It’s a great place for a great romantic dinner, located close enough to the ocean that you would hear the surf breaking. We got there at dusk and were led to a table and sat down, and I noticed on the table what you would find in the homes of locals and especially working-class locals—bottles of soy sauce and chili pepper water. And so when the waitress came back to the table, I said, “What’s this? What’s going on?” And she said, “Oh, we have a new chef. His name is Alan Wong.” That’s the two-word answer to the question. The bigger answer, the fuller answer is Hawaiian Regional Cuisine. Suddenly, people like Alan Wong and Roy Yamaguchi made it possible for local food to find its way into fine-dining establishments and, of course, this is what triggered my interest.

PCM: What did the chefs say triggered it for them?

Yamashita: Oh, that’s a good question that has several different answers. Let me give you the big answer first. Roy Yamaguchi graduated from the Culinary Institute of America, 1976. He was one of the first students of Asian descent to go there, you know—CIA in Hyde Park, New York. And after he graduated, he came to L.A. and cooked at a number of different places, finding his way in the restaurant world because there weren’t many Asian chefs. And he ended up finally at the best French restaurant in Los Angeles.

Then he cooked at two other French restaurants. And food critics writing for the Los Angeles Times wrote reviews of those restaurants and they said, “You know, I had the best French dinner I’ve had all year at this restaurant,” and who was the chef? It was Roy Yamaguchi. And then in 1984, he opened his own restaurant called 385 North, which was located at 385 La Cienega in West Hollywood. But what was also happening is that in 1982, Wolfgang Puck opened Spago, and then in 1983, he opened Chinois on Main, and then a bunch of Japanese chefs sent from Japan opened Franco-Japanese restaurants. And then Roy opened 385 North, and they were all cooking something that Roy called “Euro-Asian cuisine.” And he claims to have invented the concept in 1980; he may have invented it, but it quickly spread and was adopted by Puck and these other Japanese chefs.

Nobu Matsuhisa opened Matsuhisa in 1985, just about half a mile south of 385 North. But they were all doing Euro-Asian cuisine. And then in 1988, Roy came back to Hawai‘i and opened his own restaurant called Roy’s, and he used the Euro-Asian cuisine concept. And what that made possible was the adoption by chefs at fine-dining establishments of all kinds of Asian ingredients, the serving of Asian dishes. Conceptually that was what made HRC possible at a very high level. Because Roy was extremely well-trained and had experience and came to Hawai‘i, and that Euro-Asian framework was adopted by the other HRC chefs as well.

But at another level, if you asked Alan Wong that question, he would say something different—Alan Wong and Sam Choy, who were the two of the 12 chefs who are local. Alan Wong would say, “This is plantation food,” because the plantation communities were multi-ethnic.

Alan puts it this way: “You know, they would share their lunches, and so the Japanese would bring a Japanese lunch, the Chinese would bring a Chinese lunch, the Filipino would bring a Filipino lunch, and they would share food.” And so, Alan’s answer then is, “Well, this is what happened historically in Hawai‘i, beginning in plantation times.” It’s a very different kind of answer, but Alan did not go to the CIA. Alan went through a culinary arts program at a community college in Hawai‘i for two years, and then he went to a famous resort in Virginia called the Greenbrier, where he had two more years of training. And then he worked in New York at Lutèce, which was one of the best French restaurants in New York City. And after several years there, he then came back to Hawai‘i.

So he had the technical skill to make the best possible French cuisine imaginable, but he began to incorporate things from the local diet. That’s how he would explain that. So two very different kinds of answers. I think Alan’s answer is somewhat mythicized; it’s a kind of romantic view of Hawai‘i Regional Cuisine. I think the story of Roy is one that, historically, I’m more comfortable with. You know, I don’t like myth.

PCM: Yeah, you deal in history.

Yamashita: Yeah, that’s right, exactly right.

PCM: There is a sort of farm-to-table element, right, in Hawai‘i Regional Cuisine. Can you talk a little bit about that?

Yamashita: Well, that emerges somewhat late. Hawai‘i Regional Cuisine—its founding is formally announced in August 1991. It’s really not until the second decade, in the 21st century, that Peter Merriman and others developed the farm-to-table dimension of Hawai‘i Regional Cuisine. Of course, farm-to-table also emerges on the mainland, the continental U.S., around the same time—I think in the 21st century. And, you know, it’s important, but the impact of Hawai‘i Regional Cuisine on farming is actually much larger than that because farm-to-table is a kind of tourist phenomenon, right? It’s so that tourists can visit the farms with the chef and meet the farmers and so forth. What Peter Merriman and others began to do in the 1990s was to develop relationships with farmers. What it does is to encourage local farmers, and it makes possible a kind of locavorism that was beginning to be really big on the mainland as well.

PCM: What is the legacy of HRC?

Yamashita: Good, good—that’s an important question. In the first place, Hawai‘i Regional Cuisine has made haute cuisine in Hawai‘i part of what I call “the restaurant world” on the mainland, and this was very important. That is, they were noticed by mainland food writers and won national awards. Secondly, it affirmed locavorism and encouraged local farmers such as Tane Datta. His daughter’s name was Amber. I think she was a 2013 Pomona graduate. Third, Hawai‘i Regional Cuisine affirmed “local food,” in quotation marks—that is, the food that local people, non-Anglo people, ate. Fourth, it led to the formation of farmers’ markets throughout the islands. Fifth, it made culinary arts an acceptable path of study, and even graduates of Punahou [a prestigious private K–12 school in Honolulu] became chefs—Ed Kenney and Michelle Karr-Ueoka, they’re both Punahou graduates. In the sixth place, HRC helped de-racialize fine dining in the islands. And that’s, to me, a really important point. Roy Yamaguchi says, “In an earlier generation, I would’ve been a cook, not a chef.” So he’s aware of that demographic change.

It also helped shatter the domination of French cuisine. And I was able to track this in recipes of HRC chefs. And that connection made it easier for chefs in the islands to cook locally, to cook things inspired by what they grew up with in their respective ethnic communities. One of the post-HRC chefs, the Filipino chef Sheldon Simeon, says, “I’m cooking my community.” Which I thought was a wonderful way to put it: “I’m cooking my community.” And then finally, the HRC movement and chefs brought important food issues to the attention of the broader public. So, sustainability, obviously, is one important issue.

There’s a kind of bottom fish called pink snapper; it and other types of bottom fish were being overfished. And so HRC chef Peter Merriman brought that to the attention of the broader public in some editorials that he wrote. And this resulted in careful regulation of bottom fish catches. When a certain limit is reached, then they close it down. And some of the chefs even began to use farm-raised tilapia instead of pink snapper.

Tilapia can be farmed. And apparently, the farmed tilapia tastes good. Whereas the tilapia that some of us caught when we were kids, you know, it tasted muddy, it tasted like catfish. So, it’s had a huge impact. And, of course, the HRC chefs became celebrities, got TV shows and contracts. And so, they became part of this global celebrity-chef phenomenon. Yeah, big deal.

PCM: Yeah, it is. What was the most fun part about writing this book?

Yamashita:: Well, of course, eating the food.

PCM: I knew the answer, but I had to ask. Do you have a favorite Hawaiian dish?

Yamashita: A favorite dish? Well, you know, Alan Wong’s loco moco was my all-time favorite dish.

Alan Wong’s interpretation of loco moco

PCM: Can you describe for the readers what loco moco is?

Yamashita: Well, it’s an interesting story because the loco moco was invented in Hilo, after World War II. And it was a dish created for a bunch of local teenage boys who were about to play a football game. A particular cook said, “I’ll make a dish for you guys.” It’s a plate with a mound of cooked short grain rice, topped with a hamburger patty with brown gravy poured over it and a fried egg on top. So they got starch, they got protein, you know, and lots of carbohydrates, and that carried them through the game. And so if you go to L&L Drive-In, they serve loco moco.

What Alan Wong did was to deconstruct the loco moco. For the rice, he used mochi rice, which is a highly glutinous rice. He cooked it and then created a kind of patty, rice patty, and deep fried it briefly. And then, instead of the ground beef patty, he used ground wagyu beef and unagi, which is Japanese eel. Mixed that together, created a patty, and cooked that and slathered it with an unagi sauce, which is sauce made with soy sauce and sake, and probably sugar. It’s a thick, dark sauce. He poured that over it, and then he topped it with a fried quail egg. There’s a picture of it in my book, and it’s a magnificent, brilliant, brilliant take on a humble local dish. I had eaten several different loco mocos of Alan Wong’s over the years before I encountered the version I just described. This was, to me, the pinnacle.

PCM: Loco moco 2.0.

Yamashita: Loco moco 4.0.

PCM: Do you cook?

Yamashita: You know, I do, or I used to. My wife’s such a good cook that I leave it up to her. No, I like to cook the things that are my favorites.

PCM: What’s your signature dish?

Yamashita: I used to have my students over, and what I used to make was a beef carbonnade described in a French cookbook. It’s essentially a stew made with beef and onions and a lot of red wine. It’s just a really hearty, rich dish, but a lot of our students are vegetarians, so they didn’t always like that, but that was what I used to make.

At that point I started making instead a Chinese dish called white-cooked chicken, where you parboil chicken and serve it at room temperature, and you slice cucumbers into thin strips and put the chicken on top of that and serve it with a peanut sauce.

PCM: That sounds delicious.

Yamashita: That’s one of my favorites. So, when I’m a bachelor, I often make that for myself.

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!”

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.

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.’”

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.”

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

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

She 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

So why would a leading record label—home to the Beatles and the Beach Boys, to Frank Sinatra’s imperial period and Peggy Lee’s renaissance—want 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.

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

How 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.

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!’”