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"content": "\u003cp>San Francisco rock promoter Bill Graham was never one to mince words. As he says in the documentary \u003cem>Fillmore: The Last Days\u003c/em>: “I can be the biggest putz in the world, and yell a lot. But I ain’t dishonest. And I will always tell you how I feel.”\u003c/p>\n\u003cp>Personalities like Graham tend to attract satirists, and sure enough, in 1990, a Graham impersonator arrived on the radio waves here in San Francisco. “Fillmore Bill” was a weekly regular on the morning show at KRQR, “The Rocker,” poking laser-sharp holes into Graham’s penchant for \u003ca href=\"http://www.homesweetjerome.net/bill-graham-at-fillmore-west/bill-graham-intimidation-as-a-negotiating-tactic/\" target=\"_blank\" rel=\"noopener\">slang-ridden tirades\u003c/a> in his unmistakable East Coast monotone. \u003c/p>\n\u003cp>Stories about “Fillmore Bill” have circulated for the past 25 years, but no clips of the routine have existed online — until now. After writing \u003ca href=\"http://ww2.kqed.org/arts/2016/03/16/bill-graham-the-personality-no-museum-could-possibly-contain/\" target=\"_blank\" rel=\"noopener\">a review\u003c/a> of the Contemporary Jewish Museum’s current exhibit \u003cem>Bill Graham and the Rock & Roll Revolution\u003c/em>, and wishing the show contained more of Graham’s famous prickly personality, a strange thing happened: I got a Facebook message from “Fillmore Bill” himself.\u003c/p>\n\u003cp>As it turns out, “Fillmore Bill” was the brainchild of David Gross, a radio DJ who I’ve known personally for years. He agreed to digitize his old tapes of the KRQR routine, which is why you can now hear “Fillmore Bill” negotiating with a pizza delivery guy 26 years after it originally aired:\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/258746163″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>As a diehard Grateful Dead fan, Gross heard Graham’s voice long before he ever knew what he looked like. Graham’s introductions on Dead recordings were well-known in the tape-trader circuit, and one particularly heated rant to an audience member climbing the scaffolding during a New Year’s Eve show at Winterland was amusing enough for Gross to whip up an impression. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Years later, Gross did the impression at a house party, where KRQR morning DJ Paul “Lobster” Wells suggested he bring it on the show. Soon Gross was satirizing Bill Graham every week in a segment called the “Bitch & Moan Monday,” doing send-ups of Graham’s more megalomaniacal side. A segment about Graham trying to take control of the chaos at Woodstock is, in fact, eerily close to actual events:\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/258743961″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>The character of “Fillmore Bill” became well-known, and Gross recalls doing it at comedy clubs and, once, at SF Comedy Day in Golden Gate Park, “in front of I don’t know how many bazillions of people,” he says. “I came out with my clipboard, and did a Bill Graham introduction — a lot of people thought it was the real Bill Graham.”\u003c/p>\n\u003cp>It was only a matter of time before the real Bill Graham and “Fillmore Bill” met, and sure enough, Wells had Bill Graham in the studio one Friday when Gross called in. The resulting exchange is pure gold, with Graham at one point telling Gross, “Can I make a suggestion? Don’t press your luck.” After the call, Graham even had to concede that the impression is accurate:\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/258717936″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>So, did Gross ever meet Bill Graham in person? Shortly after their exchange on the radio, Gross recalls, he did approach Graham at a show to introduce himself.\u003c/p>\n\u003cp>“I was backstage at a Dead concert at the Greek Theater in Berkeley,” Gross says. “There I was, standing there, and Bill Graham was standing next to me. I said, ‘Hey, remember me? I’m the guy who impersonated you on the radio.’ He just looked at me, sized me up, and the lower lip came down, like Silvio on \u003cem>The Sopranos\u003c/em>. And he said, ‘OK.’ That was it.”\u003c/p>\n\u003cp>Gross is quick to clarify that though Graham had his enemies, his impersonation was a tribute and not a takedown. “I have nothing but respect and love for Bill Graham,” he says. “He and the Grateful Dead are the reasons I moved out to San Francisco 36 years ago. The environment he created, the shows he did, and everything he’s done for music in the Bay Area.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/258745088″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>\u003cem>David Gross, known on-air as Big Dave, hosts “Rockabilly Roadhouse” and “Saturday Night Album Trax” on \u003ca href=\"http://www.krsh.com/index.php\" target=\"_blank\" rel=\"noopener\">KRSH-FM\u003c/a> in Santa Rosa. Paul “Lobster” Wells hosts “Lobster’s Sunday Brunch” on \u003ca href=\"http://www.977theriver.com/\" target=\"_blank\" rel=\"noopener\">KVRV-FM\u003c/a> in Santa Rosa. Gross retired the Bill Graham impersonation after Graham’s death in 1991.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Bill Graham and the Rock & Roll Revolution’ is on display at the Contemporary Jewish Museum through July 5. \u003ca href=\"http://www.thecjm.org/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003cbr>\n\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco rock promoter Bill Graham was never one to mince words. As he says in the documentary \u003cem>Fillmore: The Last Days\u003c/em>: “I can be the biggest putz in the world, and yell a lot. But I ain’t dishonest. And I will always tell you how I feel.”\u003c/p>\n\u003cp>Personalities like Graham tend to attract satirists, and sure enough, in 1990, a Graham impersonator arrived on the radio waves here in San Francisco. “Fillmore Bill” was a weekly regular on the morning show at KRQR, “The Rocker,” poking laser-sharp holes into Graham’s penchant for \u003ca href=\"http://www.homesweetjerome.net/bill-graham-at-fillmore-west/bill-graham-intimidation-as-a-negotiating-tactic/\" target=\"_blank\" rel=\"noopener\">slang-ridden tirades\u003c/a> in his unmistakable East Coast monotone. \u003c/p>\n\u003cp>Stories about “Fillmore Bill” have circulated for the past 25 years, but no clips of the routine have existed online — until now. After writing \u003ca href=\"http://ww2.kqed.org/arts/2016/03/16/bill-graham-the-personality-no-museum-could-possibly-contain/\" target=\"_blank\" rel=\"noopener\">a review\u003c/a> of the Contemporary Jewish Museum’s current exhibit \u003cem>Bill Graham and the Rock & Roll Revolution\u003c/em>, and wishing the show contained more of Graham’s famous prickly personality, a strange thing happened: I got a Facebook message from “Fillmore Bill” himself.\u003c/p>\n\u003cp>As it turns out, “Fillmore Bill” was the brainchild of David Gross, a radio DJ who I’ve known personally for years. He agreed to digitize his old tapes of the KRQR routine, which is why you can now hear “Fillmore Bill” negotiating with a pizza delivery guy 26 years after it originally aired:\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/258746163″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/258746163″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>As a diehard Grateful Dead fan, Gross heard Graham’s voice long before he ever knew what he looked like. Graham’s introductions on Dead recordings were well-known in the tape-trader circuit, and one particularly heated rant to an audience member climbing the scaffolding during a New Year’s Eve show at Winterland was amusing enough for Gross to whip up an impression. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Years later, Gross did the impression at a house party, where KRQR morning DJ Paul “Lobster” Wells suggested he bring it on the show. Soon Gross was satirizing Bill Graham every week in a segment called the “Bitch & Moan Monday,” doing send-ups of Graham’s more megalomaniacal side. A segment about Graham trying to take control of the chaos at Woodstock is, in fact, eerily close to actual events:\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/258743961″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/258743961″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The character of “Fillmore Bill” became well-known, and Gross recalls doing it at comedy clubs and, once, at SF Comedy Day in Golden Gate Park, “in front of I don’t know how many bazillions of people,” he says. “I came out with my clipboard, and did a Bill Graham introduction — a lot of people thought it was the real Bill Graham.”\u003c/p>\n\u003cp>It was only a matter of time before the real Bill Graham and “Fillmore Bill” met, and sure enough, Wells had Bill Graham in the studio one Friday when Gross called in. The resulting exchange is pure gold, with Graham at one point telling Gross, “Can I make a suggestion? Don’t press your luck.” After the call, Graham even had to concede that the impression is accurate:\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/258717936″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/258717936″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>So, did Gross ever meet Bill Graham in person? Shortly after their exchange on the radio, Gross recalls, he did approach Graham at a show to introduce himself.\u003c/p>\n\u003cp>“I was backstage at a Dead concert at the Greek Theater in Berkeley,” Gross says. “There I was, standing there, and Bill Graham was standing next to me. I said, ‘Hey, remember me? I’m the guy who impersonated you on the radio.’ He just looked at me, sized me up, and the lower lip came down, like Silvio on \u003cem>The Sopranos\u003c/em>. And he said, ‘OK.’ That was it.”\u003c/p>\n\u003cp>Gross is quick to clarify that though Graham had his enemies, his impersonation was a tribute and not a takedown. “I have nothing but respect and love for Bill Graham,” he says. “He and the Grateful Dead are the reasons I moved out to San Francisco 36 years ago. The environment he created, the shows he did, and everything he’s done for music in the Bay Area.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/258745088″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/258745088″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>David Gross, known on-air as Big Dave, hosts “Rockabilly Roadhouse” and “Saturday Night Album Trax” on \u003ca href=\"http://www.krsh.com/index.php\" target=\"_blank\" rel=\"noopener\">KRSH-FM\u003c/a> in Santa Rosa. Paul “Lobster” Wells hosts “Lobster’s Sunday Brunch” on \u003ca href=\"http://www.977theriver.com/\" target=\"_blank\" rel=\"noopener\">KVRV-FM\u003c/a> in Santa Rosa. Gross retired the Bill Graham impersonation after Graham’s death in 1991.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Bill Graham and the Rock & Roll Revolution’ is on display at the Contemporary Jewish Museum through July 5. \u003ca href=\"http://www.thecjm.org/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003cbr>\n\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Comic W. Kamau Bell on Standing Tall and Finding Humor in America's Racism",
"headTitle": "Comic W. Kamau Bell on Standing Tall and Finding Humor in America’s Racism | KQED",
"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/474215754/474246945\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>Comic W. Kamau Bell finds humor in the parts of America that make him uncomfortable. Speaking to \u003cem>Fresh Air\u003c/em>‘s Terry Gross, Bell likens his new CNN series, \u003cem>United Shades of America, \u003c/em>to a travel show that takes him “to all sorts of different places that I [am] either afraid to go, or you wouldn’t expect me to go.”\u003c/p>\n\u003cp>“I’ve always been a fan of [\u003cem>Parts Unknown\u003c/em> host Anthony] Bourdain,” Bell says. “I always thought if I had a show like that, you would replace food with racism. Instead of sampling the food, I would sample the racism or the culture.”\u003c/p>\n\u003cp>On the first few episodes of\u003cem> United Shades of America,\u003c/em> Bell, who is black, attends a Ku Klux Klan gathering, spends time at Daytona Beach during spring break and visits a gated retirement community.\u003c/p>\n\u003cp>Bell says that it is a blend of curiosity and fear that drives him forward in his work. For the episode in which he met up with Klan members in the middle of the night, he says, “I was more curious than I was afraid — until I got there and then … the fear sort of crept in.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On finding humor in his meeting with the Ku Klux Klan\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Klan is wrapped up in their mythology and I think they know they’re the boogeyman, and I think that they like that side of it. … There’s also a side of it where they’re also aware if they’re on a bright road wearing those outfits, they’re going to attract a lot of unwanted attention. They know those robes are as unpopular as I know those robes are unpopular. … All the Klan members I met who were dressed like that were on their own property or at night by the side of the road. Nobody was like, “Meet me at a coffee shop in downtown Arkansas and let’s get together at the Denny’s and talk about this.” Nobody wanted that.\u003c/p>\n\u003cp>\u003cstrong>On the demise of his former show, \u003cem>Totally Biased With W. Kamau Bell\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I was stranded in New York in an apartment that was way too expensive for a guy who didn’t have a job. I had one daughter; she was 3 years old. … We [had] moved into an apartment that was the budget of a guy with a TV show and then I didn’t have a TV show … and [it] really felt like that was a referendum on me, because I put all of myself into that show.\u003c/p>\n\u003cp>But at the same time, [I] was happy that it was canceled. We all worked really hard on that show, and when we went to four days a week, we weren’t ready for that. Also, I had a lot of friends on that show, and by the end, relationships had changed. People who had been my friends were now not my friends because now I was their boss. … By the end, I compared it to every Vietnam War movie, where everyone goes in their separate directions. … There was a real sense of I’m sad this is over, and thank God it’s over.\u003c/p>\n\u003cp>\u003cstrong>On how he dealt with depression after the end of \u003cem>Totally Biased\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I can’t slip off the planet. I can’t just give into it, so I have to slowly put one foot in front of the other. But there was a real sense if I had been not married with a kid, I would have booked that Dave Chappelle ticket to South Africa. … I would have disappeared for a while. I don’t mean in any sort of dangerous way, but I would have been like, “I think I’m done with whatever this is.”\u003c/p>\n\u003cp>But I couldn’t do it. And I slowly realized that the canceling of the show was probably better for my career anyway, because the show was sort of going by in drips and drabs at that point. We weren’t getting good ratings, we weren’t getting a lot of attention, the wear and tear was seen on my face. My friends who watched the show could see that it was hard for me, and when the show got canceled, it became like Woodstock — more people claimed they were there than who were clearly there.\u003c/p>\n\u003cp>\u003cstrong>On having biracial daughters\u003c/strong>\u003c/p>\n\u003cp>It’s important to me that my daughter learn what I learned, that no matter how you feel you’re being treated by black people at any given time, those are your people. My wife knows that those are my daughter’s people. … We had a lot of conversations; she understood that she was having a black daughter. … It was her parents that had to realize this. …\u003c/p>\n\u003cp>My wife told me that at one point her mom came to her — I think while my wife was still pregnant — and said, “So wait, Sammy is going to be black.” And my wife was like, “Yes that’s true,” and her mom was like, “OK.”\u003c/p>\n\u003cp>In that tiny thing, was years of race discussions with my wife and her getting her family into the idea of, “My boyfriend is this black guy; my husband is this black guy.” There was a whole “Circle Of Life” that happened in that moment that I wasn’t there for, but I was like, “Yaaay.”\u003c/p>\n\u003cp>\u003cstrong>On the advantages of being tall \u003c/strong>\u003c/p>\n\u003cp>There is nothing bad about being tall. … When you’re tall you sort of get more points, like people think you’re better looking. Tall people get paid more money generally; presidents are taller than the average man.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I feel like it’s been great for me to be tall because it gives me something in the world that sometimes being black takes away from me … and when need be, I can use my height and my size to my advantage to get out of difficult situations. For example, with the Klan, those guys are all pretty short. So as much as they hate a black guy, the 6-foot-4-inch, 250-pound black guy is a different thing than maybe the black guy they imagined. So that’s a time to stand up taller, and to stand over people and go, “Yes, can you tell me about this cross?” … That’s a benefit. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Comic+W.+Kamau+Bell+On+Standing+Tall+And+Finding+Humor+In+America%27s+Racism&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/474215754/474246945\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>Comic W. Kamau Bell finds humor in the parts of America that make him uncomfortable. Speaking to \u003cem>Fresh Air\u003c/em>‘s Terry Gross, Bell likens his new CNN series, \u003cem>United Shades of America, \u003c/em>to a travel show that takes him “to all sorts of different places that I [am] either afraid to go, or you wouldn’t expect me to go.”\u003c/p>\n\u003cp>“I’ve always been a fan of [\u003cem>Parts Unknown\u003c/em> host Anthony] Bourdain,” Bell says. “I always thought if I had a show like that, you would replace food with racism. Instead of sampling the food, I would sample the racism or the culture.”\u003c/p>\n\u003cp>On the first few episodes of\u003cem> United Shades of America,\u003c/em> Bell, who is black, attends a Ku Klux Klan gathering, spends time at Daytona Beach during spring break and visits a gated retirement community.\u003c/p>\n\u003cp>Bell says that it is a blend of curiosity and fear that drives him forward in his work. For the episode in which he met up with Klan members in the middle of the night, he says, “I was more curious than I was afraid — until I got there and then … the fear sort of crept in.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On finding humor in his meeting with the Ku Klux Klan\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Klan is wrapped up in their mythology and I think they know they’re the boogeyman, and I think that they like that side of it. … There’s also a side of it where they’re also aware if they’re on a bright road wearing those outfits, they’re going to attract a lot of unwanted attention. They know those robes are as unpopular as I know those robes are unpopular. … All the Klan members I met who were dressed like that were on their own property or at night by the side of the road. Nobody was like, “Meet me at a coffee shop in downtown Arkansas and let’s get together at the Denny’s and talk about this.” Nobody wanted that.\u003c/p>\n\u003cp>\u003cstrong>On the demise of his former show, \u003cem>Totally Biased With W. Kamau Bell\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I was stranded in New York in an apartment that was way too expensive for a guy who didn’t have a job. I had one daughter; she was 3 years old. … We [had] moved into an apartment that was the budget of a guy with a TV show and then I didn’t have a TV show … and [it] really felt like that was a referendum on me, because I put all of myself into that show.\u003c/p>\n\u003cp>But at the same time, [I] was happy that it was canceled. We all worked really hard on that show, and when we went to four days a week, we weren’t ready for that. Also, I had a lot of friends on that show, and by the end, relationships had changed. People who had been my friends were now not my friends because now I was their boss. … By the end, I compared it to every Vietnam War movie, where everyone goes in their separate directions. … There was a real sense of I’m sad this is over, and thank God it’s over.\u003c/p>\n\u003cp>\u003cstrong>On how he dealt with depression after the end of \u003cem>Totally Biased\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I can’t slip off the planet. I can’t just give into it, so I have to slowly put one foot in front of the other. But there was a real sense if I had been not married with a kid, I would have booked that Dave Chappelle ticket to South Africa. … I would have disappeared for a while. I don’t mean in any sort of dangerous way, but I would have been like, “I think I’m done with whatever this is.”\u003c/p>\n\u003cp>But I couldn’t do it. And I slowly realized that the canceling of the show was probably better for my career anyway, because the show was sort of going by in drips and drabs at that point. We weren’t getting good ratings, we weren’t getting a lot of attention, the wear and tear was seen on my face. My friends who watched the show could see that it was hard for me, and when the show got canceled, it became like Woodstock — more people claimed they were there than who were clearly there.\u003c/p>\n\u003cp>\u003cstrong>On having biracial daughters\u003c/strong>\u003c/p>\n\u003cp>It’s important to me that my daughter learn what I learned, that no matter how you feel you’re being treated by black people at any given time, those are your people. My wife knows that those are my daughter’s people. … We had a lot of conversations; she understood that she was having a black daughter. … It was her parents that had to realize this. …\u003c/p>\n\u003cp>My wife told me that at one point her mom came to her — I think while my wife was still pregnant — and said, “So wait, Sammy is going to be black.” And my wife was like, “Yes that’s true,” and her mom was like, “OK.”\u003c/p>\n\u003cp>In that tiny thing, was years of race discussions with my wife and her getting her family into the idea of, “My boyfriend is this black guy; my husband is this black guy.” There was a whole “Circle Of Life” that happened in that moment that I wasn’t there for, but I was like, “Yaaay.”\u003c/p>\n\u003cp>\u003cstrong>On the advantages of being tall \u003c/strong>\u003c/p>\n\u003cp>There is nothing bad about being tall. … When you’re tall you sort of get more points, like people think you’re better looking. Tall people get paid more money generally; presidents are taller than the average man.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I feel like it’s been great for me to be tall because it gives me something in the world that sometimes being black takes away from me … and when need be, I can use my height and my size to my advantage to get out of difficult situations. For example, with the Klan, those guys are all pretty short. So as much as they hate a black guy, the 6-foot-4-inch, 250-pound black guy is a different thing than maybe the black guy they imagined. So that’s a time to stand up taller, and to stand over people and go, “Yes, can you tell me about this cross?” … That’s a benefit. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Comic+W.+Kamau+Bell+On+Standing+Tall+And+Finding+Humor+In+America%27s+Racism&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Bay Area Performance Picks that go Beyond the Completely Obvious",
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"content": "\u003cp>\u003cem>So you’ve gotten tickets to shows by all the heavy-hitters — the San Francisco Ballet, the American Conservatory Theater, the San Francisco Opera, the Berkeley Repertory Theatre and the Broadway tour presenter SHN. Your date is impressed. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Now, here’s how to make him or her admire your cultural with-it-ness even more: go experience something that’s a little — or a lot — off-center. Below are some local performance gems to feed your arts-going habit in the coming weeks.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Now through Saturday, Apr. 30: \u003ca href=\"https://www.youtube.com/watch?v=RrJpLjq6XNE\" target=\"_blank\" rel=\"noopener\">\u003cem>Colossal\u003c/em> \u003c/a>at SF Playhouse, San Francisco\u003c/strong>\u003cbr>\nAn arresting, intensely physical drama by Andrew Hinderaker which tells the story of an athletic young man who turns his back on a promising ballet career to pursue his true passion — pro football — only to land shortly thereafter in a wheelchair after taking a fall during a game. Featuring a strong cast of buff, male actors and fluid direction from John Tracy, \u003cem>Colossal\u003c/em> epitomizes the feisty, high quality theater produced by SF Playhouse. Read \u003ca href=\"http://ww2.kqed.org/arts/2016/03/23/sf-playhouses-winning-football-drama-colossal-scores-a-touchdown/\" target=\"_blank\" rel=\"noopener\">KQED’s review\u003c/a> here. And watch SF Playhouse’s preview below.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Colossal at San Francisco Playhouse\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/c85NCK7D-Lg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, May 15: Shotgun Players’ \u003ca href=\"https://shotgunplayers.org/Online/hamlet\" target=\"_blank\" rel=\"noopener\">\u003cem>Hamlet\u003c/em> \u003c/a>at Ashby Stage, Berkeley\u003cbr>\n\u003c/strong>This unusual production of Shakespeare’s most famous tragedy directed by one of the Bay Area’s hottest directors, Mark Jackson, takes the line “the play’s the thing” as its starting point for an exploration of the myriad different ways the drama can be staged. Right before each performance, cast members draw lots out of Yorick’s skull to decide which role they’ll be playing that night. They have five minutes to prepare, then it’s lights down. This two-hour version of \u003cem>Hamlet\u003c/em> artfully edited by Jackson features six supremely talented actors and is expected to continue to run in repertory for an entire after its initial run as part of Shotgun Players’ 25th anniversary celebrations. The company is selling special ticket packages to encourage audiences to experience three different casting combinations.\u003c/p>\n\u003caside class=\"aligncenter\">[vimeo 161870536 w=640h=360]\u003c/aside>\n\u003cp>\u003cstrong>Saturday, Apr. 14 – Saturday, Jun. 11: Thrillpeddlers’ \u003cem>\u003ca href=\"http://thrillpeddlers.com/\" target=\"_blank\" rel=\"noopener\">The Untamed Stage: Weimar Berlin Kabarett\u003c/a>\u003c/em> at The Hypnodrome, San Francisco\u003c/strong>\u003cbr>\nThis sexy-scrappy musical by Scrumbly Koldewyn, founding member of The Cockettes (a famed San Francisco underground theater troupe of the 1960s and ’70s), takes its name from “The Untamed Stage,” a Berlin hot spot founded in 1921. Through vaudeville skits and songs, the show features some of the Bay Area’s most captivating drag artists and touches on such universal subjects as belonging, fascism, and “a cow that becomes increasingly self-aware and might change the course of history.” And if you’ve never been to The Hypnodrome before, this is an experience not to be missed, as the theater — home to SF’s \u003cem>grand guignol\u003c/em> theater company Thrillpeddlers — is one of the city’s hidden treasures.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"THRILLPEDDLERS : The Untamed Stage\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/XSq6mIEgEZ0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Apr. 14 – Saturday, Apr. 30: \u003ca href=\"http://cubacaribe.org/festival12/\" target=\"_blank\" rel=\"noopener\">CubaCaribe Festival\u003c/a> at Dance Mission Theater and Brava Theater in San Francisco, and Laney College Theater, Oakland\u003c/strong>\u003cbr>\nNow in its 12th year, this vivid annual celebration of Caribbean performing arts turns its attention to Cuba, a country immersed in dance and music. Over three weekends, “Cuba On My Mind” explores the massive influence of Cuban culture on the rest of the world. The opening weekend at Dance Mission Theater features a mixed program, including Aguas Dance Company and Ballet Folklorico Odduara. Week two shifts to Laney College in Oakland with performances focused on more contemporary dance styles by the likes of Alayo Dance Company and Nicole Klaymoon’s Embodiment Project. The festival returns to San Francisco at the end of the month with a show that demonstrates the spread of Cuban ideas throughout the world, featuring Brazilian capoeira from Abada Capoeira SF, Mexican dance by Los Lupeños de San Jose, and other virtuostic groups. Here’s a video featuring Alayo Dance Company from a previous CubaCaribe Festival:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Alayo Dance Company/ Ramon Ramos Alayo- Selected Work\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/Iw3n7g0Ffjc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Apr. 20 – Wednesday, Jul. 20: David Gerard’s \u003cem>\u003ca href=\"https://www.eventbrite.com/e/david-gerard-an-evening-of-magic-and-mindreading-tickets-19957760198?aff=pfcal\" target=\"_blank\" rel=\"noopener\">Game Night: An Evening of Magic and Mindreading\u003c/a>\u003c/em> at PianoFight, San Francisco\u003c/strong>\u003cbr>\nPianoFight is one of the core offbeat performance hubs in downtown San Francisco, an exciting and relatively new spot to grab a drink and dinner, and check out a variety of off-beat performances, like plays by underground theater companies, burlesque shows and standup comedy. Clever clogs mentalist David Gerard, who regularly sells out the venue, is back with a new show created specially for PianoFight. \u003cem>Game Night\u003c/em> fuses mindreading with magic. The artist has chops on both fronts. Last year, for instance, Gerard baffled and delighted audiences by swallowing needles and thread and regurgitating threaded needles. Watch Gerard in action here:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"David Gerard Live\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/z8rctJo1DAU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Apr. 24: Ubuntu Theater Project presents \u003cem>\u003ca href=\"http://www.ubuntutheaterproject.com/our-season/\" target=\"_blank\" rel=\"noopener\">The Grapes of Wrath\u003c/a>\u003c/em> at Oakland City Church, Oakland\u003c/strong>\u003cbr>\nUbuntu Theater does something that’s hard to do: the small, ever-inventive company manages to produce socially conscious theater without thumping people over the head with a didactic message. The current season, presciently titled “Threatened Homes,” offers a broad and deep perspective on the idea of displacement, encompassing everything from a take on Shakespeare’s \u003cem>Othello\u003c/em> that focuses on the title character’s conversion from Islam to Christianity, to \u003cem>Más\u003c/em>, a docudrama by Milta Ortiz about the Chicano community in Tucson, Arizona. Up next, the company’s take on Frank Galati’s adaptation of John Steinbeck’s famous 1939 novel about an impoverished Oklahoma family’s arduous journey to California. If Ubuntu’s memorable recent staging of Clifford Odets’ classic workers’ rights drama, \u003cem>Waiting for Lefty\u003c/em>, set in a disused Oakland auto repair shop is anything to go by, this new production is very much worth checking out. Watch the directors of the company talk about \u003cem>Lefty\u003c/em> and other things here:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"2015 Festival - Keep The Buzz Brewing!\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/1zQqf4VXt_k?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Thursday, May 5 – Sunday, May 8: Cal Performances presents \u003cem>\u003ca href=\"http://calperformances.org/performances/2015-16/theater/edgar-oliver-helen-edgar.php\" target=\"_blank\" rel=\"noopener\">Helen & Edgar\u003c/a>\u003c/em> at Zellerbach Playhouse, Berkeley\u003c/strong>\u003cbr>\nNew York City poet, playwright and ranconteur Edgar Oliver heads to Berkeley to share his brilliantly whacko story about growing up in Savannah, Georgia, with his sister Helen and their spectacularly eccentric mother. Oliver is a veteran performer with \u003cem>\u003ca href=\"http://themoth.org/\" target=\"_blank\" rel=\"noopener\">The Moth\u003c/a>\u003c/em>. The Peabody Award-winning radio series and live storytelling project helped to incubate this one man show which \u003cem>The New York Times\u003c/em> describes as “utterly absorbing and unexpectedly moving.” Watch Oliver tell one of his childhood inspired monologues:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Moth Presents Edgar Oliver: Apron Strings of Savannah\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/GNJWHwTUvwU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Apr. 23: Stanford Live presents AXIS Dance Company’s \u003ca href=\"https://live.stanford.edu/calendar/april-2016/axis-dance-company\" target=\"_blank\" rel=\"noopener\">\u003cem>To Go Again\u003c/em> \u003c/a>at the Bing Concert Hall, Stanford\u003c/strong>\u003cbr>\nThe great Bay Area-based choreographer \u003ca href=\"http://joegoode.org/\" target=\"_blank\" rel=\"noopener\">Joe Goode\u003c/a> teams up with one of the country’s seminal contemporary dance companies, AXIS, based in Oakland, to present a new work around the theme of war veterans returning home from the front lines. Like the soldiers portrayed in \u003cem>To Go Again\u003c/em>, AXIS dancers know what it means to confront challenges because many of them have physical disabilities and move on stage in their wheelchairs. The piece is part of Stanford Live’s series exploring war, return and recovery. Goode’s is the final work on a bill that also includes \u003cem>Dix Minutes Plus Tard (Ten Minutes Later)\u003c/em> by Sonya Delwaide and Marc Brew’s \u003cem>Divide\u003c/em>. Watch members of AXIS perform on the hit TV show \u003cem>So You Think You Can Dance\u003c/em>:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"AXIS Dance on SYTYCD 2012- Changing Dance and Disability with Duets and Wheelchairs\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/S7L7obgfb18?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Apr. 14 – Sunday, May. 8: Howard Brenton’s \u003ca href=\"http://www.marintheatre.org/productions/anne-boleyn\" target=\"_blank\" rel=\"noopener\">Anne Boleyn\u003c/a> at Marin Theatre Company, Mill Valley\u003c/strong>\u003cbr>\nFrom \u003cem>The Other Boleyn Girl\u003c/em> to \u003cem>Wolf Hall\u003c/em>, audiences in this country can’t get enough of the period in English history when women in high places lost their heads and men vied over the size of their cod pieces and ruffs. Marin Theatre Company’s west coast premiere of a 2010 play by Howard Brenton draws us in with the former: The drama begins with the arrival of the ghost of King Henry VIII’s late wife, Anne Boleyn, lugging her severed proboscis in a blood-stained bag. Brenton’s revisionist history casts Henry VIII’s devoutly protestant second wife as an active player in the affairs of the state rather than merely a sorry victim. Watch the cast rehearse the show at Grace Cathedral:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Marin Theatre Company's “Anne Boleyn” rehearsal at Grace Cathedral\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/lxCA-k7TGGQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Friday, Apr. 29 – Sunday, May 1: Opera Parallele presents Peter Maxwell Davies’ \u003cem>\u003ca href=\"https://operaparallele.org/the-lighthouse/\" target=\"_blank\" rel=\"noopener\">The Lighthouse\u003c/a>\u003c/em> at Z Space, San Francisco\u003c/strong>\u003cbr>\nOpera Parallele is one of the most innovative contemporary opera companies around, producing edgy work like the recent jazz opera, \u003cem>Champion\u003c/em>, based on the tragic life of the gay heavyweight prizefighter Emile Griffith. The company’s latest offering is a ghost story of a chamber opera inspired by real-life events about the mysterious disappearance of three fisherman stationed at a remote lighthouse off the coast of Scotland. Composer Peter Maxwell Davies’ rhythmic musical score calls for three virtuostic male singers (in this case, Robert Orth, David Cushing and Thomas Glenn) and 12 musicians playing some instruments not typically employed in opera productions like the banjo, guitar and an out-of-tune piano. Check out the preview here:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Lighthouse - Trailer\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/gU0dMmUvkv0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Thursday, May 5 – Sunday, May 8: Liss Fain Dance presents \u003cem>\u003ca href=\"http://www.ybca.org/liss-fain-dance-tacit-consent\" target=\"_blank\" rel=\"noopener\">Tacit Consent\u003c/a>\u003c/em> at Yerba Buena Center for the Arts, San Francisco\u003c/strong>\u003cbr>\nThe Yerba Buena Center for the Arts has a new mission, emblazoned on billboards around the city — “The Center for the Art of Doing Something About It.” In addition to following through on this aim with civics programming that asked artists and other thinkers to go deep into the most pressing social and political issues of our day, YBCA extends this mission into its collaborations with arts organizations. Such is the case with Liss Fain Dance, which presents an immersive world-premiere sound, video and performance art installation about surveillance and ambiguity. You experience the piece by wondering through four different rooms of the set. Get a taste of the company’s approach here:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RrJpLjq6XNE\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>So you’ve gotten tickets to shows by all the heavy-hitters — the San Francisco Ballet, the American Conservatory Theater, the San Francisco Opera, the Berkeley Repertory Theatre and the Broadway tour presenter SHN. Your date is impressed. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Now, here’s how to make him or her admire your cultural with-it-ness even more: go experience something that’s a little — or a lot — off-center. Below are some local performance gems to feed your arts-going habit in the coming weeks.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Now through Saturday, Apr. 30: \u003ca href=\"https://www.youtube.com/watch?v=RrJpLjq6XNE\" target=\"_blank\" rel=\"noopener\">\u003cem>Colossal\u003c/em> \u003c/a>at SF Playhouse, San Francisco\u003c/strong>\u003cbr>\nAn arresting, intensely physical drama by Andrew Hinderaker which tells the story of an athletic young man who turns his back on a promising ballet career to pursue his true passion — pro football — only to land shortly thereafter in a wheelchair after taking a fall during a game. Featuring a strong cast of buff, male actors and fluid direction from John Tracy, \u003cem>Colossal\u003c/em> epitomizes the feisty, high quality theater produced by SF Playhouse. Read \u003ca href=\"http://ww2.kqed.org/arts/2016/03/23/sf-playhouses-winning-football-drama-colossal-scores-a-touchdown/\" target=\"_blank\" rel=\"noopener\">KQED’s review\u003c/a> here. And watch SF Playhouse’s preview below.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Colossal at San Francisco Playhouse\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/c85NCK7D-Lg?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, May 15: Shotgun Players’ \u003ca href=\"https://shotgunplayers.org/Online/hamlet\" target=\"_blank\" rel=\"noopener\">\u003cem>Hamlet\u003c/em> \u003c/a>at Ashby Stage, Berkeley\u003cbr>\n\u003c/strong>This unusual production of Shakespeare’s most famous tragedy directed by one of the Bay Area’s hottest directors, Mark Jackson, takes the line “the play’s the thing” as its starting point for an exploration of the myriad different ways the drama can be staged. Right before each performance, cast members draw lots out of Yorick’s skull to decide which role they’ll be playing that night. They have five minutes to prepare, then it’s lights down. This two-hour version of \u003cem>Hamlet\u003c/em> artfully edited by Jackson features six supremely talented actors and is expected to continue to run in repertory for an entire after its initial run as part of Shotgun Players’ 25th anniversary celebrations. The company is selling special ticket packages to encourage audiences to experience three different casting combinations.\u003c/p>\n\u003caside class=\"aligncenter\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>\u003cstrong>Saturday, Apr. 14 – Saturday, Jun. 11: Thrillpeddlers’ \u003cem>\u003ca href=\"http://thrillpeddlers.com/\" target=\"_blank\" rel=\"noopener\">The Untamed Stage: Weimar Berlin Kabarett\u003c/a>\u003c/em> at The Hypnodrome, San Francisco\u003c/strong>\u003cbr>\nThis sexy-scrappy musical by Scrumbly Koldewyn, founding member of The Cockettes (a famed San Francisco underground theater troupe of the 1960s and ’70s), takes its name from “The Untamed Stage,” a Berlin hot spot founded in 1921. Through vaudeville skits and songs, the show features some of the Bay Area’s most captivating drag artists and touches on such universal subjects as belonging, fascism, and “a cow that becomes increasingly self-aware and might change the course of history.” And if you’ve never been to The Hypnodrome before, this is an experience not to be missed, as the theater — home to SF’s \u003cem>grand guignol\u003c/em> theater company Thrillpeddlers — is one of the city’s hidden treasures.\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\" title=\"THRILLPEDDLERS : The Untamed Stage\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/XSq6mIEgEZ0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Apr. 14 – Saturday, Apr. 30: \u003ca href=\"http://cubacaribe.org/festival12/\" target=\"_blank\" rel=\"noopener\">CubaCaribe Festival\u003c/a> at Dance Mission Theater and Brava Theater in San Francisco, and Laney College Theater, Oakland\u003c/strong>\u003cbr>\nNow in its 12th year, this vivid annual celebration of Caribbean performing arts turns its attention to Cuba, a country immersed in dance and music. Over three weekends, “Cuba On My Mind” explores the massive influence of Cuban culture on the rest of the world. The opening weekend at Dance Mission Theater features a mixed program, including Aguas Dance Company and Ballet Folklorico Odduara. Week two shifts to Laney College in Oakland with performances focused on more contemporary dance styles by the likes of Alayo Dance Company and Nicole Klaymoon’s Embodiment Project. The festival returns to San Francisco at the end of the month with a show that demonstrates the spread of Cuban ideas throughout the world, featuring Brazilian capoeira from Abada Capoeira SF, Mexican dance by Los Lupeños de San Jose, and other virtuostic groups. Here’s a video featuring Alayo Dance Company from a previous CubaCaribe Festival:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Alayo Dance Company/ Ramon Ramos Alayo- Selected Work\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/Iw3n7g0Ffjc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Apr. 20 – Wednesday, Jul. 20: David Gerard’s \u003cem>\u003ca href=\"https://www.eventbrite.com/e/david-gerard-an-evening-of-magic-and-mindreading-tickets-19957760198?aff=pfcal\" target=\"_blank\" rel=\"noopener\">Game Night: An Evening of Magic and Mindreading\u003c/a>\u003c/em> at PianoFight, San Francisco\u003c/strong>\u003cbr>\nPianoFight is one of the core offbeat performance hubs in downtown San Francisco, an exciting and relatively new spot to grab a drink and dinner, and check out a variety of off-beat performances, like plays by underground theater companies, burlesque shows and standup comedy. Clever clogs mentalist David Gerard, who regularly sells out the venue, is back with a new show created specially for PianoFight. \u003cem>Game Night\u003c/em> fuses mindreading with magic. The artist has chops on both fronts. Last year, for instance, Gerard baffled and delighted audiences by swallowing needles and thread and regurgitating threaded needles. Watch Gerard in action here:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"David Gerard Live\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/z8rctJo1DAU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Apr. 24: Ubuntu Theater Project presents \u003cem>\u003ca href=\"http://www.ubuntutheaterproject.com/our-season/\" target=\"_blank\" rel=\"noopener\">The Grapes of Wrath\u003c/a>\u003c/em> at Oakland City Church, Oakland\u003c/strong>\u003cbr>\nUbuntu Theater does something that’s hard to do: the small, ever-inventive company manages to produce socially conscious theater without thumping people over the head with a didactic message. The current season, presciently titled “Threatened Homes,” offers a broad and deep perspective on the idea of displacement, encompassing everything from a take on Shakespeare’s \u003cem>Othello\u003c/em> that focuses on the title character’s conversion from Islam to Christianity, to \u003cem>Más\u003c/em>, a docudrama by Milta Ortiz about the Chicano community in Tucson, Arizona. Up next, the company’s take on Frank Galati’s adaptation of John Steinbeck’s famous 1939 novel about an impoverished Oklahoma family’s arduous journey to California. If Ubuntu’s memorable recent staging of Clifford Odets’ classic workers’ rights drama, \u003cem>Waiting for Lefty\u003c/em>, set in a disused Oakland auto repair shop is anything to go by, this new production is very much worth checking out. Watch the directors of the company talk about \u003cem>Lefty\u003c/em> and other things here:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"2015 Festival - Keep The Buzz Brewing!\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/1zQqf4VXt_k?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Thursday, May 5 – Sunday, May 8: Cal Performances presents \u003cem>\u003ca href=\"http://calperformances.org/performances/2015-16/theater/edgar-oliver-helen-edgar.php\" target=\"_blank\" rel=\"noopener\">Helen & Edgar\u003c/a>\u003c/em> at Zellerbach Playhouse, Berkeley\u003c/strong>\u003cbr>\nNew York City poet, playwright and ranconteur Edgar Oliver heads to Berkeley to share his brilliantly whacko story about growing up in Savannah, Georgia, with his sister Helen and their spectacularly eccentric mother. Oliver is a veteran performer with \u003cem>\u003ca href=\"http://themoth.org/\" target=\"_blank\" rel=\"noopener\">The Moth\u003c/a>\u003c/em>. The Peabody Award-winning radio series and live storytelling project helped to incubate this one man show which \u003cem>The New York Times\u003c/em> describes as “utterly absorbing and unexpectedly moving.” Watch Oliver tell one of his childhood inspired monologues:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Moth Presents Edgar Oliver: Apron Strings of Savannah\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/GNJWHwTUvwU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Apr. 23: Stanford Live presents AXIS Dance Company’s \u003ca href=\"https://live.stanford.edu/calendar/april-2016/axis-dance-company\" target=\"_blank\" rel=\"noopener\">\u003cem>To Go Again\u003c/em> \u003c/a>at the Bing Concert Hall, Stanford\u003c/strong>\u003cbr>\nThe great Bay Area-based choreographer \u003ca href=\"http://joegoode.org/\" target=\"_blank\" rel=\"noopener\">Joe Goode\u003c/a> teams up with one of the country’s seminal contemporary dance companies, AXIS, based in Oakland, to present a new work around the theme of war veterans returning home from the front lines. Like the soldiers portrayed in \u003cem>To Go Again\u003c/em>, AXIS dancers know what it means to confront challenges because many of them have physical disabilities and move on stage in their wheelchairs. The piece is part of Stanford Live’s series exploring war, return and recovery. Goode’s is the final work on a bill that also includes \u003cem>Dix Minutes Plus Tard (Ten Minutes Later)\u003c/em> by Sonya Delwaide and Marc Brew’s \u003cem>Divide\u003c/em>. Watch members of AXIS perform on the hit TV show \u003cem>So You Think You Can Dance\u003c/em>:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"AXIS Dance on SYTYCD 2012- Changing Dance and Disability with Duets and Wheelchairs\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/S7L7obgfb18?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Apr. 14 – Sunday, May. 8: Howard Brenton’s \u003ca href=\"http://www.marintheatre.org/productions/anne-boleyn\" target=\"_blank\" rel=\"noopener\">Anne Boleyn\u003c/a> at Marin Theatre Company, Mill Valley\u003c/strong>\u003cbr>\nFrom \u003cem>The Other Boleyn Girl\u003c/em> to \u003cem>Wolf Hall\u003c/em>, audiences in this country can’t get enough of the period in English history when women in high places lost their heads and men vied over the size of their cod pieces and ruffs. Marin Theatre Company’s west coast premiere of a 2010 play by Howard Brenton draws us in with the former: The drama begins with the arrival of the ghost of King Henry VIII’s late wife, Anne Boleyn, lugging her severed proboscis in a blood-stained bag. Brenton’s revisionist history casts Henry VIII’s devoutly protestant second wife as an active player in the affairs of the state rather than merely a sorry victim. Watch the cast rehearse the show at Grace Cathedral:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Marin Theatre Company's “Anne Boleyn” rehearsal at Grace Cathedral\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/lxCA-k7TGGQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Friday, Apr. 29 – Sunday, May 1: Opera Parallele presents Peter Maxwell Davies’ \u003cem>\u003ca href=\"https://operaparallele.org/the-lighthouse/\" target=\"_blank\" rel=\"noopener\">The Lighthouse\u003c/a>\u003c/em> at Z Space, San Francisco\u003c/strong>\u003cbr>\nOpera Parallele is one of the most innovative contemporary opera companies around, producing edgy work like the recent jazz opera, \u003cem>Champion\u003c/em>, based on the tragic life of the gay heavyweight prizefighter Emile Griffith. The company’s latest offering is a ghost story of a chamber opera inspired by real-life events about the mysterious disappearance of three fisherman stationed at a remote lighthouse off the coast of Scotland. Composer Peter Maxwell Davies’ rhythmic musical score calls for three virtuostic male singers (in this case, Robert Orth, David Cushing and Thomas Glenn) and 12 musicians playing some instruments not typically employed in opera productions like the banjo, guitar and an out-of-tune piano. Check out the preview here:\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Lighthouse - Trailer\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/gU0dMmUvkv0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Thursday, May 5 – Sunday, May 8: Liss Fain Dance presents \u003cem>\u003ca href=\"http://www.ybca.org/liss-fain-dance-tacit-consent\" target=\"_blank\" rel=\"noopener\">Tacit Consent\u003c/a>\u003c/em> at Yerba Buena Center for the Arts, San Francisco\u003c/strong>\u003cbr>\nThe Yerba Buena Center for the Arts has a new mission, emblazoned on billboards around the city — “The Center for the Art of Doing Something About It.” In addition to following through on this aim with civics programming that asked artists and other thinkers to go deep into the most pressing social and political issues of our day, YBCA extends this mission into its collaborations with arts organizations. Such is the case with Liss Fain Dance, which presents an immersive world-premiere sound, video and performance art installation about surveillance and ambiguity. You experience the piece by wondering through four different rooms of the set. Get a taste of the company’s approach here:\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/RrJpLjq6XNE'\n title='//www.youtube.com/embed/RrJpLjq6XNE'\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": "\u003cp>She may have started out simply wanting to emulate Marilyn Monroe in image and demeanor, but in the end, Playboy Playmate turned TV personality and weight loss product spokeswoman Anna Nicole Smith was a little \u003cem>too\u003c/em> much like her blonde, buxom predecessor.\u003c/p>\n\u003cp>When Smith died in 2007 at age 39 from a combination of prescription pills, it surprised very few people. Her \u003ca href=\"https://www.youtube.com/watch?v=6uRN4aPsKXo\" target=\"_blank\">slurred speech\u003c/a> while introducing Kanye West at the 2004 Billboard Awards had cemented her status as a punchline; the joke, you see, was that she was a mess.\u003c/p>\n\u003cp>She was also, of course, a human being with two young children and many dear friends. One of those friends was apparently Margaret Cho, the San Francisco-born comedian, activist, and erstwhile musician. Cho's set to release a new musical album later this month titled \u003cem>American Myth, \u003c/em>a collaboration with singer-songwriter Garrison Starr. This week, she gave fans a taste of what they can expect with this funny, bittersweet Where's Waldo-esque tribute to her late friend. Give it a watch below.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x-acvUDqEEE&nohtml5=False\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>No more Guy Noir, Private Eye. No more tales of Dusty and Lefty, the luckless cowboys. And no more weekly “News From Lake Wobegon,” the imaginary Minnesota town famous for strong women, good-looking men and above-average children.\u003c/p>\n\u003cp>Those signature comedy sketches will vanish from the airwaves when humorist and best-selling author Garrison Keillor retires as host of his popular public radio show, \u003cem>A Prairie Home Companion\u003c/em>, this summer. After Keillor, whose sonorous voice and witty writing entertained millions of listeners for four decades, steps down, mandolin ace Chris Thile of the bands Punch Brothers and Nickel Creek will step in as the first full-time replacement host in October.\u003c/p>\n\u003cp>“I thought that the show should press the restart and not try to replicate what it has evolved into,” Keillor explained, “but go back to the beginning and revive itself as a music show with comedy add-ons.”\u003c/p>\n\u003cp>Some things won’t change, Keillor and Thile say. The show’s name will remain \u003cem>A Prairie Home Companion\u003c/em> (for now), its home base will stay at the 1,000-seat, elegantly restored Fitzgerald Theater in downtown St. Paul, and the live show will keep its two-hour Saturday evening time slot. Keillor says he will remain as executive producer and “a remote, benevolent gray eminence who phones in his thoughts every so often.”\u003c/p>\n\u003cp>“Garrison created a template that I think is immortal,” an effervescent Thile said during a recent interview on the Fitzgerald stage. “It doesn’t feel like any kind of constraint. It’s like a license. I feel like I have my license to go and make some good radio.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But if the shows Thile guest-hosted in January and February are any indication, listeners can expect a hipper batch of musical performers. Singer-songwriter Ben Folds, alt-country singer Brandi Carlile, multi-instrumentalist and whistler Andrew Bird and Paul Simon — perhaps the biggest musical name to ever perform on “Prairie Home” — were among the guests. Thile just had to pick up the phone and see if Simon was available.\u003c/p>\n\u003cp>Keillor praises Thile’s musical connections as well as his respect for old-time bluegrass music.\u003c/p>\n\u003cp>“It seems to me if anybody was meant to host and produce a musical variety show that has real intensity and integrity, it’s him,” Keillor said in a telephone interview.\u003c/p>\n\u003cp>At 35, Thile is three years older than when Keillor, now 73, started the show in 1974. The sandy-haired singer gushes when talking about succeeding Keillor.\u003c/p>\n\u003cp>“The prospect of getting to make things for people on a weekly basis … is beyond compare. It’s what I love to do,” said Thile, who began listening to “Prairie Home” as a boy. Thile was 15 when he made his first appearance on the show in 1996 and has made a dozen or more visits since then.\u003c/p>\n\u003cp>Instead of Keillor’s weekly monologue about Norwegian bachelor farmers and other residents of his fictional hometown of Lake Wobegon, Thile plans to write a new song every week that may take into account who is on the show. “Prairie Home” pianist and composer Richard Dworsky will remain, and Thile plans to bring back regular performers Tim Russell, Sue Scott and sound-effects guy Fred Newman but perhaps pair them with guest actors or comedians.\u003c/p>\n\u003cp>“Prairie Home” undoubtedly will lose its Minnesota worldview with Anoka native Keillor gone. Thile was born in San Diego, grew up in Idyllwild in the San Jacinto mountains of Southern California and has lived in Kentucky; Nashville, Tennessee; San Francisco and New York. He now lives in Portland, Oregon, with his wife, actress Claire Coffee of the TV show \u003cem>Grimm\u003c/em>, and their young son. Thile plans to stay in Portland, where \u003cem>Grimm\u003c/em> is filmed, and commute for “Prairie Home.”\u003c/p>\n\u003cp>Thile said the new “Prairie Home” will reflect “the increasingly diffuse experience that most people have.”\u003c/p>\n\u003cp>Keillor will tape his final “Prairie Home” on July 1 at the Hollywood Bowl for broadcast the following day in its regular time slot. Thile makes his debut as replacement host Oct. 15 at the Fitzgerald. A 13-show season is planned at first, about half a normal 26-show run.\u003c/p>\n\u003cp>A big part of the show’s revenue comes from stations that pay to carry it. Bill Thomas, director of radio for Prairie Public Broadcasting in North Dakota, said he plans to sign up for the new season to give Thile a chance.\u003c/p>\n\u003cp>“I suspect a lot of people will say they don’t like it, it’s not Garrison Keillor,” Thomas said. “Of course it won’t be. We’ll just have to see.”\u003c/p>\n\u003cp>Both Thile and Keillor say public radio stations need to rally around the new show. “Prairie Home” has a weekly audience of more than 3.5 million listeners on 700 public radio stations in the U.S. When Keillor originally tried to retire in 1987, a substitute show, \u003cem>Good Evening\u003c/em>, hosted by Noah Adams of public radio’s \u003cem>All Things Considered\u003c/em>, lasted just a year.\u003c/p>\n\u003cp>“I think (“Prairie Home”) needs to be handed off to somebody and not just go into rerun purgatory,” Keillor said. “I really think this guy (Thile) brings something to public radio that public radio needs.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>No more Guy Noir, Private Eye. No more tales of Dusty and Lefty, the luckless cowboys. And no more weekly “News From Lake Wobegon,” the imaginary Minnesota town famous for strong women, good-looking men and above-average children.\u003c/p>\n\u003cp>Those signature comedy sketches will vanish from the airwaves when humorist and best-selling author Garrison Keillor retires as host of his popular public radio show, \u003cem>A Prairie Home Companion\u003c/em>, this summer. After Keillor, whose sonorous voice and witty writing entertained millions of listeners for four decades, steps down, mandolin ace Chris Thile of the bands Punch Brothers and Nickel Creek will step in as the first full-time replacement host in October.\u003c/p>\n\u003cp>“I thought that the show should press the restart and not try to replicate what it has evolved into,” Keillor explained, “but go back to the beginning and revive itself as a music show with comedy add-ons.”\u003c/p>\n\u003cp>Some things won’t change, Keillor and Thile say. The show’s name will remain \u003cem>A Prairie Home Companion\u003c/em> (for now), its home base will stay at the 1,000-seat, elegantly restored Fitzgerald Theater in downtown St. Paul, and the live show will keep its two-hour Saturday evening time slot. Keillor says he will remain as executive producer and “a remote, benevolent gray eminence who phones in his thoughts every so often.”\u003c/p>\n\u003cp>“Garrison created a template that I think is immortal,” an effervescent Thile said during a recent interview on the Fitzgerald stage. “It doesn’t feel like any kind of constraint. It’s like a license. I feel like I have my license to go and make some good radio.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But if the shows Thile guest-hosted in January and February are any indication, listeners can expect a hipper batch of musical performers. Singer-songwriter Ben Folds, alt-country singer Brandi Carlile, multi-instrumentalist and whistler Andrew Bird and Paul Simon — perhaps the biggest musical name to ever perform on “Prairie Home” — were among the guests. Thile just had to pick up the phone and see if Simon was available.\u003c/p>\n\u003cp>Keillor praises Thile’s musical connections as well as his respect for old-time bluegrass music.\u003c/p>\n\u003cp>“It seems to me if anybody was meant to host and produce a musical variety show that has real intensity and integrity, it’s him,” Keillor said in a telephone interview.\u003c/p>\n\u003cp>At 35, Thile is three years older than when Keillor, now 73, started the show in 1974. The sandy-haired singer gushes when talking about succeeding Keillor.\u003c/p>\n\u003cp>“The prospect of getting to make things for people on a weekly basis … is beyond compare. It’s what I love to do,” said Thile, who began listening to “Prairie Home” as a boy. Thile was 15 when he made his first appearance on the show in 1996 and has made a dozen or more visits since then.\u003c/p>\n\u003cp>Instead of Keillor’s weekly monologue about Norwegian bachelor farmers and other residents of his fictional hometown of Lake Wobegon, Thile plans to write a new song every week that may take into account who is on the show. “Prairie Home” pianist and composer Richard Dworsky will remain, and Thile plans to bring back regular performers Tim Russell, Sue Scott and sound-effects guy Fred Newman but perhaps pair them with guest actors or comedians.\u003c/p>\n\u003cp>“Prairie Home” undoubtedly will lose its Minnesota worldview with Anoka native Keillor gone. Thile was born in San Diego, grew up in Idyllwild in the San Jacinto mountains of Southern California and has lived in Kentucky; Nashville, Tennessee; San Francisco and New York. He now lives in Portland, Oregon, with his wife, actress Claire Coffee of the TV show \u003cem>Grimm\u003c/em>, and their young son. Thile plans to stay in Portland, where \u003cem>Grimm\u003c/em> is filmed, and commute for “Prairie Home.”\u003c/p>\n\u003cp>Thile said the new “Prairie Home” will reflect “the increasingly diffuse experience that most people have.”\u003c/p>\n\u003cp>Keillor will tape his final “Prairie Home” on July 1 at the Hollywood Bowl for broadcast the following day in its regular time slot. Thile makes his debut as replacement host Oct. 15 at the Fitzgerald. A 13-show season is planned at first, about half a normal 26-show run.\u003c/p>\n\u003cp>A big part of the show’s revenue comes from stations that pay to carry it. Bill Thomas, director of radio for Prairie Public Broadcasting in North Dakota, said he plans to sign up for the new season to give Thile a chance.\u003c/p>\n\u003cp>“I suspect a lot of people will say they don’t like it, it’s not Garrison Keillor,” Thomas said. “Of course it won’t be. We’ll just have to see.”\u003c/p>\n\u003cp>Both Thile and Keillor say public radio stations need to rally around the new show. “Prairie Home” has a weekly audience of more than 3.5 million listeners on 700 public radio stations in the U.S. When Keillor originally tried to retire in 1987, a substitute show, \u003cem>Good Evening\u003c/em>, hosted by Noah Adams of public radio’s \u003cem>All Things Considered\u003c/em>, lasted just a year.\u003c/p>\n\u003cp>“I think (“Prairie Home”) needs to be handed off to somebody and not just go into rerun purgatory,” Keillor said. “I really think this guy (Thile) brings something to public radio that public radio needs.”\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/04/TDL20160408.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>https://www.youtube.com/watch?v=V1MOH_o7_fE&nohtml5=False\u003c/p>\n\u003cp>\u003cstrong>April 8 & 9:\u003c/strong> Both David and I are a little embarassed to say we both love John Van der Putt, a London born comic and magician, who was a finalist on America’s Got Talent in 2015. His thing is that he wears a really dopey dragon suit, and works under the name Piff the Magic Dragon, with a sidekick — a chihuahua in a matching dragon costume. That’s the embarrassing part. But he has a dry wit and does mind-boggling closeup magic as good as anything Ricky Jay — \u003ca href=\"http://www.pbs.org/wnet/americanmasters/ricky-jay-about-deceptive-practice/3577/\" target=\"_blank\" rel=\"noopener\">an American Master\u003c/a> — has done . It’s also worth checking out his early routines in the British troupe \u003ca href=\"https://vimeo.com/14915804\" target=\"_blank\" rel=\"noopener\">standnotamazed.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11473904\" class=\"wp-caption aligncenter\" style=\"max-width: 387px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11473904\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/db50ce_7614ed8677274151a59968deaffb4676-e1460076647368.png\" alt=\"Ensemble Alcatraz\" width=\"387\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Ensemble Alcatraz \u003ccite>(Photo: Courtesy of Ensemble Alcatraz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>April 9:\u003c/strong> Ensemble Alcatraz is reuniting. This quintet of medieval music specialists named for the San Francisco Bay Island and the albatross of Iberian folklore was born in the early ’80s, and helped make the Bay Area a center for scholarship in early music. Oh, and they play and sing beautifully. This concert will draw on two sources from the medieval Iberian peninsula: \u003cem>The Cantigas de Santa Maria of Alfonso El Sabio\u003c/em> and \u003cem>The Cantigas de Amigo\u003c/em>. They’re basically folk songs from the troubadour traditions of Iberia about an erotic relationship with the divine, among other things. Harpist Cheryl Ann Fulton says the acoustics are exceptional at the space used for the always wonderful \u003ca href=\"http://liveatmissionblue.com/\" target=\"_blank\" rel=\"noopener\">Live at Mission Blue Series \u003c/a>in Brisbane. Details \u003ca href=\"http://liveatmissionblue.com/alcatraz/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cp>[vimeo 109534009 w=640&h=360]\u003c/p>\n\u003c/aside>\n\u003cp>\u003cstrong>April 14-23:\u003c/strong> Benoît Charest wrote the “gypsy jazz” score for the \u003cem>Triplets of Belleville\u003c/em>, a French animated film that was a pretty big hit back in 2003 — as much for the music as the wacky story, about an elderly woman rescuing her Tour de France riding grandson from the French Mafia. Now Charest will lead what he calls Le Terrible Orchestre de Belleville in a performance of the music at the SF Opera Lab with live sound effects as the film plays. A bicycle wheel apparently plays an important role in the music, so all you Bay Area bicycle commuters should make time for the show. Details \u003ca href=\"http://sfopera.com/sfoperalab/season-one/triplets/#!\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11473908\" class=\"wp-caption aligncenter\" style=\"max-width: 377px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-11473908\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/The-anti-Saccharrites.jpg\" alt=\"The Anti-Saccharrites by James Gillray\" width=\"377\" height=\"285\">\u003cfigcaption class=\"wp-caption-text\">The Anti-Saccharrites by James Gillray \u003ccite>(Photo: Courtesy The Cantor Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through August 15:\u003c/strong> \u003cem>Blood in the Sugar Bowl\u003c/em> is a show at the Cantor Museum about the about the racial politics of sugar in the 17th and 18th centuries. Sugar cane fields in the Caribbean were worked by slaves; a part of the rum, sugar and slave trade that built the New England economy. Graduate students at Stanford put this show together with materials from the Cantor’s collection, including drawings, paintings, and sugar bowls that may never look quite as elegant once you read the story of how the sugar got there. Details for this free show at the Cantor on the Stanford Univ. campus are \u003ca href=\"https://museum.stanford.edu/view/exhibition_sched_new.html\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=youCXyaSlNQ\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 10:\u003c/strong> \u003cem>Shadowland\u003c/em> is the third installment in a rock-opera trilogy of sorts, by\u003ca href=\"https://www.facebook.com/TheOfficialResidents/\" target=\"_blank\" rel=\"noopener\"> the Residents\u003c/a>, that trio of anonymous avant-garde performers who defy all categories. This final installment of the \u003cem>Randy, Chuck & Bob Trilogy\u003c/em> is about birth and reincarnation, but over its 40 years together The Residents and their music have always defied labels easy or complex. A screening of a documentary about The Residents, \u003cem>The Theory of Obscurity,\u003c/em> precedes the concert at the Regency Ballroom in San Francisco, which you’ll details on \u003ca href=\"http://www.theregencyballroom.com/events/detail/306214\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n",
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"excerpt": "A pithy magician who dresses like a dragon, an art show about the dark side of sugar and an animated film score make up this week's Do List.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/04/TDL20160408.mp3\u003cbr>\n\u003c/p>\u003c/aside>\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/V1MOH_o7_fE'\n title='//www.youtube.com/embed/V1MOH_o7_fE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>April 8 & 9:\u003c/strong> Both David and I are a little embarassed to say we both love John Van der Putt, a London born comic and magician, who was a finalist on America’s Got Talent in 2015. His thing is that he wears a really dopey dragon suit, and works under the name Piff the Magic Dragon, with a sidekick — a chihuahua in a matching dragon costume. That’s the embarrassing part. But he has a dry wit and does mind-boggling closeup magic as good as anything Ricky Jay — \u003ca href=\"http://www.pbs.org/wnet/americanmasters/ricky-jay-about-deceptive-practice/3577/\" target=\"_blank\" rel=\"noopener\">an American Master\u003c/a> — has done . It’s also worth checking out his early routines in the British troupe \u003ca href=\"https://vimeo.com/14915804\" target=\"_blank\" rel=\"noopener\">standnotamazed.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11473904\" class=\"wp-caption aligncenter\" style=\"max-width: 387px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11473904\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/db50ce_7614ed8677274151a59968deaffb4676-e1460076647368.png\" alt=\"Ensemble Alcatraz\" width=\"387\" height=\"300\">\u003cfigcaption class=\"wp-caption-text\">Ensemble Alcatraz \u003ccite>(Photo: Courtesy of Ensemble Alcatraz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>April 9:\u003c/strong> Ensemble Alcatraz is reuniting. This quintet of medieval music specialists named for the San Francisco Bay Island and the albatross of Iberian folklore was born in the early ’80s, and helped make the Bay Area a center for scholarship in early music. Oh, and they play and sing beautifully. This concert will draw on two sources from the medieval Iberian peninsula: \u003cem>The Cantigas de Santa Maria of Alfonso El Sabio\u003c/em> and \u003cem>The Cantigas de Amigo\u003c/em>. They’re basically folk songs from the troubadour traditions of Iberia about an erotic relationship with the divine, among other things. Harpist Cheryl Ann Fulton says the acoustics are exceptional at the space used for the always wonderful \u003ca href=\"http://liveatmissionblue.com/\" target=\"_blank\" rel=\"noopener\">Live at Mission Blue Series \u003c/a>in Brisbane. Details \u003ca href=\"http://liveatmissionblue.com/alcatraz/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/aside>\n\u003cp>\u003cstrong>April 14-23:\u003c/strong> Benoît Charest wrote the “gypsy jazz” score for the \u003cem>Triplets of Belleville\u003c/em>, a French animated film that was a pretty big hit back in 2003 — as much for the music as the wacky story, about an elderly woman rescuing her Tour de France riding grandson from the French Mafia. Now Charest will lead what he calls Le Terrible Orchestre de Belleville in a performance of the music at the SF Opera Lab with live sound effects as the film plays. A bicycle wheel apparently plays an important role in the music, so all you Bay Area bicycle commuters should make time for the show. Details \u003ca href=\"http://sfopera.com/sfoperalab/season-one/triplets/#!\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11473908\" class=\"wp-caption aligncenter\" style=\"max-width: 377px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-11473908\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/The-anti-Saccharrites.jpg\" alt=\"The Anti-Saccharrites by James Gillray\" width=\"377\" height=\"285\">\u003cfigcaption class=\"wp-caption-text\">The Anti-Saccharrites by James Gillray \u003ccite>(Photo: Courtesy The Cantor Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through August 15:\u003c/strong> \u003cem>Blood in the Sugar Bowl\u003c/em> is a show at the Cantor Museum about the about the racial politics of sugar in the 17th and 18th centuries. Sugar cane fields in the Caribbean were worked by slaves; a part of the rum, sugar and slave trade that built the New England economy. Graduate students at Stanford put this show together with materials from the Cantor’s collection, including drawings, paintings, and sugar bowls that may never look quite as elegant once you read the story of how the sugar got there. Details for this free show at the Cantor on the Stanford Univ. campus are \u003ca href=\"https://museum.stanford.edu/view/exhibition_sched_new.html\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Anyone who reads this blog with any regularity or has spent more than four minutes with me knows that I love \u003cem>Gilmore Girls\u003c/em> to an unhealthy degree. The kind of love that inspired me to travel nearly two thousand miles to witness \u003ca href=\"http://ww2.kqed.org/pop/2015/06/08/gilmore-girls-everything-you-missed-at-the-atx-festival-reunion/\" target=\"_blank\">the cast reunion at the ATX festival\u003c/a>, the kind of passion that led me to \u003ca href=\"https://www.instagram.com/p/T9S80CqL_n/?taken-by=excusemybeauty\" target=\"_blank\">craft a shrinky-dink necklace of Lorelai and Rory's faces\u003c/a>, \u003ca href=\"http://ww2.kqed.org/pop/2014/10/01/gilmore-girls-netflix-10-best-episodes-binge-watch-marathon/\" target=\"_blank\">rank the top 10 episodes\u003c/a>, \u003ca href=\"https://www.instagram.com/p/6ob3zDKL3h/?taken-by=excusemybeauty\" target=\"_blank\">make a pilgrimage to the set\u003c/a> in LA, and empathically \u003ca href=\"http://ww2.kqed.org/pop/2015/05/29/gilmore-girls-what-we-need-from-the-rumored-new-season-or-movie/\" target=\"_blank\">declare what should and shouldn’t happen\u003c/a> in\u003ca href=\"http://ww2.kqed.org/pop/2015/05/29/gilmore-girls-what-we-need-from-the-rumored-new-season-or-movie/\" target=\"_blank\"> \u003c/a>the revival. So that primal scream you heard an hour ago was me reacting to \u003cem>Entertainment Weekly\u003c/em> unveiling the first official photos from said revival. It’s my duty to overanalyze them. Let me find my magnifying glass.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/giphy-9.gif\" rel=\"attachment wp-att-19772\">\u003cimg class=\"aligncenter size-full wp-image-19772\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/giphy-9.gif\" alt=\"latoya magnifying glass\" width=\"320\" height=\"180\">\u003c/a>\u003c/p>\n\u003cp style=\"text-align: center\">Found it! Let’s give these pics a look.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/rew-cvr-1410gg.jpg\" rel=\"attachment wp-att-21995\">\u003cimg class=\"aligncenter size-full wp-image-21995\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/rew-cvr-1410gg.jpg\" alt=\"rew-cvr-1410gg\" width=\"612\" height=\"816\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/rew-cvr-1410gg.jpg 612w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/rew-cvr-1410gg-400x533.jpg 400w\" sizes=\"(max-width: 612px) 100vw, 612px\">\u003c/a>\u003c/p>\n\u003cp>Aww! Our girls haven't changed one bit! They still love coffee and each other. And I'm assuming they still do all their scenes without actual coffee in their cups, much like in this photo.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/3.jpeg\" rel=\"attachment wp-att-21997\">\u003cimg class=\"aligncenter size-full wp-image-21997\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/3.jpeg\" alt=\"3\" width=\"459\" height=\"612\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/3.jpeg 459w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/3-400x533.jpeg 400w\" sizes=\"(max-width: 459px) 100vw, 459px\">\u003c/a>\u003c/p>\n\u003cp>Now we're talking! Real coffee! Did Lorelai reupholster the lumpy living room couch? Emily is going to hate this even more than the last one.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/1.jpg\" rel=\"attachment wp-att-21999\">\u003cimg class=\"aligncenter size-full wp-image-21999\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/1.jpg\" alt=\"1\" width=\"612\" height=\"459\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/1.jpg 612w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/1-400x300.jpg 400w\" sizes=\"(max-width: 612px) 100vw, 612px\">\u003c/a>\u003c/p>\n\u003cp>OMG. Chez Gilmore got a fresh coat of paint! Maybe Kirk created a house painting business for a day before moving on to yet another profession? Would Luke Danes deign (see what I did there?) to live in a robin's egg-colored house? Does this mean they never really got back together?!?\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/6.jpeg\" rel=\"attachment wp-att-22002\">\u003cimg class=\"aligncenter size-full wp-image-22002\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/6.jpeg\" alt=\"6\" width=\"612\" height=\"459\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/6.jpeg 612w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/6-400x300.jpeg 400w\" sizes=\"(max-width: 612px) 100vw, 612px\">\u003c/a>\u003c/p>\n\u003cp>PHEW!!! Look at that sexual hand-holding! In the words of Beyonce, \u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/12/tumblr_ml252mhGRm1qedlsro1_250.gif\" target=\"_blank\">god is real\u003c/a>. Luke's wardrobe is unchanged, as we knew it would be. Lorelai seems more stylish. Maybe she's finally raking in enough cash money from the Dragonfly to chuck the bedazzled-butt sweats and spring for more cute, flirty print dresses. Good things happen to good people. She deserves all the nice things in the world because she raised Rory all on her own (thanks for nothing, Christopher!) and is such a loyal friend and...*voice cracks* *cries quietly for a long time while Googling pictures of Lauren Graham*\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/img_6966.jpg\" rel=\"attachment wp-att-21994\">\u003cimg class=\"aligncenter size-full wp-image-21994\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/img_6966.jpg\" alt=\"img_6966\" width=\"1254\" height=\"705\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/img_6966.jpg 1254w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/img_6966-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/img_6966-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/img_6966-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/img_6966-1180x663.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/img_6966-960x540.jpg 960w\" sizes=\"(max-width: 1254px) 100vw, 1254px\">\u003c/a>\u003c/p>\n\u003cp>Okay, there is a lot to unpack here.\u003c/p>\n\u003cp>1. Get it, Miss Patty! Love the hair.\u003c/p>\n\u003cp>2. Hi, Babette! I hope Maury still plays piano for you and carries you around.\u003c/p>\n\u003cp>3. Stars Hollow is staging a musical because it was only a matter of time. Is it beach themed or did Lorelai and Rory move to Venice Beach to hang out with Jess' deadbeat dad?\u003c/p>\n\u003cp>4. Look! One of Lane's twins! He's holding a beach chair, so I guess the beach theme is real. OR! All the disappointments in Lane's life (her mentally abusive mother, her absent father, her layabout baby daddy, Dave Rygalski just leaving for \u003cem>The OC\u003c/em> in the midst of their hot and heavy love affair, the fact that she only had sex once and hated it \u003cem>and\u003c/em> got knocked up in the process, the fact that her \"best friend\" only hangs out with her when she has something to complain about, etc. etc. etc.) catch up with her, sending her into a deep spiral that leaves her unable to care for both twins so she gives one to Rory and he joins her and Lorelai in their move to Venice Beach.\u003c/p>\n\u003cp>What? I have a vivid imagination and stranger things have happened on this show (*cough*Luke's secret daughter*cough*).\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/7.jpeg\" rel=\"attachment wp-att-22003\">\u003cimg class=\"aligncenter size-full wp-image-22003\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/7.jpeg\" alt=\"7\" width=\"612\" height=\"459\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/7.jpeg 612w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/7-400x300.jpeg 400w\" sizes=\"(max-width: 612px) 100vw, 612px\">\u003c/a>\u003c/p>\n\u003cp>What. A. Boss. Still suffers zero fools. Still lives in the same mansion, if that staircase is any indication. In light of the passing of Edward Herrmann, we know Emily will be single and mingling. I hope the D.A.R. holds a \u003cem>Bachelorette\u003c/em>-themed event, where Emily judges and scorns 20 eligible men, only to keep the final rose for herself. I'd also be open to her running for the Senate and eviscerating crooked politicos. Oh, who am I kidding, she could literally just sit in that chair for all four mini-movies and I would be like yaaaassss.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/image003.jpg\" rel=\"attachment wp-att-21996\">\u003cbr>\n\u003c/a> \u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/5.jpeg\" rel=\"attachment wp-att-22001\">\u003cimg class=\"aligncenter size-full wp-image-22001\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/5.jpeg\" alt=\"5\" width=\"612\" height=\"459\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/5.jpeg 612w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/5-400x300.jpeg 400w\" sizes=\"(max-width: 612px) 100vw, 612px\">\u003c/a>\u003c/p>\n\u003cp>So Rory didn't morph into Christiane Amanpour, like she had hoped, but teaching or guest lecturing at her high school alma mater, Chilton, works too. Based on the irregular handwriting on the chalkboard (which is odd because we all know Rory's handwriting is immaculate), she's schooling these kids on \u003cem>Jane Eyre\u003c/em>. Here's hoping she finds a way to incorporate an anecdote about how, one time, this really hot guy stole her book and wrote in the margins and charmed her into dumping her nice, but kind of dumb and super controlling boyfriend for a whirlwind year of dating that left her with a fractured wrist and a broken heart.\u003c/p>\n\u003cp>That's when Jess will show up really frantic, like he did at her dorm that one time, and profess his love again, but, unlike last time, Rory is down and they reclaim their title as the hottest couple in modern history. Make it so, Amy Sherman-Palladino! Also, I hope Paris poisoned the headmaster and has assumed his position at Chilton. And I hope that Madeline and Louise are the Sex-Ed teachers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Alright, this magnifying glass is starting to hurt my eye so that's all for now. There's unfortunately no official word on when we'll get to actually watch \u003cem>Gilmore Girls: Seasons\u003c/em>, but that just leaves us with plenty of time to trade predictions in the comments below! Have at it!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Anyone who reads this blog with any regularity or has spent more than four minutes with me knows that I love \u003cem>Gilmore Girls\u003c/em> to an unhealthy degree. The kind of love that inspired me to travel nearly two thousand miles to witness \u003ca href=\"http://ww2.kqed.org/pop/2015/06/08/gilmore-girls-everything-you-missed-at-the-atx-festival-reunion/\" target=\"_blank\">the cast reunion at the ATX festival\u003c/a>, the kind of passion that led me to \u003ca href=\"https://www.instagram.com/p/T9S80CqL_n/?taken-by=excusemybeauty\" target=\"_blank\">craft a shrinky-dink necklace of Lorelai and Rory's faces\u003c/a>, \u003ca href=\"http://ww2.kqed.org/pop/2014/10/01/gilmore-girls-netflix-10-best-episodes-binge-watch-marathon/\" target=\"_blank\">rank the top 10 episodes\u003c/a>, \u003ca href=\"https://www.instagram.com/p/6ob3zDKL3h/?taken-by=excusemybeauty\" target=\"_blank\">make a pilgrimage to the set\u003c/a> in LA, and empathically \u003ca href=\"http://ww2.kqed.org/pop/2015/05/29/gilmore-girls-what-we-need-from-the-rumored-new-season-or-movie/\" target=\"_blank\">declare what should and shouldn’t happen\u003c/a> in\u003ca href=\"http://ww2.kqed.org/pop/2015/05/29/gilmore-girls-what-we-need-from-the-rumored-new-season-or-movie/\" target=\"_blank\"> \u003c/a>the revival. So that primal scream you heard an hour ago was me reacting to \u003cem>Entertainment Weekly\u003c/em> unveiling the first official photos from said revival. It’s my duty to overanalyze them. Let me find my magnifying glass.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/giphy-9.gif\" rel=\"attachment wp-att-19772\">\u003cimg class=\"aligncenter size-full wp-image-19772\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/01/giphy-9.gif\" alt=\"latoya magnifying glass\" width=\"320\" height=\"180\">\u003c/a>\u003c/p>\n\u003cp style=\"text-align: center\">Found it! Let’s give these pics a look.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/rew-cvr-1410gg.jpg\" rel=\"attachment wp-att-21995\">\u003cimg class=\"aligncenter size-full wp-image-21995\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/rew-cvr-1410gg.jpg\" alt=\"rew-cvr-1410gg\" width=\"612\" height=\"816\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/rew-cvr-1410gg.jpg 612w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/rew-cvr-1410gg-400x533.jpg 400w\" sizes=\"(max-width: 612px) 100vw, 612px\">\u003c/a>\u003c/p>\n\u003cp>Aww! Our girls haven't changed one bit! They still love coffee and each other. And I'm assuming they still do all their scenes without actual coffee in their cups, much like in this photo.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/3.jpeg\" rel=\"attachment wp-att-21997\">\u003cimg class=\"aligncenter size-full wp-image-21997\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/3.jpeg\" alt=\"3\" width=\"459\" height=\"612\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/3.jpeg 459w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/3-400x533.jpeg 400w\" sizes=\"(max-width: 459px) 100vw, 459px\">\u003c/a>\u003c/p>\n\u003cp>Now we're talking! Real coffee! Did Lorelai reupholster the lumpy living room couch? Emily is going to hate this even more than the last one.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/1.jpg\" rel=\"attachment wp-att-21999\">\u003cimg class=\"aligncenter size-full wp-image-21999\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/1.jpg\" alt=\"1\" width=\"612\" height=\"459\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/1.jpg 612w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/1-400x300.jpg 400w\" sizes=\"(max-width: 612px) 100vw, 612px\">\u003c/a>\u003c/p>\n\u003cp>OMG. Chez Gilmore got a fresh coat of paint! Maybe Kirk created a house painting business for a day before moving on to yet another profession? Would Luke Danes deign (see what I did there?) to live in a robin's egg-colored house? Does this mean they never really got back together?!?\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/6.jpeg\" rel=\"attachment wp-att-22002\">\u003cimg class=\"aligncenter size-full wp-image-22002\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/6.jpeg\" alt=\"6\" width=\"612\" height=\"459\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/6.jpeg 612w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/6-400x300.jpeg 400w\" sizes=\"(max-width: 612px) 100vw, 612px\">\u003c/a>\u003c/p>\n\u003cp>PHEW!!! Look at that sexual hand-holding! In the words of Beyonce, \u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2013/12/tumblr_ml252mhGRm1qedlsro1_250.gif\" target=\"_blank\">god is real\u003c/a>. Luke's wardrobe is unchanged, as we knew it would be. Lorelai seems more stylish. Maybe she's finally raking in enough cash money from the Dragonfly to chuck the bedazzled-butt sweats and spring for more cute, flirty print dresses. Good things happen to good people. She deserves all the nice things in the world because she raised Rory all on her own (thanks for nothing, Christopher!) and is such a loyal friend and...*voice cracks* *cries quietly for a long time while Googling pictures of Lauren Graham*\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/img_6966.jpg\" rel=\"attachment wp-att-21994\">\u003cimg class=\"aligncenter size-full wp-image-21994\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/img_6966.jpg\" alt=\"img_6966\" width=\"1254\" height=\"705\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/img_6966.jpg 1254w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/img_6966-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/img_6966-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/img_6966-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/img_6966-1180x663.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/img_6966-960x540.jpg 960w\" sizes=\"(max-width: 1254px) 100vw, 1254px\">\u003c/a>\u003c/p>\n\u003cp>Okay, there is a lot to unpack here.\u003c/p>\n\u003cp>1. Get it, Miss Patty! Love the hair.\u003c/p>\n\u003cp>2. Hi, Babette! I hope Maury still plays piano for you and carries you around.\u003c/p>\n\u003cp>3. Stars Hollow is staging a musical because it was only a matter of time. Is it beach themed or did Lorelai and Rory move to Venice Beach to hang out with Jess' deadbeat dad?\u003c/p>\n\u003cp>4. Look! One of Lane's twins! He's holding a beach chair, so I guess the beach theme is real. OR! All the disappointments in Lane's life (her mentally abusive mother, her absent father, her layabout baby daddy, Dave Rygalski just leaving for \u003cem>The OC\u003c/em> in the midst of their hot and heavy love affair, the fact that she only had sex once and hated it \u003cem>and\u003c/em> got knocked up in the process, the fact that her \"best friend\" only hangs out with her when she has something to complain about, etc. etc. etc.) catch up with her, sending her into a deep spiral that leaves her unable to care for both twins so she gives one to Rory and he joins her and Lorelai in their move to Venice Beach.\u003c/p>\n\u003cp>What? I have a vivid imagination and stranger things have happened on this show (*cough*Luke's secret daughter*cough*).\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/7.jpeg\" rel=\"attachment wp-att-22003\">\u003cimg class=\"aligncenter size-full wp-image-22003\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/7.jpeg\" alt=\"7\" width=\"612\" height=\"459\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/7.jpeg 612w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/7-400x300.jpeg 400w\" sizes=\"(max-width: 612px) 100vw, 612px\">\u003c/a>\u003c/p>\n\u003cp>What. A. Boss. Still suffers zero fools. Still lives in the same mansion, if that staircase is any indication. In light of the passing of Edward Herrmann, we know Emily will be single and mingling. I hope the D.A.R. holds a \u003cem>Bachelorette\u003c/em>-themed event, where Emily judges and scorns 20 eligible men, only to keep the final rose for herself. I'd also be open to her running for the Senate and eviscerating crooked politicos. Oh, who am I kidding, she could literally just sit in that chair for all four mini-movies and I would be like yaaaassss.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/image003.jpg\" rel=\"attachment wp-att-21996\">\u003cbr>\n\u003c/a> \u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/5.jpeg\" rel=\"attachment wp-att-22001\">\u003cimg class=\"aligncenter size-full wp-image-22001\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/5.jpeg\" alt=\"5\" width=\"612\" height=\"459\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/5.jpeg 612w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/5-400x300.jpeg 400w\" sizes=\"(max-width: 612px) 100vw, 612px\">\u003c/a>\u003c/p>\n\u003cp>So Rory didn't morph into Christiane Amanpour, like she had hoped, but teaching or guest lecturing at her high school alma mater, Chilton, works too. Based on the irregular handwriting on the chalkboard (which is odd because we all know Rory's handwriting is immaculate), she's schooling these kids on \u003cem>Jane Eyre\u003c/em>. Here's hoping she finds a way to incorporate an anecdote about how, one time, this really hot guy stole her book and wrote in the margins and charmed her into dumping her nice, but kind of dumb and super controlling boyfriend for a whirlwind year of dating that left her with a fractured wrist and a broken heart.\u003c/p>\n\u003cp>That's when Jess will show up really frantic, like he did at her dorm that one time, and profess his love again, but, unlike last time, Rory is down and they reclaim their title as the hottest couple in modern history. Make it so, Amy Sherman-Palladino! Also, I hope Paris poisoned the headmaster and has assumed his position at Chilton. And I hope that Madeline and Louise are the Sex-Ed teachers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Alright, this magnifying glass is starting to hurt my eye so that's all for now. There's unfortunately no official word on when we'll get to actually watch \u003cem>Gilmore Girls: Seasons\u003c/em>, but that just leaves us with plenty of time to trade predictions in the comments below! Have at it!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "VIDEO: Sneak Peek at Jay Z & Beyonce Collaborator's Puppet Show, More",
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"content": "\u003cp>\u003cb>Now through Saturday, Apr. 23: \u003cem>\u003ca href=\"http://zspace.org/new-work/house-tour\" target=\"_blank\" rel=\"noopener\">A House Tour of the Infamous Porter Family Mansion with Tour Guide Ludlow Londonderry\u003c/a> at \u003c/em>\u003c/b>\u003cstrong>Z Space, San Francisco\u003c/strong>\u003cbr>\nThe world premiere of a surreal, interactive comedy by national award-winning San Francisco playwright Peter Sinn Nachtrieb inspired in part by tours of kitsch historic mansions like Hearst Castle and the Winchester Mystery House. Stars Danny Scheie in a role written specifically for the Bay Area veteran actor.\u003c/p>\n\u003cp>\u003cstrong>Also at Z Space, Wednesday, Apr. 6 – Tuesday, Apr. 12: \u003cem>\u003ca href=\"http://zspace.org/new-work/birdheart\" target=\"_blank\" rel=\"noopener\">Birdheart\u003c/a>\u003c/em>\u003c/strong>\u003cbr>\nMaster puppeteer Julian Crouch \u003cspan style=\"font-weight: 400\">(who did the \u003c/span>\u003cspan style=\"font-weight: 400\">Tony-nominated scenic design for \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Hedwig and the Angry Inch\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">)\u003c/span>\u003cspan style=\"font-weight: 400\"> and Lascivious Biddies rock band member, SF native, and Jay Z/Beyonce collaborator Saskia Lane join forces for a \u003c/span>\u003cspan style=\"font-weight: 400\">quirky table-top puppet show that weaves a beautiful story \u003c/span>\u003cspan style=\"font-weight: 400\">from ordinary things: crumpled brown paper, found objects, shadows and a mound of sand.\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ESHFuipJsUM\u003c/p>\n\u003cp>\u003cb>Now through Sunday, Apr. 10: Capacitor presents \u003cem>\u003ca href=\"http://www.capacitor.org/when-we-were-small/\" target=\"_blank\" rel=\"noopener\">When We Were Small\u003c/a>\u003c/em>\u003c/b> \u003cstrong>at\u003c/strong> \u003cb>Fort Mason Center for Arts & Culture, San Francisco\u003cbr>\n\u003c/b>The Bay Area-based performing arts company presents a new show at the intersection of dance and circus arts looking at what it’s like to experience the world when you’re two years old.\u003c/p>\n\u003cp>\u003cb>Now through Saturday,\u003c/b>\u003cb> Dec. 31: History San Jose presents \u003cem>\u003ca href=\"http://historysanjose.org/wp/event/tattooed-tenacious-inked-women-in-californias-history-exhibit/\" target=\"_blank\" rel=\"noopener\">Tattooed & Tenacious: Inked Women in California’s History\u003c/a> \u003c/em>\u003c/b>\u003cb>at the Pasetta House, History Park, San Jose\u003cbr>\n\u003c/b>A quirky and fascinating exhibition of photos, art work and artifacts relating to the little-known culture of female tattoo wearers and artists in the Golden State.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Saturday, Apr. 9 and Sunday, Apr. 10: Early music supergroups from England — \u003ca href=\"http://calperformances.org/performances/2015-16/early-music/tallis-scholars.php\" target=\"_blank\" rel=\"noopener\">The Tallis Scholars\u003c/a> and \u003ca href=\"http://sfems.org/?page_id=7325\" target=\"_blank\" rel=\"noopener\">Stile Antico\u003c/a>, First Congregational Church, Berkeley\u003c/strong>\u003cbr>\nBinge out on Renaissance hits over a single weekend with a pair of concerts by two of the world’s foremost early music ensembles: Cal Performances presents the august British vocal ensemble The Tallis Scholars (Apr. 9) and the San Francisco Early Music Society hosts a visit from hip, young Stile Antico, also from England (Apr. 10).\u003c/p>\n\u003cp>\u003cstrong>Tuesday, Apr. 5: \u003c/strong>\u003cb>\u003ca href=\"http://www.sfartscommission.org/event/celebration-honoring-2016-mayors-art-award-recipient-armistead-maupin/\" target=\"_blank\" rel=\"noopener\">Armistead Maupin in conversation with Jewelle Gomez\u003c/a> at Herbst Theatre, San Francisco\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">The \u003ci>Tales of the City\u003c/i>\u003c/span>\u003cspan style=\"font-weight: 400\"> author appears in conversation with writer Jewelle Gomez to celebrate his receipt of the \u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.sfartscommission.org/2016/02/mayor-lee-announces-armistead-maupin-as-recipient-of-2016-mayors-art-award/\">2016 Mayor’s Art Award\u003c/a>, \u003c/span>\u003cspan style=\"font-weight: 400\">San Francisco’s highest artistic prize. Maupin is the first author to win this accolade. The event is free.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Now through Saturday, Apr. 23: \u003cem>\u003ca href=\"http://zspace.org/new-work/house-tour\" target=\"_blank\" rel=\"noopener\">A House Tour of the Infamous Porter Family Mansion with Tour Guide Ludlow Londonderry\u003c/a> at \u003c/em>\u003c/b>\u003cstrong>Z Space, San Francisco\u003c/strong>\u003cbr>\nThe world premiere of a surreal, interactive comedy by national award-winning San Francisco playwright Peter Sinn Nachtrieb inspired in part by tours of kitsch historic mansions like Hearst Castle and the Winchester Mystery House. Stars Danny Scheie in a role written specifically for the Bay Area veteran actor.\u003c/p>\n\u003cp>\u003cstrong>Also at Z Space, Wednesday, Apr. 6 – Tuesday, Apr. 12: \u003cem>\u003ca href=\"http://zspace.org/new-work/birdheart\" target=\"_blank\" rel=\"noopener\">Birdheart\u003c/a>\u003c/em>\u003c/strong>\u003cbr>\nMaster puppeteer Julian Crouch \u003cspan style=\"font-weight: 400\">(who did the \u003c/span>\u003cspan style=\"font-weight: 400\">Tony-nominated scenic design for \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Hedwig and the Angry Inch\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">)\u003c/span>\u003cspan style=\"font-weight: 400\"> and Lascivious Biddies rock band member, SF native, and Jay Z/Beyonce collaborator Saskia Lane join forces for a \u003c/span>\u003cspan style=\"font-weight: 400\">quirky table-top puppet show that weaves a beautiful story \u003c/span>\u003cspan style=\"font-weight: 400\">from ordinary things: crumpled brown paper, found objects, shadows and a mound of sand.\u003c/span>\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/ESHFuipJsUM'\n title='//www.youtube.com/embed/ESHFuipJsUM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cb>Now through Sunday, Apr. 10: Capacitor presents \u003cem>\u003ca href=\"http://www.capacitor.org/when-we-were-small/\" target=\"_blank\" rel=\"noopener\">When We Were Small\u003c/a>\u003c/em>\u003c/b> \u003cstrong>at\u003c/strong> \u003cb>Fort Mason Center for Arts & Culture, San Francisco\u003cbr>\n\u003c/b>The Bay Area-based performing arts company presents a new show at the intersection of dance and circus arts looking at what it’s like to experience the world when you’re two years old.\u003c/p>\n\u003cp>\u003cb>Now through Saturday,\u003c/b>\u003cb> Dec. 31: History San Jose presents \u003cem>\u003ca href=\"http://historysanjose.org/wp/event/tattooed-tenacious-inked-women-in-californias-history-exhibit/\" target=\"_blank\" rel=\"noopener\">Tattooed & Tenacious: Inked Women in California’s History\u003c/a> \u003c/em>\u003c/b>\u003cb>at the Pasetta House, History Park, San Jose\u003cbr>\n\u003c/b>A quirky and fascinating exhibition of photos, art work and artifacts relating to the little-known culture of female tattoo wearers and artists in the Golden State.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Apr. 9 and Sunday, Apr. 10: Early music supergroups from England — \u003ca href=\"http://calperformances.org/performances/2015-16/early-music/tallis-scholars.php\" target=\"_blank\" rel=\"noopener\">The Tallis Scholars\u003c/a> and \u003ca href=\"http://sfems.org/?page_id=7325\" target=\"_blank\" rel=\"noopener\">Stile Antico\u003c/a>, First Congregational Church, Berkeley\u003c/strong>\u003cbr>\nBinge out on Renaissance hits over a single weekend with a pair of concerts by two of the world’s foremost early music ensembles: Cal Performances presents the august British vocal ensemble The Tallis Scholars (Apr. 9) and the San Francisco Early Music Society hosts a visit from hip, young Stile Antico, also from England (Apr. 10).\u003c/p>\n\u003cp>\u003cstrong>Tuesday, Apr. 5: \u003c/strong>\u003cb>\u003ca href=\"http://www.sfartscommission.org/event/celebration-honoring-2016-mayors-art-award-recipient-armistead-maupin/\" target=\"_blank\" rel=\"noopener\">Armistead Maupin in conversation with Jewelle Gomez\u003c/a> at Herbst Theatre, San Francisco\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">The \u003ci>Tales of the City\u003c/i>\u003c/span>\u003cspan style=\"font-weight: 400\"> author appears in conversation with writer Jewelle Gomez to celebrate his receipt of the \u003c/span>\u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.sfartscommission.org/2016/02/mayor-lee-announces-armistead-maupin-as-recipient-of-2016-mayors-art-award/\">2016 Mayor’s Art Award\u003c/a>, \u003c/span>\u003cspan style=\"font-weight: 400\">San Francisco’s highest artistic prize. Maupin is the first author to win this accolade. The event is free.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb> \u003c/b>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "3-reasons-why-louis-c-k-s-horace-and-pete-is-the-best-series-of-our-time",
"title": "3 Reasons Why Louis C.K.'s 'Horace and Pete' Might be the Best Series of Our Time",
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"content": "\u003cp>If there’s any show that can be said to symbolize our present “golden era” of TV, it’s \u003cem>\u003ca href=\"https://louisck.net/show/horace-and-pete\" target=\"_blank\" rel=\"noopener\">Horace and Pete\u003c/a>\u003c/em>, the comedian Louis C.K.’s new series set in a Brooklyn bar. C.K. unveiled the 10th and final episode this weekend. This is is an odd thing to say when you consider the fact that C.K. released the series via his website without the need of a network, and that \u003cem>Horace and Pete\u003c/em> feels more like a docudrama or an episodic piece of theater than anything I’ve ever witnessed on a small screen.\u003c/p>\n\u003cp>Nevertheless, here are three reasons why \u003cem>Horace and Pete\u003c/em> is brilliant:\u003c/p>\n\u003cp>\u003cstrong>1. It tells a story that feels old and new all at once.\u003c/strong>\u003cbr>\nI read a tongue-in-cheek elevator pitch-style description of the show in \u003ca href=\"http://www.newyorker.com/culture/culture-desk/horace-and-pete-is-louis-c-k-s-most-audacious-independent-creation-yet\" target=\"_blank\" rel=\"noopener\">The New Yorker\u003c/a> which I thought was right on the nose when it said Horace and Pete was “\u003cem>Cheers\u003c/em> meets \u003cem>The Iceman Cometh\u003c/em>.” And with its story about a group of blood relations destined to repeat their cycle of woes into perpetuity, a tragic hero who ultimately falls despite striving to do the right thing (C.K.’s role as bar co-owner Horace), and “chorus” of barflies, the series veers into the terrain of Greek tragedy.\u003c/p>\n\u003cp>Yet at the same time, the plot bubbles and spews with today’s headlines; Donald Trump’s campaign is an intermittent discussion point throughout. And it grapples in an explosive but still non-heavy-handed way with the issues of our time.\u003c/p>\n\u003cp>One of the most thoughtful scenes, for example, presents a side of transgender politics I’ve never given much thought to before: the question of whether it’s ethical for a transgender person to keep silent about their former gender identity to a person they’re sleeping with. Horace, who’s resolutely straight, has a happy one-night stand with a beautiful alcoholic. In the morning over eggs and coffee — well, Horace has coffee; his date Rhonda (played by Karen Pittman) asks for something a little stronger and her gracious host obliges — the conversation takes a left turn when Horace finds out Rhonda used to be a guy. At least, the possibility of a sex change is strongly inferred, though never explicitly stated. As non-judgmental as Horace is about people who make a habit of drinking whiskey before breakfast, he gets flustered and accusatory at the thought he’s somehow been “duped” into a “homosexual” encounter. Fascinating stuff.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=CbUMqNBO-W8\">https://www.youtube.com/watch?v=CbUMqNBO-W8\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>2. It refuses to conform to tried-and-tested formats.\u003c/strong>\u003cbr>\nThe series exists in a liminal space at the intersection of TV, theater, documentary and feature film and strikes an unusual balance between the structural and content mores of these formats. Louis C.K. has created what feels like an entirely fresh way to tell a story by carefully weaving together elements from different traditions.\u003c/p>\n\u003cp>The series has the cuts and close-ups of a TV serial. It brings in the actualities of the documentary format. And it has the epic, sweeping quality of a movie. The theatricality of the series is what interests me the most though, like C.K.’s penchant for splicing the action with long monologues. My favorite of these is a bonkers-foulmouthed explanation of the famous Biblical story of \u003cem>Sodom and Gomorrah \u003c/em>told by Kurt Metzger playing one of the bar’s regular customers.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=1wbfWfwh6HE\">https://www.youtube.com/watch?v=1wbfWfwh6HE\u003c/a>\u003c/p>\n\u003cp>There’s even an intermission to break up the longer episodes and the entire cast takes a bow at the end of the final show.\u003c/p>\n\u003cp>Oh, and even though \u003cem>Horace and Pete\u003c/em> is the work of one of the funniest comedians around today, there are few opportunities for laughter. Unless you count comedy in the sense of the great cosmic joke of which all humankind is a part. C.K. knows all about that, and with this series captures its essence in a bottle.\u003c/p>\n\u003cp>\u003cstrong>3. It features some of the most prescient writing and best performances I’ve ever seen in any format. Period.\u003c/strong>\u003cbr>\nWhat’s masterful about \u003cem>Horace and Pete\u003c/em> is the casting and the writing. It seems like the two are so closely intertwined (viz Metzger’s \u003cem>Sodom\u003c/em> monologue mentioned above, which, judging by the reactions of the other cast members in the scene, strikes me as having been partly or fully improvised) that I need to tackle them both at once.\u003c/p>\n\u003cp>The blend of standup comedians and dramatic actors is an unusual and powerful one. And each performer brings pathos, shadows and moments of levity to his or her role. I cannot speak highly enough of C.K., Steve Buscemi, and Edie Falco as the bar-owning brothers and their sister. Here we have a trio who show us plenty of fallibility and ugliness while at the same commanding our respect.\u003c/p>\n\u003cp>And how tightly wound and carefully controlled the writing feels: C.K. reveals dramatic information to us incrementally, doling out hard-to-digest news about the family’s troubled past in lean teaspoonfuls of strong medicine. Yet despite the economy of the dramaturgy, abetted by the claustrophobic indoor setting of the Brooklyn bar with its flat lighting and ugly furniture, C.K. somehow makes his drama feel airy and spacious.\u003c/p>\n\u003cp>Witness the final episode, which begins suddenly and without explanation in 1976. Here, the principal performers whom we’ve grown to know and love in the present-day setting — C. K., Buscemi, Falco — play their forebears. The scenes are without a doubt the nastiest and most suffocating of the whole series. But then we jump forward to 2016, to find Amy Sedaris, in the role of a sweetly unhinged wannabe bartender, lightening things up. When she skips over to the bar’s old jukebox and puts Simon and Garfunkel’s famous song “America,” about a journey to find meaning in a country that’s lost its way, it’s as if a feather duster had temporarily fluffed away all the creepy-crawlies from a cobwebby corner.\u003c/p>\n\u003cp>Speaking of which, Paul Simon’s ghostly little theme song for the series, with its sparsely-chorded guitar riff and far-off lament of a vocal line, captures the “high lonesome sound” of the great roots musicians that have been singing about this country’s dashed hopes and failures since the dawn of the Republic. The tune, together with this formidable series, leaves us feeling emotionally drained yet strangely complete.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Paul Simon - Louis CK's Horace and Pete theme song\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/yWpYtjil6Js?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If there’s any show that can be said to symbolize our present “golden era” of TV, it’s \u003cem>\u003ca href=\"https://louisck.net/show/horace-and-pete\" target=\"_blank\" rel=\"noopener\">Horace and Pete\u003c/a>\u003c/em>, the comedian Louis C.K.’s new series set in a Brooklyn bar. C.K. unveiled the 10th and final episode this weekend. This is is an odd thing to say when you consider the fact that C.K. released the series via his website without the need of a network, and that \u003cem>Horace and Pete\u003c/em> feels more like a docudrama or an episodic piece of theater than anything I’ve ever witnessed on a small screen.\u003c/p>\n\u003cp>Nevertheless, here are three reasons why \u003cem>Horace and Pete\u003c/em> is brilliant:\u003c/p>\n\u003cp>\u003cstrong>1. It tells a story that feels old and new all at once.\u003c/strong>\u003cbr>\nI read a tongue-in-cheek elevator pitch-style description of the show in \u003ca href=\"http://www.newyorker.com/culture/culture-desk/horace-and-pete-is-louis-c-k-s-most-audacious-independent-creation-yet\" target=\"_blank\" rel=\"noopener\">The New Yorker\u003c/a> which I thought was right on the nose when it said Horace and Pete was “\u003cem>Cheers\u003c/em> meets \u003cem>The Iceman Cometh\u003c/em>.” And with its story about a group of blood relations destined to repeat their cycle of woes into perpetuity, a tragic hero who ultimately falls despite striving to do the right thing (C.K.’s role as bar co-owner Horace), and “chorus” of barflies, the series veers into the terrain of Greek tragedy.\u003c/p>\n\u003cp>Yet at the same time, the plot bubbles and spews with today’s headlines; Donald Trump’s campaign is an intermittent discussion point throughout. And it grapples in an explosive but still non-heavy-handed way with the issues of our time.\u003c/p>\n\u003cp>One of the most thoughtful scenes, for example, presents a side of transgender politics I’ve never given much thought to before: the question of whether it’s ethical for a transgender person to keep silent about their former gender identity to a person they’re sleeping with. Horace, who’s resolutely straight, has a happy one-night stand with a beautiful alcoholic. In the morning over eggs and coffee — well, Horace has coffee; his date Rhonda (played by Karen Pittman) asks for something a little stronger and her gracious host obliges — the conversation takes a left turn when Horace finds out Rhonda used to be a guy. At least, the possibility of a sex change is strongly inferred, though never explicitly stated. As non-judgmental as Horace is about people who make a habit of drinking whiskey before breakfast, he gets flustered and accusatory at the thought he’s somehow been “duped” into a “homosexual” encounter. Fascinating stuff.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=CbUMqNBO-W8\">https://www.youtube.com/watch?v=CbUMqNBO-W8\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>2. It refuses to conform to tried-and-tested formats.\u003c/strong>\u003cbr>\nThe series exists in a liminal space at the intersection of TV, theater, documentary and feature film and strikes an unusual balance between the structural and content mores of these formats. Louis C.K. has created what feels like an entirely fresh way to tell a story by carefully weaving together elements from different traditions.\u003c/p>\n\u003cp>The series has the cuts and close-ups of a TV serial. It brings in the actualities of the documentary format. And it has the epic, sweeping quality of a movie. The theatricality of the series is what interests me the most though, like C.K.’s penchant for splicing the action with long monologues. My favorite of these is a bonkers-foulmouthed explanation of the famous Biblical story of \u003cem>Sodom and Gomorrah \u003c/em>told by Kurt Metzger playing one of the bar’s regular customers.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=1wbfWfwh6HE\">https://www.youtube.com/watch?v=1wbfWfwh6HE\u003c/a>\u003c/p>\n\u003cp>There’s even an intermission to break up the longer episodes and the entire cast takes a bow at the end of the final show.\u003c/p>\n\u003cp>Oh, and even though \u003cem>Horace and Pete\u003c/em> is the work of one of the funniest comedians around today, there are few opportunities for laughter. Unless you count comedy in the sense of the great cosmic joke of which all humankind is a part. C.K. knows all about that, and with this series captures its essence in a bottle.\u003c/p>\n\u003cp>\u003cstrong>3. It features some of the most prescient writing and best performances I’ve ever seen in any format. Period.\u003c/strong>\u003cbr>\nWhat’s masterful about \u003cem>Horace and Pete\u003c/em> is the casting and the writing. It seems like the two are so closely intertwined (viz Metzger’s \u003cem>Sodom\u003c/em> monologue mentioned above, which, judging by the reactions of the other cast members in the scene, strikes me as having been partly or fully improvised) that I need to tackle them both at once.\u003c/p>\n\u003cp>The blend of standup comedians and dramatic actors is an unusual and powerful one. And each performer brings pathos, shadows and moments of levity to his or her role. I cannot speak highly enough of C.K., Steve Buscemi, and Edie Falco as the bar-owning brothers and their sister. Here we have a trio who show us plenty of fallibility and ugliness while at the same commanding our respect.\u003c/p>\n\u003cp>And how tightly wound and carefully controlled the writing feels: C.K. reveals dramatic information to us incrementally, doling out hard-to-digest news about the family’s troubled past in lean teaspoonfuls of strong medicine. Yet despite the economy of the dramaturgy, abetted by the claustrophobic indoor setting of the Brooklyn bar with its flat lighting and ugly furniture, C.K. somehow makes his drama feel airy and spacious.\u003c/p>\n\u003cp>Witness the final episode, which begins suddenly and without explanation in 1976. Here, the principal performers whom we’ve grown to know and love in the present-day setting — C. K., Buscemi, Falco — play their forebears. The scenes are without a doubt the nastiest and most suffocating of the whole series. But then we jump forward to 2016, to find Amy Sedaris, in the role of a sweetly unhinged wannabe bartender, lightening things up. When she skips over to the bar’s old jukebox and puts Simon and Garfunkel’s famous song “America,” about a journey to find meaning in a country that’s lost its way, it’s as if a feather duster had temporarily fluffed away all the creepy-crawlies from a cobwebby corner.\u003c/p>\n\u003cp>Speaking of which, Paul Simon’s ghostly little theme song for the series, with its sparsely-chorded guitar riff and far-off lament of a vocal line, captures the “high lonesome sound” of the great roots musicians that have been singing about this country’s dashed hopes and failures since the dawn of the Republic. The tune, together with this formidable series, leaves us feeling emotionally drained yet strangely complete.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Luna Malbroux on Her Wage Gap App and Why It's Tricky to Be Black and into BDSM",
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"content": "\u003cp>The EquiTable app creator chats with us about everything from racism in the Bay Area to why playing Bone Thugs-N-Harmony will not get you to second base.\u003c/p>\n\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2016/03/LunaMalbroux.mp3\" title=\"Luna Malbroux on Her Wage Gap App and Why It's Tricky to Be Black and into BDSM\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/clo.jpg\"]\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>This week, we're joined by \u003cspan style=\"font-weight: 400\"> \u003ca href=\"http://www.lunaisfunny.com/\" target=\"_blank\">Luna Malbroux\u003c/a>, a diversity consultant for schools and workplaces by day, a hilarious comedian by night, an app creator sometime in between, and also potentially the love child of Tyler Perry and Oprah Winfrey. \u003c/span>\u003c/p>\n\u003cp>We talk to Luna about EquiTable, her app that uses comedy to raise awareness around the wage gap:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=r2ybupRgffE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We then switch gears to get the lowdown on why it's complicated for some black people to explore BDSM:\u003c/p>\n\u003cp>http://fusion.net/story/281403/bdsm-while-black/\u003c/p>\n\u003cp>We pay homage to the still-relevant Samantha Jones:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/giphy.gif\" rel=\"attachment wp-att-21690\">\u003cimg class=\"size-full wp-image-21690 aligncenter\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/giphy.gif\" alt=\"giphy\" width=\"400\" height=\"272\">\u003c/a>\u003c/p>\n\u003cp>And we cap things off with a song of Luna's choice: FKA Twigs' \"Two Weeks\":\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3yDP9MKVhZc\u003c/p>\n\u003cp>Until next week!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>This week, we're joined by \u003cspan style=\"font-weight: 400\"> \u003ca href=\"http://www.lunaisfunny.com/\" target=\"_blank\">Luna Malbroux\u003c/a>, a diversity consultant for schools and workplaces by day, a hilarious comedian by night, an app creator sometime in between, and also potentially the love child of Tyler Perry and Oprah Winfrey. \u003c/span>\u003c/p>\n\u003cp>We talk to Luna about EquiTable, her app that uses comedy to raise awareness around the wage gap:\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/r2ybupRgffE'\n title='//www.youtube.com/embed/r2ybupRgffE'\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>We then switch gears to get the lowdown on why it's complicated for some black people to explore BDSM:\u003c/p>\n\u003cp>http://fusion.net/story/281403/bdsm-while-black/\u003c/p>\n\u003cp>We pay homage to the still-relevant Samantha Jones:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/giphy.gif\" rel=\"attachment wp-att-21690\">\u003cimg class=\"size-full wp-image-21690 aligncenter\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/03/giphy.gif\" alt=\"giphy\" width=\"400\" height=\"272\">\u003c/a>\u003c/p>\n\u003cp>And we cap things off with a song of Luna's choice: FKA Twigs' \"Two Weeks\":\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/3yDP9MKVhZc'\n title='//www.youtube.com/embed/3yDP9MKVhZc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Until next week!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Garry Shandling, who as an actor and comedian pioneered a pretend brand of self-focused docudrama with \u003cem>the Larry Sanders Show\u003c/em>, has died of an apparent heart attack.\u003c/p>\n\u003cp>Shandling’s spokesman Alan Nierob said doctors at a hospital where the comedian was pronounced dead said it appeared he died of a heart attack. Nierob said Shandling had no history of heart trouble.\u003c/p>\n\u003cp>Coroner’s Lt. David Smith said it appeared Shandling died of natural causes, but an official cause of death determination had not yet been made. Smith said no autopsy was planned, but officials would determine Shandling’s cause of death based on medical records and his medical history.\u003c/p>\n\u003cp>Shandling was taken to a hospital after paramedics were dispatched to his Brentwood home around 10:40 a.m. Thursday, police and fire officials said.\u003c/p>\n\u003cp>His death stunned the comedy community, who praised Shandling’s humor, kindness and efforts to support and promote them and their craft.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>An innovative and eccentric humorist with pillowy lips and a voice that always seemed on the verge of a whine, Shandling claimed to disdain too much logic cluttering his life.\u003c/p>\n\u003cp>“The answer isn’t gonna be in the facts,” he told The Associated Press in 2009. “It’s gonna be in intuition. That’s how I work creatively. I’m always teaching people that the answer to that creative question is right here, in the room, between us here.”\u003c/p>\n\u003cp>More to the point, it was dealing with the questions he confronted in himself.\u003c/p>\n\u003cp>Born on Nov. 29, 1949 in Chicago, Shandling was raised in Tucson, Arizona. On arriving in Los Angeles as a young adult, it was a short hop from a brief stint in the advertising business to comedy writing and stand-up.\u003c/p>\n\u003cp>Then in the 1980s, he began to experiment with TV comedy, and to toy with the sitcom form, with his first series, \u003ci>It’s Garry Shandling’s Show,\u003c/i> a Showtime project that made no bones about its inherently artificial nature: The actors in this otherwise standard domestic comedy routinely broke the fourth wall to comment on what they were up to. Even the theme song began with the explanatory lyrics, “The theme to Garry’s show….”\u003c/p>\n\u003cp>In 1992, he created his comic masterpiece with \u003cem>The Larry Sanders Show\u003c/em>, which starred him as an egomaniacal late-night TV host with an anxiety-ridden show-biz life behind the scenes. The show help start the careers of Judd Apatow (\u003ci>Freaks and Geeks\u003c/i>, \u003ci>40-Year-Old Virgin\u003c/i>) Jeffrey Tambor (\u003ci>Arrested Development,\u003c/i> \u003ci>Transparent\u003c/i>) and Jeremy Piven (\u003ci>Entourage\u003c/i>). \u003c/p>\n\u003cp>It was just three months after Johnny Carson had retired from “The Tonight Show,” where Shandling had appeared as a stand-up and occasional Carson stand-in. It seemed a wry but deeply felt homage to the King of Late Night.\u003c/p>\n\u003cp>But it was more. “Larry Sanders” proved to be an act of courage, a brave effort led by someone portraying a character dangerously close to himself. As Larry, Garry dug deep to confront his own demons, and did it brilliantly as the series teetered between dual realities: public and private; make-believe and painfully true.\u003c/p>\n\u003cp>Real-life celebrities appeared as guests on Larry’s show-within-the-show, and also interacted with him “off the air.”\u003c/p>\n\u003cp>David Duchovny, agreeing to come on the show, also came on to Larry romantically once he got the chance.\u003c/p>\n\u003cp>Jim Carrey delivered a rip-roaring comic tribute to his host on the final broadcast, then, during a commercial break, turned on him in rage over a long-ago slight.\u003c/p>\n\u003cp>“Are you doing a bit, now?” asked Larry, perplexed.\u003c/p>\n\u003cp>“We’re OFF the air,” Carrey hissed. “This is real life now.”\u003c/p>\n\u003cp>The show explored the fuzzy distinction between TV life and real life, and the loneliness of someone at its crossing. The closest thing Larry had to friends were his chronically needy announcer Hank (Jeffrey Tambor) and his Napoleonic producer, Artie (Rip Torn). Together the three actors were among TV’s best-ever trios.\u003c/p>\n\u003cp>“Garry was my dear friend and was and always will be my teacher,” Tambor wrote in a statement. “Garry redesigned the wheel of comedy and he was the kindest and funniest of Geniuses. I will miss him so much.”\u003c/p>\n\u003cp>Torn also expressed deep sadness about Shandling’s death. “Working with him was one of the great privileges of my career,” he wrote. “He was a comic talent of immense originality who enthusiastically encouraged and responded to the originality of others.”\u003c/p>\n\u003cp>After “Sanders” ended in 1998, Shandling’s public appearances were few.\u003c/p>\n\u003cp>He was mentioned as a candidate to follow David Letterman as a bona fide late-night host for CBS’ 12:30 a.m. slot, but no deal was made.\u003c/p>\n\u003cp>“I would not do a show where you just sit and talk to somebody,” Shandling had said back in 1993 when he was courted by NBC to take over for Letterman on “Late Night.”\u003c/p>\n\u003cp>His films included “Hurlyburly” in 1998, “What Planet Are You From?” in 2000 and “Zoolander” in 2001.\u003c/p>\n\u003cp>He hosted the Emmy Awards in 2000 and 2004.\u003c/p>\n\u003cp>On the latter occasion, he spotted Donald Trump in the audience and congratulated the billionaire developer for hosting the Emmy-nominated “The Apprentice.”\u003c/p>\n\u003cp>“Nice to see a man who’s paid his dues, worked hard,” Shandling said. “We all know what it feels like to have to build 80-story condos and gambling casinos just to get our foot in the door in show business.”\u003c/p>\n\u003cp>Jamie Masada, owner of comedy club the Laugh Factory, said he met with Shandling a few weeks ago and the comedian didn’t appear to have any health problems.\u003c/p>\n\u003cp>“He looked healthy as could be,” Masada said.\u003c/p>\n\u003cp>“Garry Shandling, besides being a comedian, I always said he was a doctor of soul. He had a lot of kindness in him. He was a very generous person,” Masada said.\u003c/p>\n\u003cp>In his own business dealings, Shandling became one of the rich and famous targeted by private eye Anthony Pellicano, who was sentenced to prison in 2008 on convictions of racketeering and more than six dozen other counts, including conspiracy, wire fraud and wiretapping in the Hollywood wiretaps case.\u003c/p>\n\u003cp>Pellicano was accused of wiretapping stars such as Sylvester Stallone and bribing police officers to run names of people, including Shandling, through law enforcement databases.\u003c/p>\n\u003cp>While Shandling never married, his most public romance was with “Sanders” co-star and fiancee Linda Doucett, who played Hank’s comely assistant in the series’ early seasons.\u003c/p>\n\u003cp>Doucett sued Shandling after he fired her following their breakup in the mid-1990s, receiving a reported $1 million settlement, The New York Times reported in 2006.\u003c/p>\n\u003cp>Several comedians expressed their remorse and respect for Shandling on Social Media.\u003c/p>\n\u003cp>https://twitter.com/paulfeig/status/713105344981966848\u003c/p>\n\u003cp>https://twitter.com/rickygervais/status/713102199325388802\u003c/p>\n\u003cp>https://twitter.com/eddieizzard/status/713128047742959616\u003c/p>\n\u003cp>https://twitter.com/marcmaron/status/713103263239839745\u003c/p>\n\u003cp>\u003ci>Watch this clip of \u003cb>The Larry Sanders Show\u003c/b> where Shandling, as Sanders, speaks to Tambor (sidekick Hank Kingsley) about the catchphrase “Hey Now!”\u003c/i>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4AdHpQW-pEs\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>AP television writer Frazier Moore in New York contributed to this story.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Garry Shandling, who as an actor and comedian pioneered a pretend brand of self-focused docudrama with \u003cem>the Larry Sanders Show\u003c/em>, has died of an apparent heart attack.\u003c/p>\n\u003cp>Shandling’s spokesman Alan Nierob said doctors at a hospital where the comedian was pronounced dead said it appeared he died of a heart attack. Nierob said Shandling had no history of heart trouble.\u003c/p>\n\u003cp>Coroner’s Lt. David Smith said it appeared Shandling died of natural causes, but an official cause of death determination had not yet been made. Smith said no autopsy was planned, but officials would determine Shandling’s cause of death based on medical records and his medical history.\u003c/p>\n\u003cp>Shandling was taken to a hospital after paramedics were dispatched to his Brentwood home around 10:40 a.m. Thursday, police and fire officials said.\u003c/p>\n\u003cp>His death stunned the comedy community, who praised Shandling’s humor, kindness and efforts to support and promote them and their craft.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>An innovative and eccentric humorist with pillowy lips and a voice that always seemed on the verge of a whine, Shandling claimed to disdain too much logic cluttering his life.\u003c/p>\n\u003cp>“The answer isn’t gonna be in the facts,” he told The Associated Press in 2009. “It’s gonna be in intuition. That’s how I work creatively. I’m always teaching people that the answer to that creative question is right here, in the room, between us here.”\u003c/p>\n\u003cp>More to the point, it was dealing with the questions he confronted in himself.\u003c/p>\n\u003cp>Born on Nov. 29, 1949 in Chicago, Shandling was raised in Tucson, Arizona. On arriving in Los Angeles as a young adult, it was a short hop from a brief stint in the advertising business to comedy writing and stand-up.\u003c/p>\n\u003cp>Then in the 1980s, he began to experiment with TV comedy, and to toy with the sitcom form, with his first series, \u003ci>It’s Garry Shandling’s Show,\u003c/i> a Showtime project that made no bones about its inherently artificial nature: The actors in this otherwise standard domestic comedy routinely broke the fourth wall to comment on what they were up to. Even the theme song began with the explanatory lyrics, “The theme to Garry’s show….”\u003c/p>\n\u003cp>In 1992, he created his comic masterpiece with \u003cem>The Larry Sanders Show\u003c/em>, which starred him as an egomaniacal late-night TV host with an anxiety-ridden show-biz life behind the scenes. The show help start the careers of Judd Apatow (\u003ci>Freaks and Geeks\u003c/i>, \u003ci>40-Year-Old Virgin\u003c/i>) Jeffrey Tambor (\u003ci>Arrested Development,\u003c/i> \u003ci>Transparent\u003c/i>) and Jeremy Piven (\u003ci>Entourage\u003c/i>). \u003c/p>\n\u003cp>It was just three months after Johnny Carson had retired from “The Tonight Show,” where Shandling had appeared as a stand-up and occasional Carson stand-in. It seemed a wry but deeply felt homage to the King of Late Night.\u003c/p>\n\u003cp>But it was more. “Larry Sanders” proved to be an act of courage, a brave effort led by someone portraying a character dangerously close to himself. As Larry, Garry dug deep to confront his own demons, and did it brilliantly as the series teetered between dual realities: public and private; make-believe and painfully true.\u003c/p>\n\u003cp>Real-life celebrities appeared as guests on Larry’s show-within-the-show, and also interacted with him “off the air.”\u003c/p>\n\u003cp>David Duchovny, agreeing to come on the show, also came on to Larry romantically once he got the chance.\u003c/p>\n\u003cp>Jim Carrey delivered a rip-roaring comic tribute to his host on the final broadcast, then, during a commercial break, turned on him in rage over a long-ago slight.\u003c/p>\n\u003cp>“Are you doing a bit, now?” asked Larry, perplexed.\u003c/p>\n\u003cp>“We’re OFF the air,” Carrey hissed. “This is real life now.”\u003c/p>\n\u003cp>The show explored the fuzzy distinction between TV life and real life, and the loneliness of someone at its crossing. The closest thing Larry had to friends were his chronically needy announcer Hank (Jeffrey Tambor) and his Napoleonic producer, Artie (Rip Torn). Together the three actors were among TV’s best-ever trios.\u003c/p>\n\u003cp>“Garry was my dear friend and was and always will be my teacher,” Tambor wrote in a statement. “Garry redesigned the wheel of comedy and he was the kindest and funniest of Geniuses. I will miss him so much.”\u003c/p>\n\u003cp>Torn also expressed deep sadness about Shandling’s death. “Working with him was one of the great privileges of my career,” he wrote. “He was a comic talent of immense originality who enthusiastically encouraged and responded to the originality of others.”\u003c/p>\n\u003cp>After “Sanders” ended in 1998, Shandling’s public appearances were few.\u003c/p>\n\u003cp>He was mentioned as a candidate to follow David Letterman as a bona fide late-night host for CBS’ 12:30 a.m. slot, but no deal was made.\u003c/p>\n\u003cp>“I would not do a show where you just sit and talk to somebody,” Shandling had said back in 1993 when he was courted by NBC to take over for Letterman on “Late Night.”\u003c/p>\n\u003cp>His films included “Hurlyburly” in 1998, “What Planet Are You From?” in 2000 and “Zoolander” in 2001.\u003c/p>\n\u003cp>He hosted the Emmy Awards in 2000 and 2004.\u003c/p>\n\u003cp>On the latter occasion, he spotted Donald Trump in the audience and congratulated the billionaire developer for hosting the Emmy-nominated “The Apprentice.”\u003c/p>\n\u003cp>“Nice to see a man who’s paid his dues, worked hard,” Shandling said. “We all know what it feels like to have to build 80-story condos and gambling casinos just to get our foot in the door in show business.”\u003c/p>\n\u003cp>Jamie Masada, owner of comedy club the Laugh Factory, said he met with Shandling a few weeks ago and the comedian didn’t appear to have any health problems.\u003c/p>\n\u003cp>“He looked healthy as could be,” Masada said.\u003c/p>\n\u003cp>“Garry Shandling, besides being a comedian, I always said he was a doctor of soul. He had a lot of kindness in him. He was a very generous person,” Masada said.\u003c/p>\n\u003cp>In his own business dealings, Shandling became one of the rich and famous targeted by private eye Anthony Pellicano, who was sentenced to prison in 2008 on convictions of racketeering and more than six dozen other counts, including conspiracy, wire fraud and wiretapping in the Hollywood wiretaps case.\u003c/p>\n\u003cp>Pellicano was accused of wiretapping stars such as Sylvester Stallone and bribing police officers to run names of people, including Shandling, through law enforcement databases.\u003c/p>\n\u003cp>While Shandling never married, his most public romance was with “Sanders” co-star and fiancee Linda Doucett, who played Hank’s comely assistant in the series’ early seasons.\u003c/p>\n\u003cp>Doucett sued Shandling after he fired her following their breakup in the mid-1990s, receiving a reported $1 million settlement, The New York Times reported in 2006.\u003c/p>\n\u003cp>Several comedians expressed their remorse and respect for Shandling on Social Media.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003ci>Watch this clip of \u003cb>The Larry Sanders Show\u003c/b> where Shandling, as Sanders, speaks to Tambor (sidekick Hank Kingsley) about the catchphrase “Hey Now!”\u003c/i>\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/4AdHpQW-pEs'\n title='//www.youtube.com/embed/4AdHpQW-pEs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>___\u003c/p>\n\u003cp>AP television writer Frazier Moore in New York contributed to this story.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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