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"content": "\u003cp>In a major break for Bill Cosby, a judge ruled Friday that just one of the comedian’s multitude of other accusers can testify at his trial to bolster charges he drugged and violated a woman more than a decade ago.\u003c/p>\n\u003cp>The 79-year-old TV star is set to go on trial in June, accused of sexually assaulting former Temple University employee Andrea Constand at his suburban Philadelphia home in 2004. Prosecutors wanted to put 13 other women on the stand to show that his alleged conduct was part of a distinct pattern of behavior.\u003c/p>\n\u003cp>Montgomery County Judge Steven O’Neill disallowed all but one of those women, saying in a one-page ruling that he carefully weighed the possible value of their testimony against the potential prejudice to Cosby.\u003c/p>\n\u003cp>The one witness who can testify says the comic drugged and assaulted her in 1996 at a Los Angeles hotel.\u003c/p>\n\u003cp>Cosby’s lawyer had no immediate comment, but the actor himself re-tweeted news stories on the ruling, adding the hashtags “#KeepWatching” and “#PayAttention.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With O’Neill’s order, the trial will now rest more heavily on Constand’s credibility.\u003c/p>\n\u003cp>“There is an obvious value to the prosecution when you have numerous accusers. That alone adds tremendous weight to the case,” said lawyer Joseph McGettigan, a prosecutor in the Penn State sex abuse scandal.\u003c/p>\n\u003cp>The ruling could also shave weeks off the trial.\u003c/p>\n\u003cp>Cosby, who is free on $1 million bail, could get 10 years in prison if convicted. He is expected in court again Monday to ask that the jurors be selected from another county because of the heavy publicity.\u003c/p>\n\u003cp>Prosecutors compiled the list of 13 potential witnesses from the nearly 50 women who have come forward in recent years to say they were drugged and molested — a barrage that destroyed Cosby’s good-guy reputation as the star of TV’s \u003cem>Cosby Show\u003c/em> in the 1980s.\u003c/p>\n\u003cp>His lawyers objected to the testimony about “prior bad acts,” saying that in some cases the sex was consensual, while others involved models and actresses falsely accusing Cosby to gain money or attention.\u003c/p>\n\u003cp>His attorneys also argued that some of the allegations were so vague — with some of the women unsure of when the alleged encounters even took place — that it would be impossible for Cosby to defend himself.\u003c/p>\n\u003cp>While the ruling is a big victory for Cosby at his trial, it could deprive him of grounds for appeal if he is convicted. In 2015, a Pennsylvania appeals court threw out a Roman Catholic Church official’s conviction because the jury was allowed to hear from 23 priest-abuse victims who were not directly part of the case.\u003c/p>\n\u003cp>“It’s the best of times and the worst of times for Cosby. It gives the defendant the opportunity to try the case that should be tried, the lone accuser,” said defense lawyer William J. Brennan, who was involved in the church case. “If it doesn’t go his way, he probably is limited on appellate issues. However, I’d take this, hands down, over the alternative.”\u003c/p>\n\u003cp>The ruling is one of two key pretrial issues in the case. The judge earlier ruled that the jury can hear Cosby’s damaging testimony from Constand’s 2005 lawsuit against the comedian.\u003c/p>\n\u003cp>Cosby’s deposition runs to nearly 1,000 pages and covers a string of extramarital liaisons dating to the 1960s. It was the release of the sealed testimony in 2015 that led prosecutors to reopen the case.\u003c/p>\n\u003cp>Constand told police he gave her three unmarked pills and then penetrated her with his fingers as she drifted in and out of consciousness. The comedian has said the sexual contact was consensual.\u003c/p>\n\u003cp>The additional accuser who can testify worked for one of Cosby’s agents and had known the entertainer for six years when he invited her to lunch at his bungalow at the Bel Air Hotel to discuss her career plans.\u003c/p>\n\u003cp>She said he was in a robe and slippers when she arrived and offered her wine and a pill that she consumed after he assured her it was safe. She said he then sexually assaulted her on his bed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Among the other accusers who won’t be allowed to testify, one said she was an aspiring actress when Cosby assaulted her at a home near Reno, Nevada, in 1984. Another said Cosby drugged and assaulted her in the late 1960s after befriending her and her 9-year-old son.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With O’Neill’s order, the trial will now rest more heavily on Constand’s credibility.\u003c/p>\n\u003cp>“There is an obvious value to the prosecution when you have numerous accusers. That alone adds tremendous weight to the case,” said lawyer Joseph McGettigan, a prosecutor in the Penn State sex abuse scandal.\u003c/p>\n\u003cp>The ruling could also shave weeks off the trial.\u003c/p>\n\u003cp>Cosby, who is free on $1 million bail, could get 10 years in prison if convicted. He is expected in court again Monday to ask that the jurors be selected from another county because of the heavy publicity.\u003c/p>\n\u003cp>Prosecutors compiled the list of 13 potential witnesses from the nearly 50 women who have come forward in recent years to say they were drugged and molested — a barrage that destroyed Cosby’s good-guy reputation as the star of TV’s \u003cem>Cosby Show\u003c/em> in the 1980s.\u003c/p>\n\u003cp>His lawyers objected to the testimony about “prior bad acts,” saying that in some cases the sex was consensual, while others involved models and actresses falsely accusing Cosby to gain money or attention.\u003c/p>\n\u003cp>His attorneys also argued that some of the allegations were so vague — with some of the women unsure of when the alleged encounters even took place — that it would be impossible for Cosby to defend himself.\u003c/p>\n\u003cp>While the ruling is a big victory for Cosby at his trial, it could deprive him of grounds for appeal if he is convicted. In 2015, a Pennsylvania appeals court threw out a Roman Catholic Church official’s conviction because the jury was allowed to hear from 23 priest-abuse victims who were not directly part of the case.\u003c/p>\n\u003cp>“It’s the best of times and the worst of times for Cosby. It gives the defendant the opportunity to try the case that should be tried, the lone accuser,” said defense lawyer William J. Brennan, who was involved in the church case. “If it doesn’t go his way, he probably is limited on appellate issues. However, I’d take this, hands down, over the alternative.”\u003c/p>\n\u003cp>The ruling is one of two key pretrial issues in the case. The judge earlier ruled that the jury can hear Cosby’s damaging testimony from Constand’s 2005 lawsuit against the comedian.\u003c/p>\n\u003cp>Cosby’s deposition runs to nearly 1,000 pages and covers a string of extramarital liaisons dating to the 1960s. It was the release of the sealed testimony in 2015 that led prosecutors to reopen the case.\u003c/p>\n\u003cp>Constand told police he gave her three unmarked pills and then penetrated her with his fingers as she drifted in and out of consciousness. The comedian has said the sexual contact was consensual.\u003c/p>\n\u003cp>The additional accuser who can testify worked for one of Cosby’s agents and had known the entertainer for six years when he invited her to lunch at his bungalow at the Bel Air Hotel to discuss her career plans.\u003c/p>\n\u003cp>She said he was in a robe and slippers when she arrived and offered her wine and a pill that she consumed after he assured her it was safe. She said he then sexually assaulted her on his bed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Among the other accusers who won’t be allowed to testify, one said she was an aspiring actress when Cosby assaulted her at a home near Reno, Nevada, in 1984. Another said Cosby drugged and assaulted her in the late 1960s after befriending her and her 9-year-old son.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Disney’s Maker Studios and Google’s YouTube are distancing themselves from a top YouTube star after he made jokes construed as anti-Semitic and posted Nazi imagery in his videos.\u003c/p>\n\u003cp>Felix Kjellberg, known online as PewDiePie, has the most popular YouTube channel, with more than 53 million subscribers. The Swedish YouTube star rose to fame by posting videos of him playing and commenting about video games. More recently, he branched out into non-gaming videos that show him performing skits, stunts or making jokes.\u003c/p>\n\u003cp>Disney, whose Maker Studios runs Kjellberg’s channels and network, said he crossed the line with some of his videos. One video from January shows two Indian men paid by Kjellberg to hold up a sign that says “Death to all Jews.” Kjellberg said the video was meant to demonstrate how far people will go if they get paid to do something, but he didn’t think they would actually do it. \u003c/p>\n\u003cp>Other videos show Nazi imagery in a satirical way.\u003c/p>\n\u003cp>In blog post Kjellberg said he was making jokes, but realizes now that they were offensive.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kjellberg’s channel was already part of Maker Studios when the Walt Disney Co. bought Maker in 2014 for $675 million. Maker contracts with individuals such as Kjellberg to produce videos for various YouTube channels.\u003c/p>\n\u003cp>Kjellberg pulled the video showing the two men displaying the anti-Semitic sign, but it is excerpted in a Wall Street Journal video. Other videos still on the site show Nazi imagery being used satirically.\u003c/p>\n\u003cp>Maker Studios said in a statement that while Kjellberg’s channel is popular because he is irreverent and provocative, the studio is ending its affiliation with him because he went too far.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>YouTube spokeswoman Michelle Slavich said YouTube has canceled the release of the second season of Kjellberg’s reality show “Scare PewDiePie” and removed the PewDiePie channel from its Google Preferred advertising program, which aggregates top YouTube content for advertisers to buy time on.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Disney’s Maker Studios and Google’s YouTube are distancing themselves from a top YouTube star after he made jokes construed as anti-Semitic and posted Nazi imagery in his videos.\u003c/p>\n\u003cp>Felix Kjellberg, known online as PewDiePie, has the most popular YouTube channel, with more than 53 million subscribers. The Swedish YouTube star rose to fame by posting videos of him playing and commenting about video games. More recently, he branched out into non-gaming videos that show him performing skits, stunts or making jokes.\u003c/p>\n\u003cp>Disney, whose Maker Studios runs Kjellberg’s channels and network, said he crossed the line with some of his videos. One video from January shows two Indian men paid by Kjellberg to hold up a sign that says “Death to all Jews.” Kjellberg said the video was meant to demonstrate how far people will go if they get paid to do something, but he didn’t think they would actually do it. \u003c/p>\n\u003cp>Other videos show Nazi imagery in a satirical way.\u003c/p>\n\u003cp>In blog post Kjellberg said he was making jokes, but realizes now that they were offensive.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kjellberg’s channel was already part of Maker Studios when the Walt Disney Co. bought Maker in 2014 for $675 million. Maker contracts with individuals such as Kjellberg to produce videos for various YouTube channels.\u003c/p>\n\u003cp>Kjellberg pulled the video showing the two men displaying the anti-Semitic sign, but it is excerpted in a Wall Street Journal video. Other videos still on the site show Nazi imagery being used satirically.\u003c/p>\n\u003cp>Maker Studios said in a statement that while Kjellberg’s channel is popular because he is irreverent and provocative, the studio is ending its affiliation with him because he went too far.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>YouTube spokeswoman Michelle Slavich said YouTube has canceled the release of the second season of Kjellberg’s reality show “Scare PewDiePie” and removed the PewDiePie channel from its Google Preferred advertising program, which aggregates top YouTube content for advertisers to buy time on.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The World's Foremost Authority Has Died: Prof. Irwin Corey was 102",
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"content": "\u003cp>Comedian and actor Irwin Corey, for whom the word “however” was the perfect opening line, has died at age 102. With an impish grin and wild hair, Corey was a nightclub and talk-show fixture who worked with stars from Jackie Gleason to Woody Allen. His admirers ranged from Damon Runyon to Lenny Bruce.\u003c/p>\n\u003cp>Corey died Monday evening, his daughter-in-law tells NPR. The comedian had been sick earlier this year — but he’d been sent home from the hospital after seeming to recover. His last meal, she said, consisted of ice cream and egg drop soup.\u003c/p>\n\u003cp>It’s impossible to provide a short explanation of Corey’s surreal brand of comedy, which was most potent when delivered in his seemingly nonsensical stream of non sequiturs. But the breadth of his career hints at his creative genius: Who else could have appeared in the 1976 film \u003cem>Car Wash\u003c/em>, two years after \u003ca href=\"http://www.irwincorey.org/routines.html\" target=\"_blank\" rel=\"noopener\">accepting a National Book Award\u003c/a> on behalf of the reclusive Thomas Pynchon?\u003c/p>\n\u003cp>Billed as “the World’s Foremost Authority,” Corey’s guise as an absent-minded professor offered a way to poke fun at multisyllabic jargon and those who use it. When political or scientific authorities seemed to annex a chunk of language, there was Corey to claw it back — a very human antidote to our complicated modern times.\u003c/p>\n\u003cp>“Sometimes, I forget what I’m talking about in the middle of a word,” Corey \u003ca href=\"http://www.npr.org/2014/08/02/337320806/comedian-irwin-corey-turns-100\" target=\"_blank\" rel=\"noopener\">said at his 100th birthday party\u003c/a>, which was attended by WNYC contributor Jon Kalish.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/513879165/513879302\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>Corey mixed social commentary into his playful approach to language — as at his birthday party in 2014, when he said, “Ten years ago, we had Johnny Cash. We had Bob Hope and Steve Jobs. Today, 10 years later, there’s no cash. There’s no hope. There’s no jobs.”\u003c/p>\n\u003cp>Here’s how legendary theater critic Kenneth Tynan \u003ca href=\"http://www.irwincorey.org/bio.html\">once described\u003c/a> Corey: “a cultural clown, a parody of literacy, a travesty of all that our civilization holds dear and one of the funniest grotesques in America. He is Chaplin’s clown with a college education.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MxtN0xxzfsw\u003c/p>\n\u003cp>Born in Brooklyn, N.Y., in 1914, Corey and his brothers and sisters grew up in the Brooklyn Hebrew Orphan Asylum. After extreme poverty forced their mother to put her children in the home, \u003ca href=\"http://forward.com/news/203731/professor-irwin-corey-worlds-foremost-authority-go/\">she paid a monthly fee\u003c/a> to help provide for them.\u003c/p>\n\u003cp>Corey’s left-wing beliefs led to him being blacklisted in the 1950s. Decades later, he was found to be panhandling in a Manhattan street. He told \u003ca href=\"https://www.nytimes.com/video/nyregion/100000001099057/hes-97-and-famous-spare-some-change.html?src=vidm\" target=\"_blank\" rel=\"noopener\">The New York Times\u003c/a> that he donated all the money he collected to charity — often, to a cause that benefits children in Cuba.\u003c/p>\n\u003cp>As Corey explained, he was asking for change around the corner from his home, navigating East 35th Street with his walker, handing out free newspapers and, over the years, collecting tens of thousands of dollars.\u003c/p>\n\u003cp>When a reporter asked him why he hustled for change, he seemed confused.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Why?” Corey repeated — and after a pause, he said, “I want to help people out.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+World%27s+Foremost+Authority+Has+Died%3A+Prof.+Irwin+Corey+Was+102&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Comedian and actor Irwin Corey, for whom the word “however” was the perfect opening line, has died at age 102. With an impish grin and wild hair, Corey was a nightclub and talk-show fixture who worked with stars from Jackie Gleason to Woody Allen. His admirers ranged from Damon Runyon to Lenny Bruce.\u003c/p>\n\u003cp>Corey died Monday evening, his daughter-in-law tells NPR. The comedian had been sick earlier this year — but he’d been sent home from the hospital after seeming to recover. His last meal, she said, consisted of ice cream and egg drop soup.\u003c/p>\n\u003cp>It’s impossible to provide a short explanation of Corey’s surreal brand of comedy, which was most potent when delivered in his seemingly nonsensical stream of non sequiturs. But the breadth of his career hints at his creative genius: Who else could have appeared in the 1976 film \u003cem>Car Wash\u003c/em>, two years after \u003ca href=\"http://www.irwincorey.org/routines.html\" target=\"_blank\" rel=\"noopener\">accepting a National Book Award\u003c/a> on behalf of the reclusive Thomas Pynchon?\u003c/p>\n\u003cp>Billed as “the World’s Foremost Authority,” Corey’s guise as an absent-minded professor offered a way to poke fun at multisyllabic jargon and those who use it. When political or scientific authorities seemed to annex a chunk of language, there was Corey to claw it back — a very human antidote to our complicated modern times.\u003c/p>\n\u003cp>“Sometimes, I forget what I’m talking about in the middle of a word,” Corey \u003ca href=\"http://www.npr.org/2014/08/02/337320806/comedian-irwin-corey-turns-100\" target=\"_blank\" rel=\"noopener\">said at his 100th birthday party\u003c/a>, which was attended by WNYC contributor Jon Kalish.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/513879165/513879302\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>Corey mixed social commentary into his playful approach to language — as at his birthday party in 2014, when he said, “Ten years ago, we had Johnny Cash. We had Bob Hope and Steve Jobs. Today, 10 years later, there’s no cash. There’s no hope. There’s no jobs.”\u003c/p>\n\u003cp>Here’s how legendary theater critic Kenneth Tynan \u003ca href=\"http://www.irwincorey.org/bio.html\">once described\u003c/a> Corey: “a cultural clown, a parody of literacy, a travesty of all that our civilization holds dear and one of the funniest grotesques in America. He is Chaplin’s clown with a college education.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/MxtN0xxzfsw'\n title='//www.youtube.com/embed/MxtN0xxzfsw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Born in Brooklyn, N.Y., in 1914, Corey and his brothers and sisters grew up in the Brooklyn Hebrew Orphan Asylum. After extreme poverty forced their mother to put her children in the home, \u003ca href=\"http://forward.com/news/203731/professor-irwin-corey-worlds-foremost-authority-go/\">she paid a monthly fee\u003c/a> to help provide for them.\u003c/p>\n\u003cp>Corey’s left-wing beliefs led to him being blacklisted in the 1950s. Decades later, he was found to be panhandling in a Manhattan street. He told \u003ca href=\"https://www.nytimes.com/video/nyregion/100000001099057/hes-97-and-famous-spare-some-change.html?src=vidm\" target=\"_blank\" rel=\"noopener\">The New York Times\u003c/a> that he donated all the money he collected to charity — often, to a cause that benefits children in Cuba.\u003c/p>\n\u003cp>As Corey explained, he was asking for change around the corner from his home, navigating East 35th Street with his walker, handing out free newspapers and, over the years, collecting tens of thousands of dollars.\u003c/p>\n\u003cp>When a reporter asked him why he hustled for change, he seemed confused.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Why?” Corey repeated — and after a pause, he said, “I want to help people out.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+World%27s+Foremost+Authority+Has+Died%3A+Prof.+Irwin+Corey+Was+102&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Cy and David's Picks: John Adams at 70, Lemon Twigs, and Comedians Resist",
"headTitle": "Cy and David’s Picks: John Adams at 70, Lemon Twigs, and Comedians Resist | KQED",
"content": "\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great shows around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>https://www.podtrac.com/pts/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thedolist/2017/02/TDL20170203.mp3\u003c/p>\n\u003cp>The personal sometimes makes for powerful political art. This week, we’re featuring Aboriginal women from Australia singing in protest of efforts to stamp out their culture, and comedians worried that President Trump may order their deportation. Oh, and no Superbowl talk here — except to say go see a show instead.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x7E32SJYmgY\u003c/p>\n\u003cp>\u003cstrong>Feb. 7–12\u003c/strong>:\u003ca href=\"http://www.blackarmband.com.au/\" target=\"_blank\" rel=\"noopener\"> Black Arm Band\u003c/a> is a troupe of musicians and singers from Australia, doing songs from Aboriginal and Torres Strait Islander culture. They’re making three stops in the Bay Area with a show called \u003cem>Dirtsong\u003c/em>, about the Australian government’s now-discredited effort to stamp out indigenous culture through residential schools. (If you think that’s a remote concern, recall that the U.S. government tried to do the same with Native Americans.) And the music is stunning. Details for Black Arm Band’s show at Bing Concert Hall at Stanford on Feb. 7 are \u003ca href=\"https://live.stanford.edu/calendar/february-2017/black-arm-band\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, for their show at the Mondavi Center at UC Davis on Feb. 8 \u003ca href=\"https://www.mondaviarts.org/event/2016-17/black-arm-band\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and for Zellerbach Auditorium at UC Berkeley on Feb. 12 \u003ca href=\"https://calperformances.org/performances/2016-17/world-stage/black-arm-band-dirtsong.php\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AIp2iQvKLss\u003c/p>\n\u003cp>\u003cstrong>Feb. 3\u003c/strong>: Every President needs a few good court jesters. And Bay Area comedians have been anything but shy about mocking our new President and his policies. \u003ca href=\"https://karindadobbins.socxs.com/Home\" target=\"_blank\" rel=\"noopener\">Karinda Dobbins\u003c/a> and \u003ca href=\"http://dhayacomedy.com/\" target=\"_blank\" rel=\"noopener\">Dhaya Lakshminarayanan\u003c/a> are hosting a show called \u003cem>The Resistance,\u003c/em> featuring Imran G, a Muslim American, Johan Miranda, a dreamer, Irene Tu and Luna Malbroux. I’m guessing here: there are probably no pro-Trump jesters on this bill. And it’s a \u003cstrong>Cheap Thrill! \u003c/strong>Tickets as low as $10 for an evening of comedy at the \u003ca href=\"https://ticketing.us.veezi.com/purchase/2515?siteToken=P5WXdOEJ3Eq2eHbZHTAtbg%3D%3D\" target=\"_blank\" rel=\"noopener\">New Parkway\u003c/a> in Oakland. Details \u003ca href=\"https://ticketing.us.veezi.com/purchase/2515?siteToken=P5WXdOEJ3Eq2eHbZHTAtbg%3D%3D\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9ZI2hGjuHVs\u003c/p>\n\u003cp>\u003cstrong>Feb. 3–25\u003c/strong>: We’ve been featuring composers’ birthdays recently, and this month it’s all about Berkeley’s \u003ca href=\"https://www.earbox.com/\" target=\"_blank\" rel=\"noopener\">John Adams\u003c/a> turning 70, with Cal Performances and the San Francisco Symphony staging some of his most ambitious works. \u003ca href=\"https://calperformances.org/performances/2016-17/dance/available-light-john-adams-lucinda-childs-frank-o-gehry.php\" target=\"_blank\" rel=\"noopener\">Cal Performances \u003c/a>is presenting choreographer Lucinda Childs ballet,\u003cem> Light Over Water, \u003c/em>set to a 1983 electronic piece by Adams — with a set deigned by Frank Gehry and a chance to hear all three artists talk about the piece.\u003c/p>\n\u003cfigure id=\"attachment_12713412\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12713412 size-large\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/John-Adams-Portrait002-Christine-Alicino-e1486072432380-1020x1267.jpg\" alt=\"John Adams\" width=\"640\" height=\"795\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/John-Adams-Portrait002-Christine-Alicino-e1486072432380-1020x1267.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/John-Adams-Portrait002-Christine-Alicino-e1486072432380-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/John-Adams-Portrait002-Christine-Alicino-e1486072432380-800x993.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/John-Adams-Portrait002-Christine-Alicino-e1486072432380-768x954.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/John-Adams-Portrait002-Christine-Alicino-e1486072432380-1180x1465.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/John-Adams-Portrait002-Christine-Alicino-e1486072432380-960x1192.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/John-Adams-Portrait002-Christine-Alicino-e1486072432380-240x298.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/John-Adams-Portrait002-Christine-Alicino-e1486072432380-375x466.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/John-Adams-Portrait002-Christine-Alicino-e1486072432380-520x646.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/John-Adams-Portrait002-Christine-Alicino-e1486072432380.jpg 1290w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">John Adams. \u003ccite>(Photo: Christine Alicino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then, the SF Symphony performs \u003cem>The Gospel According to the Other Mary\u003c/em>, a gorgeous oratorio about Mary Magdalene with lyrics by Adams’ frequent collaborator Peter Sellars, and \u003cem>Sherezade 2. \u003c/em>Both are feminist works, windows into Adams politics, and a reminder that the composer of operas like \u003cem>Doctor Atomic\u003c/em> (the making of the atomic bomb) and \u003cem>Nixon in China\u003c/em> has always loved drama and big emotions. “I’ve been inspired by composers like Wagner and Verdi and Mahler,” Adams told me, “to not be afraid to create a large form which can draw the listener in. I’ve always wanted to keep that ability for power and emotional depth in my music.” Adams was associated with the minimalists like Philip Glass early in his career, but he added that “for me, it was a little bit of a sparse bread-and-water diet. And I’ve tried to use my music to probe a lot of human issues that demand a larger musical vocabulary.” Details for the Cal Performances shows are \u003ca href=\"https://calperformances.org/performances/2016-17/dance/available-light-john-adams-lucinda-childs-frank-o-gehry.php\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And learn more about the San Francisco Symphony concerts right \u003ca href=\"https://www.sfsymphony.org/johnadams\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sGfJYLEoPlY\u003c/p>\n\u003cp>\u003cstrong>Feb. 4–25\u003c/strong>: Flamenco is a perfect dance form for telling stories of passion. And Noche Flamenca is doing just that with its production of the ancient Greek tale \u003cem>Antigone\u003c/em>, in which the daughter of a king defies her father and the state to uphold a deeper form of justice. Artistic Director Martín Santangelo created this piece in 2010 after a Spanish Judge was suspended for his efforts to honor those who fought against Franco, allowing families to bury their relatives previously left in mass graves. We think Sophocles would enjoy this version of his story. Details for the run of the show at Z Space in San Francisco are \u003ca href=\"http://www.zspace.org/noche\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xQ4nqnVOfMo\u003c/p>\n\u003cp>\u003cstrong>Feb. 4\u003c/strong>: \u003ca href=\"http://thelemontwigs.com/#\" target=\"_blank\" rel=\"noopener\">The Lemon Twigs \u003c/a>hail from somewhere on Long Island, but the band’s sound is from a country all its own. Teenaged brothers Brian and Michael D’Addorio sound a bit like the later-era Beatles, and dress and style their hair a bit like early Rod Stewart. They picked up some of their musical chops from their dad, Ronnie D’Addario, once a songwriter, session musician and producer, and added a level of charming goofiness evident in their videos. Details for their show at Brick and Mortar in San Francisco are \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=7009605&pl=brickmortar&REFID=clientsitewp\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and the show at the Catalyst in Santa Cruz are \u003ca href=\"http://www.catalystclub.com/event/1384242-lemon-twigs-santa-cruz/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great shows around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>https://www.podtrac.com/pts/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thedolist/2017/02/TDL20170203.mp3\u003c/p>\n\u003cp>The personal sometimes makes for powerful political art. This week, we’re featuring Aboriginal women from Australia singing in protest of efforts to stamp out their culture, and comedians worried that President Trump may order their deportation. Oh, and no Superbowl talk here — except to say go see a show instead.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/x7E32SJYmgY'\n title='//www.youtube.com/embed/x7E32SJYmgY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 7–12\u003c/strong>:\u003ca href=\"http://www.blackarmband.com.au/\" target=\"_blank\" rel=\"noopener\"> Black Arm Band\u003c/a> is a troupe of musicians and singers from Australia, doing songs from Aboriginal and Torres Strait Islander culture. They’re making three stops in the Bay Area with a show called \u003cem>Dirtsong\u003c/em>, about the Australian government’s now-discredited effort to stamp out indigenous culture through residential schools. (If you think that’s a remote concern, recall that the U.S. government tried to do the same with Native Americans.) And the music is stunning. Details for Black Arm Band’s show at Bing Concert Hall at Stanford on Feb. 7 are \u003ca href=\"https://live.stanford.edu/calendar/february-2017/black-arm-band\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, for their show at the Mondavi Center at UC Davis on Feb. 8 \u003ca href=\"https://www.mondaviarts.org/event/2016-17/black-arm-band\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and for Zellerbach Auditorium at UC Berkeley on Feb. 12 \u003ca href=\"https://calperformances.org/performances/2016-17/world-stage/black-arm-band-dirtsong.php\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/AIp2iQvKLss'\n title='//www.youtube.com/embed/AIp2iQvKLss'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 3\u003c/strong>: Every President needs a few good court jesters. And Bay Area comedians have been anything but shy about mocking our new President and his policies. \u003ca href=\"https://karindadobbins.socxs.com/Home\" target=\"_blank\" rel=\"noopener\">Karinda Dobbins\u003c/a> and \u003ca href=\"http://dhayacomedy.com/\" target=\"_blank\" rel=\"noopener\">Dhaya Lakshminarayanan\u003c/a> are hosting a show called \u003cem>The Resistance,\u003c/em> featuring Imran G, a Muslim American, Johan Miranda, a dreamer, Irene Tu and Luna Malbroux. I’m guessing here: there are probably no pro-Trump jesters on this bill. And it’s a \u003cstrong>Cheap Thrill! \u003c/strong>Tickets as low as $10 for an evening of comedy at the \u003ca href=\"https://ticketing.us.veezi.com/purchase/2515?siteToken=P5WXdOEJ3Eq2eHbZHTAtbg%3D%3D\" target=\"_blank\" rel=\"noopener\">New Parkway\u003c/a> in Oakland. Details \u003ca href=\"https://ticketing.us.veezi.com/purchase/2515?siteToken=P5WXdOEJ3Eq2eHbZHTAtbg%3D%3D\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9ZI2hGjuHVs'\n title='//www.youtube.com/embed/9ZI2hGjuHVs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 3–25\u003c/strong>: We’ve been featuring composers’ birthdays recently, and this month it’s all about Berkeley’s \u003ca href=\"https://www.earbox.com/\" target=\"_blank\" rel=\"noopener\">John Adams\u003c/a> turning 70, with Cal Performances and the San Francisco Symphony staging some of his most ambitious works. \u003ca href=\"https://calperformances.org/performances/2016-17/dance/available-light-john-adams-lucinda-childs-frank-o-gehry.php\" target=\"_blank\" rel=\"noopener\">Cal Performances \u003c/a>is presenting choreographer Lucinda Childs ballet,\u003cem> Light Over Water, \u003c/em>set to a 1983 electronic piece by Adams — with a set deigned by Frank Gehry and a chance to hear all three artists talk about the piece.\u003c/p>\n\u003cfigure id=\"attachment_12713412\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12713412 size-large\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/John-Adams-Portrait002-Christine-Alicino-e1486072432380-1020x1267.jpg\" alt=\"John Adams\" width=\"640\" height=\"795\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/John-Adams-Portrait002-Christine-Alicino-e1486072432380-1020x1267.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/John-Adams-Portrait002-Christine-Alicino-e1486072432380-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/John-Adams-Portrait002-Christine-Alicino-e1486072432380-800x993.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/John-Adams-Portrait002-Christine-Alicino-e1486072432380-768x954.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/John-Adams-Portrait002-Christine-Alicino-e1486072432380-1180x1465.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/John-Adams-Portrait002-Christine-Alicino-e1486072432380-960x1192.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/John-Adams-Portrait002-Christine-Alicino-e1486072432380-240x298.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/John-Adams-Portrait002-Christine-Alicino-e1486072432380-375x466.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/John-Adams-Portrait002-Christine-Alicino-e1486072432380-520x646.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/John-Adams-Portrait002-Christine-Alicino-e1486072432380.jpg 1290w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">John Adams. \u003ccite>(Photo: Christine Alicino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then, the SF Symphony performs \u003cem>The Gospel According to the Other Mary\u003c/em>, a gorgeous oratorio about Mary Magdalene with lyrics by Adams’ frequent collaborator Peter Sellars, and \u003cem>Sherezade 2. \u003c/em>Both are feminist works, windows into Adams politics, and a reminder that the composer of operas like \u003cem>Doctor Atomic\u003c/em> (the making of the atomic bomb) and \u003cem>Nixon in China\u003c/em> has always loved drama and big emotions. “I’ve been inspired by composers like Wagner and Verdi and Mahler,” Adams told me, “to not be afraid to create a large form which can draw the listener in. I’ve always wanted to keep that ability for power and emotional depth in my music.” Adams was associated with the minimalists like Philip Glass early in his career, but he added that “for me, it was a little bit of a sparse bread-and-water diet. And I’ve tried to use my music to probe a lot of human issues that demand a larger musical vocabulary.” Details for the Cal Performances shows are \u003ca href=\"https://calperformances.org/performances/2016-17/dance/available-light-john-adams-lucinda-childs-frank-o-gehry.php\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And learn more about the San Francisco Symphony concerts right \u003ca href=\"https://www.sfsymphony.org/johnadams\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/sGfJYLEoPlY'\n title='//www.youtube.com/embed/sGfJYLEoPlY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 4–25\u003c/strong>: Flamenco is a perfect dance form for telling stories of passion. And Noche Flamenca is doing just that with its production of the ancient Greek tale \u003cem>Antigone\u003c/em>, in which the daughter of a king defies her father and the state to uphold a deeper form of justice. Artistic Director Martín Santangelo created this piece in 2010 after a Spanish Judge was suspended for his efforts to honor those who fought against Franco, allowing families to bury their relatives previously left in mass graves. We think Sophocles would enjoy this version of his story. Details for the run of the show at Z Space in San Francisco are \u003ca href=\"http://www.zspace.org/noche\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xQ4nqnVOfMo'\n title='//www.youtube.com/embed/xQ4nqnVOfMo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 4\u003c/strong>: \u003ca href=\"http://thelemontwigs.com/#\" target=\"_blank\" rel=\"noopener\">The Lemon Twigs \u003c/a>hail from somewhere on Long Island, but the band’s sound is from a country all its own. Teenaged brothers Brian and Michael D’Addorio sound a bit like the later-era Beatles, and dress and style their hair a bit like early Rod Stewart. They picked up some of their musical chops from their dad, Ronnie D’Addario, once a songwriter, session musician and producer, and added a level of charming goofiness evident in their videos. Details for their show at Brick and Mortar in San Francisco are \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=7009605&pl=brickmortar&REFID=clientsitewp\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and the show at the Catalyst in Santa Cruz are \u003ca href=\"http://www.catalystclub.com/event/1384242-lemon-twigs-santa-cruz/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cy-and-davids-picks-themes-from-the-60s-a-minimalists-birthday-and-a-candy-ass",
"title": "Cy and David's Picks: Themes from the '60s, A Minimalist's Birthday, and a Candy Ass",
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"headTitle": "Cy and David’s Picks: Themes from the ’60s, A Minimalist’s Birthday, and a Candy Ass | KQED",
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"content": "\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great show around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>http://www.kqed.org/.stream/mp3splice/radio/thedolist/2017/01/TDL20170127.mp3\u003c/p>\n\u003cp>Here at KQED Arts, we’ve launched \u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">First 100 days: Art in the Age of Trump\u003c/a>\u003c/em>, a series of stories about how Bay Area artists respond to the new administration. Comedian \u003ca href=\"http://www.zahracomedy.com/\" target=\"_blank\" rel=\"noopener\">Zahra Noorbaksh’s\u003c/a> new show tackles what it’s like to be a Muslim comedian under this new administration.\u003c/p>\n\u003cfigure id=\"attachment_12295296\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12295296\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-800x434.jpg\" alt=\"Comedian Zahra Noorbaksh host the podcast ‘Good Muslim, Bad Muslim’\" width=\"800\" height=\"434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-800x434.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-768x416.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-1020x553.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-1920x1041.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-1180x640.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-960x520.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-520x282.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Zahra Noorbaksh hosts the podcast ‘Good Muslim, Bad Muslim.’ \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Somehow Noorbaksh, recently featured on \u003ca href=\"http://www.npr.org/2017/01/18/510346895/after-trumps-election-a-non-practicing-muslim-returns-to-prayer\" target=\"_blank\" rel=\"noopener\">Fresh Air\u003c/a>, manages to be funny about everything from Muslim registries and deportation centers to pussy hats. \u003cem>On Behalf of All Muslims\u003c/em> is at a venue we don’t usually cover, the Islamic Center of Northern California in Oakland, and runs \u003cstrong>Feb. 2–4 and 9–13\u003c/strong>. Details \u003ca href=\"http://obam.brownpapertickets.com/?utm_source=General+Interest&utm_campaign=02196f2d80-EMAIL_CAMPAIGN_2017_01_14&utm_medium=email&utm_term=0_5b5b50c93c-02196f2d80-93088781\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> Now the rest of the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RAhNYRTV0Sg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Jan. 29\u003c/strong>: Bay Area Jazz violinist Mads Tolling and his Mads Men are mining the \u003cem>Mad Men\u003c/em> TV era, finding musical gold in the theme music for TV shows and movies from the sixties — everything from the classic-cool of \u003cem>Mission Impossible\u003c/em> (Lalo Schifrin) and \u003cem>The Pink Panther\u003c/em> (Henry Mancini) to the classic-corn of \u003cem>The Flintstones\u003c/em> (Hoyt Curtin, Joseph Barbera and William Hanna). Details for their two album release shows (\u003cem>Playing the ’60s\u003c/em>) at Yoshi’s in Oakland are right \u003ca href=\"http://www.yoshis.com/event/1230483-mads-tolling-mads-men-oakland/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12681839\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12681839\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993-800x415.jpg\" alt=\"Hi Jewboy/Hi by Cary Liebowitz is part of the career retrospective at the Contemporary Jewish Museum\" width=\"800\" height=\"415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993-800x415.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993-768x398.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993-1020x529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993-1920x996.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993-1180x612.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993-960x498.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993-375x195.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993-520x270.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993.jpg 2032w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hi Jewboy/Hi by Cary Liebowitz is part of the career retrospective at the Contemporary Jewish Museum. \u003ccite>(Photo: Courtesy of the artist and INVISIBLE-EXPORTS. Cary Leibowitz: Museum Show)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 26–June 25\u003c/strong>: Artist Cary Liebowitz also goes by the name Candy Ass. It fits his image as a self-deprecating, funny, gay, Jewish artist. A lot of his work is text based: a hot pink canvas with the words “Do these pants make me look Jewish,” and a “Go Fags!” sports pennant. It may sound lighthearted, or offensive, but Liebowitz fearlessly digs into issues of depression and self-esteem in ways no one has before. His first career retrospective continues at San Francisco’s \u003ca href=\"https://www.thecjm.org/\" target=\"_blank\" rel=\"noopener\">Contemporary Jewish Museum\u003c/a>. Details \u003ca href=\"https://www.thecjm.org/exhibitions/12\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZXJWO2FQ16c\u003c/p>\n\u003cp>\u003cstrong>Jan. 29\u003c/strong>: It’s been a season of important birthdays for a groundbreaking generation of a classical composers. Berkeley’s John Adams turns 70 (more on that next week), Philip Glass just turned 80, and so did \u003ca href=\"http://www.stevereich.com/\" target=\"_blank\" rel=\"noopener\">Steve Reich,\u003c/a> who sets up exquisite rhythms, often featuring marimbas and clapping hands, and then shifts the pattern just a bit to take you into a new musical universe. Reich is in Berkeley to oversee the premiere of a new work, \u003cem>Runner, \u003c/em>a co-commission by \u003ca href=\"https://calperformances.org/\" target=\"_blank\" rel=\"noopener\">Cal Performances\u003c/a> with the crackerjack chamber group \u003ca href=\"http://signalensemble.org/\" target=\"_blank\" rel=\"noopener\">Ensemble Signal\u003c/a>, led by Brad Lubman. Details for the show at Zellerbach Hall are \u003ca href=\"https://calperformances.org/performances/2016-17/new-music/ensemble-signal.php\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11268315\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11268315\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Carney-KronosCROP-800x450.jpg\" alt=\"Ralph Carney (third from left) plays with the Kronos Quartet at the 2015 Cabrillo Festival of Contemporary Music in Santa Cruz\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Carney-KronosCROP-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Carney-KronosCROP-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Carney-KronosCROP-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Carney-KronosCROP-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Carney-KronosCROP-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Carney-KronosCROP.jpg 1919w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Carney (third from left) plays with the Kronos Quartet at the 2015 Cabrillo Festival of Contemporary Music in Santa Cruz \u003ccite>(Courtesy: Ralph Carney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 2-4\u003c/strong>: We rarely feature more than one classical show on The Do List, but how we can we neglect the routine brilliance of the \u003ca href=\"http://www.kronosquartet.org/\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a>. David Harrington and his contemporary chamber group is staging its annual festival at \u003ca href=\"https://www.sfjazz.org/\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a>, doing four nights of category-defying music, including pieces by the Who’s Pete Townshend, Van Dyke Parks, Van Anh Vo, new work from Sahba Aminikia, and lots more. Details are \u003ca href=\"http://kronosquartet.org/kronos-festival-2017\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12682039\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12682039 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy%E2%80%99s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company%E2%80%99s-production-of-Tom-Stoppard%E2%80%99s-The-Real-Thing-e1485470995314-800x465.jpg\" alt=\"Annie (Liz Sklar) resists Billy’s (Tommy Gorrebeeck) advances in Aurora Theatre Company’s production of Tom Stoppard’s The Real Thing\" width=\"800\" height=\"465\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy’s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company’s-production-of-Tom-Stoppard’s-The-Real-Thing-e1485470995314-800x465.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy’s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company’s-production-of-Tom-Stoppard’s-The-Real-Thing-e1485470995314-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy’s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company’s-production-of-Tom-Stoppard’s-The-Real-Thing-e1485470995314-768x447.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy’s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company’s-production-of-Tom-Stoppard’s-The-Real-Thing-e1485470995314-1020x593.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy’s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company’s-production-of-Tom-Stoppard’s-The-Real-Thing-e1485470995314-1920x1117.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy’s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company’s-production-of-Tom-Stoppard’s-The-Real-Thing-e1485470995314-1180x686.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy’s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company’s-production-of-Tom-Stoppard’s-The-Real-Thing-e1485470995314-960x558.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy’s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company’s-production-of-Tom-Stoppard’s-The-Real-Thing-e1485470995314-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy’s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company’s-production-of-Tom-Stoppard’s-The-Real-Thing-e1485470995314-375x218.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy’s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company’s-production-of-Tom-Stoppard’s-The-Real-Thing-e1485470995314-520x302.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy’s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company’s-production-of-Tom-Stoppard’s-The-Real-Thing-e1485470995314.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Annie (Liz Sklar) resists Billy’s (Tommy Gorrebeeck) advances in Aurora Theatre Company’s production of Tom Stoppard’s The Real Thing \u003ccite>(Photo: David Allen/Aurora Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 27–March 5\u003c/strong>: Tom Stoppard is a master of sometimes very abstruse theater, like \u003cem>\u003ca href=\"https://www.amazon.com/Coast-Utopia-Voyage-Shipwreck-Salvage/dp/0802143407\" target=\"_blank\" rel=\"noopener\">The Coast of Utopia\u003c/a>,\u003c/em> his trilogy on the birth of Russian radicalism. But in 1982’s \u003cem>The Real Thing\u003c/em>, he wrote a play that’s both intellectually rigorous, and about love and marriage, feelings and humor. This is a show where it really matters who plays the women, and we’re in good hands with Bay Area stars Liz Sklar and \u003ca href=\"http://www.carriepaff.com/CarriePaff/Home.html\" target=\"_blank\" rel=\"noopener\">Carrie Paff\u003c/a>, with Timothy Near directing. Can’t wait. Details for the run at the \u003ca href=\"https://auroratheatre.org/index.php?option=com_theatre&view=press_show&id=131\" target=\"_blank\" rel=\"noopener\">Aurora Theatre\u003c/a> in Berkeley are \u003ca href=\"https://www.auroratheatre.org/index.php?option=com_theatre&view=show&id=131\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1b9n0Amr9RI\u003c/p>\n\u003cp>\u003cstrong>Feb. 2 and 3\u003c/strong>: \u003ca href=\"https://runthejewels.com/\" target=\"_blank\" rel=\"noopener\">Run the Jewels\u003c/a>, El-P and Killer Mike, are two very cool, very odd, very funny rappers, combining amazingly inventive profanities with politics. They’ve released a new album that challenges our new President (“We return from the depths of the badland / With a gun and a knife in our waistband / Went to war with the Devil and Shaytan / He wore a bad toupee and a spray tan”), and an upcoming appearance on \u003ca href=\"https://www.youtube.com/watch?v=G5Da2ISBiEw\" target=\"_blank\" rel=\"noopener\">\u003cem>Portlandia \u003c/em>\u003c/a>(very funny). It’s hard to be more relevant. Details for their show at City National Civic in San Jose are \u003ca href=\"http://sanjosetheaters.org/event/run-the-jewels/?instance_id=8164\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> Their show at the Fox in Oakland is sold out (but details \u003ca href=\"http://thefoxoakland.com/events/run-the-jewels-run-the-world-tour/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "This week, it's rappers El-P and Killer Mike, a Steve Reich celebration, Muslim comedy and the artist known as Candy Ass in Cy and David's pick for the best events this week.",
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"title": "Cy and David's Picks: Themes from the '60s, A Minimalist's Birthday, and a Candy Ass | KQED",
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"headline": "Cy and David's Picks: Themes from the '60s, A Minimalist's Birthday, and a Candy Ass",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great show around the Bay Area this week.\u003c/strong>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Here at KQED Arts, we’ve launched \u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">First 100 days: Art in the Age of Trump\u003c/a>\u003c/em>, a series of stories about how Bay Area artists respond to the new administration. Comedian \u003ca href=\"http://www.zahracomedy.com/\" target=\"_blank\" rel=\"noopener\">Zahra Noorbaksh’s\u003c/a> new show tackles what it’s like to be a Muslim comedian under this new administration.\u003c/p>\n\u003cfigure id=\"attachment_12295296\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12295296\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-800x434.jpg\" alt=\"Comedian Zahra Noorbaksh host the podcast ‘Good Muslim, Bad Muslim’\" width=\"800\" height=\"434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-800x434.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-768x416.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-1020x553.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-1920x1041.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-1180x640.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-960x520.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401-520x282.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Zahra-Noorbaksh-4-e1485465889401.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Comedian Zahra Noorbaksh hosts the podcast ‘Good Muslim, Bad Muslim.’ \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Somehow Noorbaksh, recently featured on \u003ca href=\"http://www.npr.org/2017/01/18/510346895/after-trumps-election-a-non-practicing-muslim-returns-to-prayer\" target=\"_blank\" rel=\"noopener\">Fresh Air\u003c/a>, manages to be funny about everything from Muslim registries and deportation centers to pussy hats. \u003cem>On Behalf of All Muslims\u003c/em> is at a venue we don’t usually cover, the Islamic Center of Northern California in Oakland, and runs \u003cstrong>Feb. 2–4 and 9–13\u003c/strong>. Details \u003ca href=\"http://obam.brownpapertickets.com/?utm_source=General+Interest&utm_campaign=02196f2d80-EMAIL_CAMPAIGN_2017_01_14&utm_medium=email&utm_term=0_5b5b50c93c-02196f2d80-93088781\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> Now the rest of the show.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/RAhNYRTV0Sg'\n title='//www.youtube.com/embed/RAhNYRTV0Sg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 29\u003c/strong>: Bay Area Jazz violinist Mads Tolling and his Mads Men are mining the \u003cem>Mad Men\u003c/em> TV era, finding musical gold in the theme music for TV shows and movies from the sixties — everything from the classic-cool of \u003cem>Mission Impossible\u003c/em> (Lalo Schifrin) and \u003cem>The Pink Panther\u003c/em> (Henry Mancini) to the classic-corn of \u003cem>The Flintstones\u003c/em> (Hoyt Curtin, Joseph Barbera and William Hanna). Details for their two album release shows (\u003cem>Playing the ’60s\u003c/em>) at Yoshi’s in Oakland are right \u003ca href=\"http://www.yoshis.com/event/1230483-mads-tolling-mads-men-oakland/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12681839\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12681839\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993-800x415.jpg\" alt=\"Hi Jewboy/Hi by Cary Liebowitz is part of the career retrospective at the Contemporary Jewish Museum\" width=\"800\" height=\"415\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993-800x415.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993-768x398.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993-1020x529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993-1920x996.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993-1180x612.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993-960x498.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993-375x195.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993-520x270.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/3-CL-CaryLeibowitz-HiJewboy-e1485468732993.jpg 2032w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hi Jewboy/Hi by Cary Liebowitz is part of the career retrospective at the Contemporary Jewish Museum. \u003ccite>(Photo: Courtesy of the artist and INVISIBLE-EXPORTS. Cary Leibowitz: Museum Show)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 26–June 25\u003c/strong>: Artist Cary Liebowitz also goes by the name Candy Ass. It fits his image as a self-deprecating, funny, gay, Jewish artist. A lot of his work is text based: a hot pink canvas with the words “Do these pants make me look Jewish,” and a “Go Fags!” sports pennant. It may sound lighthearted, or offensive, but Liebowitz fearlessly digs into issues of depression and self-esteem in ways no one has before. His first career retrospective continues at San Francisco’s \u003ca href=\"https://www.thecjm.org/\" target=\"_blank\" rel=\"noopener\">Contemporary Jewish Museum\u003c/a>. Details \u003ca href=\"https://www.thecjm.org/exhibitions/12\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ZXJWO2FQ16c'\n title='//www.youtube.com/embed/ZXJWO2FQ16c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 29\u003c/strong>: It’s been a season of important birthdays for a groundbreaking generation of a classical composers. Berkeley’s John Adams turns 70 (more on that next week), Philip Glass just turned 80, and so did \u003ca href=\"http://www.stevereich.com/\" target=\"_blank\" rel=\"noopener\">Steve Reich,\u003c/a> who sets up exquisite rhythms, often featuring marimbas and clapping hands, and then shifts the pattern just a bit to take you into a new musical universe. Reich is in Berkeley to oversee the premiere of a new work, \u003cem>Runner, \u003c/em>a co-commission by \u003ca href=\"https://calperformances.org/\" target=\"_blank\" rel=\"noopener\">Cal Performances\u003c/a> with the crackerjack chamber group \u003ca href=\"http://signalensemble.org/\" target=\"_blank\" rel=\"noopener\">Ensemble Signal\u003c/a>, led by Brad Lubman. Details for the show at Zellerbach Hall are \u003ca href=\"https://calperformances.org/performances/2016-17/new-music/ensemble-signal.php\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11268315\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11268315\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Carney-KronosCROP-800x450.jpg\" alt=\"Ralph Carney (third from left) plays with the Kronos Quartet at the 2015 Cabrillo Festival of Contemporary Music in Santa Cruz\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Carney-KronosCROP-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Carney-KronosCROP-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Carney-KronosCROP-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Carney-KronosCROP-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Carney-KronosCROP-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Carney-KronosCROP.jpg 1919w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ralph Carney (third from left) plays with the Kronos Quartet at the 2015 Cabrillo Festival of Contemporary Music in Santa Cruz \u003ccite>(Courtesy: Ralph Carney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 2-4\u003c/strong>: We rarely feature more than one classical show on The Do List, but how we can we neglect the routine brilliance of the \u003ca href=\"http://www.kronosquartet.org/\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a>. David Harrington and his contemporary chamber group is staging its annual festival at \u003ca href=\"https://www.sfjazz.org/\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a>, doing four nights of category-defying music, including pieces by the Who’s Pete Townshend, Van Dyke Parks, Van Anh Vo, new work from Sahba Aminikia, and lots more. Details are \u003ca href=\"http://kronosquartet.org/kronos-festival-2017\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12682039\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12682039 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy%E2%80%99s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company%E2%80%99s-production-of-Tom-Stoppard%E2%80%99s-The-Real-Thing-e1485470995314-800x465.jpg\" alt=\"Annie (Liz Sklar) resists Billy’s (Tommy Gorrebeeck) advances in Aurora Theatre Company’s production of Tom Stoppard’s The Real Thing\" width=\"800\" height=\"465\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy’s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company’s-production-of-Tom-Stoppard’s-The-Real-Thing-e1485470995314-800x465.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy’s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company’s-production-of-Tom-Stoppard’s-The-Real-Thing-e1485470995314-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy’s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company’s-production-of-Tom-Stoppard’s-The-Real-Thing-e1485470995314-768x447.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy’s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company’s-production-of-Tom-Stoppard’s-The-Real-Thing-e1485470995314-1020x593.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy’s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company’s-production-of-Tom-Stoppard’s-The-Real-Thing-e1485470995314-1920x1117.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy’s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company’s-production-of-Tom-Stoppard’s-The-Real-Thing-e1485470995314-1180x686.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy’s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company’s-production-of-Tom-Stoppard’s-The-Real-Thing-e1485470995314-960x558.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy’s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company’s-production-of-Tom-Stoppard’s-The-Real-Thing-e1485470995314-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy’s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company’s-production-of-Tom-Stoppard’s-The-Real-Thing-e1485470995314-375x218.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy’s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company’s-production-of-Tom-Stoppard’s-The-Real-Thing-e1485470995314-520x302.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Annie-Liz-Sklar-resists-Billy’s-Tommy-Gorrebeeck-advances-in-Aurora-Theatre-Company’s-production-of-Tom-Stoppard’s-The-Real-Thing-e1485470995314.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Annie (Liz Sklar) resists Billy’s (Tommy Gorrebeeck) advances in Aurora Theatre Company’s production of Tom Stoppard’s The Real Thing \u003ccite>(Photo: David Allen/Aurora Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 27–March 5\u003c/strong>: Tom Stoppard is a master of sometimes very abstruse theater, like \u003cem>\u003ca href=\"https://www.amazon.com/Coast-Utopia-Voyage-Shipwreck-Salvage/dp/0802143407\" target=\"_blank\" rel=\"noopener\">The Coast of Utopia\u003c/a>,\u003c/em> his trilogy on the birth of Russian radicalism. But in 1982’s \u003cem>The Real Thing\u003c/em>, he wrote a play that’s both intellectually rigorous, and about love and marriage, feelings and humor. This is a show where it really matters who plays the women, and we’re in good hands with Bay Area stars Liz Sklar and \u003ca href=\"http://www.carriepaff.com/CarriePaff/Home.html\" target=\"_blank\" rel=\"noopener\">Carrie Paff\u003c/a>, with Timothy Near directing. Can’t wait. Details for the run at the \u003ca href=\"https://auroratheatre.org/index.php?option=com_theatre&view=press_show&id=131\" target=\"_blank\" rel=\"noopener\">Aurora Theatre\u003c/a> in Berkeley are \u003ca href=\"https://www.auroratheatre.org/index.php?option=com_theatre&view=show&id=131\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1b9n0Amr9RI'\n title='//www.youtube.com/embed/1b9n0Amr9RI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 2 and 3\u003c/strong>: \u003ca href=\"https://runthejewels.com/\" target=\"_blank\" rel=\"noopener\">Run the Jewels\u003c/a>, El-P and Killer Mike, are two very cool, very odd, very funny rappers, combining amazingly inventive profanities with politics. They’ve released a new album that challenges our new President (“We return from the depths of the badland / With a gun and a knife in our waistband / Went to war with the Devil and Shaytan / He wore a bad toupee and a spray tan”), and an upcoming appearance on \u003ca href=\"https://www.youtube.com/watch?v=G5Da2ISBiEw\" target=\"_blank\" rel=\"noopener\">\u003cem>Portlandia \u003c/em>\u003c/a>(very funny). It’s hard to be more relevant. Details for their show at City National Civic in San Jose are \u003ca href=\"http://sanjosetheaters.org/event/run-the-jewels/?instance_id=8164\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> Their show at the Fox in Oakland is sold out (but details \u003ca href=\"http://thefoxoakland.com/events/run-the-jewels-run-the-world-tour/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A non-scientific study I just made up (#AlternativeFacts) finds that the average American sees Kellyanne Conway's face at least once every 60 minutes. This means it's time for your hourly dose, in the form of this 1998 standup comedy routine that you will never un-see.\u003c/p>\n\u003cp>A sneak peek of what's in store:\u003c/p>\n\u003cul>\n\u003cli>a sick Halley's Comet reference\u003c/li>\n\u003cli>a super-original joke about how much men think about sex (a lot! LOL!)\u003c/li>\n\u003cli>a child abuse joke that ends with a \u003cem>the-Redskins-suck-at-football\u003c/em> punchline\u003c/li>\n\u003cli>an \u003cem>Ally McBeal\u003c/em> shout-out\u003c/li>\n\u003cli>a musical number involving a red feather boa\u003c/li>\n\u003c/ul>\n\u003cp>... and more!\u003c/p>\n\u003cp>Watch, if you dare:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kKFUL_dksUA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Alternative fact: Kellyanne Conway is funny! Especially when cracking jokes about Ally McBeal and Bill Clinton's sex life.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A non-scientific study I just made up (#AlternativeFacts) finds that the average American sees Kellyanne Conway's face at least once every 60 minutes. This means it's time for your hourly dose, in the form of this 1998 standup comedy routine that you will never un-see.\u003c/p>\n\u003cp>A sneak peek of what's in store:\u003c/p>\n\u003cul>\n\u003cli>a sick Halley's Comet reference\u003c/li>\n\u003cli>a super-original joke about how much men think about sex (a lot! LOL!)\u003c/li>\n\u003cli>a child abuse joke that ends with a \u003cem>the-Redskins-suck-at-football\u003c/em> punchline\u003c/li>\n\u003cli>an \u003cem>Ally McBeal\u003c/em> shout-out\u003c/li>\n\u003cli>a musical number involving a red feather boa\u003c/li>\n\u003c/ul>\n\u003cp>... and more!\u003c/p>\n\u003cp>Watch, if you dare:\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/kKFUL_dksUA'\n title='//www.youtube.com/embed/kKFUL_dksUA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"title": "Is There Anything Jean Grae Can't Do?",
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"content": "\u003cp>Conventional job-hunting wisdom generally says your resume should fit on one page — relevant experience only, please. This makes it easier for prospective employers to figure out what you’ve done, and what you’re likely to do best.\u003c/p>\n\u003cp>Good thing \u003ca href=\"https://jeangrae.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Jean Grae\u003c/a> doesn’t seem to have any trouble finding jobs.\u003c/p>\n\u003cp>At 40, the woman Talib Kweli once called “one of the last true MCs left” is still best known in the underground hip-hop world, thanks to her 20 years of rapping, writing and producing. But around five years ago, the Cape Town-born, New York-raised artist took her dark, dry wit, penchant for wordplay, and love for live performance — and decided to leave the music behind.\u003c/p>\n\u003cp>The result? A really packed calendar. Grae currently hosts a live talk show, \u003cem>The Show Show With Jean Grae\u003c/em>, where she riffs with guests like Janeane Garofalo; appears regularly on shows like \u003cem>Night Train with Wyatt Cenac\u003c/em>; and serves as a non-denominational minister at a community gathering she founded called The Church of the Infinite You. She’s written a sitcom about her life, a \u003ca href=\"http://jezebel.com/tag/cooking-with-jean-grae\" target=\"_blank\" rel=\"noopener\">cooking column for Jezebel\u003c/a>, and published books of both the e- and audio variety.\u003c/p>\n\u003cp>Currently, she’s working on a pilot for a TV show she can’t quite talk about yet, planning for \u003ca href=\"https://jococruise.com/\" target=\"_blank\" rel=\"noopener\">an upcoming comedy cruise\u003c/a>, and in her free time has taken to penning disturbingly funny erotic fan fiction: “\u003ca href=\"http://jeangreasy.wixsite.com/pagesofglory\" target=\"_blank\" rel=\"noopener\">Timtations\u003c/a>,” about Vice Presidential candidate Tim Kaine, is the work that most recently made me laugh, nearly cry, then immediately want to talk to her. Suffice it to say the comedy world has — smartly — welcomed Jean Grae with open arms.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Grae appears Friday, Jan. 13 at the Brava Theatre, as part of \u003ca href=\"https://sfsketchfest2017.sched.com/event/1376e53bcc9fb356ae9178b841ea3592\" target=\"_blank\" rel=\"noopener\">an improv show by the WorkJuice Players\u003c/a> (with comedians Craig Cackowski, Mark Gagliardi, Marc Evan Jackson, Hal Lublin, Annie Savage, Paul F. Tompkins and Janet Varney); they’ll perform an improvised show based on Grae’s monologues. I caught up with her by phone over the previous weekend, when she was holed up in her Brooklyn apartment during a snowstorm.\u003c/p>\n\u003cp>\u003cem>This interview has been edited and condensed for clarity. \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>KQED Arts: You grew up in a musical family, studied music when you were young, and have been making music all your life. Was comedy always in your back pocket as a career change? Was there something in particular that made you branch out?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Jean Grae:\u003c/strong> I’m one of those people who believe we have a very short time in this physical world, so if you can go do a bunch of things, then you should. I did rap for like 25 years. That’s a long time — and even falling into that was kind of an accidental career, I knew that’s not necessarily what I wanted to be, or all I wanted to be. But it was, ‘I can do this, I like writing, and audiences, and music, and I’m really f-cking good at it. Oh, and also, you guys are giving me money.’ (Laughs.) At some point, I made a decision that when I got to 33 or 34, you know, ‘You have to go do this. This is your other life. Do it.’\u003c/p>\n\u003cp>I think about Jack Beers — do you know him? He was a strongman in New York, but then he went on to become an engineer, he built Radio City Music Hall, he was an actor, he had like eight or nine different lives. I think especially for women and especially for women of color, we’re not really encouraged as much to do that, to go be a f-ckin’ polymath if you’re multi-talented. And I’ve always admired people who incorporated all different kinds of performance in their careers — Gilda Radner, Josephine Baker.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-XCxKXbmW40\u003c/p>\n\u003cp>\u003cstrong>Sounds like the music world started to feel limiting for you.\u003c/strong>\u003c/p>\n\u003cp>Rap in general was always really confining and frustrating, and especially being put in a “female rapper” category, I never got to discuss all the other things I did. I engineered records, I produced them, but we’re never gonna talk about that. Also, in a really simple way, just having to rhyme stuff gets really boring. (Laughs.) People don’t talk like that! If you hung out with Dr. Seuss and he talked like that all the time, you’d be like “f-ck this dude.” So I get to have normal conversations now, and there is great freedom in [comedy] and in this new career path. People ask to me to do a show, and I say “What do you want me to do?” And they just say, “We just want you.”\u003c/p>\n\u003cp>\u003cstrong>Tell me about being a minister for the \u003ca href=\"http://www.unionhallny.com/event/1339987-church-infinite-you-minister-brooklyn/\" target=\"_blank\" rel=\"noopener\">Church of the Infinite You\u003c/a> — which is not exactly a traditional church. For one, it’s held at the Brooklyn music venue Union Hall.\u003c/strong>\u003c/p>\n\u003cp>Well, it’s definitely not a Christian church. It came out of me just talking to people — asking, ‘What do you really want to do?’ And then following up: ‘OK, why are you not doing that?’ Kind of Tyler Durden-ing, if you will, without the life-threatening gun in an alley situation, which I would also be down with, to be clear, but it’s kind of frowned upon. The Church is about having a place to talk about all the sh-t you want to do in your life, and saying ‘Yeah, you gotta go do that sh-t.’ Talking about how to be our 100-percent best.\u003c/p>\n\u003cp>As a general thing, once you get a bunch of people in a room, that collective energy — that’s what church is anyway — the more you create energy, the more you can actualize and realize things. It was important to not do it in a place that was sterile, either. It was ‘We need to be in a place where we can drink and curse, and you don’t have to feel weird — you can just be you here.’\u003c/p>\n\u003cp>It’s great. It can also be really overwhelming. During this last one I ended with a guided meditation to Radiohead, and I was like, ‘I don’t know if this is gonna work,’ but it did.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=79205023/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=195542665/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>That kind of space seems like something a lot of people are going to need these next few years, considering… well, I don’t know if you want to talk politics.\u003c/strong>\u003c/p>\n\u003cp>Oh, yeah. Sure.\u003c/p>\n\u003cp>\u003cstrong>How did you spend election night?\u003c/strong>\u003c/p>\n\u003cp>Well, I didn’t have any alcohol in the house. And it got to be about 9pm, and I was like, ‘Oh no, oh I see, I’m gonna need some alcohol.’ So I immediately, in my best adult reaction, got some alcohol. And my boyfriend and I were actually in the middle of a breakup — he was in New Orleans and I was here, and we were on the phone the whole time. I think we both spent a lot of the first few hours being like, ‘Hold on, I have to go throw up.’ And then discussing, once we knew the outcome, it was like: life is short, and if this is gonna be how it is, we need to work our relationship out. Get our priorities straight. So that turned out to be great in a weird way. But it was a long f-cking night.\u003c/p>\n\u003cp>Look, although I am a U.S. citizen, I am an immigrant, I am a brown and black woman, I have a Muslim name [Grae’s real name is Tsidi Ibrahim]. My first reaction was like, “So, we should go, right?” I was up until four in the morning looking at other countries to move to. But you also realize as you’re making that decision — I’ve traveled to a lot of places — and some things might be better, but race relations aren’t exactly awesome right now in other parts of the world either.\u003c/p>\n\u003cp>I was also just not as surprised [by the outcome] as a lot of people. So there was the crying and the vomiting, but honestly it also didn’t feel foreign. I feel like we spent a lot of time doing that in the last year, in reaction to police shootings, just having to feel what it feels like to be black in America. And [the election] was a cap on all of that — kind of the resounding answer of “F-ck y’all.” It was just not that unexpected.\u003c/p>\n\u003cp>\u003cstrong>Do you feel creatively driven by that kind of pain? Obviously there’s this huge tradition of hip-hop as protest music… but I could also understand just wanting to curl up in the fetal position. \u003c/strong>\u003c/p>\n\u003cp>One thing is that it’s just difficult — it was difficult all of last year — trying to release projects, music, and it’s a sh-tty thing when you have a release you wanna put out but first you wake up and go, ‘Okay, who’s dead? What’s the hashtag?’ Do I have to feel insensitive putting something out now, or am I even gonna feel like doing it at all? I was doing a book, and I didn’t want to promote it, but you have to, because you need to eat; I can’t just stop working.\u003c/p>\n\u003cp>But again, it’s not a new feeling. I don’t feel like every artist has a responsibility to address it — everybody needs different outlets anyway. You have to go and laugh, you have to go dance. I was like, ‘Well, Church is going to be interesting.’ Also we have to understand better, obviously there are important artists who have come out of protest movements, but when people have been like, “I can’t wait for the great art that comes out of this”? Please shut the f-ck up. \u003ca href=\"https://www.theguardian.com/music/australia-news-blog/2016/dec/29/amanda-palmer-donald-trump-is-going-to-make-punk-rock-great-again\" target=\"_blank\" rel=\"noopener\">Amanda Palmer, shut the f-ck up\u003c/a>. “Oh, it’s gonna be so punk.” That’s like saying “Yeah, slavery, man — but how about that \u003cem>gospel \u003c/em>music though?” I don’t think you have to be experiencing great pain to create art.\u003c/p>\n\u003cp>\u003cstrong>Amen to that. Here’s a music vs. comedy question: Assuming it exists in both, how does the industry bullsh-t compare? Or the boys’ club aspect?\u003c/strong>\u003c/p>\n\u003cp>Nothing tops music industry bullsh-t, except for politics. Well, maybe sports. Never gonna find that out. I will say one thing, which is that in comedy, there are just so many more women. They’re everywhere! I’m really thankful that I’m here at a time when that’s the case.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nNpKyHMdcT0\u003c/p>\n\u003cp>But also, I’ve come to realize, you could put me in any room and I’ll be fine, because I generally don’t exist. The blueprint for what I want, who I am, what I want my career to look like, that’s not a thing until I make it a thing. That’s why I find the title polymath so freeing. That’s what I want people to come away [from my shows] with, is we can all do those things. Well, not exactly what I’m doing, maybe; calm down. But everyone can be everything. We talk about being renaissance men and women, and if we really want to be that, it means if you’re curious about something, you have to just go do it. We don’t know how much time we have.\u003c/p>\n\u003cp>And also, we have the internet. Go learn something! Today I learned how to make pretzels, and they smell f-cking amazing.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Jean Grae appears this Friday, Jan. 13 at WorkJuice Improv at the Brava Theatre in San Francisco. \u003ca href=\"https://sfsketchfest2017.sched.com/event/8wLm/workjuice-improv-with-craig-cackowski-mark-gagliardi-marc-evan-jackson-hal-lublin-annie-savage-paul-f-tompkins-janet-varney-and-guest-monologist-jean-grae?iframe=no&w=100%&sidebar=yes&bg=no\" target=\"_blank\" rel=\"noopener\">Tickets ($30) and more info here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The writer, actress and rapper -- called \"one of the last true MCs\" by Talib Kweli -- on post-election vomiting and why she left hip-hop for comedy. ",
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"description": "The writer, actress and rapper -- called "one of the last true MCs" by Talib Kweli -- on post-election vomiting and why she left hip-hop for comedy. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Conventional job-hunting wisdom generally says your resume should fit on one page — relevant experience only, please. This makes it easier for prospective employers to figure out what you’ve done, and what you’re likely to do best.\u003c/p>\n\u003cp>Good thing \u003ca href=\"https://jeangrae.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Jean Grae\u003c/a> doesn’t seem to have any trouble finding jobs.\u003c/p>\n\u003cp>At 40, the woman Talib Kweli once called “one of the last true MCs left” is still best known in the underground hip-hop world, thanks to her 20 years of rapping, writing and producing. But around five years ago, the Cape Town-born, New York-raised artist took her dark, dry wit, penchant for wordplay, and love for live performance — and decided to leave the music behind.\u003c/p>\n\u003cp>The result? A really packed calendar. Grae currently hosts a live talk show, \u003cem>The Show Show With Jean Grae\u003c/em>, where she riffs with guests like Janeane Garofalo; appears regularly on shows like \u003cem>Night Train with Wyatt Cenac\u003c/em>; and serves as a non-denominational minister at a community gathering she founded called The Church of the Infinite You. She’s written a sitcom about her life, a \u003ca href=\"http://jezebel.com/tag/cooking-with-jean-grae\" target=\"_blank\" rel=\"noopener\">cooking column for Jezebel\u003c/a>, and published books of both the e- and audio variety.\u003c/p>\n\u003cp>Currently, she’s working on a pilot for a TV show she can’t quite talk about yet, planning for \u003ca href=\"https://jococruise.com/\" target=\"_blank\" rel=\"noopener\">an upcoming comedy cruise\u003c/a>, and in her free time has taken to penning disturbingly funny erotic fan fiction: “\u003ca href=\"http://jeangreasy.wixsite.com/pagesofglory\" target=\"_blank\" rel=\"noopener\">Timtations\u003c/a>,” about Vice Presidential candidate Tim Kaine, is the work that most recently made me laugh, nearly cry, then immediately want to talk to her. Suffice it to say the comedy world has — smartly — welcomed Jean Grae with open arms.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Grae appears Friday, Jan. 13 at the Brava Theatre, as part of \u003ca href=\"https://sfsketchfest2017.sched.com/event/1376e53bcc9fb356ae9178b841ea3592\" target=\"_blank\" rel=\"noopener\">an improv show by the WorkJuice Players\u003c/a> (with comedians Craig Cackowski, Mark Gagliardi, Marc Evan Jackson, Hal Lublin, Annie Savage, Paul F. Tompkins and Janet Varney); they’ll perform an improvised show based on Grae’s monologues. I caught up with her by phone over the previous weekend, when she was holed up in her Brooklyn apartment during a snowstorm.\u003c/p>\n\u003cp>\u003cem>This interview has been edited and condensed for clarity. \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>KQED Arts: You grew up in a musical family, studied music when you were young, and have been making music all your life. Was comedy always in your back pocket as a career change? Was there something in particular that made you branch out?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Jean Grae:\u003c/strong> I’m one of those people who believe we have a very short time in this physical world, so if you can go do a bunch of things, then you should. I did rap for like 25 years. That’s a long time — and even falling into that was kind of an accidental career, I knew that’s not necessarily what I wanted to be, or all I wanted to be. But it was, ‘I can do this, I like writing, and audiences, and music, and I’m really f-cking good at it. Oh, and also, you guys are giving me money.’ (Laughs.) At some point, I made a decision that when I got to 33 or 34, you know, ‘You have to go do this. This is your other life. Do it.’\u003c/p>\n\u003cp>I think about Jack Beers — do you know him? He was a strongman in New York, but then he went on to become an engineer, he built Radio City Music Hall, he was an actor, he had like eight or nine different lives. I think especially for women and especially for women of color, we’re not really encouraged as much to do that, to go be a f-ckin’ polymath if you’re multi-talented. And I’ve always admired people who incorporated all different kinds of performance in their careers — Gilda Radner, Josephine Baker.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-XCxKXbmW40'\n title='//www.youtube.com/embed/-XCxKXbmW40'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Sounds like the music world started to feel limiting for you.\u003c/strong>\u003c/p>\n\u003cp>Rap in general was always really confining and frustrating, and especially being put in a “female rapper” category, I never got to discuss all the other things I did. I engineered records, I produced them, but we’re never gonna talk about that. Also, in a really simple way, just having to rhyme stuff gets really boring. (Laughs.) People don’t talk like that! If you hung out with Dr. Seuss and he talked like that all the time, you’d be like “f-ck this dude.” So I get to have normal conversations now, and there is great freedom in [comedy] and in this new career path. People ask to me to do a show, and I say “What do you want me to do?” And they just say, “We just want you.”\u003c/p>\n\u003cp>\u003cstrong>Tell me about being a minister for the \u003ca href=\"http://www.unionhallny.com/event/1339987-church-infinite-you-minister-brooklyn/\" target=\"_blank\" rel=\"noopener\">Church of the Infinite You\u003c/a> — which is not exactly a traditional church. For one, it’s held at the Brooklyn music venue Union Hall.\u003c/strong>\u003c/p>\n\u003cp>Well, it’s definitely not a Christian church. It came out of me just talking to people — asking, ‘What do you really want to do?’ And then following up: ‘OK, why are you not doing that?’ Kind of Tyler Durden-ing, if you will, without the life-threatening gun in an alley situation, which I would also be down with, to be clear, but it’s kind of frowned upon. The Church is about having a place to talk about all the sh-t you want to do in your life, and saying ‘Yeah, you gotta go do that sh-t.’ Talking about how to be our 100-percent best.\u003c/p>\n\u003cp>As a general thing, once you get a bunch of people in a room, that collective energy — that’s what church is anyway — the more you create energy, the more you can actualize and realize things. It was important to not do it in a place that was sterile, either. It was ‘We need to be in a place where we can drink and curse, and you don’t have to feel weird — you can just be you here.’\u003c/p>\n\u003cp>It’s great. It can also be really overwhelming. During this last one I ended with a guided meditation to Radiohead, and I was like, ‘I don’t know if this is gonna work,’ but it did.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=79205023/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/track=195542665/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>That kind of space seems like something a lot of people are going to need these next few years, considering… well, I don’t know if you want to talk politics.\u003c/strong>\u003c/p>\n\u003cp>Oh, yeah. Sure.\u003c/p>\n\u003cp>\u003cstrong>How did you spend election night?\u003c/strong>\u003c/p>\n\u003cp>Well, I didn’t have any alcohol in the house. And it got to be about 9pm, and I was like, ‘Oh no, oh I see, I’m gonna need some alcohol.’ So I immediately, in my best adult reaction, got some alcohol. And my boyfriend and I were actually in the middle of a breakup — he was in New Orleans and I was here, and we were on the phone the whole time. I think we both spent a lot of the first few hours being like, ‘Hold on, I have to go throw up.’ And then discussing, once we knew the outcome, it was like: life is short, and if this is gonna be how it is, we need to work our relationship out. Get our priorities straight. So that turned out to be great in a weird way. But it was a long f-cking night.\u003c/p>\n\u003cp>Look, although I am a U.S. citizen, I am an immigrant, I am a brown and black woman, I have a Muslim name [Grae’s real name is Tsidi Ibrahim]. My first reaction was like, “So, we should go, right?” I was up until four in the morning looking at other countries to move to. But you also realize as you’re making that decision — I’ve traveled to a lot of places — and some things might be better, but race relations aren’t exactly awesome right now in other parts of the world either.\u003c/p>\n\u003cp>I was also just not as surprised [by the outcome] as a lot of people. So there was the crying and the vomiting, but honestly it also didn’t feel foreign. I feel like we spent a lot of time doing that in the last year, in reaction to police shootings, just having to feel what it feels like to be black in America. And [the election] was a cap on all of that — kind of the resounding answer of “F-ck y’all.” It was just not that unexpected.\u003c/p>\n\u003cp>\u003cstrong>Do you feel creatively driven by that kind of pain? Obviously there’s this huge tradition of hip-hop as protest music… but I could also understand just wanting to curl up in the fetal position. \u003c/strong>\u003c/p>\n\u003cp>One thing is that it’s just difficult — it was difficult all of last year — trying to release projects, music, and it’s a sh-tty thing when you have a release you wanna put out but first you wake up and go, ‘Okay, who’s dead? What’s the hashtag?’ Do I have to feel insensitive putting something out now, or am I even gonna feel like doing it at all? I was doing a book, and I didn’t want to promote it, but you have to, because you need to eat; I can’t just stop working.\u003c/p>\n\u003cp>But again, it’s not a new feeling. I don’t feel like every artist has a responsibility to address it — everybody needs different outlets anyway. You have to go and laugh, you have to go dance. I was like, ‘Well, Church is going to be interesting.’ Also we have to understand better, obviously there are important artists who have come out of protest movements, but when people have been like, “I can’t wait for the great art that comes out of this”? Please shut the f-ck up. \u003ca href=\"https://www.theguardian.com/music/australia-news-blog/2016/dec/29/amanda-palmer-donald-trump-is-going-to-make-punk-rock-great-again\" target=\"_blank\" rel=\"noopener\">Amanda Palmer, shut the f-ck up\u003c/a>. “Oh, it’s gonna be so punk.” That’s like saying “Yeah, slavery, man — but how about that \u003cem>gospel \u003c/em>music though?” I don’t think you have to be experiencing great pain to create art.\u003c/p>\n\u003cp>\u003cstrong>Amen to that. Here’s a music vs. comedy question: Assuming it exists in both, how does the industry bullsh-t compare? Or the boys’ club aspect?\u003c/strong>\u003c/p>\n\u003cp>Nothing tops music industry bullsh-t, except for politics. Well, maybe sports. Never gonna find that out. I will say one thing, which is that in comedy, there are just so many more women. They’re everywhere! I’m really thankful that I’m here at a time when that’s the case.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/nNpKyHMdcT0'\n title='//www.youtube.com/embed/nNpKyHMdcT0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But also, I’ve come to realize, you could put me in any room and I’ll be fine, because I generally don’t exist. The blueprint for what I want, who I am, what I want my career to look like, that’s not a thing until I make it a thing. That’s why I find the title polymath so freeing. That’s what I want people to come away [from my shows] with, is we can all do those things. Well, not exactly what I’m doing, maybe; calm down. But everyone can be everything. We talk about being renaissance men and women, and if we really want to be that, it means if you’re curious about something, you have to just go do it. We don’t know how much time we have.\u003c/p>\n\u003cp>And also, we have the internet. Go learn something! Today I learned how to make pretzels, and they smell f-cking amazing.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Jean Grae appears this Friday, Jan. 13 at WorkJuice Improv at the Brava Theatre in San Francisco. \u003ca href=\"https://sfsketchfest2017.sched.com/event/8wLm/workjuice-improv-with-craig-cackowski-mark-gagliardi-marc-evan-jackson-hal-lublin-annie-savage-paul-f-tompkins-janet-varney-and-guest-monologist-jean-grae?iframe=no&w=100%&sidebar=yes&bg=no\" target=\"_blank\" rel=\"noopener\">Tickets ($30) and more info here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cy and David's Picks: A Wonder Woman, Vaudeville at Sketchfest, and a Benefit with the Dodos",
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"content": "\u003caside class=\"aligncenter\">\n\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003cbr>\nhttp://www.kqed.org/.stream/anon/radio/thedolist/2017/01/TDL20170105.mp3\u003cbr>\n\u003c/aside>\n\u003cp>This week we feature the premiere of a new play from Oakland’s\u003ca href=\"http://www.lowerbottomplayaz.com\" target=\"_blank\" rel=\"noopener\"> Lower Bottom Playaz\u003c/a>, but there’s another scrappy little theater company making amazing work as it closes out its 2016 season. The \u003ca href=\"https://www.shotgunplayers.org/Online/default.asp\" target=\"_blank\" rel=\"noopener\">Shotgun Players \u003c/a>in Berkeley are doing five shows in repertory, each one a winner. But their \u003cem>Hamlet\u003c/em> is a work of daredevil brilliance, with cast members learning which character they’ll play just before each performance. Catch them before the season ends on Jan. 15th.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Dx-Mho3qU2I\u003c/p>\n\u003cp>\u003cstrong>Jan. 9–11\u003c/strong>: Rock ‘n’ roll lost some great performers this past year, but others are still going strong, like \u003ca href=\"http://www.midgeure.co.uk/\" target=\"_blank\" rel=\"noopener\">Midge Ure\u003c/a>, formerly of Thin Lizzy, Rich Kids, and Ultravox. He’s also one of the masterminds, with Bob Geldof, of Live Aid, and the co-writer of “Do They Know it’s Christmas” — a rock ‘n’ roll Zelig. His charity work earned him an Order of the British Empire, and we’re grateful he keeps performing, despite some serious hearing issues. Ure’s shows in the Bay Area include Jan. 9 at Harlow’s in Sacramento (details \u003ca href=\"http://www.harlows.com/event/1319815-midge-ure-sacramento/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>); Jan. 10 at Petaluma’s Mystic Theatre (details \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=6879695&pl=mystic\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>); and Jan. 11 at the Social Hall in San Francisco (details \u003ca href=\"http://www.socialhallsf.com/events/detail/314015\" target=\"_blank\" rel=\"noopener\">here\u003c/a>).\u003c/p>\n\u003cfigure id=\"attachment_12585018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12585018 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-800x494.jpg\" alt=\"Cat Brooks and Pierre Scott in The Lower Bottom Playaz premiere of 'Mama at Twilight' at the Flight Deck in Oakland\" width=\"800\" height=\"494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-800x494.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-768x474.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-1020x630.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-1920x1185.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-1180x728.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-960x593.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-375x231.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-520x321.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cat Brooks and Pierre Scott in The Lower Bottom Playaz premiere of ‘Mama at Twilight’ at the Flight Deck in Oakland. \u003ccite>(Photo: Tasin Sabir/Lower Bottom Playaz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 12–29\u003c/strong>: The \u003ca href=\"http://www.lowerbottomplayaz.com/\" target=\"_blank\" rel=\"noopener\">Lower Bottom Playaz\u003c/a> is one of the groups keeping theater — and theater training — alive in Oakland (along with the \u003ca href=\"http://www.ubuntutheaterproject.com/our-season\" target=\"_blank\" rel=\"noopener\">Ubuntu Theater Project\u003c/a> and \u003ca href=\"http://www.grittycityrep.org/\" target=\"_blank\" rel=\"noopener\">Gritty City Repertory\u003c/a>). In keeping with their mission to critically examine the lives of people in the inner city, the Playaz are staging an insightful world premiere by founder and company director Ayodele Nzinga.\u003cem> Mama at Twilight: Death by Love\u003c/em> is a play about HIV, incarceration and health care, just in time for the Republican-controlled Congress to show us how much health care, or its absence, matters in America today. Details for the play at Oakland’s Flight Deck are \u003ca href=\"http://www.lowerbottomplayaz.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vO2URhI_AEk\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Jan. 6\u003c/strong>: \u003ca href=\"http://www.esandresky.com/\" target=\"_blank\" rel=\"noopener\">Eleonor Sandresky\u003c/a> is on the cutting edge of the avant-garde. She’s a New York-based pianist who’s trying on some new ideas in music and clothing, with what she calls her “Wonder Suit.” This is wearable tech that does more than just track your footsteps. The suit, as you can see in the video above, lets Sandresky integrate live electronics with her movements. Okay, so the Bay Area’s \u003ca href=\"http://www.pamelaz.com/\" target=\"_blank\" rel=\"noopener\">Pamela Z\u003c/a> and Derrique McGee have been playing with these ideas for years. But Sandresky brings her New York sensibility to a new work in which she integrates live piano with recorded space sounds from NASA, taking us, we hope, to a deep listening space. Details for her show at the Center for New Music are \u003ca href=\"http://centerfornewmusic.com/calendar/prism-series-presents-the-wonder-suit-show-a-space-odyssey/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12585219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12585219\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-800x547.jpg\" alt=\"Isaac Julien‘s work will be featured at the Jessica Silverman Gallery booth at the Fog Art Fair\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-1920x1312.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-1180x806.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-960x656.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-520x355.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989.jpg 2037w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Isaac Julien‘s work will be featured at the Jessica Silverman Gallery booth at the Fog Art Fair. \u003ccite>(Photo: Courtesy of Jessica Silverman Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 12–14\u003c/strong>: The FOG Design+Art Fair is back at Fort Mason for the fourth year. This is a design and art showcase for the whole west coast, and a Bay Area response to the boom in art fairs around the world. This one is carefully curated, with just a few dozen exhibitors from the worlds of art and design. Among the programs is \u003cem>Designing a Legacy: Female Game Changers in Art and Culture\u003c/em>, a panel including Cheryl Haines of the For-Site Foundation and Stephanie Hanor from the Mills College Museum; a conversation with artist and designer Tomás Saraceno, and much more. Details for the fair (tickets are $20 in advance) at Fort Mason are \u003ca href=\"https://fogfair.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-AVifTdjtvE&t=346s\u003c/p>\n\u003cp>\u003cstrong>Jan. 12–29:\u003c/strong> \u003ca href=\"http://www.sfsketchfest.com/\" target=\"_blank\" rel=\"noopener\">Sketchfest\u003c/a> is back, just in time to bring some humor and comedy to this dark time of year. We’ve got Patton Oswalt coming to town, closeup magician Ricky Jay (who is astonishingly weird and good), tributes to Tig Notaro (David put \u003cem>\u003ca href=\"https://www.amazon.com/One-Mississippi-Season-1/dp/B017APUVI8\" target=\"_blank\" rel=\"noopener\">One Mississippi\u003c/a>,\u003c/em> her new show on Amazon, on his \u003ca href=\"http://www.sfchronicle.com/tv/article/The-10-best-TV-shows-of-2016-and-2-more-10815761.php\" target=\"_blank\" rel=\"noopener\">10 Best List\u003c/a>), and more. There’s even a couple of shows aimed at the President-elect, with comedian Moshe Kahser doing a live podcast called \u003cem>Planning a Non-Violent Revolution in the Age of Trump\u003c/em>.\u003c/p>\n\u003cp>Sketchfest also features an evening of vaudeville hosted by Tony-winning clown \u003ca href=\"http://thebillirwin.com/\" target=\"_blank\" rel=\"noopener\">Bill Irwin\u003c/a>, who performs with his old clowning partner \u003ca href=\"https://en.wikipedia.org/wiki/Geoff_Hoyle\" target=\"_blank\" rel=\"noopener\">Geoff Hoyle\u003c/a> and guitarist \u003ca href=\"http://billfrisell.com/news\" target=\"_blank\" rel=\"noopener\">Bill Frisell\u003c/a>. Irwin is also in San Francisco for a one-man show at the American Conservatory Theater (ACT) about playwright \u003ca href=\"https://en.wikipedia.org/wiki/Samuel_Beckett\" target=\"_blank\" rel=\"noopener\">Samuel Beckett\u003c/a>. Irwin told me by phone that the two shows are deeply connected, because Beckett’s plays were a kind of metaphysical vaudeville. “He and his family went to the variety theater, watching music hall and vaudeville comics,” Irwin said. “He seemed to be, even in his most avant-garde work, alluding to a kind of circus and music hall and vaudeville tradition. And he asked for bowler hats and baggy pants (for the characters of Vladimir and Estragon in \u003cem>Waiting for Godot\u003c/em>).” Details for Sketchfest are \u003ca href=\"http://www.sfsketchfest.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and for Irwin’s ACT performance \u003ca href=\"https://tickets.act-sf.org/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=A5AED901-EFAA-48AB-964C-2A1C7A7F67BB\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3De0E_1x1Rw\u003c/p>\n\u003cp>\u003cstrong>Jan. 7:\u003c/strong> A lot of people are still hurting as a result of the Ghost Ship Fire, and \u003ca href=\"https://ww2.kqed.org/arts/2016/07/21/women-to-watch-sarah-sexton/\" target=\"_blank\" rel=\"noopener\">Sarah Sexton\u003c/a> is producing a benefit concert at the \u003ca href=\"http://www.starlinesocialclub.com/#home-1\" target=\"_blank\" rel=\"noopener\">Starline Social Club \u003c/a>featuring \u003ca href=\"https://www.facebook.com/ritualsofmine/\" target=\"_blank\" rel=\"noopener\">Rituals of Mine\u003c/a>, \u003ca href=\"https://www.facebook.com/waxidols/\" target=\"_blank\" rel=\"noopener\">Wax Idols\u003c/a>, Kool A.D. and others. There will be an altar at the event for offerings from audience members that will later be moved to the site of the fire in Fruitvale. Details for the benefit are \u003ca href=\"http://www.starlinesocialclub.com/new-events/2017/1/7/ghost-ship-benefit-feat-rituals-of-mine-special-guests\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aPQb6XkxNL4\u003c/p>\n\u003cp>\u003cstrong>Jan. 19: \u003c/strong>Here’s a heads up for a show that will quickly sell out: \u003ca href=\"http://www.dodosmusic.net/\" target=\"_blank\" rel=\"noopener\">The Dodos\u003c/a> play a benefit for booker Annie Southworth at Bottom of the Hill. Let’s call it a \u003cstrong>CHEAP THRILL\u003c/strong>, $20 in advance for a good cause and a rare chance to see Meric Long and Logan Kroeber play amazing rock ‘n’ roll. \u003ca href=\"http://www.songkick.com/concerts/28697629-dodos-at-bottom-of-the-hill\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Wonder woman Eleonor Sandresky and '80s survivor Midge Ure are just two of the Do List's many picks this week.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/strong>\u003cbr>\nhttp://www.kqed.org/.stream/anon/radio/thedolist/2017/01/TDL20170105.mp3\u003cbr>\n\u003c/aside>\n\u003cp>This week we feature the premiere of a new play from Oakland’s\u003ca href=\"http://www.lowerbottomplayaz.com\" target=\"_blank\" rel=\"noopener\"> Lower Bottom Playaz\u003c/a>, but there’s another scrappy little theater company making amazing work as it closes out its 2016 season. The \u003ca href=\"https://www.shotgunplayers.org/Online/default.asp\" target=\"_blank\" rel=\"noopener\">Shotgun Players \u003c/a>in Berkeley are doing five shows in repertory, each one a winner. But their \u003cem>Hamlet\u003c/em> is a work of daredevil brilliance, with cast members learning which character they’ll play just before each performance. Catch them before the season ends on Jan. 15th.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Dx-Mho3qU2I'\n title='//www.youtube.com/embed/Dx-Mho3qU2I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 9–11\u003c/strong>: Rock ‘n’ roll lost some great performers this past year, but others are still going strong, like \u003ca href=\"http://www.midgeure.co.uk/\" target=\"_blank\" rel=\"noopener\">Midge Ure\u003c/a>, formerly of Thin Lizzy, Rich Kids, and Ultravox. He’s also one of the masterminds, with Bob Geldof, of Live Aid, and the co-writer of “Do They Know it’s Christmas” — a rock ‘n’ roll Zelig. His charity work earned him an Order of the British Empire, and we’re grateful he keeps performing, despite some serious hearing issues. Ure’s shows in the Bay Area include Jan. 9 at Harlow’s in Sacramento (details \u003ca href=\"http://www.harlows.com/event/1319815-midge-ure-sacramento/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>); Jan. 10 at Petaluma’s Mystic Theatre (details \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=6879695&pl=mystic\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>); and Jan. 11 at the Social Hall in San Francisco (details \u003ca href=\"http://www.socialhallsf.com/events/detail/314015\" target=\"_blank\" rel=\"noopener\">here\u003c/a>).\u003c/p>\n\u003cfigure id=\"attachment_12585018\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12585018 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-800x494.jpg\" alt=\"Cat Brooks and Pierre Scott in The Lower Bottom Playaz premiere of 'Mama at Twilight' at the Flight Deck in Oakland\" width=\"800\" height=\"494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-800x494.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-768x474.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-1020x630.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-1920x1185.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-1180x728.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-960x593.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-375x231.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970-520x321.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Lower-Bottom-Playaz.-Cat-Brooks-and-Pierre-Scott-in-Mama-at-Twilight.-Photo-by-TaSin-Sabir-e1483654624970.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cat Brooks and Pierre Scott in The Lower Bottom Playaz premiere of ‘Mama at Twilight’ at the Flight Deck in Oakland. \u003ccite>(Photo: Tasin Sabir/Lower Bottom Playaz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 12–29\u003c/strong>: The \u003ca href=\"http://www.lowerbottomplayaz.com/\" target=\"_blank\" rel=\"noopener\">Lower Bottom Playaz\u003c/a> is one of the groups keeping theater — and theater training — alive in Oakland (along with the \u003ca href=\"http://www.ubuntutheaterproject.com/our-season\" target=\"_blank\" rel=\"noopener\">Ubuntu Theater Project\u003c/a> and \u003ca href=\"http://www.grittycityrep.org/\" target=\"_blank\" rel=\"noopener\">Gritty City Repertory\u003c/a>). In keeping with their mission to critically examine the lives of people in the inner city, the Playaz are staging an insightful world premiere by founder and company director Ayodele Nzinga.\u003cem> Mama at Twilight: Death by Love\u003c/em> is a play about HIV, incarceration and health care, just in time for the Republican-controlled Congress to show us how much health care, or its absence, matters in America today. Details for the play at Oakland’s Flight Deck are \u003ca href=\"http://www.lowerbottomplayaz.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vO2URhI_AEk'\n title='//www.youtube.com/embed/vO2URhI_AEk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 6\u003c/strong>: \u003ca href=\"http://www.esandresky.com/\" target=\"_blank\" rel=\"noopener\">Eleonor Sandresky\u003c/a> is on the cutting edge of the avant-garde. She’s a New York-based pianist who’s trying on some new ideas in music and clothing, with what she calls her “Wonder Suit.” This is wearable tech that does more than just track your footsteps. The suit, as you can see in the video above, lets Sandresky integrate live electronics with her movements. Okay, so the Bay Area’s \u003ca href=\"http://www.pamelaz.com/\" target=\"_blank\" rel=\"noopener\">Pamela Z\u003c/a> and Derrique McGee have been playing with these ideas for years. But Sandresky brings her New York sensibility to a new work in which she integrates live piano with recorded space sounds from NASA, taking us, we hope, to a deep listening space. Details for her show at the Center for New Music are \u003ca href=\"http://centerfornewmusic.com/calendar/prism-series-presents-the-wonder-suit-show-a-space-odyssey/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12585219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12585219\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-800x547.jpg\" alt=\"Isaac Julien‘s work will be featured at the Jessica Silverman Gallery booth at the Fog Art Fair\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-1920x1312.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-1180x806.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-960x656.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989-520x355.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/Julien_Baltimore-Courtesy-of-Jessica-Silverman-Gallery-e1483658551989.jpg 2037w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Isaac Julien‘s work will be featured at the Jessica Silverman Gallery booth at the Fog Art Fair. \u003ccite>(Photo: Courtesy of Jessica Silverman Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 12–14\u003c/strong>: The FOG Design+Art Fair is back at Fort Mason for the fourth year. This is a design and art showcase for the whole west coast, and a Bay Area response to the boom in art fairs around the world. This one is carefully curated, with just a few dozen exhibitors from the worlds of art and design. Among the programs is \u003cem>Designing a Legacy: Female Game Changers in Art and Culture\u003c/em>, a panel including Cheryl Haines of the For-Site Foundation and Stephanie Hanor from the Mills College Museum; a conversation with artist and designer Tomás Saraceno, and much more. Details for the fair (tickets are $20 in advance) at Fort Mason are \u003ca href=\"https://fogfair.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-AVifTdjtvE'\n title='//www.youtube.com/embed/-AVifTdjtvE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 12–29:\u003c/strong> \u003ca href=\"http://www.sfsketchfest.com/\" target=\"_blank\" rel=\"noopener\">Sketchfest\u003c/a> is back, just in time to bring some humor and comedy to this dark time of year. We’ve got Patton Oswalt coming to town, closeup magician Ricky Jay (who is astonishingly weird and good), tributes to Tig Notaro (David put \u003cem>\u003ca href=\"https://www.amazon.com/One-Mississippi-Season-1/dp/B017APUVI8\" target=\"_blank\" rel=\"noopener\">One Mississippi\u003c/a>,\u003c/em> her new show on Amazon, on his \u003ca href=\"http://www.sfchronicle.com/tv/article/The-10-best-TV-shows-of-2016-and-2-more-10815761.php\" target=\"_blank\" rel=\"noopener\">10 Best List\u003c/a>), and more. There’s even a couple of shows aimed at the President-elect, with comedian Moshe Kahser doing a live podcast called \u003cem>Planning a Non-Violent Revolution in the Age of Trump\u003c/em>.\u003c/p>\n\u003cp>Sketchfest also features an evening of vaudeville hosted by Tony-winning clown \u003ca href=\"http://thebillirwin.com/\" target=\"_blank\" rel=\"noopener\">Bill Irwin\u003c/a>, who performs with his old clowning partner \u003ca href=\"https://en.wikipedia.org/wiki/Geoff_Hoyle\" target=\"_blank\" rel=\"noopener\">Geoff Hoyle\u003c/a> and guitarist \u003ca href=\"http://billfrisell.com/news\" target=\"_blank\" rel=\"noopener\">Bill Frisell\u003c/a>. Irwin is also in San Francisco for a one-man show at the American Conservatory Theater (ACT) about playwright \u003ca href=\"https://en.wikipedia.org/wiki/Samuel_Beckett\" target=\"_blank\" rel=\"noopener\">Samuel Beckett\u003c/a>. Irwin told me by phone that the two shows are deeply connected, because Beckett’s plays were a kind of metaphysical vaudeville. “He and his family went to the variety theater, watching music hall and vaudeville comics,” Irwin said. “He seemed to be, even in his most avant-garde work, alluding to a kind of circus and music hall and vaudeville tradition. And he asked for bowler hats and baggy pants (for the characters of Vladimir and Estragon in \u003cem>Waiting for Godot\u003c/em>).” Details for Sketchfest are \u003ca href=\"http://www.sfsketchfest.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and for Irwin’s ACT performance \u003ca href=\"https://tickets.act-sf.org/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=A5AED901-EFAA-48AB-964C-2A1C7A7F67BB\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3De0E_1x1Rw'\n title='//www.youtube.com/embed/3De0E_1x1Rw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 7:\u003c/strong> A lot of people are still hurting as a result of the Ghost Ship Fire, and \u003ca href=\"https://ww2.kqed.org/arts/2016/07/21/women-to-watch-sarah-sexton/\" target=\"_blank\" rel=\"noopener\">Sarah Sexton\u003c/a> is producing a benefit concert at the \u003ca href=\"http://www.starlinesocialclub.com/#home-1\" target=\"_blank\" rel=\"noopener\">Starline Social Club \u003c/a>featuring \u003ca href=\"https://www.facebook.com/ritualsofmine/\" target=\"_blank\" rel=\"noopener\">Rituals of Mine\u003c/a>, \u003ca href=\"https://www.facebook.com/waxidols/\" target=\"_blank\" rel=\"noopener\">Wax Idols\u003c/a>, Kool A.D. and others. There will be an altar at the event for offerings from audience members that will later be moved to the site of the fire in Fruitvale. Details for the benefit are \u003ca href=\"http://www.starlinesocialclub.com/new-events/2017/1/7/ghost-ship-benefit-feat-rituals-of-mine-special-guests\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/aPQb6XkxNL4'\n title='//www.youtube.com/embed/aPQb6XkxNL4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 19: \u003c/strong>Here’s a heads up for a show that will quickly sell out: \u003ca href=\"http://www.dodosmusic.net/\" target=\"_blank\" rel=\"noopener\">The Dodos\u003c/a> play a benefit for booker Annie Southworth at Bottom of the Hill. Let’s call it a \u003cstrong>CHEAP THRILL\u003c/strong>, $20 in advance for a good cause and a rare chance to see Meric Long and Logan Kroeber play amazing rock ‘n’ roll. \u003ca href=\"http://www.songkick.com/concerts/28697629-dodos-at-bottom-of-the-hill\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "cy-and-davids-picks-a-chicanoa-biennial-a-midlife-crisis-and-an-epic-sax-player",
"title": "Cy and Davids Picks: A Chicano/a Biennial, a Midlife Crisis, and an Epic Sax Player",
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"content": "\u003cp>KQED’s Cy Musiker and the Chronicle’s David Wiegand share their picks for great events around the Bay Area this week.\u003c/p>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/12/TDL20161230.mp3\u003c/p>\n\u003cp>Consider this Do List a requiem for 2016. We’re saying goodbye to an election year in which fiction mixed way too often with fact; and a year when we lost so many groundbreaking artists, including the death this week of \u003ca href=\"https://ww2.kqed.org/arts/2016/12/27/berkeley-rep-director-tony-taccone-reminisces-about-carrie-fisher/\" target=\"_blank\" rel=\"noopener\">Carrie Fisher\u003c/a>, whose show \u003cem>Wishful Drinking\u003c/em> at Berkeley Rep was such a funny and thoughtful dissection of her own celebrity. Here’s hoping 2017 brings beautiful art to heal us all, starting with the listings below.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NqnbYDX3-48\u003c/p>\n\u003cp>\u003cstrong>Jan. 6 – 8\u003c/strong>: The \u003ca href=\"https://bcco.org/\" target=\"_blank\" rel=\"noopener\">Berkeley Community Chorus and Orchestra \u003c/a>is so Berkeley: all volunteer, no audition, with a long waiting list for membership, and a crackerjack conductor in \u003ca href=\"http://mingluke.com/\" target=\"_blank\" rel=\"noopener\">Ming Luke\u003c/a>. To open it’s 51st season the BCCO perform requiems by Mozart and Cherubini (music that’s both mournful and joyous) at the scrumptious sounding Hertz Hall on the Cal Berkeley campus. Soloists include Ariana Strahl, Kirk Dougherty, and Matt Hanscom, all members of the San Jose Opera repertory company, plus mezzo-soprano Silvie Jensen. Admission is free so it’s a CHEAP THRILL!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xITauHjfK_Q\u003c/p>\n\u003cp>\u003cstrong>Jan. 1\u003c/strong>: \u003ca href=\"http://carriefisher.com/\" target=\"_blank\" rel=\"noopener\">Carrie Fisher\u003c/a> is fondly remembered not just for her feistily feminist portrayal of an intergalactic princess, but also as one of Hollywood’s best scriptwriters and script doctors. The Roxie in San Francisco is offering a tribute to her writing prowess, by showing \u003cem>Postcards from the Edge\u003c/em>, based on Fisher’s memoir and featuring her own screenplay, starring Meryl Streep and Shirley MacLaine and directed by Mike Nichols. Details \u003ca href=\"http://www.roxie.com/ai1ec_event/postcards-from-the-edge/?instance_id=17089\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12548652\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12548652\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-800x504.jpg\" alt=\"MACLA in San Jose presents the 6th Chicana-Chicano Biennial\" width=\"800\" height=\"504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-800x504.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-768x484.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-1020x643.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-960x605.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-240x151.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-375x236.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-520x328.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial.jpg 1023w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">MACLA in San Jose presents the 6th Chicana-Chicano Biennial \u003ccite>(Photo: Courtesy of MACLA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through March 12\u003c/strong>: MACLA is staging its 6th Chicana/o Biennial — with some of the very best work in the U.S. by Latino artists. I was especially knocked out by the socially conscious work of John Jota Leaños, who teaches at UC Santa Cruz. The exhibit, the only biennial devoted to contemporary Chicano/a art in the US, also features work by Javier Martinez, Natalia Anciso, Adrian Delgado, Gilda Posada, Eric Almanza, Isabel Castro, Raul Gonzalez, Suzy Gonzalez, Julia Landois, Rolando Palacio, Ezequiel “Zeke” Peña, and others.\u003c/p>\n\u003cfigure id=\"attachment_12548273\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12548273\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-800x562.png\" alt=\"Pauline Oliveros was a Mills College Professor and a founding member and director of the San Francisco Tape Music Center\" width=\"800\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-800x562.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-768x540.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-1020x717.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-1180x830.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-960x675.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-240x169.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-375x264.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-520x366.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853.png 1509w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pauline Oliveros was a Mills College Professor and a founding member and director of the San Francisco Tape Music Center \u003ccite>(Photo: Courtesy of the CCM Archive Mills College)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 6 – 8\u003c/strong>: The sound sculptors who play their work at the \u003ca href=\"http://www.sfsound.org/tape/\" target=\"_blank\" rel=\"noopener\">San Francisco Tape Music Festival \u003c/a>aren’t really playing with audio tape any more (as in the picture above of \u003ca href=\"http://paulineoliveros.us/\" target=\"_blank\" rel=\"noopener\">Pauline Oliveros,\u003c/a> a founding member and first director of the \u003ca href=\"https://en.wikipedia.org/wiki/San_Francisco_Tape_Music_Center\" target=\"_blank\" rel=\"noopener\">SF Tape Music Center\u003c/a>), but they’re still shaping found sounds and electronica into weird audio environments, sometimes soothing, sometimes deeply disturbing. This year’s lineup features work by Oliveros, who coined the term “deep listening’ to describe the experience she was seeking to invoke in her audiences, locals Warner Jepson and Bill McGinnis, plus excerpts from the soundtrack of David Lynch’s film \u003cem>Eraserhead, \u003c/em>truly a creepy audio space. This is another CHEAP THRILL! Details for the surround sound shows at the \u003ca href=\"http://www.victoriatheatre.org/\" target=\"_blank\" rel=\"noopener\">Victoria Theatre\u003c/a> in San Francisco’s Mission (right by the 16th Street BART Station) are \u003ca href=\"http://www.sfsound.org/tape/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QojRx1sJVsI\u003c/p>\n\u003cp>\u003cstrong>Continuing through Jan. 15\u003c/strong>: We’re a society hooked on memoir, and few write them as well as \u003ca href=\"http://members.authorsguild.net/sandratloh/\" target=\"_blank\" rel=\"noopener\">Sandra Tsing Loh\u003c/a>, a familiar voice on public radio and the author of \u003ca href=\"https://www.amazon.com/Madwoman-Volvo-Year-Raging-Hormones/dp/0393351092\" target=\"_blank\" rel=\"noopener\">\u003cem>The Madwoman in the Volvo\u003c/em>\u003c/a>. She’s adapted that book into a play at Berkeley Rep, with help from Berkeley Rep’s associate director, Lisa Peterson. It’s a tale of a menopause fueled mid-life crisis careening from a visit to Burning Man, a love affair, a divorce, and a rough bout of depression. The show is a comedy, Loh told me, but it comes at a really poignant time for anyone troubled by the election, or suffering from seasonal affective disorder. “The show is running in the darkness of winter,” Loh said, “and we are lighting candles in the sanctuary of the theater, and we’re going to find joy and were going to outlast this time.” Details for\u003cem> The Madwoman in the Volvo\u003c/em> are \u003ca href=\"http://www.berkeleyrep.org/season/1617/11542.asp#tabbed-nav=seehear\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OLRFswb167Y\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 6 – 8\u003c/strong>: I’ve been wanting to feature this music on the Do List since I first heard \u003ca href=\"http://www.kamasiwashington.com/\" target=\"_blank\" rel=\"noopener\">Kamasi Washington\u003c/a>‘s \u003cem>The Epic\u003c/em> last year. The music is a a wonderful mashup of free jazz, jazz fusion and big band styles, with a chorus and strings on top, and somehow it all hangs together. Washington has been a powerful influence in other ways; he did some arrangements for Kendrick Lamar’s album \u003cem>To Pimp A Butterfly\u003c/em>. He’ll be playing here with his dad, Ricky Washington, and a “small” touring band (two drummers, three horns, including Washington and his dad Ricky, both on sax, a pianist, a bassist and a singer). Details for the SFJAZZ show are \u003ca href=\"https://www.sfjazz.org/events/2016-17/0106/kamasi-washington\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n",
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"title": "Cy and Davids Picks: A Chicano/a Biennial, a Midlife Crisis, and an Epic Sax Player | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>KQED’s Cy Musiker and the Chronicle’s David Wiegand share their picks for great events around the Bay Area this week.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Consider this Do List a requiem for 2016. We’re saying goodbye to an election year in which fiction mixed way too often with fact; and a year when we lost so many groundbreaking artists, including the death this week of \u003ca href=\"https://ww2.kqed.org/arts/2016/12/27/berkeley-rep-director-tony-taccone-reminisces-about-carrie-fisher/\" target=\"_blank\" rel=\"noopener\">Carrie Fisher\u003c/a>, whose show \u003cem>Wishful Drinking\u003c/em> at Berkeley Rep was such a funny and thoughtful dissection of her own celebrity. Here’s hoping 2017 brings beautiful art to heal us all, starting with the listings below.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/NqnbYDX3-48'\n title='//www.youtube.com/embed/NqnbYDX3-48'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 6 – 8\u003c/strong>: The \u003ca href=\"https://bcco.org/\" target=\"_blank\" rel=\"noopener\">Berkeley Community Chorus and Orchestra \u003c/a>is so Berkeley: all volunteer, no audition, with a long waiting list for membership, and a crackerjack conductor in \u003ca href=\"http://mingluke.com/\" target=\"_blank\" rel=\"noopener\">Ming Luke\u003c/a>. To open it’s 51st season the BCCO perform requiems by Mozart and Cherubini (music that’s both mournful and joyous) at the scrumptious sounding Hertz Hall on the Cal Berkeley campus. Soloists include Ariana Strahl, Kirk Dougherty, and Matt Hanscom, all members of the San Jose Opera repertory company, plus mezzo-soprano Silvie Jensen. Admission is free so it’s a CHEAP THRILL!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xITauHjfK_Q'\n title='//www.youtube.com/embed/xITauHjfK_Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 1\u003c/strong>: \u003ca href=\"http://carriefisher.com/\" target=\"_blank\" rel=\"noopener\">Carrie Fisher\u003c/a> is fondly remembered not just for her feistily feminist portrayal of an intergalactic princess, but also as one of Hollywood’s best scriptwriters and script doctors. The Roxie in San Francisco is offering a tribute to her writing prowess, by showing \u003cem>Postcards from the Edge\u003c/em>, based on Fisher’s memoir and featuring her own screenplay, starring Meryl Streep and Shirley MacLaine and directed by Mike Nichols. Details \u003ca href=\"http://www.roxie.com/ai1ec_event/postcards-from-the-edge/?instance_id=17089\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12548652\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12548652\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-800x504.jpg\" alt=\"MACLA in San Jose presents the 6th Chicana-Chicano Biennial\" width=\"800\" height=\"504\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-800x504.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-768x484.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-1020x643.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-960x605.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-240x151.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-375x236.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial-520x328.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Chicana-Chicano-BIennial.jpg 1023w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">MACLA in San Jose presents the 6th Chicana-Chicano Biennial \u003ccite>(Photo: Courtesy of MACLA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through March 12\u003c/strong>: MACLA is staging its 6th Chicana/o Biennial — with some of the very best work in the U.S. by Latino artists. I was especially knocked out by the socially conscious work of John Jota Leaños, who teaches at UC Santa Cruz. The exhibit, the only biennial devoted to contemporary Chicano/a art in the US, also features work by Javier Martinez, Natalia Anciso, Adrian Delgado, Gilda Posada, Eric Almanza, Isabel Castro, Raul Gonzalez, Suzy Gonzalez, Julia Landois, Rolando Palacio, Ezequiel “Zeke” Peña, and others.\u003c/p>\n\u003cfigure id=\"attachment_12548273\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12548273\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-800x562.png\" alt=\"Pauline Oliveros was a Mills College Professor and a founding member and director of the San Francisco Tape Music Center\" width=\"800\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-800x562.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-768x540.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-1020x717.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-1180x830.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-960x675.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-240x169.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-375x264.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853-520x366.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Screen-Shot-2016-10-27-at-11.05.41-AM-e1482964330853.png 1509w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pauline Oliveros was a Mills College Professor and a founding member and director of the San Francisco Tape Music Center \u003ccite>(Photo: Courtesy of the CCM Archive Mills College)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 6 – 8\u003c/strong>: The sound sculptors who play their work at the \u003ca href=\"http://www.sfsound.org/tape/\" target=\"_blank\" rel=\"noopener\">San Francisco Tape Music Festival \u003c/a>aren’t really playing with audio tape any more (as in the picture above of \u003ca href=\"http://paulineoliveros.us/\" target=\"_blank\" rel=\"noopener\">Pauline Oliveros,\u003c/a> a founding member and first director of the \u003ca href=\"https://en.wikipedia.org/wiki/San_Francisco_Tape_Music_Center\" target=\"_blank\" rel=\"noopener\">SF Tape Music Center\u003c/a>), but they’re still shaping found sounds and electronica into weird audio environments, sometimes soothing, sometimes deeply disturbing. This year’s lineup features work by Oliveros, who coined the term “deep listening’ to describe the experience she was seeking to invoke in her audiences, locals Warner Jepson and Bill McGinnis, plus excerpts from the soundtrack of David Lynch’s film \u003cem>Eraserhead, \u003c/em>truly a creepy audio space. This is another CHEAP THRILL! Details for the surround sound shows at the \u003ca href=\"http://www.victoriatheatre.org/\" target=\"_blank\" rel=\"noopener\">Victoria Theatre\u003c/a> in San Francisco’s Mission (right by the 16th Street BART Station) are \u003ca href=\"http://www.sfsound.org/tape/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/QojRx1sJVsI'\n title='//www.youtube.com/embed/QojRx1sJVsI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Continuing through Jan. 15\u003c/strong>: We’re a society hooked on memoir, and few write them as well as \u003ca href=\"http://members.authorsguild.net/sandratloh/\" target=\"_blank\" rel=\"noopener\">Sandra Tsing Loh\u003c/a>, a familiar voice on public radio and the author of \u003ca href=\"https://www.amazon.com/Madwoman-Volvo-Year-Raging-Hormones/dp/0393351092\" target=\"_blank\" rel=\"noopener\">\u003cem>The Madwoman in the Volvo\u003c/em>\u003c/a>. She’s adapted that book into a play at Berkeley Rep, with help from Berkeley Rep’s associate director, Lisa Peterson. It’s a tale of a menopause fueled mid-life crisis careening from a visit to Burning Man, a love affair, a divorce, and a rough bout of depression. The show is a comedy, Loh told me, but it comes at a really poignant time for anyone troubled by the election, or suffering from seasonal affective disorder. “The show is running in the darkness of winter,” Loh said, “and we are lighting candles in the sanctuary of the theater, and we’re going to find joy and were going to outlast this time.” Details for\u003cem> The Madwoman in the Volvo\u003c/em> are \u003ca href=\"http://www.berkeleyrep.org/season/1617/11542.asp#tabbed-nav=seehear\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/OLRFswb167Y'\n title='//www.youtube.com/embed/OLRFswb167Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 6 – 8\u003c/strong>: I’ve been wanting to feature this music on the Do List since I first heard \u003ca href=\"http://www.kamasiwashington.com/\" target=\"_blank\" rel=\"noopener\">Kamasi Washington\u003c/a>‘s \u003cem>The Epic\u003c/em> last year. The music is a a wonderful mashup of free jazz, jazz fusion and big band styles, with a chorus and strings on top, and somehow it all hangs together. Washington has been a powerful influence in other ways; he did some arrangements for Kendrick Lamar’s album \u003cem>To Pimp A Butterfly\u003c/em>. He’ll be playing here with his dad, Ricky Washington, and a “small” touring band (two drummers, three horns, including Washington and his dad Ricky, both on sax, a pianist, a bassist and a singer). Details for the SFJAZZ show are \u003ca href=\"https://www.sfjazz.org/events/2016-17/0106/kamasi-washington\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'The Speakeasy': A Reminder of S.F.'s Long History of Sticking It to the Man",
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"content": "\u003cp>At a time when many municipalities across the land are bracing for the new political reality, \u003cspan style=\"font-weight: 400\">San Francisco has wasted no time in thumbing its nose at the incoming administration’s ideas, \u003c/span>from city officials issuing a \u003ca href=\"https://sfgov.legistar.com/View.ashx?M=F&ID=4780694&GUID=4A3B6004-E6E2-4C83-B1B7-ACD7D52AE510\" target=\"_blank\" rel=\"noopener\">public declaration\u003c/a> of their disdain for the President Elect’s policies, to the birth control startup Nurx \u003ca href=\"http://hi.nurx.co/blog/2016/12/19/donald-trump-gets-you-free-birth-control-from-nurx/\" target=\"_blank\" rel=\"noopener\">shipping free contraception\u003c/a> via the promo code “Donald Trump.”\u003c/p>\n\u003cp>Of course, San Francisco possesses a long track record of willfully ignoring federal edicts. I was happily reminded of that fact when I paid a visit to \u003ca href=\"https://thespeakeasysf.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Speakeasy\u003c/em>\u003c/a>, a “choose your own adventure”-style theater experience that recently opened its doors at “a secret venue near Chinatown and North Beach.”\u003c/p>\n\u003cfigure id=\"attachment_12530015\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12530015\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514-800x507.jpg\" alt=\"Brian Rosen and Clay David play a comedy double-act in The Speakeasy.\" width=\"800\" height=\"507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514-800x507.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514-768x487.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514-1020x647.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514-1920x1218.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514-1180x749.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514-960x609.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514-240x152.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514-375x238.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514-520x330.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514.jpg 2032w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brian Rosen and Clay David play a comedy double-act in The Speakeasy. \u003ccite>(Photo: Peter Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It aims — if not completely succeeds, at least on an artistic level — to recreate the atmosphere of the many clandestine nightspots that continued to sell hard liquor throughout the 1920s in the city, even as the rest of the country hobbled along dry-mouthed through the Prohibition years. (When San Francisco hosted the democratic convention only six months after the nationwide liquor ban, the mayor, according to the writer H. L. Mencken, treated delegates to “a carload of Bourbon whiskey, old, mellow and full of pungent but delicate tangs.”)\u003c/p>\n\u003cp>At its best, \u003cem>The Speakeasy\u003c/em> offers a liquor-and-dice-infused costume party with ultra-low-stakes gaming and a loving glance back to the vaudeville entertainments of yesteryear. At its worst, it’s about as entertaining and corporate-feeling as a night out at a Reno casino, only without the possibility of walking out with bundles of cash.\u003c/p>\n\u003cp>Getting there is one of the highlights. The adventure begins down a dank North Beach back alley, where a few shady-looking types in flapper dresses, feather boas and fedoras wait for you to ask them a question about a pie. They give you a set of instructions that send you hastening around the block to a nondescript doorway, down a grungy set of stairs and through the suspended bedsheets of a fake laundry service.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At last, you are met with a champagne cocktail and a wondrous sight: a splendid old-timey cabaret theater, complete with high-kicking chorus girls in red sequins and green eye makeup, and bowler hat-sporting comedians cracking gentle jokes about their wives.\u003c/p>\n\u003cfigure id=\"attachment_12530969\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12530969\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478-800x515.jpg\" alt=\"Freddie Larson as Vinnie in The Speakeasy.\" width=\"800\" height=\"515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478-1020x657.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478-1920x1236.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478-1180x760.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478-960x618.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478-375x241.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478-520x335.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478.jpg 2042w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Freddie Larson as Vinnie in The Speakeasy. \u003ccite>(Photo: Peter Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From there, you can dawdle for a while over the various ventriloquist acts and music hall numbers accompanied by the spiffy live band, and then potter off to explore the joint at leisure.\u003c/p>\n\u003cp>You don’t even have to start your journey in the cabaret; \u003cem>The Speakeasy\u003c/em>’s several enclaves include a games room offering craps and poker, a secret “booth” in which you can spy on behind-the-scenes intrigues happening between the night-spot’s various lowlifes through a two-way mirror, and a saloon where a bartender will serve you a period cocktail while you watch the brawling antics of a bunch of local toughs.\u003c/p>\n\u003cp>But after what seems like an infinity of wandering about aimlessly with a cocktail glass in hand, throwing dice, and trying to avoid getting shoved by actors playing characters in various stages of inebriation or distress, things start to wear as thin as a mobster’s alibi.\u003c/p>\n\u003cp>\u003cem>The Speakeasy\u003c/em>’s producers — David Gluck, Geoffrey N. Libby and Nick A. Oliveiro — have taken pains to create narrative threads to help imbue the otherwise entertaining, nostalgia-laced commercialism of their enterprise with the sheen of serious theater.\u003c/p>\n\u003cp>As I moved around, I caught a smattering of melodramatically written and bombastically performed scenarios. These included a fight between a chorus girl and her boss about her troubled brother’s debt, and an innocent little girl’s first foray into San Francisco’s seedy nightlife after tagging along with her ne’er-do-well dad.\u003c/p>\n\u003cfigure id=\"attachment_12530970\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12530970\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Megan-Wicks-as-Velma-2.-Photo-by-Peter-Liu-e1482633041221-800x519.jpg\" alt=\"Megan Wicks as Velma in The Speakeasy.\" width=\"800\" height=\"519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Megan-Wicks-as-Velma-2.-Photo-by-Peter-Liu-e1482633041221-800x519.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Megan-Wicks-as-Velma-2.-Photo-by-Peter-Liu-e1482633041221-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Megan-Wicks-as-Velma-2.-Photo-by-Peter-Liu-e1482633041221-768x498.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Megan-Wicks-as-Velma-2.-Photo-by-Peter-Liu-e1482633041221-1020x662.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Megan-Wicks-as-Velma-2.-Photo-by-Peter-Liu-e1482633041221-1180x765.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Megan-Wicks-as-Velma-2.-Photo-by-Peter-Liu-e1482633041221-960x623.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Megan-Wicks-as-Velma-2.-Photo-by-Peter-Liu-e1482633041221-240x156.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Megan-Wicks-as-Velma-2.-Photo-by-Peter-Liu-e1482633041221-375x243.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Megan-Wicks-as-Velma-2.-Photo-by-Peter-Liu-e1482633041221-520x337.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Megan-Wicks-as-Velma-2.-Photo-by-Peter-Liu-e1482633041221.jpg 1443w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Megan Wicks as Velma in The Speakeasy. \u003ccite>(Photo: Peter Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>However, because guests can only physically be in one place at one time, it’s difficult to follow any particular plot-line unless you stay put in one place, spend the entire time following a single character around the building, or just get very lucky. Otherwise, you find yourself in the middle of a bunch of random, heavy-handed set-pieces that feel more like noisy intrusions on the drinking, gambling and chorus line-watching than coherent drama.\u003c/p>\n\u003cp>Then there’s the issue of how the space is designed. For a venue that the show’s producers custom-built for the very purpose of creating an immersive theatrical experience (the program notes draw attention to the 1058 “vintage reproduction ceiling tiles” and 1562 feet of molding used in the renovation) the architecture is curiously uncooperative.\u003c/p>\n\u003cfigure id=\"attachment_12530971\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12530971\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607-800x476.jpg\" alt=\"Anthony Cistaro and Jessica Waldman in The Speakeasy.\" width=\"800\" height=\"476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607-800x476.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607-768x457.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607-1020x607.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607-1920x1142.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607-1180x702.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607-960x571.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607-240x143.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607-375x223.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607-520x309.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607.jpg 2022w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Cistaro and Jessica Waldman in The Speakeasy. \u003ccite>(Photo: Peter Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Few 1920s speakeasies resembled cathedrals, of course. But the corridors and some of the rooms of \u003cem>The Speakeasy\u003c/em> are so cramped and claustrophobic, that they frequently cause bottlenecks that make it hard for audience members to truly lose themselves in the experience. A couple of hours into the three-hour-long production, I was ready to get out.\u003c/p>\n\u003cp>As the sanctuary city of San Francisco continues to face off against the political storm, the ability to retreat to the warmth and laissez-faire of fringy, underground spaces will be ever more essential for its citizens. \u003cem>The Speakeasy\u003c/em> provides people who might not ordinarily venture into such venues with a safe way to experience a corporate facsimile of the real thing. But starting at $85 a ticket, it’s hardly a viable option for many locals seeking sanctuary in these contentious times.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Speakeasy\u003c/em> is running indefinitely at a location in North Beach, San Francisco, the details of which are disclosed after you purchase tickets. For information and sales, click \u003ca href=\"https://thespeakeasysf.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"headline": "'The Speakeasy': A Reminder of S.F.'s Long History of Sticking It to the Man",
"datePublished": "2016-12-27T13:00:42-08:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At a time when many municipalities across the land are bracing for the new political reality, \u003cspan style=\"font-weight: 400\">San Francisco has wasted no time in thumbing its nose at the incoming administration’s ideas, \u003c/span>from city officials issuing a \u003ca href=\"https://sfgov.legistar.com/View.ashx?M=F&ID=4780694&GUID=4A3B6004-E6E2-4C83-B1B7-ACD7D52AE510\" target=\"_blank\" rel=\"noopener\">public declaration\u003c/a> of their disdain for the President Elect’s policies, to the birth control startup Nurx \u003ca href=\"http://hi.nurx.co/blog/2016/12/19/donald-trump-gets-you-free-birth-control-from-nurx/\" target=\"_blank\" rel=\"noopener\">shipping free contraception\u003c/a> via the promo code “Donald Trump.”\u003c/p>\n\u003cp>Of course, San Francisco possesses a long track record of willfully ignoring federal edicts. I was happily reminded of that fact when I paid a visit to \u003ca href=\"https://thespeakeasysf.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Speakeasy\u003c/em>\u003c/a>, a “choose your own adventure”-style theater experience that recently opened its doors at “a secret venue near Chinatown and North Beach.”\u003c/p>\n\u003cfigure id=\"attachment_12530015\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12530015\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514-800x507.jpg\" alt=\"Brian Rosen and Clay David play a comedy double-act in The Speakeasy.\" width=\"800\" height=\"507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514-800x507.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514-768x487.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514-1020x647.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514-1920x1218.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514-1180x749.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514-960x609.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514-240x152.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514-375x238.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514-520x330.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Brian-Rosen-as-Oliver-and-Clay-David-as-Jeffries-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482618041514.jpg 2032w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brian Rosen and Clay David play a comedy double-act in The Speakeasy. \u003ccite>(Photo: Peter Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It aims — if not completely succeeds, at least on an artistic level — to recreate the atmosphere of the many clandestine nightspots that continued to sell hard liquor throughout the 1920s in the city, even as the rest of the country hobbled along dry-mouthed through the Prohibition years. (When San Francisco hosted the democratic convention only six months after the nationwide liquor ban, the mayor, according to the writer H. L. Mencken, treated delegates to “a carload of Bourbon whiskey, old, mellow and full of pungent but delicate tangs.”)\u003c/p>\n\u003cp>At its best, \u003cem>The Speakeasy\u003c/em> offers a liquor-and-dice-infused costume party with ultra-low-stakes gaming and a loving glance back to the vaudeville entertainments of yesteryear. At its worst, it’s about as entertaining and corporate-feeling as a night out at a Reno casino, only without the possibility of walking out with bundles of cash.\u003c/p>\n\u003cp>Getting there is one of the highlights. The adventure begins down a dank North Beach back alley, where a few shady-looking types in flapper dresses, feather boas and fedoras wait for you to ask them a question about a pie. They give you a set of instructions that send you hastening around the block to a nondescript doorway, down a grungy set of stairs and through the suspended bedsheets of a fake laundry service.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At last, you are met with a champagne cocktail and a wondrous sight: a splendid old-timey cabaret theater, complete with high-kicking chorus girls in red sequins and green eye makeup, and bowler hat-sporting comedians cracking gentle jokes about their wives.\u003c/p>\n\u003cfigure id=\"attachment_12530969\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12530969\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478-800x515.jpg\" alt=\"Freddie Larson as Vinnie in The Speakeasy.\" width=\"800\" height=\"515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478-768x495.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478-1020x657.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478-1920x1236.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478-1180x760.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478-960x618.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478-375x241.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478-520x335.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Freddie-Larson-as-Vinnie-4.-Photo-by-Peter-Liu-e1482632746478.jpg 2042w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Freddie Larson as Vinnie in The Speakeasy. \u003ccite>(Photo: Peter Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>From there, you can dawdle for a while over the various ventriloquist acts and music hall numbers accompanied by the spiffy live band, and then potter off to explore the joint at leisure.\u003c/p>\n\u003cp>You don’t even have to start your journey in the cabaret; \u003cem>The Speakeasy\u003c/em>’s several enclaves include a games room offering craps and poker, a secret “booth” in which you can spy on behind-the-scenes intrigues happening between the night-spot’s various lowlifes through a two-way mirror, and a saloon where a bartender will serve you a period cocktail while you watch the brawling antics of a bunch of local toughs.\u003c/p>\n\u003cp>But after what seems like an infinity of wandering about aimlessly with a cocktail glass in hand, throwing dice, and trying to avoid getting shoved by actors playing characters in various stages of inebriation or distress, things start to wear as thin as a mobster’s alibi.\u003c/p>\n\u003cp>\u003cem>The Speakeasy\u003c/em>’s producers — David Gluck, Geoffrey N. Libby and Nick A. Oliveiro — have taken pains to create narrative threads to help imbue the otherwise entertaining, nostalgia-laced commercialism of their enterprise with the sheen of serious theater.\u003c/p>\n\u003cp>As I moved around, I caught a smattering of melodramatically written and bombastically performed scenarios. These included a fight between a chorus girl and her boss about her troubled brother’s debt, and an innocent little girl’s first foray into San Francisco’s seedy nightlife after tagging along with her ne’er-do-well dad.\u003c/p>\n\u003cfigure id=\"attachment_12530970\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12530970\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Megan-Wicks-as-Velma-2.-Photo-by-Peter-Liu-e1482633041221-800x519.jpg\" alt=\"Megan Wicks as Velma in The Speakeasy.\" width=\"800\" height=\"519\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Megan-Wicks-as-Velma-2.-Photo-by-Peter-Liu-e1482633041221-800x519.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Megan-Wicks-as-Velma-2.-Photo-by-Peter-Liu-e1482633041221-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Megan-Wicks-as-Velma-2.-Photo-by-Peter-Liu-e1482633041221-768x498.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Megan-Wicks-as-Velma-2.-Photo-by-Peter-Liu-e1482633041221-1020x662.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Megan-Wicks-as-Velma-2.-Photo-by-Peter-Liu-e1482633041221-1180x765.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Megan-Wicks-as-Velma-2.-Photo-by-Peter-Liu-e1482633041221-960x623.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Megan-Wicks-as-Velma-2.-Photo-by-Peter-Liu-e1482633041221-240x156.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Megan-Wicks-as-Velma-2.-Photo-by-Peter-Liu-e1482633041221-375x243.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Megan-Wicks-as-Velma-2.-Photo-by-Peter-Liu-e1482633041221-520x337.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/The-Speakeasy.-Megan-Wicks-as-Velma-2.-Photo-by-Peter-Liu-e1482633041221.jpg 1443w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Megan Wicks as Velma in The Speakeasy. \u003ccite>(Photo: Peter Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>However, because guests can only physically be in one place at one time, it’s difficult to follow any particular plot-line unless you stay put in one place, spend the entire time following a single character around the building, or just get very lucky. Otherwise, you find yourself in the middle of a bunch of random, heavy-handed set-pieces that feel more like noisy intrusions on the drinking, gambling and chorus line-watching than coherent drama.\u003c/p>\n\u003cp>Then there’s the issue of how the space is designed. For a venue that the show’s producers custom-built for the very purpose of creating an immersive theatrical experience (the program notes draw attention to the 1058 “vintage reproduction ceiling tiles” and 1562 feet of molding used in the renovation) the architecture is curiously uncooperative.\u003c/p>\n\u003cfigure id=\"attachment_12530971\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12530971\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607-800x476.jpg\" alt=\"Anthony Cistaro and Jessica Waldman in The Speakeasy.\" width=\"800\" height=\"476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607-800x476.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607-768x457.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607-1020x607.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607-1920x1142.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607-1180x702.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607-960x571.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607-240x143.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607-375x223.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607-520x309.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/Anthony-Cistaro-as-Eddie-and-Jessica-Waldman-as-Viola-in-The-Speakeasy.-Photo-by-Peter-Liu-e1482633392607.jpg 2022w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Cistaro and Jessica Waldman in The Speakeasy. \u003ccite>(Photo: Peter Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Few 1920s speakeasies resembled cathedrals, of course. But the corridors and some of the rooms of \u003cem>The Speakeasy\u003c/em> are so cramped and claustrophobic, that they frequently cause bottlenecks that make it hard for audience members to truly lose themselves in the experience. A couple of hours into the three-hour-long production, I was ready to get out.\u003c/p>\n\u003cp>As the sanctuary city of San Francisco continues to face off against the political storm, the ability to retreat to the warmth and laissez-faire of fringy, underground spaces will be ever more essential for its citizens. \u003cem>The Speakeasy\u003c/em> provides people who might not ordinarily venture into such venues with a safe way to experience a corporate facsimile of the real thing. But starting at $85 a ticket, it’s hardly a viable option for many locals seeking sanctuary in these contentious times.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Speakeasy\u003c/em> is running indefinitely at a location in North Beach, San Francisco, the details of which are disclosed after you purchase tickets. For information and sales, click \u003ca href=\"https://thespeakeasysf.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cy-and-davids-picks-a-master-of-funk-a-hard-rocking-trio-and-a-choir-for-all-faiths",
"title": "Cy and David's Picks: A Master of Funk, a Hard-Rocking Trio, and a Choir for All Faiths",
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"content": "\u003cp>It’s a holiday pileup this week. The solstice was Dec. 21, Hannukah starts Dec. 24 at sundown, just in time for Christmas Eve, and Kwanzaa starts Monday, Dec. 26. So happy holidays!\u003c/p>\n\u003cp>But don’t hibernate with your new toys, because we’re previewing some great shows. By the way, I’m in awe of every play now in rotation at \u003ca href=\"https://www.shotgunplayers.org/Online/default.asp\" target=\"_blank\" rel=\"noopener\">Shotgun Players\u003c/a> in Berkeley: \u003cem>Hamlet\u003c/em>, \u003cem>Village Bike\u003c/em>, \u003cem>Grand Concourse\u003c/em>, \u003cem>Who’s Afraid of Virginia Woolf\u003c/em>, and \u003cem>Caught\u003c/em> are all terrific, with a repertory company of just 12 actors doing all the shows through Jan. 22.\u003c/p>\n\u003cp>Now here’s the official list.\u003c/p>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/12/TDL20161223.mp3\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UPFEdYX9boU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Dec. 24\u003c/strong>: The \u003ca href=\"http://www.oigc.org/\" target=\"_blank\" rel=\"noopener\">Oakland Interfaith Gospel Choir\u003c/a> proves that diversity is strength. The choir has brought the ecstatic joy of Black church music to audiences for more than 30 years under the leadership of Terrance Kelly. He said a recent poll revealed that members adhere to 13 faiths, including Judaism, Bahá’í, Buddhism, and baseball. The choir has been doing this Christmas Eve show at Slim’s for about 25 years. and Kelly says there’s nothing wrong with taking gospel into a rock club.\u003c/p>\n\u003cp>“You’re supposed to take the gospel outside of the church,” he told me, “that’s what’s wrong with a lot of churches now is that it remains inside the church. If somebody can get blessed with a cocktail in their hands, they still got blessed. Right?” The Slim’s shows are all ages and just $15, so bring the family for this \u003cstrong>CHEAP THRILL\u003c/strong>! Details \u003ca href=\"http://www.slimspresents.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iV-751Nu2TA\u003c/p>\n\u003cp>\u003cstrong>Dec. 23-25\u003c/strong>: \u003ca href=\"http://www.koshercomedy.com/\" target=\"_blank\" rel=\"noopener\">Kung Pao Kosher Comedy\u003c/a> is another fine Bay Area tradition working to bring all faiths together, this time in the name of Jewish comedy. San Francisco comedian \u003ca href=\"http://www.sfpublicist.com/SFPublicist/About_Us___Contact_Us.html\" target=\"_blank\" rel=\"noopener\">Lisa Geduldig\u003c/a> has been producing these shows for 24 years in a Chinese restaurant, a setting familiar to any Jew wondering where to eat out on Christmas Eve and Christmas day (Chinese restaurants were often the only places open). Geduldig’s headliner this year is \u003ca href=\"http://www.elayneboosler.com/\" target=\"_blank\" rel=\"noopener\">Elayne Boosler\u003c/a>, the star of five Showtime standup specials, and she was a regular on Bill Maher’s \u003ca href=\"https://en.wikipedia.org/wiki/Politically_Incorrect\" target=\"_blank\" rel=\"noopener\">\u003cem>Politically Incorrect\u003c/em>\u003c/a>, so you might expect a few (or a lot of ) jokes at President Elect Donald Trump’s expense. The show will also feature \u003ca href=\"https://www.youtube.com/watch?v=Rr3MYu1PXqc\" target=\"_blank\" rel=\"noopener\">Eddie Sarfaty\u003c/a> and \u003ca href=\"http://www.alexedelmancomedy.com/\" target=\"_blank\" rel=\"noopener\">Alex Edelman\u003c/a> (who is very, very funny). Details for the shows at San Francisco’s New Asia Restaurant are \u003ca href=\"http://www.koshercomedy.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KabkFfwJK3E\u003c/p>\n\u003cp>\u003cstrong>Dec. 23\u003c/strong>: \u003ca href=\"https://www.facebook.com/adamtheismusic/\" target=\"_blank\" rel=\"noopener\">Adam Theis\u003c/a> can wake surf and play trombone at the same time. (Really. See him do it \u003ca href=\"https://www.youtube.com/watch?v=sL1H-BwT65I\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.) So it’s no surprise that he’s a multi-tasker when it comes to leading bands too, heading the big-band Jazz Mafia and the smaller Mobtet, plus the Cosa Nostra Strings. Friday night he’s leading the string band into Point Richmond Jazz, with the terrific Shaina Evoniuk on violin, Keith Lawrence on viola, Lewis Pazner on cello. and Aaron Kierbel on cajon/percussion. It won’t be like anything else you’ve heard this year, and that’s a good thing. Details for their Point Richmond Jazz show at the First United Methodist Church are \u003ca href=\"http://www.prjazz.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dsRmL9mgxCU\u003c/p>\n\u003cp>\u003cstrong>Dec. 29-Jan. 1\u003c/strong>: Saxophonist \u003ca href=\"http://maceoparker.com/\" target=\"_blank\" rel=\"noopener\">Maceo Parker\u003c/a> helped define the meaning of funk while a sideman to James Brown. As a bandleader since the early 1990’s, he’s become a Bay Area regular, swinging in to host New Year’s parties first at \u003ca href=\"http://www.yoshis.com\" target=\"_blank\" rel=\"noopener\">Yoshi’s \u003c/a>and now at SFJAZZ. Parker’s music is jazz as the best kind of party music, and this year he’s featuring the terrific vocalist Judith Hill, who recorded with Prince and did the soundtrack for \u003ca href=\"http://www.imdb.com/title/tt1989593/\" target=\"_blank\" rel=\"noopener\">Spike Lee’s \u003c/a>\u003cem>Red Hook Summer. \u003c/em>Parker does four nights at SF JAZZ and details are \u003ca href=\"https://sfjazz.org/events/2016-17/1231/maceo-parker\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6r1-HTiwGiY\u003c/p>\n\u003cp>\u003cstrong>Dec. 31\u003c/strong>: \u003ca href=\"http://www.sleater-kinney.com/\" target=\"_blank\" rel=\"noopener\">Sleater Kinney\u003c/a> is back in the in the Bay Area on a comeback tour that proves they still rock as hard (or harder) than any other band. Corin Tucker and Carrie Brownstein (\u003ca href=\"http://www.ifc.com/shows/portlandia\" target=\"_blank\" rel=\"noopener\">\u003cem>Portlandia\u003c/em>\u003c/a>) sing and play guitars, Janet Weiss (Quasi) pounds the drums, and you won’t find a better show for New Year’s Eve. But for gosh sake, don’t drive, take a cable car or a cab to their show at the \u003ca href=\"http://sfmasonic.com/\" target=\"_blank\" rel=\"noopener\">Masonic\u003c/a>. Details are \u003ca href=\"http://sfmasonic.com/event/sleater-kinney-3/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a holiday pileup this week. The solstice was Dec. 21, Hannukah starts Dec. 24 at sundown, just in time for Christmas Eve, and Kwanzaa starts Monday, Dec. 26. So happy holidays!\u003c/p>\n\u003cp>But don’t hibernate with your new toys, because we’re previewing some great shows. By the way, I’m in awe of every play now in rotation at \u003ca href=\"https://www.shotgunplayers.org/Online/default.asp\" target=\"_blank\" rel=\"noopener\">Shotgun Players\u003c/a> in Berkeley: \u003cem>Hamlet\u003c/em>, \u003cem>Village Bike\u003c/em>, \u003cem>Grand Concourse\u003c/em>, \u003cem>Who’s Afraid of Virginia Woolf\u003c/em>, and \u003cem>Caught\u003c/em> are all terrific, with a repertory company of just 12 actors doing all the shows through Jan. 22.\u003c/p>\n\u003cp>Now here’s the official list.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dec. 24\u003c/strong>: The \u003ca href=\"http://www.oigc.org/\" target=\"_blank\" rel=\"noopener\">Oakland Interfaith Gospel Choir\u003c/a> proves that diversity is strength. The choir has brought the ecstatic joy of Black church music to audiences for more than 30 years under the leadership of Terrance Kelly. He said a recent poll revealed that members adhere to 13 faiths, including Judaism, Bahá’í, Buddhism, and baseball. The choir has been doing this Christmas Eve show at Slim’s for about 25 years. and Kelly says there’s nothing wrong with taking gospel into a rock club.\u003c/p>\n\u003cp>“You’re supposed to take the gospel outside of the church,” he told me, “that’s what’s wrong with a lot of churches now is that it remains inside the church. If somebody can get blessed with a cocktail in their hands, they still got blessed. Right?” The Slim’s shows are all ages and just $15, so bring the family for this \u003cstrong>CHEAP THRILL\u003c/strong>! Details \u003ca href=\"http://www.slimspresents.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/iV-751Nu2TA'\n title='//www.youtube.com/embed/iV-751Nu2TA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Dec. 23-25\u003c/strong>: \u003ca href=\"http://www.koshercomedy.com/\" target=\"_blank\" rel=\"noopener\">Kung Pao Kosher Comedy\u003c/a> is another fine Bay Area tradition working to bring all faiths together, this time in the name of Jewish comedy. San Francisco comedian \u003ca href=\"http://www.sfpublicist.com/SFPublicist/About_Us___Contact_Us.html\" target=\"_blank\" rel=\"noopener\">Lisa Geduldig\u003c/a> has been producing these shows for 24 years in a Chinese restaurant, a setting familiar to any Jew wondering where to eat out on Christmas Eve and Christmas day (Chinese restaurants were often the only places open). Geduldig’s headliner this year is \u003ca href=\"http://www.elayneboosler.com/\" target=\"_blank\" rel=\"noopener\">Elayne Boosler\u003c/a>, the star of five Showtime standup specials, and she was a regular on Bill Maher’s \u003ca href=\"https://en.wikipedia.org/wiki/Politically_Incorrect\" target=\"_blank\" rel=\"noopener\">\u003cem>Politically Incorrect\u003c/em>\u003c/a>, so you might expect a few (or a lot of ) jokes at President Elect Donald Trump’s expense. The show will also feature \u003ca href=\"https://www.youtube.com/watch?v=Rr3MYu1PXqc\" target=\"_blank\" rel=\"noopener\">Eddie Sarfaty\u003c/a> and \u003ca href=\"http://www.alexedelmancomedy.com/\" target=\"_blank\" rel=\"noopener\">Alex Edelman\u003c/a> (who is very, very funny). Details for the shows at San Francisco’s New Asia Restaurant are \u003ca href=\"http://www.koshercomedy.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/KabkFfwJK3E'\n title='//www.youtube.com/embed/KabkFfwJK3E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Dec. 23\u003c/strong>: \u003ca href=\"https://www.facebook.com/adamtheismusic/\" target=\"_blank\" rel=\"noopener\">Adam Theis\u003c/a> can wake surf and play trombone at the same time. (Really. See him do it \u003ca href=\"https://www.youtube.com/watch?v=sL1H-BwT65I\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.) So it’s no surprise that he’s a multi-tasker when it comes to leading bands too, heading the big-band Jazz Mafia and the smaller Mobtet, plus the Cosa Nostra Strings. Friday night he’s leading the string band into Point Richmond Jazz, with the terrific Shaina Evoniuk on violin, Keith Lawrence on viola, Lewis Pazner on cello. and Aaron Kierbel on cajon/percussion. It won’t be like anything else you’ve heard this year, and that’s a good thing. Details for their Point Richmond Jazz show at the First United Methodist Church are \u003ca href=\"http://www.prjazz.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/dsRmL9mgxCU'\n title='//www.youtube.com/embed/dsRmL9mgxCU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Dec. 29-Jan. 1\u003c/strong>: Saxophonist \u003ca href=\"http://maceoparker.com/\" target=\"_blank\" rel=\"noopener\">Maceo Parker\u003c/a> helped define the meaning of funk while a sideman to James Brown. As a bandleader since the early 1990’s, he’s become a Bay Area regular, swinging in to host New Year’s parties first at \u003ca href=\"http://www.yoshis.com\" target=\"_blank\" rel=\"noopener\">Yoshi’s \u003c/a>and now at SFJAZZ. Parker’s music is jazz as the best kind of party music, and this year he’s featuring the terrific vocalist Judith Hill, who recorded with Prince and did the soundtrack for \u003ca href=\"http://www.imdb.com/title/tt1989593/\" target=\"_blank\" rel=\"noopener\">Spike Lee’s \u003c/a>\u003cem>Red Hook Summer. \u003c/em>Parker does four nights at SF JAZZ and details are \u003ca href=\"https://sfjazz.org/events/2016-17/1231/maceo-parker\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6r1-HTiwGiY'\n title='//www.youtube.com/embed/6r1-HTiwGiY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Dec. 31\u003c/strong>: \u003ca href=\"http://www.sleater-kinney.com/\" target=\"_blank\" rel=\"noopener\">Sleater Kinney\u003c/a> is back in the in the Bay Area on a comeback tour that proves they still rock as hard (or harder) than any other band. Corin Tucker and Carrie Brownstein (\u003ca href=\"http://www.ifc.com/shows/portlandia\" target=\"_blank\" rel=\"noopener\">\u003cem>Portlandia\u003c/em>\u003c/a>) sing and play guitars, Janet Weiss (Quasi) pounds the drums, and you won’t find a better show for New Year’s Eve. But for gosh sake, don’t drive, take a cable car or a cab to their show at the \u003ca href=\"http://sfmasonic.com/\" target=\"_blank\" rel=\"noopener\">Masonic\u003c/a>. Details are \u003ca href=\"http://sfmasonic.com/event/sleater-kinney-3/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
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