There are huge divorces and divides and chasms in black America between the have-gots and the have-nots, between the monied and the poor, between the educated and the non-educated. And there are huge and growing chasms daily. And I want to say that it's not simply about generation. It's about genre.

Hip hop music is important precisely because it sheds light on contemporary politics, history, and race. At its best, hip hop gives voice to marginal black youth we are not used to hearing from on such topics.

It is bad enough to be white and poor; it is worse still to be black, or brown, and female, and young, and poor. Simply said, race makes class hurt more.

I think public intellectuals have a responsibility - to be self-critical on the one hand, to do serious, nuanced work rigorously executed; but to also be able to get off those perches and out of those ivory towers and speak to the real people who make decisions; to speak truth to power and the powerless with lucidity and eloquence.

As a comic, it's anti-comedy to be known. I think a lot of comedic actors get lost in this world of Hollywood and all this stuff. They lose what brought them there in the first place. I'm very trepidatious about it.

The UCB has long been known as a hub of the best comedy in New York City, but it's never been the most well organized or cared for place in the world.

Roseanne was a huge groundbreaking comedian. Margaret Cho. Ellen DeGeneres, and then on 'Saturday Night Live,' the era of Tina Fey and Amy Poehler sort of helped to bring in an awareness of a new generation of women comedians, often women who were feminist in their comedy, who were unafraid - and this came from the genre of show that was emerging.

My wife is Swedish, so I'm familiar with the Scandinavian kind of odd humor. It's very dark and very deadpan.