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"content": "\u003cp>The term “pop music” is a 20th century invention — it originated in England in the 1950s to describe the rock and roll frenzy that was sweeping the nation. One of the many inspired things about the first part of New York drag artist Taylor Mac’s lunatic-brilliant \u003cem>A 24-Decade History of Popular Music\u003c/em> is how it reminds us that pop music in this country is actually much older than that. Another, is a sense that the greatest hits of the 1770s and 1780s — the tunes that rocked the taverns and bawdy houses of our fledgling republic back in the days when England was pretty unpopular and a mohawk was a member of a native American tribe rather than a way to wear your hair — could easily go viral today.\u003c/p>\n\u003cp>Mac is training for a 24-hour marathon performance of his \u003cem>A 24-Decade History of Popular Music\u003c/em> in New York the weekend of Oct. 8 – 9, in which he will devote an hour of stage time to each decade from 1776 to the present day. For now, he’s getting into shape for this feat by undertaking just the first two parts — or six decades / six hours worth of songs — in San Francisco as part of the Curran Theatre’s \u003cem>Under Construction\u003c/em> series of experimental performance. I caught the first three decades (1776 – 1806) on opening night and can’t wait to go back for Part Two (1806 – 1836) in a few days.\u003c/p>\n\u003cp>The productions featured in \u003cem>Under Construction\u003c/em> seat the audience on stage close to the performer. In his show, Mac first appears on a balcony above the Curran’s orchestra section, looking down at us from afar. Wearing an elaborate hooped dress fashioned from brightly-colored foil ribbons and a voluminous wig that makes him look like Marie Antoinette had an accident in a Mexican bodega, the artist begins an epic journey through 240 years of U.S. musical history that’s as timeless as it is prescient.\u003c/p>\n\u003cp>That’s in part because of music director and pianist Matt Ray’s creative song arrangements, which make crusty old tunes like “Yankee Doodle” and “Amazing Grace” sound like like they were written just in time for this year’s Grammys. The performances carry it too: Although the show is currently in workshop mode, with Mac, Ray and the band still ironing out a few wonky transitions, the team manages to breathe new life into both well-known and obscure 18th century ditties. And it’s Mac’s mercurial tenor that anchors the experience: the drag queen’s voice is as colorful as his flamboyant sense of style. There’s crushed velvet and feathers in Mac’s mellifluous ballad singing and 8-inch spiked heels in his drinking song belt.\u003c/p>\n\u003cfigure id=\"attachment_11273116\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11273116\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-800x511.jpg\" alt=\"Taylor Mac in A 24-Decade History of Popular Music: 1776-1806 as part of Curran: Under Construction\" width=\"800\" height=\"511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-1180x754.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-1920x1227.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-960x614.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac in A 24-Decade History of Popular Music: 1776-1806 as part of Curran: Under Construction \u003ccite>(Photo: Jim Norrena / Courtesy Curran: Under Construction )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It isn’t just the music that makes three hours of sitting on an uncomfortable plastic chair on a rickety riser breeze by, or Mac’s eye-popping wardrobe. (In addition to the gaudy get-up mentioned above, there’s an “architectural” dress involving a pair of enormous doric columns, each with a plastic doll’s head dangling from the bottom, and another costume topped with an amazing wig made of wine bottle corks and sheaths of barley.) The thematic through-line connecting the musical numbers also helps to take \u003cem>A 24-Decade History of Popular Music\u003c/em> beyond regular drag cabaret.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mac underpins each decade of the musical journey with commentaries on broad social issues, which he spices with liberal amounts of scathing humor and personal anecdote. The first decade roughly and comically charts the founding principles of post-Revolutionary U.S.. In the second decade, Mac takes a piquant look at women’s lib. Part Three is all about booze, where the ripe innuendos of raucous drinking songs like “Nine Inch Will Please a Lady” clash against the stiff, bonneted warblings of a scandalized Temperance Choir (a small guest ensemble of classically-trained singers.) By the time we reach the end of the show, the do-gooder choristers get their comeuppance, pelted in a hailstorm of ping-pong balls. In addition to having fun with a piece of political history, the gambit neatly plays out a more contemporary stand-off between the scrappy, underground world of drag performance and the straight-laced mores of today’s arts establishment. Here, the political becomes personal, as Mac himself has been faced with negotiating these two worlds in his own career.\u003c/p>\n\u003cp>The socio-political content at times feels a little strained, like when Mac spins a long feminist diatribe out of a mopey little ditty about a young woman fretting about why her beau hasn’t come home from the fair. But Mac’s ability to work the crowd, in particular his obsessive, sweetly overbearing use of audience participation, mitigates this shortcoming. He makes this otherwise sprawling historical project feel intimate and personal.\u003c/p>\n\u003cp>Mac’s insistence on bringing the crowd into the proceedings might seem tiresome and gimmicky to some — one person complained to me about being pulled into a conga line and forced to wear a pair of fairy wings. But overdoing it, going over-the-top, “carrying on for just a bit too long,” as Mac himself puts it, is part of his stage technique. It’s there to make a broader point about just how topsy-turvy the world is. And like an old song that’s so familiar that it’s stuck in all of our heads, we’re all in this thing together, like it or not.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Taylor Mac’s A 24-Decade History of Popular Music\u003cstrong> \u003c/strong>runs through Saturday, Jan. 30 at the Curran Theatre in San Francisco. \u003ca href=\"http://sfcurran.com/event/a-24-decade-history-of-popular-music/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. You can also hear Mac speak on \u003ca href=\"http://www.kqed.org/a/forum/R201601191030\" target=\"_blank\" rel=\"noopener\">KQED’s Forum about his show\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The term “pop music” is a 20th century invention — it originated in England in the 1950s to describe the rock and roll frenzy that was sweeping the nation. One of the many inspired things about the first part of New York drag artist Taylor Mac’s lunatic-brilliant \u003cem>A 24-Decade History of Popular Music\u003c/em> is how it reminds us that pop music in this country is actually much older than that. Another, is a sense that the greatest hits of the 1770s and 1780s — the tunes that rocked the taverns and bawdy houses of our fledgling republic back in the days when England was pretty unpopular and a mohawk was a member of a native American tribe rather than a way to wear your hair — could easily go viral today.\u003c/p>\n\u003cp>Mac is training for a 24-hour marathon performance of his \u003cem>A 24-Decade History of Popular Music\u003c/em> in New York the weekend of Oct. 8 – 9, in which he will devote an hour of stage time to each decade from 1776 to the present day. For now, he’s getting into shape for this feat by undertaking just the first two parts — or six decades / six hours worth of songs — in San Francisco as part of the Curran Theatre’s \u003cem>Under Construction\u003c/em> series of experimental performance. I caught the first three decades (1776 – 1806) on opening night and can’t wait to go back for Part Two (1806 – 1836) in a few days.\u003c/p>\n\u003cp>The productions featured in \u003cem>Under Construction\u003c/em> seat the audience on stage close to the performer. In his show, Mac first appears on a balcony above the Curran’s orchestra section, looking down at us from afar. Wearing an elaborate hooped dress fashioned from brightly-colored foil ribbons and a voluminous wig that makes him look like Marie Antoinette had an accident in a Mexican bodega, the artist begins an epic journey through 240 years of U.S. musical history that’s as timeless as it is prescient.\u003c/p>\n\u003cp>That’s in part because of music director and pianist Matt Ray’s creative song arrangements, which make crusty old tunes like “Yankee Doodle” and “Amazing Grace” sound like like they were written just in time for this year’s Grammys. The performances carry it too: Although the show is currently in workshop mode, with Mac, Ray and the band still ironing out a few wonky transitions, the team manages to breathe new life into both well-known and obscure 18th century ditties. And it’s Mac’s mercurial tenor that anchors the experience: the drag queen’s voice is as colorful as his flamboyant sense of style. There’s crushed velvet and feathers in Mac’s mellifluous ballad singing and 8-inch spiked heels in his drinking song belt.\u003c/p>\n\u003cfigure id=\"attachment_11273116\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11273116\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-800x511.jpg\" alt=\"Taylor Mac in A 24-Decade History of Popular Music: 1776-1806 as part of Curran: Under Construction\" width=\"800\" height=\"511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-800x511.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-400x256.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-1180x754.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-1920x1227.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-5-c-Jim-Norrena-e1453676504292-960x614.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac in A 24-Decade History of Popular Music: 1776-1806 as part of Curran: Under Construction \u003ccite>(Photo: Jim Norrena / Courtesy Curran: Under Construction )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It isn’t just the music that makes three hours of sitting on an uncomfortable plastic chair on a rickety riser breeze by, or Mac’s eye-popping wardrobe. (In addition to the gaudy get-up mentioned above, there’s an “architectural” dress involving a pair of enormous doric columns, each with a plastic doll’s head dangling from the bottom, and another costume topped with an amazing wig made of wine bottle corks and sheaths of barley.) The thematic through-line connecting the musical numbers also helps to take \u003cem>A 24-Decade History of Popular Music\u003c/em> beyond regular drag cabaret.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mac underpins each decade of the musical journey with commentaries on broad social issues, which he spices with liberal amounts of scathing humor and personal anecdote. The first decade roughly and comically charts the founding principles of post-Revolutionary U.S.. In the second decade, Mac takes a piquant look at women’s lib. Part Three is all about booze, where the ripe innuendos of raucous drinking songs like “Nine Inch Will Please a Lady” clash against the stiff, bonneted warblings of a scandalized Temperance Choir (a small guest ensemble of classically-trained singers.) By the time we reach the end of the show, the do-gooder choristers get their comeuppance, pelted in a hailstorm of ping-pong balls. In addition to having fun with a piece of political history, the gambit neatly plays out a more contemporary stand-off between the scrappy, underground world of drag performance and the straight-laced mores of today’s arts establishment. Here, the political becomes personal, as Mac himself has been faced with negotiating these two worlds in his own career.\u003c/p>\n\u003cp>The socio-political content at times feels a little strained, like when Mac spins a long feminist diatribe out of a mopey little ditty about a young woman fretting about why her beau hasn’t come home from the fair. But Mac’s ability to work the crowd, in particular his obsessive, sweetly overbearing use of audience participation, mitigates this shortcoming. He makes this otherwise sprawling historical project feel intimate and personal.\u003c/p>\n\u003cp>Mac’s insistence on bringing the crowd into the proceedings might seem tiresome and gimmicky to some — one person complained to me about being pulled into a conga line and forced to wear a pair of fairy wings. But overdoing it, going over-the-top, “carrying on for just a bit too long,” as Mac himself puts it, is part of his stage technique. It’s there to make a broader point about just how topsy-turvy the world is. And like an old song that’s so familiar that it’s stuck in all of our heads, we’re all in this thing together, like it or not.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Taylor Mac’s A 24-Decade History of Popular Music\u003cstrong> \u003c/strong>runs through Saturday, Jan. 30 at the Curran Theatre in San Francisco. \u003ca href=\"http://sfcurran.com/event/a-24-decade-history-of-popular-music/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. You can also hear Mac speak on \u003ca href=\"http://www.kqed.org/a/forum/R201601191030\" target=\"_blank\" rel=\"noopener\">KQED’s Forum about his show\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cy-and-davids-picks-obamas-playlist-an-odyssey-for-refugees-and-gather-ye-oddballs",
"title": "Cy and David's Picks: Obama's Playlist, an Odyssey for Refugees, and Gather-Ye-Oddballs",
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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/2016/01/00114022.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>https://www.youtube.com/watch?v=Cq2EwnBr_oM\u003c/p>\n\u003cp>\u003cstrong>Jan. 28 – Jan. 31:\u003c/strong> Cameron Carpenter may be as much a showman and as bedecked with rhinestones as Liberace, but he gets more respect for his explorations of the grand classical works of Back and Scriabin, as well as the pop songbook of Lightfoot and Bacharach. (The video above is his take on “Georgia on My Mind.”). His four-day residency at SFJAZZ will be give organ lovers a chance to hear the Northern California premiere of the \u003ca href=\"https://www.sfjazz.org/onthecorner/five-things-you-should-know-about-international-touring-organ\" target=\"_blank\" rel=\"noopener\">“International Touring Organ,”\u003c/a> a totally 21st century digital instrument. \u003ca href=\"https://www.sfjazz.org/events/2015-16/0128/cameron-carpenter\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11265518\" class=\"wp-caption aligncenter\" style=\"max-width: 770px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11265518\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Davod-Crpss.jpg\" alt=\"David Cross\" width=\"770\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Davod-Crpss.jpg 770w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Davod-Crpss-400x208.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Davod-Crpss-768x400.jpg 768w\" sizes=\"(max-width: 770px) 100vw, 770px\">\u003cfigcaption class=\"wp-caption-text\">David Cross\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan 28 & 31:\u003c/strong> Standup comedian David Cross strikes just the right balance between political satire and ridiculous dating routines. He grew up poor in the Southeast, so it’s very personal, and funny, when he takes on Southern Bible-thumpers, And yes, you do know his work. He was on \u003cem>Arrested Development\u003c/em> and partnered with Bob Oldenkirk on \u003cem>Mr. Show\u003c/em>, and he’s done voices for \u003cem>Kung Fu Panda\u003c/em> and \u003cem>Alvin and the Chipmunks\u003c/em>. He’s doing two shows, one at San Francisco’s Davies Hall Jan. 28, and then Jan. 31 at the Wells Fargo Center in Santa Rosa.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=A1lbfA8Xyz8\u003c/p>\n\u003cp>\u003cstrong>Jan. 22 – 23 & Feb. 6 & Feb. 12\u003c/strong>: Fremont composer\u003cstrong> \u003c/strong>\u003ca href=\"http://www.vananhvo.com/\" target=\"_blank\" rel=\"noopener\">Võ Vân Ánh\u003c/a> is a musical genius. She grew up in Hanoi mastering her country’s folk tradition, winning awards for her mastery of traditional instruments, especially the \u003ca href=\"https://en.wikipedia.org/wiki/%C4%90%C3%A0n_tranh\" target=\"_blank\" rel=\"noopener\">đàn tranh\u003c/a> (Vietnamese zither), đàn bầu, and bamboo xylophone. This weekend, she stages the world premiere of her multimedia suite \u003ca href=\"http://www.ybca.org/odyssey\" target=\"_blank\" rel=\"noopener\">\u003cem>The Odyssey: from Vietnam to America\u003c/em>, \u003c/a>about the Vietnamese boat people, a project she has worked on for 10 years. Then she plays the \u003ca href=\"http://kronosquartet.org/kronos-presents/detail/2397\" target=\"_blank\" rel=\"noopener\">Kronos Quartet’s Explorer Series Feb. 6\u003c/a>, and then The \u003ca href=\"http://www.oaklandsymphony.org/event/notes-from-vietnam/\" target=\"_blank\" rel=\"noopener\">Oakland Symphony premieres her \u003cem>Lullaby for a Country\u003c/em>, a concerto for đàn tranh Feb. 12th\u003c/a>. Vo’s music is strange and very, very beautiful.\u003c/p>\n\u003cfigure id=\"attachment_11265625\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11265625\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-1180x785.jpg\" alt=\"Calling All Choirs\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs.jpg 1225w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Calling All Choir \u003ccite>(Photo Credit: Eric Gillet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 23 & 30:\u003c/strong> One member describes the Calling All Choir as a non-audition gather-ye-oddballs group, that sounds pretty darn good. I can attest to that. A lot of credit goes to the ambitious leadership of composer Mark Growden, who founded the groups both a musical and service organization. The choir often plays retirement homes and residential treatment centers. These concerts (in Berkeley at the Crowden School and in SF at Mission Dolores Basilica) will features songs from around the globe including “Noah’s Dove,” arranged by Growden. Details for both concerts \u003ca href=\"http://callingallchoir.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And it’s a \u003cstrong>CHEAP THRILL! \u003c/strong>Just $15.\u003c/p>\n\u003cfigure id=\"attachment_11265648\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11265648 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-1180x786.jpg\" alt=\"\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Zoe Klein performs in Dance Mission’s Theater’s Dance In Revolting Times festival\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 23 – Feb. 7:\u003c/strong> Immigration, Black Lives Matter, health care policy, how war affects women in Iraq: issues for the Presidential debates, and for \u003ca href=\"http://www.dancemission.com/\" target=\"_blank\" rel=\"noopener\">Dance Mission Theater\u003c/a>’s second annual D.I.R.T Festival, Dance In Revolting Times, over the next three weekends. This first weekend is a collaboration with the \u003ca href=\"http://Black%20Choreographers%20Festival.\" target=\"_blank\" rel=\"noopener\">Black Choreographers Festival.\u003c/a> \u003ca href=\"http://dancemission.com/performances/upcoming.html#dirt\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ihItq4ZQ8LM\u003c/p>\n\u003cp>\u003cstrong>Jan. 27\u003c/strong>: Talib Kweli is so political and so smart, he even shows up on President Obama’s playlist, and he recently did an American hip-hop songbook concert at Lincoln Center. His name is a Swahili-Arabic mashup that means “true seeker.” Now Kweli is teaming up again with DJ Hi Tek, his Reflection Eternal partner of 20 years. Expect less bling and more politics. Reflection Eternal play two\u003ca href=\"http://www.yoshis.com/search/?q=TALIB%20KWELI%20&%20HI%20TEK%20-%20REFLECTION%20ETERNAL\" target=\"_blank\" rel=\"noopener\"> shows at Yoshi’s in Oakland. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11265760\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11265760\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-1180x787.jpg\" alt=\"Ubuntu Theater Project's production of 'The Gospel of Lovingkindness'\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness.jpg 1500w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Ubuntu Theater Project’s production of ‘The Gospel of Lovingkindness’ \u003ccite>(Photo Credit: Colin Blattel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Through Jan. 31: \u003c/strong>\u003ca href=\"http://www.ubuntutheaterproject.com/\" target=\"_blank\" rel=\"noopener\">The Ubuntu Theater Project \u003c/a>is a valiant effort for Oakland, a new repertory company doing serious theater. To open their first full season, they’re presenting a heartfelt production of Oakland born playwright Marcus Gardley’s \u003cem>The Gospel of Lovingkindness, \u003c/em>about the senseless killings of young black men, and what happens when one woman fights back. It’s in a perfectly intimate setting:\u003ca href=\"http://www.oaklandcitychurch.org/\" target=\"_blank\" rel=\"noopener\"> Oakland City Church, \u003c/a>on the border between the Dimond and the Laurel Districts. \u003ca href=\"http://www.ubuntutheaterproject.com/our-season/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\n",
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"title": "Cy and David's Picks: Obama's Playlist, an Odyssey for Refugees, and Gather-Ye-Oddballs | KQED",
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"headline": "Cy and David's Picks: Obama's Playlist, an Odyssey for Refugees, and Gather-Ye-Oddballs",
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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/2016/01/00114022.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/Cq2EwnBr_oM'\n title='//www.youtube.com/embed/Cq2EwnBr_oM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 28 – Jan. 31:\u003c/strong> Cameron Carpenter may be as much a showman and as bedecked with rhinestones as Liberace, but he gets more respect for his explorations of the grand classical works of Back and Scriabin, as well as the pop songbook of Lightfoot and Bacharach. (The video above is his take on “Georgia on My Mind.”). His four-day residency at SFJAZZ will be give organ lovers a chance to hear the Northern California premiere of the \u003ca href=\"https://www.sfjazz.org/onthecorner/five-things-you-should-know-about-international-touring-organ\" target=\"_blank\" rel=\"noopener\">“International Touring Organ,”\u003c/a> a totally 21st century digital instrument. \u003ca href=\"https://www.sfjazz.org/events/2015-16/0128/cameron-carpenter\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11265518\" class=\"wp-caption aligncenter\" style=\"max-width: 770px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11265518\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Davod-Crpss.jpg\" alt=\"David Cross\" width=\"770\" height=\"401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Davod-Crpss.jpg 770w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Davod-Crpss-400x208.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Davod-Crpss-768x400.jpg 768w\" sizes=\"(max-width: 770px) 100vw, 770px\">\u003cfigcaption class=\"wp-caption-text\">David Cross\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan 28 & 31:\u003c/strong> Standup comedian David Cross strikes just the right balance between political satire and ridiculous dating routines. He grew up poor in the Southeast, so it’s very personal, and funny, when he takes on Southern Bible-thumpers, And yes, you do know his work. He was on \u003cem>Arrested Development\u003c/em> and partnered with Bob Oldenkirk on \u003cem>Mr. Show\u003c/em>, and he’s done voices for \u003cem>Kung Fu Panda\u003c/em> and \u003cem>Alvin and the Chipmunks\u003c/em>. He’s doing two shows, one at San Francisco’s Davies Hall Jan. 28, and then Jan. 31 at the Wells Fargo Center in Santa Rosa.\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/A1lbfA8Xyz8'\n title='//www.youtube.com/embed/A1lbfA8Xyz8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 22 – 23 & Feb. 6 & Feb. 12\u003c/strong>: Fremont composer\u003cstrong> \u003c/strong>\u003ca href=\"http://www.vananhvo.com/\" target=\"_blank\" rel=\"noopener\">Võ Vân Ánh\u003c/a> is a musical genius. She grew up in Hanoi mastering her country’s folk tradition, winning awards for her mastery of traditional instruments, especially the \u003ca href=\"https://en.wikipedia.org/wiki/%C4%90%C3%A0n_tranh\" target=\"_blank\" rel=\"noopener\">đàn tranh\u003c/a> (Vietnamese zither), đàn bầu, and bamboo xylophone. This weekend, she stages the world premiere of her multimedia suite \u003ca href=\"http://www.ybca.org/odyssey\" target=\"_blank\" rel=\"noopener\">\u003cem>The Odyssey: from Vietnam to America\u003c/em>, \u003c/a>about the Vietnamese boat people, a project she has worked on for 10 years. Then she plays the \u003ca href=\"http://kronosquartet.org/kronos-presents/detail/2397\" target=\"_blank\" rel=\"noopener\">Kronos Quartet’s Explorer Series Feb. 6\u003c/a>, and then The \u003ca href=\"http://www.oaklandsymphony.org/event/notes-from-vietnam/\" target=\"_blank\" rel=\"noopener\">Oakland Symphony premieres her \u003cem>Lullaby for a Country\u003c/em>, a concerto for đàn tranh Feb. 12th\u003c/a>. Vo’s music is strange and very, very beautiful.\u003c/p>\n\u003cfigure id=\"attachment_11265625\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11265625\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-1180x785.jpg\" alt=\"Calling All Choirs\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Calling-All-Choirs.jpg 1225w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Calling All Choir \u003ccite>(Photo Credit: Eric Gillet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 23 & 30:\u003c/strong> One member describes the Calling All Choir as a non-audition gather-ye-oddballs group, that sounds pretty darn good. I can attest to that. A lot of credit goes to the ambitious leadership of composer Mark Growden, who founded the groups both a musical and service organization. The choir often plays retirement homes and residential treatment centers. These concerts (in Berkeley at the Crowden School and in SF at Mission Dolores Basilica) will features songs from around the globe including “Noah’s Dove,” arranged by Growden. Details for both concerts \u003ca href=\"http://callingallchoir.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And it’s a \u003cstrong>CHEAP THRILL! \u003c/strong>Just $15.\u003c/p>\n\u003cfigure id=\"attachment_11265648\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11265648 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-1180x786.jpg\" alt=\"\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zoe-Klein-performs-in-Dance-Missions-Theaters-Dance-In-Revolting-Times-festival.jpg 2000w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Zoe Klein performs in Dance Mission’s Theater’s Dance In Revolting Times festival\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan. 23 – Feb. 7:\u003c/strong> Immigration, Black Lives Matter, health care policy, how war affects women in Iraq: issues for the Presidential debates, and for \u003ca href=\"http://www.dancemission.com/\" target=\"_blank\" rel=\"noopener\">Dance Mission Theater\u003c/a>’s second annual D.I.R.T Festival, Dance In Revolting Times, over the next three weekends. This first weekend is a collaboration with the \u003ca href=\"http://Black%20Choreographers%20Festival.\" target=\"_blank\" rel=\"noopener\">Black Choreographers Festival.\u003c/a> \u003ca href=\"http://dancemission.com/performances/upcoming.html#dirt\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ihItq4ZQ8LM'\n title='//www.youtube.com/embed/ihItq4ZQ8LM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Jan. 27\u003c/strong>: Talib Kweli is so political and so smart, he even shows up on President Obama’s playlist, and he recently did an American hip-hop songbook concert at Lincoln Center. His name is a Swahili-Arabic mashup that means “true seeker.” Now Kweli is teaming up again with DJ Hi Tek, his Reflection Eternal partner of 20 years. Expect less bling and more politics. Reflection Eternal play two\u003ca href=\"http://www.yoshis.com/search/?q=TALIB%20KWELI%20&%20HI%20TEK%20-%20REFLECTION%20ETERNAL\" target=\"_blank\" rel=\"noopener\"> shows at Yoshi’s in Oakland. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11265760\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11265760\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-1180x787.jpg\" alt=\"Ubuntu Theater Project's production of 'The Gospel of Lovingkindness'\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Ubuntu-Theater-Projects-production-of-The-Gospel-of-Lovingkindness.jpg 1500w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Ubuntu Theater Project’s production of ‘The Gospel of Lovingkindness’ \u003ccite>(Photo Credit: Colin Blattel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Through Jan. 31: \u003c/strong>\u003ca href=\"http://www.ubuntutheaterproject.com/\" target=\"_blank\" rel=\"noopener\">The Ubuntu Theater Project \u003c/a>is a valiant effort for Oakland, a new repertory company doing serious theater. To open their first full season, they’re presenting a heartfelt production of Oakland born playwright Marcus Gardley’s \u003cem>The Gospel of Lovingkindness, \u003c/em>about the senseless killings of young black men, and what happens when one woman fights back. It’s in a perfectly intimate setting:\u003ca href=\"http://www.oaklandcitychurch.org/\" target=\"_blank\" rel=\"noopener\"> Oakland City Church, \u003c/a>on the border between the Dimond and the Laurel Districts. \u003ca href=\"http://www.ubuntutheaterproject.com/our-season/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Yes, I know, you've read everything there is to read about Bowie over the past week and a half. You've listened to every record, watched every interview, dissected conversations about what he meant to the queer community, to children's movies, to your great aunt Marla.\u003c/p>\n\u003cp>But you probably haven't heard this: The Starman himself, with more than a hint of audible glee, performing spot-on impressions of other contemporary musical greats -- including Bruce Springsteen, Bob Dylan, Lou Reed, and more.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NrtXFTw2ico\u003c/p>\n\u003cp>Recording engineer Mark Saunders uploaded the previously buried recordings to YouTube a couple days ago, with the following explanation of their origin:\u003c/p>\n\u003cp>\u003cem>I was lucky enough to work with Bowie in 1985 at Westside Studios in London. My bosses, Clive Langer and Alan Winstanley (Madness, Dexys Midnight Runners, Elvis Costello, Bush) were producing the soundtrack for the movie \u003c/em>Absolute Beginners\u003cem>, for which Bowie was acting and writing songs (it was a better soundtrack than it was a movie!) and I was graduating from assistant engineer to engineer at that time.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>The day Bowie was first due to show up at Westside, we were all a bit nervous — Bowie was the biggest star client for Clive and Alan at that point in time. We kept looking out the windows, waiting for a stretch limo to show up and an entire entourage to walk in, but then a black cab showed up and out popped the unaccompanied Bowie. He walked in, announced in what seemed a more cockney voice than I remembered, “Hi, I’m David Bowie,” and shook our hands. He seemed smaller than I imagined he would be in person. A bit later I noticed that the cockney had dissipated somewhat and he also seemed to have grown more upright and taller, too. I thought, “Wow, he really is a chameleon,” and wondered if the earlier exaggerated cockney was his way of reducing his superstar status temporarily to put people at ease on first meeting him.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The impersonations on this YouTube posting were recorded in August '85, when Bowie came in to do the lead vocal. At the end of the session, he broke into the impersonations and I realized that these might get erased at some point, so I quickly put a cassette in and hit “record.” \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.marksaunders.com.hostbaby.com/blog/david_bowie_impersonates..../\" target=\"_blank\">Over on Saunders' blog\u003c/a>, the engineer goes on to tell the story of how Mick Jagger and David Bowie's cover of \"Dancing in the Street\" was recorded. Somehow, the story does not involve piles upon piles of cocaine. Nevertheless: Gems galore.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Yes, I know, you've read everything there is to read about Bowie over the past week and a half. You've listened to every record, watched every interview, dissected conversations about what he meant to the queer community, to children's movies, to your great aunt Marla.\u003c/p>\n\u003cp>But you probably haven't heard this: The Starman himself, with more than a hint of audible glee, performing spot-on impressions of other contemporary musical greats -- including Bruce Springsteen, Bob Dylan, Lou Reed, and more.\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/NrtXFTw2ico'\n title='//www.youtube.com/embed/NrtXFTw2ico'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Recording engineer Mark Saunders uploaded the previously buried recordings to YouTube a couple days ago, with the following explanation of their origin:\u003c/p>\n\u003cp>\u003cem>I was lucky enough to work with Bowie in 1985 at Westside Studios in London. My bosses, Clive Langer and Alan Winstanley (Madness, Dexys Midnight Runners, Elvis Costello, Bush) were producing the soundtrack for the movie \u003c/em>Absolute Beginners\u003cem>, for which Bowie was acting and writing songs (it was a better soundtrack than it was a movie!) and I was graduating from assistant engineer to engineer at that time.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The day Bowie was first due to show up at Westside, we were all a bit nervous — Bowie was the biggest star client for Clive and Alan at that point in time. We kept looking out the windows, waiting for a stretch limo to show up and an entire entourage to walk in, but then a black cab showed up and out popped the unaccompanied Bowie. He walked in, announced in what seemed a more cockney voice than I remembered, “Hi, I’m David Bowie,” and shook our hands. He seemed smaller than I imagined he would be in person. A bit later I noticed that the cockney had dissipated somewhat and he also seemed to have grown more upright and taller, too. I thought, “Wow, he really is a chameleon,” and wondered if the earlier exaggerated cockney was his way of reducing his superstar status temporarily to put people at ease on first meeting him.\u003c/em>\u003c/p>\n\u003cp>\u003cem>The impersonations on this YouTube posting were recorded in August '85, when Bowie came in to do the lead vocal. At the end of the session, he broke into the impersonations and I realized that these might get erased at some point, so I quickly put a cassette in and hit “record.” \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.marksaunders.com.hostbaby.com/blog/david_bowie_impersonates..../\" target=\"_blank\">Over on Saunders' blog\u003c/a>, the engineer goes on to tell the story of how Mick Jagger and David Bowie's cover of \"Dancing in the Street\" was recorded. Somehow, the story does not involve piles upon piles of cocaine. Nevertheless: Gems galore.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>So you’ve spent a good 36 hours listening to David Bowie, reading tributes to the man, maybe silently weeping a bit. What to do now?\u003c/p>\n\u003cp>Get out of your house. No, really. Starman would want us to dress up, to pour on the body glitter, to dance, to get weird. Luckily, there are plenty of places to do that in the coming week — and, just like Bowie would have wanted, they’re all $20 and under. Throw in some comedy, a legendary hip-hop crew, and local psych-rock, and you’ve got yourself a solid \u003cstrong>Cheap Date. \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Jan. 13: A Celebration of the Life and Music of David Bowie ft. the First Church of the Sacred Silversexual at Slim’s, SF. \u003c/strong>If you’ve gotta be anywhere in the U.S. when a beloved queer icon like Bowie dies, San Francisco is a damn good place to be. Case in point: We have a fully-fledged Bowie-based cabaret/tribute band/glitter party at the ready. For the uninitiated, I’m talking about the \u003ca href=\"http://www.sacredsilversexual.com/\" target=\"_blank\" rel=\"noopener\">First Church of the Sacred Silversexual\u003c/a>, who’ll be holding court at this sure-to-be-emotional (and sparkly) bash. $10; \u003ca href=\"http://www.slimspresents.com/event/celebrating-the-life-and-art-of-david-bowie-w-the-first-church-of-the-sacred-silversexual-slims/\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9G4jnaznUoQ\u003c/p>\n\u003cp>\u003cstrong>Thursday, Jan. 14: The David Bowie Music Video Celebration at the New Mission (Alamo Drafthouse), SF. \u003c/strong>This event is exactly what it sounds like. Check out this swanky new movie theater (which includes a full bar and a menu full of upscale comfort food) while grooving to the icon’s finest contributions to the audio-visual genre. Because no matter how many times I watch this bizarre, coked-out rendition of “Dancing In the Street,” seeing it on the big screen would be something else entirely. \u003ca href=\"https://drafthouse.com/sf/show/david-bowie-memorial-sing-along\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Thursday, Jan. 14: Sketchfest Nightlife at the Cal Academy of Sciences, SF. \u003c/strong>What’s better than hundreds of comics pouring into San Francisco for a two-week-long festival of stand up, podcasts, performance, and general riffage? Sequestering a bunch of ’em in a science museum, then adding cocktails. Check out “Fake Ted Talks” with Adam Savage from \u003cem>Mythbusters\u003c/em>; movie riffing with original members of the \u003cem>Mystery Science Theater 3000\u003c/em> cast; “Competitive Erotic Fan Fiction” with Kevin Allison of \u003cem>The State \u003c/em>and the RISK! podcast; and more. $15; \u003ca href=\"https://www.calacademy.org/nightlife/sketchfest-nightlife\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=u1dVx4Pfd0c\u003c/p>\n\u003cp>\u003cstrong>Friday, Jan. 14: Dead Prez at the Catalyst, Santa Cruz. \u003c/strong>Social and political activism have been intrinsically connected to hip-hop since the genre’s earliest moments — but few and far between are acts committed to their ideals as Dead Prez. Anti-racist, anti-capitalist, and surely anti-major label, the East Coast’s answer to the Coup is still going strong some 20 years after their start. $20; \u003ca href=\"http://www.catalystclub.com/event/1015201-dead-prez-santa-cruz/\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Jan. 14 – Saturday, Jan. 15: ‘The Labyrinth’ at The New Parkway, Oakland. \u003c/strong>Admit it: For many of us, before Bowie was a rock god, he was the Goblin King — just a regular dude who wore really tight leather pants and hung out with Muppets, kidnapping a human baby now and then for fun. If it sounds terrifying that’s because it is; it’s also one of the coolest “kids’ movies” ever made. $8; \u003ca href=\"http://brownpapertickets.com/event/2489323\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=a_UL2gYVSZ4\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Jan. 15: Kelley Stoltz at The Chapel, SF. \u003c/strong>You might not know Kelley Stoltz’s name, but if you follow the Bay Area indie-psych/garage scene at all, he’s likely been involved in one of your favorite records. (To wit: his most recent recorded output was under the pseudonym Willie Weird.) No matter what you call him, you won’t regret taking the chance to see him play to a hometown crowd. $15; \u003ca href=\"http://www.thechapelsf.com/event/1018653-kelley-stoltz-mattson-2-san-francisco/\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>So you’ve spent a good 36 hours listening to David Bowie, reading tributes to the man, maybe silently weeping a bit. What to do now?\u003c/p>\n\u003cp>Get out of your house. No, really. Starman would want us to dress up, to pour on the body glitter, to dance, to get weird. Luckily, there are plenty of places to do that in the coming week — and, just like Bowie would have wanted, they’re all $20 and under. Throw in some comedy, a legendary hip-hop crew, and local psych-rock, and you’ve got yourself a solid \u003cstrong>Cheap Date. \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Jan. 13: A Celebration of the Life and Music of David Bowie ft. the First Church of the Sacred Silversexual at Slim’s, SF. \u003c/strong>If you’ve gotta be anywhere in the U.S. when a beloved queer icon like Bowie dies, San Francisco is a damn good place to be. Case in point: We have a fully-fledged Bowie-based cabaret/tribute band/glitter party at the ready. For the uninitiated, I’m talking about the \u003ca href=\"http://www.sacredsilversexual.com/\" target=\"_blank\" rel=\"noopener\">First Church of the Sacred Silversexual\u003c/a>, who’ll be holding court at this sure-to-be-emotional (and sparkly) bash. $10; \u003ca href=\"http://www.slimspresents.com/event/celebrating-the-life-and-art-of-david-bowie-w-the-first-church-of-the-sacred-silversexual-slims/\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9G4jnaznUoQ'\n title='//www.youtube.com/embed/9G4jnaznUoQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Thursday, Jan. 14: The David Bowie Music Video Celebration at the New Mission (Alamo Drafthouse), SF. \u003c/strong>This event is exactly what it sounds like. Check out this swanky new movie theater (which includes a full bar and a menu full of upscale comfort food) while grooving to the icon’s finest contributions to the audio-visual genre. Because no matter how many times I watch this bizarre, coked-out rendition of “Dancing In the Street,” seeing it on the big screen would be something else entirely. \u003ca href=\"https://drafthouse.com/sf/show/david-bowie-memorial-sing-along\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Jan. 14: Sketchfest Nightlife at the Cal Academy of Sciences, SF. \u003c/strong>What’s better than hundreds of comics pouring into San Francisco for a two-week-long festival of stand up, podcasts, performance, and general riffage? Sequestering a bunch of ’em in a science museum, then adding cocktails. Check out “Fake Ted Talks” with Adam Savage from \u003cem>Mythbusters\u003c/em>; movie riffing with original members of the \u003cem>Mystery Science Theater 3000\u003c/em> cast; “Competitive Erotic Fan Fiction” with Kevin Allison of \u003cem>The State \u003c/em>and the RISK! podcast; and more. $15; \u003ca href=\"https://www.calacademy.org/nightlife/sketchfest-nightlife\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/u1dVx4Pfd0c'\n title='//www.youtube.com/embed/u1dVx4Pfd0c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Friday, Jan. 14: Dead Prez at the Catalyst, Santa Cruz. \u003c/strong>Social and political activism have been intrinsically connected to hip-hop since the genre’s earliest moments — but few and far between are acts committed to their ideals as Dead Prez. Anti-racist, anti-capitalist, and surely anti-major label, the East Coast’s answer to the Coup is still going strong some 20 years after their start. $20; \u003ca href=\"http://www.catalystclub.com/event/1015201-dead-prez-santa-cruz/\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Friday, Jan. 14 – Saturday, Jan. 15: ‘The Labyrinth’ at The New Parkway, Oakland. \u003c/strong>Admit it: For many of us, before Bowie was a rock god, he was the Goblin King — just a regular dude who wore really tight leather pants and hung out with Muppets, kidnapping a human baby now and then for fun. If it sounds terrifying that’s because it is; it’s also one of the coolest “kids’ movies” ever made. $8; \u003ca href=\"http://brownpapertickets.com/event/2489323\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/a_UL2gYVSZ4'\n title='//www.youtube.com/embed/a_UL2gYVSZ4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Jan. 15: Kelley Stoltz at The Chapel, SF. \u003c/strong>You might not know Kelley Stoltz’s name, but if you follow the Bay Area indie-psych/garage scene at all, he’s likely been involved in one of your favorite records. (To wit: his most recent recorded output was under the pseudonym Willie Weird.) No matter what you call him, you won’t regret taking the chance to see him play to a hometown crowd. $15; \u003ca href=\"http://www.thechapelsf.com/event/1018653-kelley-stoltz-mattson-2-san-francisco/\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>David Bowie’s gone. The world weeps. Like many kids growing up in the UK in the 1970s and 80s, the British rock icon’s music — yes, even the slightly questionable stuff from his New Wave and pop era — spoke to me in a way that no other music possibly could. I owned a pair of red shoes. I learned, for a bit, to dance the blues. I once painted lightning flashes on my face for a costume party.\u003c/p>\n\u003cp>As much as to say that Bowie’s impact hasn’t just been left on the music world. Performing artists of all stripes owe the great man a great debt, including, in the Bay Area, gender-pushers like \u003ca href=\"http://www.fauxnique.net/\" target=\"_blank\" rel=\"noopener\">Fauxnique \u003c/a>(Monique Jenkinson) and the cabaret/tribute act \u003ca href=\"http://www.sacredsilversexual.com/\" target=\"_blank\" rel=\"noopener\">First Church of the Sacred Silversexual.\u003c/a>\u003c/p>\n\u003cp>Bowie himself was no stranger to the theater. It’s no surprise that the rest of the run of the Bowie musical \u003cem>\u003ca href=\"http://www.nytw.org/show/lazarus/\" target=\"_blank\" rel=\"noopener\">Lazarus\u003c/a>\u003c/em>, currently playing in New York is, barring a single pair of tickets at $1242 apiece, entirely sold out. (Bowie co-wrote the piece; it takes its inspiration from the 1963 novel \u003cem>The Man Who Fell to Earth\u003c/em> by Walter Tevis, and features many classic Bowie songs.) But like all inimitable artists, it won’t be too long, I expect, before we start to see more theatrical and film tributes to Bowie coming down the pike.\u003c/p>\n\u003cp>Speaking of which, Bay Area performing arts organizations are currently resurrecting two other great cultural figures from the dead. American Conservatory Theater in San Francisco and Cinnabar Theater in Petaluma’s concurrent shows — about music greats Louis Armstrong and Mahalia Jackson respectively — take stock of the lives of these monumental artists in a way that’s both celebratory and unflinching. Perhaps seeing these biographical productions will inspire fans to dream up their own theatrical interpretations of Bowie’s life .\u003c/p>\n\u003cp>\u003cstrong>Now through Wednesday, Jan. 13: Anton’s Well Theater Company presents \u003cem>\u003ca href=\"http://antonswell.org/\" target=\"_blank\" rel=\"noopener\">Dying City\u003c/a>\u003c/em> at the Berkeley City Club, Berkeley.\u003cbr>\n\u003c/strong>\u003cspan style=\"line-height: 1.5\">In East Coast dramatist Christopher Shinn’s 2006 drama, Kelly, a therapist, tries to get over the untimely death of her husband, Craig, a soldier who was killed while on active duty in Iraq, by watching endless episodes of \u003cem>Law and Order\u003c/em>. When the deceased’s twin brother, Peter, shows up to reminisce and console her, Kelly’s depression worsens and Peter struggles with his own feelings of loss. The taut, provocative play — staged by newcomer theater company Anton’s Well and appreciatively reviewed by KQED’s Jeffrey Edalatpour — was a finalist for the Pulitzer Prize for drama in 2008.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11221245\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11221245\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Zaul-Rudabeh-PUZZEL-e1451987306492-800x505.png\" alt=\"'Feathers of Fire'\" width=\"800\" height=\"505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zaul-Rudabeh-PUZZEL-e1451987306492-800x505.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zaul-Rudabeh-PUZZEL-e1451987306492-400x253.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zaul-Rudabeh-PUZZEL-e1451987306492-768x485.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zaul-Rudabeh-PUZZEL-e1451987306492-1180x745.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zaul-Rudabeh-PUZZEL-e1451987306492-960x606.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zaul-Rudabeh-PUZZEL-e1451987306492.png 1276w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Feathers of Fire’ \u003ccite>(Photo: Hamid Rahmanian)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Jan. 16 – Monday, Jan. 18: Fictionville Studio, Banu Productions and ShadowLight Productions present \u003cem>\u003ca href=\"http://fortmason.org/event/feathers-of-fire/\" target=\"_blank\" rel=\"noopener\">Feathers of Fire\u003c/a>\u003c/em> at The Cowell Theater, San Francisco.\u003c/strong>\u003cbr>\n\u003cem>Romeo and Juliet\u003c/em>, \u003cem>Rapunzel\u003c/em> and \u003cem>The Jungle Book\u003c/em> collide in this mythical tale about a pair of star-crossed lovers based on \u003cem>Shahnama \u003c/em>(\u003cem>The Book of Kings\u003c/em>), an ancient Persian text. Composed at the end of the 10th Century by the poet Ferdowsi, it’s the world’s longest piece of epic poetry written by a single — and obviously very single-minded — scribe and tells a tale that begins with the creation of the world and ends with the Islamic invasion of Persia in the 7th century. The august Bay Area puppet company, ShadowLight Productions, is teaming up with Guggenheim fellow, visual artist and filmmaker, Hamid Rahmanian to create a colorful performance that includes more than 160 hand-made shadow puppets, live animation and music from the Iranian band Niyaz. These local preview performances precede the show’s official world premiere at the Brooklyn Academy of Music in New York in February.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Jan, 17: punkkiCo Dance Company presents \u003cem>\u003ca href=\"http://www.theatreofyugen.org/new-events/2016/1/9/salve-regina-punkkico-dance-company\" target=\"_blank\" rel=\"noopener\">Salve Regina\u003c/a>\u003c/em> at NOHSpace, San Francisco.\u003c/strong>\u003cbr>\nRepresentations of the female body as mystical, beautiful and utterly terrifying are as old as human civilization. It’s not for nothing that the legend of the \u003cem>vagina dentata\u003c/em> isn’t unique to western culture — saber-toothed lady-parts pop up in Hindu, Shinto and Maori mythologies too. And now the Finnish-born, Bay Area-based choreographer is celebrating the many facets of the female form in a new six-part dance work. The piece delves into politically strident topics like religion’s obsession with virginity and what happens when women’s bodies are covered vs. uncovered. Oh, and the show also includes a pregnant woman performing a duet with her gestating fetus.\u003c/p>\n\u003cfigure id=\"attachment_11194650\" class=\"wp-caption alignright\" style=\"max-width: 742px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11194650 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Sharon-E-Scott-as-Mahalia-Jackson-photo-by-Desmond-J-Clark-e1451145848965.jpg\" alt=\"Sharon E. Scott as Mahalia Jackson\" width=\"742\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Sharon-E-Scott-as-Mahalia-Jackson-photo-by-Desmond-J-Clark-e1451145848965.jpg 742w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Sharon-E-Scott-as-Mahalia-Jackson-photo-by-Desmond-J-Clark-e1451145848965-400x265.jpg 400w\" sizes=\"(max-width: 742px) 100vw, 742px\">\u003cfigcaption class=\"wp-caption-text\">Sharon E. Scott as Mahalia Jackson \u003ccite>(Photo: Desmond J Clark)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sunday, Jan. 24: \u003cem>\u003ca href=\"http://www.cinnabartheater.org/mahaliajackson/\" target=\"_blank\" rel=\"noopener\">Mahalia Jackson: Just As I Am\u003c/a>\u003c/em> at Cinnabar Theater, Petaluma.\u003c/strong>\u003cbr>\nMahalia Jackson, America’s undisputed “Queen of Gospel,” was heralded internationally for her lusty contralto voice and her fierce activism. The famous vocalist’s brilliant and challenging life gets an appropriately musical retelling in actor and singer Sharon E. Scott’s show. Cinnabar Theater presents the west coast premiere of Scott’s show, for which the New York-born performer has won praise — both for her gobsmacking stage presence and for the holy rollin’ power of her voice.\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Jan. 13 – Sunday, Feb. 7: \u003cem>\u003ca href=\"http://www.act-sf.org/home/box_office/1516_season/satchmo.html\" target=\"_blank\" rel=\"noopener\">Satchmo at the Waldorf\u003c/a>\u003c/em> at the American Conservatory Theater, San Francisco\u003c/strong>\u003cbr>\nTheater-critic-turned-dramatist Terry Teachout’s solo show about Louis Armstrong (whose nickname was “Satchmo,” short for “satchel-mouth”) explores the last days of the great American jazz trumpeter’s life. The play takes place in 1971 at the Waldorf-Astoria Hotel in New York City after the last performance the by-then-physically-frail musician ever gave and captures Armstrong’s conflicted relationships with his mobster agent Joe Glaser and jazz great Miles Davis. Powerhouse Canadian-American actor John Douglas Thompson — over whom \u003cem>The New York Times\u003c/em> gushed: “There may be no better classical actor working in the New York theater right now” — portrays all three roles.\u003c/p>\n\u003cp>Other upcoming events you should endeavor not to miss:\u003c/p>\n\u003cp>\u003cstrong>Thursday, Jan 14 – Saturday, Jan. 16: Company Wayne McGregor presents \u003cem>\u003ca href=\"http://www.ybca.org/wayne-mcgregor-atomos\" target=\"_blank\" rel=\"noopener\">Atomos\u003c/a>\u003c/em> at Yerba Buena Center for the Arts, San Francisco\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Monday, Jan. 18: Youth Speaks presents \u003cem>\u003ca href=\"http://youthspeaks.org/event/the-19th-annual-bringing-the-noise-for-dr-king/\" target=\"_blank\" rel=\"noopener\">19th Annual Bringing the Noise for Dr. Martin Luther King\u003c/a>\u003c/em> at the Nourse Theatre, San Francisco\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Jan. 7 – Sunday, Jan. 24: \u003cem>\u003ca href=\"http://www.sfsketchfest.com/\" target=\"_blank\" rel=\"noopener\">SF Sketchfest\u003c/a>\u003c/em> at various venues around San Francisco\u003c/strong>\u003c/p>\n\n",
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"excerpt": "This week our critic's performing arts picks also include a morbid play in Berkeley and the female body explored through experimental dance.\r\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>David Bowie’s gone. The world weeps. Like many kids growing up in the UK in the 1970s and 80s, the British rock icon’s music — yes, even the slightly questionable stuff from his New Wave and pop era — spoke to me in a way that no other music possibly could. I owned a pair of red shoes. I learned, for a bit, to dance the blues. I once painted lightning flashes on my face for a costume party.\u003c/p>\n\u003cp>As much as to say that Bowie’s impact hasn’t just been left on the music world. Performing artists of all stripes owe the great man a great debt, including, in the Bay Area, gender-pushers like \u003ca href=\"http://www.fauxnique.net/\" target=\"_blank\" rel=\"noopener\">Fauxnique \u003c/a>(Monique Jenkinson) and the cabaret/tribute act \u003ca href=\"http://www.sacredsilversexual.com/\" target=\"_blank\" rel=\"noopener\">First Church of the Sacred Silversexual.\u003c/a>\u003c/p>\n\u003cp>Bowie himself was no stranger to the theater. It’s no surprise that the rest of the run of the Bowie musical \u003cem>\u003ca href=\"http://www.nytw.org/show/lazarus/\" target=\"_blank\" rel=\"noopener\">Lazarus\u003c/a>\u003c/em>, currently playing in New York is, barring a single pair of tickets at $1242 apiece, entirely sold out. (Bowie co-wrote the piece; it takes its inspiration from the 1963 novel \u003cem>The Man Who Fell to Earth\u003c/em> by Walter Tevis, and features many classic Bowie songs.) But like all inimitable artists, it won’t be too long, I expect, before we start to see more theatrical and film tributes to Bowie coming down the pike.\u003c/p>\n\u003cp>Speaking of which, Bay Area performing arts organizations are currently resurrecting two other great cultural figures from the dead. American Conservatory Theater in San Francisco and Cinnabar Theater in Petaluma’s concurrent shows — about music greats Louis Armstrong and Mahalia Jackson respectively — take stock of the lives of these monumental artists in a way that’s both celebratory and unflinching. Perhaps seeing these biographical productions will inspire fans to dream up their own theatrical interpretations of Bowie’s life .\u003c/p>\n\u003cp>\u003cstrong>Now through Wednesday, Jan. 13: Anton’s Well Theater Company presents \u003cem>\u003ca href=\"http://antonswell.org/\" target=\"_blank\" rel=\"noopener\">Dying City\u003c/a>\u003c/em> at the Berkeley City Club, Berkeley.\u003cbr>\n\u003c/strong>\u003cspan style=\"line-height: 1.5\">In East Coast dramatist Christopher Shinn’s 2006 drama, Kelly, a therapist, tries to get over the untimely death of her husband, Craig, a soldier who was killed while on active duty in Iraq, by watching endless episodes of \u003cem>Law and Order\u003c/em>. When the deceased’s twin brother, Peter, shows up to reminisce and console her, Kelly’s depression worsens and Peter struggles with his own feelings of loss. The taut, provocative play — staged by newcomer theater company Anton’s Well and appreciatively reviewed by KQED’s Jeffrey Edalatpour — was a finalist for the Pulitzer Prize for drama in 2008.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11221245\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11221245\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Zaul-Rudabeh-PUZZEL-e1451987306492-800x505.png\" alt=\"'Feathers of Fire'\" width=\"800\" height=\"505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zaul-Rudabeh-PUZZEL-e1451987306492-800x505.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zaul-Rudabeh-PUZZEL-e1451987306492-400x253.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zaul-Rudabeh-PUZZEL-e1451987306492-768x485.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zaul-Rudabeh-PUZZEL-e1451987306492-1180x745.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zaul-Rudabeh-PUZZEL-e1451987306492-960x606.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Zaul-Rudabeh-PUZZEL-e1451987306492.png 1276w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Feathers of Fire’ \u003ccite>(Photo: Hamid Rahmanian)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Saturday, Jan. 16 – Monday, Jan. 18: Fictionville Studio, Banu Productions and ShadowLight Productions present \u003cem>\u003ca href=\"http://fortmason.org/event/feathers-of-fire/\" target=\"_blank\" rel=\"noopener\">Feathers of Fire\u003c/a>\u003c/em> at The Cowell Theater, San Francisco.\u003c/strong>\u003cbr>\n\u003cem>Romeo and Juliet\u003c/em>, \u003cem>Rapunzel\u003c/em> and \u003cem>The Jungle Book\u003c/em> collide in this mythical tale about a pair of star-crossed lovers based on \u003cem>Shahnama \u003c/em>(\u003cem>The Book of Kings\u003c/em>), an ancient Persian text. Composed at the end of the 10th Century by the poet Ferdowsi, it’s the world’s longest piece of epic poetry written by a single — and obviously very single-minded — scribe and tells a tale that begins with the creation of the world and ends with the Islamic invasion of Persia in the 7th century. The august Bay Area puppet company, ShadowLight Productions, is teaming up with Guggenheim fellow, visual artist and filmmaker, Hamid Rahmanian to create a colorful performance that includes more than 160 hand-made shadow puppets, live animation and music from the Iranian band Niyaz. These local preview performances precede the show’s official world premiere at the Brooklyn Academy of Music in New York in February.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Now through Sunday, Jan, 17: punkkiCo Dance Company presents \u003cem>\u003ca href=\"http://www.theatreofyugen.org/new-events/2016/1/9/salve-regina-punkkico-dance-company\" target=\"_blank\" rel=\"noopener\">Salve Regina\u003c/a>\u003c/em> at NOHSpace, San Francisco.\u003c/strong>\u003cbr>\nRepresentations of the female body as mystical, beautiful and utterly terrifying are as old as human civilization. It’s not for nothing that the legend of the \u003cem>vagina dentata\u003c/em> isn’t unique to western culture — saber-toothed lady-parts pop up in Hindu, Shinto and Maori mythologies too. And now the Finnish-born, Bay Area-based choreographer is celebrating the many facets of the female form in a new six-part dance work. The piece delves into politically strident topics like religion’s obsession with virginity and what happens when women’s bodies are covered vs. uncovered. Oh, and the show also includes a pregnant woman performing a duet with her gestating fetus.\u003c/p>\n\u003cfigure id=\"attachment_11194650\" class=\"wp-caption alignright\" style=\"max-width: 742px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11194650 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Sharon-E-Scott-as-Mahalia-Jackson-photo-by-Desmond-J-Clark-e1451145848965.jpg\" alt=\"Sharon E. Scott as Mahalia Jackson\" width=\"742\" height=\"492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Sharon-E-Scott-as-Mahalia-Jackson-photo-by-Desmond-J-Clark-e1451145848965.jpg 742w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Sharon-E-Scott-as-Mahalia-Jackson-photo-by-Desmond-J-Clark-e1451145848965-400x265.jpg 400w\" sizes=\"(max-width: 742px) 100vw, 742px\">\u003cfigcaption class=\"wp-caption-text\">Sharon E. Scott as Mahalia Jackson \u003ccite>(Photo: Desmond J Clark)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sunday, Jan. 24: \u003cem>\u003ca href=\"http://www.cinnabartheater.org/mahaliajackson/\" target=\"_blank\" rel=\"noopener\">Mahalia Jackson: Just As I Am\u003c/a>\u003c/em> at Cinnabar Theater, Petaluma.\u003c/strong>\u003cbr>\nMahalia Jackson, America’s undisputed “Queen of Gospel,” was heralded internationally for her lusty contralto voice and her fierce activism. The famous vocalist’s brilliant and challenging life gets an appropriately musical retelling in actor and singer Sharon E. Scott’s show. Cinnabar Theater presents the west coast premiere of Scott’s show, for which the New York-born performer has won praise — both for her gobsmacking stage presence and for the holy rollin’ power of her voice.\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Jan. 13 – Sunday, Feb. 7: \u003cem>\u003ca href=\"http://www.act-sf.org/home/box_office/1516_season/satchmo.html\" target=\"_blank\" rel=\"noopener\">Satchmo at the Waldorf\u003c/a>\u003c/em> at the American Conservatory Theater, San Francisco\u003c/strong>\u003cbr>\nTheater-critic-turned-dramatist Terry Teachout’s solo show about Louis Armstrong (whose nickname was “Satchmo,” short for “satchel-mouth”) explores the last days of the great American jazz trumpeter’s life. The play takes place in 1971 at the Waldorf-Astoria Hotel in New York City after the last performance the by-then-physically-frail musician ever gave and captures Armstrong’s conflicted relationships with his mobster agent Joe Glaser and jazz great Miles Davis. Powerhouse Canadian-American actor John Douglas Thompson — over whom \u003cem>The New York Times\u003c/em> gushed: “There may be no better classical actor working in the New York theater right now” — portrays all three roles.\u003c/p>\n\u003cp>Other upcoming events you should endeavor not to miss:\u003c/p>\n\u003cp>\u003cstrong>Thursday, Jan 14 – Saturday, Jan. 16: Company Wayne McGregor presents \u003cem>\u003ca href=\"http://www.ybca.org/wayne-mcgregor-atomos\" target=\"_blank\" rel=\"noopener\">Atomos\u003c/a>\u003c/em> at Yerba Buena Center for the Arts, San Francisco\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Monday, Jan. 18: Youth Speaks presents \u003cem>\u003ca href=\"http://youthspeaks.org/event/the-19th-annual-bringing-the-noise-for-dr-king/\" target=\"_blank\" rel=\"noopener\">19th Annual Bringing the Noise for Dr. Martin Luther King\u003c/a>\u003c/em> at the Nourse Theatre, San Francisco\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Thursday, Jan. 7 – Sunday, Jan. 24: \u003cem>\u003ca href=\"http://www.sfsketchfest.com/\" target=\"_blank\" rel=\"noopener\">SF Sketchfest\u003c/a>\u003c/em> at various venues around San Francisco\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Even Bears, Martians and Robots Can't Perk Up the Dull Golden Globes",
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"content": "\u003cp>In recent years, the Golden Globes have been picking up steam as a less stuffy, less predictable awards show than most others. From the marvelous hosting of Tina Fey and Amy Poehler for the past three years to glorious little moments like Emma Thompson \u003ca href=\"http://big.assets.huffingtonpost.com/martini.gif\" target=\"_blank\" rel=\"noopener\">tossing her shoes in the air\u003c/a>, the Globes were starting to get a little bit of air under them — a fun diversion during awards season.\u003c/p>\n\u003cp>It was not to remain so. Sunday night, Ricky Gervais, who hosted the three ceremonies before the Fey/Poehler years, returned. What distinguished Gervais’ previous appearances was the attempt to position him as a dangerous, rebellious, take-no-prisoners host — a tough sell when he was making jokes about things like Hugh Hefner being really old. But for the most part, the Hollywood Foreign Press Association (which gives out these awards) has successfully sold the narrative of Gervais as fearless provocateur, and from the minute he stepped on stage Sunday, it was clear he was going to ride that horse as far as it would take him.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=v3JQf-WTLo8\u003c/p>\n\u003cp>His early targets included Caitlyn Jenner (one joke about her car accident followed one that was basically just “transgender people, right?”), Jeffrey Tambor for playing a transgender woman, NBC for having no nominations (true, but there are far more daring things to say about network TV than that NBC didn’t get nominated for any Golden Globes), and the Globes themselves, which he ribbed with a tamer version of a joke he made years ago about how the awards are all bought and paid for. It’s a joke that doesn’t feel particularly daring since he’s basically already made it and been invited back. They clearly don’t mind and he’s already said the same thing years ago, so where’s the risk?\u003c/p>\n\u003cp>Unfortunately, Gervais’ weak monologue was followed by a weird appearance by Channing Tatum and Jonah Hill, who — OK, look. The whole reputation of the Globes is that everybody is bombed the entire time. Either bombed in practice or in spirit — that’s part of the charm. And I would never comment on who is bombed and who is not as a matter of science, but I can say that Hill, wearing a bear head, threw himself into the bombed \u003cem>feeling \u003c/em>of the ceremony in the “some drunk people are hostile and nonsensical” fashion rather than the more enjoyable “some drunk people burble delightfully with enthusiasm” fashion. Whether he was actually bombed or not, you see.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The bear bit was also the beginning of a recurring problem over the course of the evening: at some point, people seemed to forget entirely that they were on network television, and they swore so gratuitously that big chunks of things said on stage were silenced by the censor button, rendering certain appearances rather difficult to interpret. Swearing isn’t necessarily bad in and of itself, but the way it leaves giant gaps in the audio doesn’t make for a very good show at home.\u003c/p>\n\u003cp>One of the most striking things about the evening was that the low points brought out the ability of some of the presenters to instantly lift audience spirits. Andy Samberg, who hosted the Emmys, has become a reliably lovely and funny presence at events like this, and America Ferrera and Eva Longoria did a really funny bit about being confused with other Latina actresses: “Hi, I’m Eva Longoria, not Eva Mendes.” “And hi, I’m America Ferrera, not Gina Rodriguez.” (Ferrera and Rodriguez actually were mistaken for each other by the Globes themselves during the nominations. Mentioning that? That’s a little daring.) It ended with the women addressing each other as “Salma” and “Charo.” Funny!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SHBijKSOI8U\u003c/p>\n\u003cp>At times, though, these awards just seemed a little snakebit, having trouble getting joy where joy should have been easy: What should have been a great moment for Sylvester Stallone (who won a supporting award for \u003cem>Creed\u003c/em>) was marred by his forgetting to thank writer-director Ryan Coogler or anyone in the cast, which he reportedly ran back on stage to correct, but after the TV coverage had already cut away. Aziz Ansari had a very funny bit where he was in the audience reading \u003cem>How to Lose to Jeffrey Tambor with Dignity\u003c/em> when the lead TV comedy actors were announced, but his joke fell victim to the unexpected victory of Gael Garcia Bernal for \u003cem>Mozart in the Jungle\u003c/em> — a very low-profile Amazon show that was also named the best TV comedy.\u003c/p>\n\u003cp>Of course, the advantage that awards shows have is that when you put enough charismatic, enjoyable people on stage, you’ll get good moments. Rachel Bloom of the CW’s \u003cem>Crazy Ex-Girlfriend \u003c/em>was an excited delight as the winning TV comic actress, Oscar Isaac was charming accepting an award for the HBO miniseries \u003cem>Show Me a Hero\u003c/em>, Taraji P. Henson was luminous accepting for \u003cem>Empire\u003c/em>, and Tom Hanks made a predictably fine presenter of the Cecil B. DeMille Award to his \u003cem>Philadelphia \u003c/em>co-star, Denzel Washington, who got a very good career montage out of the deal.\u003c/p>\n\u003cp>Other winners included \u003cem>The Revenant\u003c/em> for outstanding dramatic movie and \u003cem>The Martian \u003c/em>for outstanding comedy/musical (another moment marred by a side issue: in this case, whether \u003cem>The Martian \u003c/em>is actually comedic), Leonardo DiCaprio (\u003cem>The Revenant\u003c/em>) and Brie Larson (\u003cem>Room\u003c/em>) for their lead dramatic roles in film, Jennifer Lawrence (\u003cem>Joy\u003c/em>) and Matt Damon (\u003cem>The Martian\u003c/em>) for their lead roles in comedies (or comedies-ish), and the terrific USA show \u003cem>Mr. Robot \u003c/em>for TV drama series — exactly the kind of slightly offbeat winner the Globes redeem themselves by sometimes crowning.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There have been worse awards shows, certainly. But Gervais’ ancient-feeling shtick about Mel Gibson and Brad Pitt and Angelina Jolie’s adopted kids was enough to put the evening at a disadvantage that the awards themselves struggled to overcome.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Even+Bears%2C+Martians+And+Robots+Can%27t+Perk+Up+The+Dull+Golden+Globes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n",
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"title": "Even Bears, Martians and Robots Can't Perk Up the Dull Golden Globes | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In recent years, the Golden Globes have been picking up steam as a less stuffy, less predictable awards show than most others. From the marvelous hosting of Tina Fey and Amy Poehler for the past three years to glorious little moments like Emma Thompson \u003ca href=\"http://big.assets.huffingtonpost.com/martini.gif\" target=\"_blank\" rel=\"noopener\">tossing her shoes in the air\u003c/a>, the Globes were starting to get a little bit of air under them — a fun diversion during awards season.\u003c/p>\n\u003cp>It was not to remain so. Sunday night, Ricky Gervais, who hosted the three ceremonies before the Fey/Poehler years, returned. What distinguished Gervais’ previous appearances was the attempt to position him as a dangerous, rebellious, take-no-prisoners host — a tough sell when he was making jokes about things like Hugh Hefner being really old. But for the most part, the Hollywood Foreign Press Association (which gives out these awards) has successfully sold the narrative of Gervais as fearless provocateur, and from the minute he stepped on stage Sunday, it was clear he was going to ride that horse as far as it would take him.\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/v3JQf-WTLo8'\n title='//www.youtube.com/embed/v3JQf-WTLo8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>His early targets included Caitlyn Jenner (one joke about her car accident followed one that was basically just “transgender people, right?”), Jeffrey Tambor for playing a transgender woman, NBC for having no nominations (true, but there are far more daring things to say about network TV than that NBC didn’t get nominated for any Golden Globes), and the Globes themselves, which he ribbed with a tamer version of a joke he made years ago about how the awards are all bought and paid for. It’s a joke that doesn’t feel particularly daring since he’s basically already made it and been invited back. They clearly don’t mind and he’s already said the same thing years ago, so where’s the risk?\u003c/p>\n\u003cp>Unfortunately, Gervais’ weak monologue was followed by a weird appearance by Channing Tatum and Jonah Hill, who — OK, look. The whole reputation of the Globes is that everybody is bombed the entire time. Either bombed in practice or in spirit — that’s part of the charm. And I would never comment on who is bombed and who is not as a matter of science, but I can say that Hill, wearing a bear head, threw himself into the bombed \u003cem>feeling \u003c/em>of the ceremony in the “some drunk people are hostile and nonsensical” fashion rather than the more enjoyable “some drunk people burble delightfully with enthusiasm” fashion. Whether he was actually bombed or not, you see.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The bear bit was also the beginning of a recurring problem over the course of the evening: at some point, people seemed to forget entirely that they were on network television, and they swore so gratuitously that big chunks of things said on stage were silenced by the censor button, rendering certain appearances rather difficult to interpret. Swearing isn’t necessarily bad in and of itself, but the way it leaves giant gaps in the audio doesn’t make for a very good show at home.\u003c/p>\n\u003cp>One of the most striking things about the evening was that the low points brought out the ability of some of the presenters to instantly lift audience spirits. Andy Samberg, who hosted the Emmys, has become a reliably lovely and funny presence at events like this, and America Ferrera and Eva Longoria did a really funny bit about being confused with other Latina actresses: “Hi, I’m Eva Longoria, not Eva Mendes.” “And hi, I’m America Ferrera, not Gina Rodriguez.” (Ferrera and Rodriguez actually were mistaken for each other by the Globes themselves during the nominations. Mentioning that? That’s a little daring.) It ended with the women addressing each other as “Salma” and “Charo.” Funny!\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/SHBijKSOI8U'\n title='//www.youtube.com/embed/SHBijKSOI8U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At times, though, these awards just seemed a little snakebit, having trouble getting joy where joy should have been easy: What should have been a great moment for Sylvester Stallone (who won a supporting award for \u003cem>Creed\u003c/em>) was marred by his forgetting to thank writer-director Ryan Coogler or anyone in the cast, which he reportedly ran back on stage to correct, but after the TV coverage had already cut away. Aziz Ansari had a very funny bit where he was in the audience reading \u003cem>How to Lose to Jeffrey Tambor with Dignity\u003c/em> when the lead TV comedy actors were announced, but his joke fell victim to the unexpected victory of Gael Garcia Bernal for \u003cem>Mozart in the Jungle\u003c/em> — a very low-profile Amazon show that was also named the best TV comedy.\u003c/p>\n\u003cp>Of course, the advantage that awards shows have is that when you put enough charismatic, enjoyable people on stage, you’ll get good moments. Rachel Bloom of the CW’s \u003cem>Crazy Ex-Girlfriend \u003c/em>was an excited delight as the winning TV comic actress, Oscar Isaac was charming accepting an award for the HBO miniseries \u003cem>Show Me a Hero\u003c/em>, Taraji P. Henson was luminous accepting for \u003cem>Empire\u003c/em>, and Tom Hanks made a predictably fine presenter of the Cecil B. DeMille Award to his \u003cem>Philadelphia \u003c/em>co-star, Denzel Washington, who got a very good career montage out of the deal.\u003c/p>\n\u003cp>Other winners included \u003cem>The Revenant\u003c/em> for outstanding dramatic movie and \u003cem>The Martian \u003c/em>for outstanding comedy/musical (another moment marred by a side issue: in this case, whether \u003cem>The Martian \u003c/em>is actually comedic), Leonardo DiCaprio (\u003cem>The Revenant\u003c/em>) and Brie Larson (\u003cem>Room\u003c/em>) for their lead dramatic roles in film, Jennifer Lawrence (\u003cem>Joy\u003c/em>) and Matt Damon (\u003cem>The Martian\u003c/em>) for their lead roles in comedies (or comedies-ish), and the terrific USA show \u003cem>Mr. Robot \u003c/em>for TV drama series — exactly the kind of slightly offbeat winner the Globes redeem themselves by sometimes crowning.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There have been worse awards shows, certainly. But Gervais’ ancient-feeling shtick about Mel Gibson and Brad Pitt and Angelina Jolie’s adopted kids was enough to put the evening at a disadvantage that the awards themselves struggled to overcome.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Even+Bears%2C+Martians+And+Robots+Can%27t+Perk+Up+The+Dull+Golden+Globes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "For Local Comics, SF Sketchfest Is More a Vision Board Than a Jackpot",
"headTitle": "For Local Comics, SF Sketchfest Is More a Vision Board Than a Jackpot | KQED",
"content": "\u003cp>Kate Willett pauses our interview about the value of \u003ca href=\"http://sfsketchfest.com/x/\" target=\"_blank\" rel=\"noopener\">SF Sketchfest \u003c/a>to local comedians like her.\u003c/p>\n\u003cp>One of Willett’s 23 roommates has interrupted to ask why the dining room door was closed. Beside him a short-legged resident dog whimpers the same question.\u003c/p>\n\u003cp>“Oh, that’s okay, let it in,” Willett says good-naturedly from a settee inside this old San Francisco nunnery, remade into an artist co-op.\u003c/p>\n\u003cp>Willett refers to this bohemian living situation in her comic material. When she’s doing stand-up on the road — she’s a regular opener for Margaret Cho nationwide — Willett might start with: “I’m from San Francisco. I live in a hippie commune, you know, essential oils, vision boards.” (A vision board being something like a pictorial wish list for what you want from the universe.) Willett’s punchline is about how all she would have on her vision board are penis pictures and a Comedy Central logo.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=e0qrzCr5i6k\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>About those cable network ambitions: Willett won’t be the only rising Bay Area comic at Sketchfest, happening in SF clubs and theaters Jan. 7 – 24, with dreams of crushing it as a writer or performer on TV. Would killing at Sketchfest help?\u003c/p>\n\u003cp>Consistent with recent years, of the 500 or so comedians featured at Sketchfest 2016, the majority come from the comedy nexus of the universe, Los Angeles. Many Sketchfest acts have San Francisco in their DNA, but left for greater glory in L.A. (The long list includes Moshe Kasher and festival co-founder/SFSU alum Janet Varney.) Another Sketchfest co-founder, David Owen, bristles when I shared the nickname one comedian applied to this SF event: “L.A. Comedy Festival North.”\u003c/p>\n\u003cp>“That’s a bit lazy,” Owen says. “A lot (of comics) are from New York, from L.A., because there just happen to be more comedians there.” Sketchfest’s lineup always includes talent from the Bay Area. This year Portland, Chicago, even Austin are represented, Owen added, but could offer no data on the overall breakdown. “We don’t have a spreadsheet about where everyone is from.”\u003c/p>\n\u003cp>Festival organizers say among the 50,000 attendees you’ll find Hollywood agents and talent scouts. Former local (now Los Angeles-based) David Gborie confirms he was scouted at the 2012 Sketchfest.\u003c/p>\n\u003cfigure id=\"attachment_11223960\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11223960\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/400321_10150518321913112_518123111_8742106_947263020_n-400x250.jpg\" alt=\"David Gborie\" width=\"400\" height=\"250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/400321_10150518321913112_518123111_8742106_947263020_n-400x250.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/400321_10150518321913112_518123111_8742106_947263020_n-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/400321_10150518321913112_518123111_8742106_947263020_n-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/400321_10150518321913112_518123111_8742106_947263020_n.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">David Gborie\u003c/figcaption>\u003c/figure>\n\u003cp>“I was approached by a manager and went to L.A. for a meeting, but didn’t end up signing,” he says. (Gborie is returning for another Sketchfest appearance, and still uses the Bay Area “hella” in jokes, as in, “It’s hella irritating that you don’t all have the same views as me.”)\u003c/p>\n\u003cp>This will be the fourth Sketchfest appearance for Willett, the SF comic in a hippie commune. Willett and I worked on an indie web project, so she’s comfortable exploding my misconceptions about professional comedy. She laughs off the idea that Sketchfest, possibly the largest comedy fest in America in calendar length, lineup and programming size, could thrust an emerging performer into stardom. Willett calls that notion “totally pretend.”\u003c/p>\n\u003cp>“Sometimes people who aren’t comedians think there’s this moment where you have a great set, and someone from the entertainment industry is going to see you, and then they’re going to put you on TV,” she says. “And after that you will be famous. Almost nothing about that is true.”\u003c/p>\n\u003cp>Breaks come when A-listers get to know you over time, become stage allies, then offer you work, she says. “The way that you get your first really big opportunities as a stand-up is through other comedians.”\u003c/p>\n\u003cfigure id=\"attachment_11223283\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11223283\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/MArgaret-Cho-e1450138706950-400x225.jpg\" alt=\"Margaret Cho -- who was just a local San Francisco comedian before she broke through. \" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MArgaret-Cho-e1450138706950-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MArgaret-Cho-e1450138706950-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MArgaret-Cho-e1450138706950-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MArgaret-Cho-e1450138706950-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MArgaret-Cho-e1450138706950.jpg 1024w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Margaret Cho — who was, of course, just a local San Francisco comedian before she broke through.\u003c/figcaption>\u003c/figure>\n\u003cp>After crossing paths at SF gigs, Bay Area native Cho tapped Willett for touring. They appeared together last year at that grand dame of comedy fests, Montreal’s venerable Just For Laughs. A Comedy Central producer in attendance later booked Willett on a show called “This Is Not Happening.” Still, Willett is not a celebrity. She does not have an agent.\u003c/p>\n\u003cp>Andy Wood, director of the popular and small-ish Bridgetown Comedy Festival in Portland, agreed that no festival appearance could make a career. “There’s no one thing that launches people overnight,” says Wood, who is appearing at Sketchfest’s \u003ca href=\"http://schedule.sfsketchfest.com/probably_science.1uiethcb\" target=\"_blank\" rel=\"noopener\">Probably Science show\u003c/a>. Maybe in the ‘90s at the Montreal fest you could get seen, then get a development deal and your own sitcom on the spot, he said. Not anymore.\u003c/p>\n\u003cp>“No one goes, ‘Hey kid, you’re going straight to the top!’” he says. “The biggest benefit (to comedy festivals) is making connections with other performers. It’s a great — and I hate this word — networking opportunity. Like summer camp for comedians.”\u003c/p>\n\u003cp>If the real value to under-the-radar talent is meeting successful performers, then Sketchfest certainly sets up a good situation for professional hookups. There are private parties for performers only — taking selfies with Billy Crystal, Maya Rudolph, Janeane Garofalo or Jon Hamm could be possible this year.\u003c/p>\n\u003cfigure id=\"attachment_11223282\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11223282\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/333671_10150637513227448_2049168091_o-400x266.jpg\" alt=\"Mike Spiegelman\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/333671_10150637513227448_2049168091_o-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/333671_10150637513227448_2049168091_o-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/333671_10150637513227448_2049168091_o-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/333671_10150637513227448_2049168091_o-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/333671_10150637513227448_2049168091_o-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/333671_10150637513227448_2049168091_o.jpg 1280w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Mike Spiegelman\u003c/figcaption>\u003c/figure>\n\u003cp>For an anecdote about unexpected magic between locals and out-of-towners at Sketchfest, consider Mike Spiegelman. He talked with me as he readied to take a worn wooden stage for his Tuesday showcase at Oakland’s Layover. In the rear of this narrow bar, a cluster of comics were sharing gossip on pillow-strewn banquettes. (Spiegelman would later introduce them as: “Probably the finest comedians who could make it on time.”)\u003c/p>\n\u003cp>I ask for his biggest Sketchfest memory.\u003c/p>\n\u003cp>No, not the time he was in the newspaper as part of the inaugural Sketchfest in 2002, back when when it was exclusively Bay Area entertainers. “I (was) in the paper…but I had no money. I really couldn’t pay rent,” he says.\u003c/p>\n\u003cp>The highlight was the time Sketchfest co-founder Cole Stratton needed a last-minute stand-in for a live reading of “Shakes the Clown,” so Spiegelman joined a famous ensemble with Bobcat Goldthwait, Kevin Pollack, Julie Brown, and others for a rendition of the 1992 cult movie.\u003c/p>\n\u003cp>“I got to perform for so many Shakes fans.”\u003c/p>\n\u003cp>Spiegelman’s now entering his eighth Sketchfest of the 15 there have been, this time with a sketch group called \u003ca href=\"http://sfsketchfest2016.sched.org/artist/the_great_difficulties_in_the_greatest_d.1uiejglo\" target=\"_blank\" rel=\"noopener\">the Great Difficulties\u003c/a>. Making new comedy connections for work opportunities is great, he notes. But Spiegelman concentrates his praise on organizers for their dedication to making comics’ experiences special over all.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“You get to meet your comedy heroes.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kate Willett pauses our interview about the value of \u003ca href=\"http://sfsketchfest.com/x/\" target=\"_blank\" rel=\"noopener\">SF Sketchfest \u003c/a>to local comedians like her.\u003c/p>\n\u003cp>One of Willett’s 23 roommates has interrupted to ask why the dining room door was closed. Beside him a short-legged resident dog whimpers the same question.\u003c/p>\n\u003cp>“Oh, that’s okay, let it in,” Willett says good-naturedly from a settee inside this old San Francisco nunnery, remade into an artist co-op.\u003c/p>\n\u003cp>Willett refers to this bohemian living situation in her comic material. When she’s doing stand-up on the road — she’s a regular opener for Margaret Cho nationwide — Willett might start with: “I’m from San Francisco. I live in a hippie commune, you know, essential oils, vision boards.” (A vision board being something like a pictorial wish list for what you want from the universe.) Willett’s punchline is about how all she would have on her vision board are penis pictures and a Comedy Central logo.\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/e0qrzCr5i6k'\n title='//www.youtube.com/embed/e0qrzCr5i6k'\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>About those cable network ambitions: Willett won’t be the only rising Bay Area comic at Sketchfest, happening in SF clubs and theaters Jan. 7 – 24, with dreams of crushing it as a writer or performer on TV. Would killing at Sketchfest help?\u003c/p>\n\u003cp>Consistent with recent years, of the 500 or so comedians featured at Sketchfest 2016, the majority come from the comedy nexus of the universe, Los Angeles. Many Sketchfest acts have San Francisco in their DNA, but left for greater glory in L.A. (The long list includes Moshe Kasher and festival co-founder/SFSU alum Janet Varney.) Another Sketchfest co-founder, David Owen, bristles when I shared the nickname one comedian applied to this SF event: “L.A. Comedy Festival North.”\u003c/p>\n\u003cp>“That’s a bit lazy,” Owen says. “A lot (of comics) are from New York, from L.A., because there just happen to be more comedians there.” Sketchfest’s lineup always includes talent from the Bay Area. This year Portland, Chicago, even Austin are represented, Owen added, but could offer no data on the overall breakdown. “We don’t have a spreadsheet about where everyone is from.”\u003c/p>\n\u003cp>Festival organizers say among the 50,000 attendees you’ll find Hollywood agents and talent scouts. Former local (now Los Angeles-based) David Gborie confirms he was scouted at the 2012 Sketchfest.\u003c/p>\n\u003cfigure id=\"attachment_11223960\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11223960\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/400321_10150518321913112_518123111_8742106_947263020_n-400x250.jpg\" alt=\"David Gborie\" width=\"400\" height=\"250\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/400321_10150518321913112_518123111_8742106_947263020_n-400x250.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/400321_10150518321913112_518123111_8742106_947263020_n-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/400321_10150518321913112_518123111_8742106_947263020_n-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/400321_10150518321913112_518123111_8742106_947263020_n.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">David Gborie\u003c/figcaption>\u003c/figure>\n\u003cp>“I was approached by a manager and went to L.A. for a meeting, but didn’t end up signing,” he says. (Gborie is returning for another Sketchfest appearance, and still uses the Bay Area “hella” in jokes, as in, “It’s hella irritating that you don’t all have the same views as me.”)\u003c/p>\n\u003cp>This will be the fourth Sketchfest appearance for Willett, the SF comic in a hippie commune. Willett and I worked on an indie web project, so she’s comfortable exploding my misconceptions about professional comedy. She laughs off the idea that Sketchfest, possibly the largest comedy fest in America in calendar length, lineup and programming size, could thrust an emerging performer into stardom. Willett calls that notion “totally pretend.”\u003c/p>\n\u003cp>“Sometimes people who aren’t comedians think there’s this moment where you have a great set, and someone from the entertainment industry is going to see you, and then they’re going to put you on TV,” she says. “And after that you will be famous. Almost nothing about that is true.”\u003c/p>\n\u003cp>Breaks come when A-listers get to know you over time, become stage allies, then offer you work, she says. “The way that you get your first really big opportunities as a stand-up is through other comedians.”\u003c/p>\n\u003cfigure id=\"attachment_11223283\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11223283\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/MArgaret-Cho-e1450138706950-400x225.jpg\" alt=\"Margaret Cho -- who was just a local San Francisco comedian before she broke through. \" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MArgaret-Cho-e1450138706950-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MArgaret-Cho-e1450138706950-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MArgaret-Cho-e1450138706950-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MArgaret-Cho-e1450138706950-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/MArgaret-Cho-e1450138706950.jpg 1024w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Margaret Cho — who was, of course, just a local San Francisco comedian before she broke through.\u003c/figcaption>\u003c/figure>\n\u003cp>After crossing paths at SF gigs, Bay Area native Cho tapped Willett for touring. They appeared together last year at that grand dame of comedy fests, Montreal’s venerable Just For Laughs. A Comedy Central producer in attendance later booked Willett on a show called “This Is Not Happening.” Still, Willett is not a celebrity. She does not have an agent.\u003c/p>\n\u003cp>Andy Wood, director of the popular and small-ish Bridgetown Comedy Festival in Portland, agreed that no festival appearance could make a career. “There’s no one thing that launches people overnight,” says Wood, who is appearing at Sketchfest’s \u003ca href=\"http://schedule.sfsketchfest.com/probably_science.1uiethcb\" target=\"_blank\" rel=\"noopener\">Probably Science show\u003c/a>. Maybe in the ‘90s at the Montreal fest you could get seen, then get a development deal and your own sitcom on the spot, he said. Not anymore.\u003c/p>\n\u003cp>“No one goes, ‘Hey kid, you’re going straight to the top!’” he says. “The biggest benefit (to comedy festivals) is making connections with other performers. It’s a great — and I hate this word — networking opportunity. Like summer camp for comedians.”\u003c/p>\n\u003cp>If the real value to under-the-radar talent is meeting successful performers, then Sketchfest certainly sets up a good situation for professional hookups. There are private parties for performers only — taking selfies with Billy Crystal, Maya Rudolph, Janeane Garofalo or Jon Hamm could be possible this year.\u003c/p>\n\u003cfigure id=\"attachment_11223282\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11223282\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/333671_10150637513227448_2049168091_o-400x266.jpg\" alt=\"Mike Spiegelman\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/333671_10150637513227448_2049168091_o-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/333671_10150637513227448_2049168091_o-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/333671_10150637513227448_2049168091_o-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/333671_10150637513227448_2049168091_o-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/333671_10150637513227448_2049168091_o-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/333671_10150637513227448_2049168091_o.jpg 1280w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Mike Spiegelman\u003c/figcaption>\u003c/figure>\n\u003cp>For an anecdote about unexpected magic between locals and out-of-towners at Sketchfest, consider Mike Spiegelman. He talked with me as he readied to take a worn wooden stage for his Tuesday showcase at Oakland’s Layover. In the rear of this narrow bar, a cluster of comics were sharing gossip on pillow-strewn banquettes. (Spiegelman would later introduce them as: “Probably the finest comedians who could make it on time.”)\u003c/p>\n\u003cp>I ask for his biggest Sketchfest memory.\u003c/p>\n\u003cp>No, not the time he was in the newspaper as part of the inaugural Sketchfest in 2002, back when when it was exclusively Bay Area entertainers. “I (was) in the paper…but I had no money. I really couldn’t pay rent,” he says.\u003c/p>\n\u003cp>The highlight was the time Sketchfest co-founder Cole Stratton needed a last-minute stand-in for a live reading of “Shakes the Clown,” so Spiegelman joined a famous ensemble with Bobcat Goldthwait, Kevin Pollack, Julie Brown, and others for a rendition of the 1992 cult movie.\u003c/p>\n\u003cp>“I got to perform for so many Shakes fans.”\u003c/p>\n\u003cp>Spiegelman’s now entering his eighth Sketchfest of the 15 there have been, this time with a sketch group called \u003ca href=\"http://sfsketchfest2016.sched.org/artist/the_great_difficulties_in_the_greatest_d.1uiejglo\" target=\"_blank\" rel=\"noopener\">the Great Difficulties\u003c/a>. Making new comedy connections for work opportunities is great, he notes. But Spiegelman concentrates his praise on organizers for their dedication to making comics’ experiences special over all.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Cheap Date: Lemmy, Vandella, and a Chance to Wear No Pants (In Public!)",
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"content": "\u003cp>Dear readers! Hello and welcome back to reality, assuming a good portion of you have had the privilege to be away from work for at least a few days — days you likely filled with copious amounts of food and/or alcohol. (It’s ok. That’s what the holidays are for.)\u003c/p>\n\u003cp>Did you make any New Year’s resolutions?\u003cem> [Ed. note: I know that’s a terrible question, and I’m sorry for asking it.] \u003c/em>If, however, at the top of your list is a bright red glaring “SAVE MONEY” — well, let’s just say you’re not alone. What better way to kick off a year of entertainment on the cheap than with a week full of activities for $20 and under?\u003c/p>\n\u003cp>Here you are, friends. The first \u003cstrong>Cheap Date\u003c/strong> of 2016.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cTKw2ssDr7w\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Jan. 6: \u003cem>Lemmy \u003c/em>and \u003cem>Classic Albums: Motorhead – Ace of Spades\u003c/em> celebration at the Chapel, SF. \u003c/strong>The dearly beloved, recently departed metal icon was a hard-partying, take-no-BS, yet incredibly endearing one of a kind — and he would absolutely want you to pay your respects by going to a bar. This double feature includes two documentaries full of heavy metal and real-life debauchery. For free! \u003ca href=\"http://www.thechapelsf.com/event/1047389-lemmy-documentary-classic-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VUErICL9WAo\u003c/p>\n\u003cp>\u003cstrong>Thursday, Jan. 7: Goodnight, Texas at the Independent, SF. \u003c/strong>Named for a tiny town at the midway point between the songwriters’ hometowns, this Americana four-piece nevertheless claims San Francisco as home base. Expect foot-stomping, whiskey-drinking, a surprisingly haunting ballad or two, and a hefty dose of humor. Openers Whiskey Shivers throw a helluva party too. \u003ca href=\"http://www.theindependentsf.com/event/1017543-goodnight-texas-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11223054\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11223054\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/lil_debbie_cropped-400x352.jpg\" alt=\"Lil Debbie\" width=\"400\" height=\"352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/lil_debbie_cropped-400x352.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/lil_debbie_cropped.jpg 559w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Lil Debbie\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Jan. 8: Lil Debbie at the Phoenix, Petaluma. \u003c/strong>Like Taylor Swift and Harry Styles, it may be that the White Girl Mob — the counter-intuitive Oakland crew of sh*t-talking, weed-smoking girls who brought you Kreayshawn (“Gucci Gucci”) and V-Nasty, among others — were made to fall apart. No matter: Lil Debbie charges ahead with a solo album and a brand that’s, well, if not trailblazing, certainly blazing. Here she opens for Baeza, a MC from Fresno. $20; \u003ca href=\"http://www.thephoenixtheater.com/event/1029711-baeza-lil-debbie-petaluma/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Saturday, Jan. 9: Mortified at the New Parish, Oakland. \u003c/strong>Got a high school diary just begging to be mined for comedic value? Have I got the event for you. “Personal redemption through public humiliation” is the motto at this interactive show, where adults from all walks of life share the stories that made them cringe as teens — and will likely have you crying with laughter by the time they’re over. $14 – $20; \u003ca href=\"http://thenewparish.com/event.cfm?id=185601\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=45d4ArIRe8A\u003c/p>\n\u003cp>\u003cstrong>Saturday, Jan. 9: Vandella at Smiley’s Schooner Saloon, Bolinas. \u003c/strong>Just past Stinson, at the edge of a piece of Marin County land \u003ca href=\"http://articles.latimes.com/1989-11-09/news/mn-1431_1_road-signs\" target=\"_blank\" rel=\"noopener\">its residents don’t really want you to know about\u003c/a>, lies the magical coastal land of Bolinas. And in that land, you’ll find a more-than-a-century-old bar hosting one of my favorite San Francisco indie-rock/soul outfits, fronted by a dynamic male/female duo (one-half of whom is the deceptively diminutive Tracey Holland, who’s something like the lovechild of Stevie Nicks and Janis Joplin, minus a lot of drugs). \u003ca href=\"https://www.facebook.com/events/792989000813169/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Jan. 10: No Pants BART Ride, all over the Bay Area. \u003c/strong>Let’s not make this more complicated than it is. While the tradition of a pantsless subway ride supposedly originated in New York City, leave to the Bay Area to take public nudity to new heights. Or depths, ie, under the Bay. You don’t have to participate, but this is one instance in which, uh, you’ll probably see some things — and there’s really no point in saying something. (\u003ca href=\"https://www.facebook.com/events/1491288427843410/\" target=\"_blank\" rel=\"noopener\">Details for 2015’s event here\u003c/a>, stay tuned for updated info).\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dear readers! Hello and welcome back to reality, assuming a good portion of you have had the privilege to be away from work for at least a few days — days you likely filled with copious amounts of food and/or alcohol. (It’s ok. That’s what the holidays are for.)\u003c/p>\n\u003cp>Did you make any New Year’s resolutions?\u003cem> [Ed. note: I know that’s a terrible question, and I’m sorry for asking it.] \u003c/em>If, however, at the top of your list is a bright red glaring “SAVE MONEY” — well, let’s just say you’re not alone. What better way to kick off a year of entertainment on the cheap than with a week full of activities for $20 and under?\u003c/p>\n\u003cp>Here you are, friends. The first \u003cstrong>Cheap Date\u003c/strong> of 2016.\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/cTKw2ssDr7w'\n title='//www.youtube.com/embed/cTKw2ssDr7w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Wednesday, Jan. 6: \u003cem>Lemmy \u003c/em>and \u003cem>Classic Albums: Motorhead – Ace of Spades\u003c/em> celebration at the Chapel, SF. \u003c/strong>The dearly beloved, recently departed metal icon was a hard-partying, take-no-BS, yet incredibly endearing one of a kind — and he would absolutely want you to pay your respects by going to a bar. This double feature includes two documentaries full of heavy metal and real-life debauchery. For free! \u003ca href=\"http://www.thechapelsf.com/event/1047389-lemmy-documentary-classic-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VUErICL9WAo'\n title='//www.youtube.com/embed/VUErICL9WAo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Thursday, Jan. 7: Goodnight, Texas at the Independent, SF. \u003c/strong>Named for a tiny town at the midway point between the songwriters’ hometowns, this Americana four-piece nevertheless claims San Francisco as home base. Expect foot-stomping, whiskey-drinking, a surprisingly haunting ballad or two, and a hefty dose of humor. Openers Whiskey Shivers throw a helluva party too. \u003ca href=\"http://www.theindependentsf.com/event/1017543-goodnight-texas-san-francisco/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11223054\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-11223054\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/lil_debbie_cropped-400x352.jpg\" alt=\"Lil Debbie\" width=\"400\" height=\"352\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/lil_debbie_cropped-400x352.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/lil_debbie_cropped.jpg 559w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Lil Debbie\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Friday, Jan. 8: Lil Debbie at the Phoenix, Petaluma. \u003c/strong>Like Taylor Swift and Harry Styles, it may be that the White Girl Mob — the counter-intuitive Oakland crew of sh*t-talking, weed-smoking girls who brought you Kreayshawn (“Gucci Gucci”) and V-Nasty, among others — were made to fall apart. No matter: Lil Debbie charges ahead with a solo album and a brand that’s, well, if not trailblazing, certainly blazing. Here she opens for Baeza, a MC from Fresno. $20; \u003ca href=\"http://www.thephoenixtheater.com/event/1029711-baeza-lil-debbie-petaluma/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Saturday, Jan. 9: Mortified at the New Parish, Oakland. \u003c/strong>Got a high school diary just begging to be mined for comedic value? Have I got the event for you. “Personal redemption through public humiliation” is the motto at this interactive show, where adults from all walks of life share the stories that made them cringe as teens — and will likely have you crying with laughter by the time they’re over. $14 – $20; \u003ca href=\"http://thenewparish.com/event.cfm?id=185601\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/45d4ArIRe8A'\n title='//www.youtube.com/embed/45d4ArIRe8A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Saturday, Jan. 9: Vandella at Smiley’s Schooner Saloon, Bolinas. \u003c/strong>Just past Stinson, at the edge of a piece of Marin County land \u003ca href=\"http://articles.latimes.com/1989-11-09/news/mn-1431_1_road-signs\" target=\"_blank\" rel=\"noopener\">its residents don’t really want you to know about\u003c/a>, lies the magical coastal land of Bolinas. And in that land, you’ll find a more-than-a-century-old bar hosting one of my favorite San Francisco indie-rock/soul outfits, fronted by a dynamic male/female duo (one-half of whom is the deceptively diminutive Tracey Holland, who’s something like the lovechild of Stevie Nicks and Janis Joplin, minus a lot of drugs). \u003ca href=\"https://www.facebook.com/events/792989000813169/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sunday, Jan. 10: No Pants BART Ride, all over the Bay Area. \u003c/strong>Let’s not make this more complicated than it is. While the tradition of a pantsless subway ride supposedly originated in New York City, leave to the Bay Area to take public nudity to new heights. Or depths, ie, under the Bay. You don’t have to participate, but this is one instance in which, uh, you’ll probably see some things — and there’s really no point in saying something. (\u003ca href=\"https://www.facebook.com/events/1491288427843410/\" target=\"_blank\" rel=\"noopener\">Details for 2015’s event here\u003c/a>, stay tuned for updated info).\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>They chat, they joke, they drive a classic 1963 Corvette. When President Obama appears on Jerry Seinfeld’s online show \u003cem>Comedians in Cars Getting Coffee\u003c/em>, their conversation topics range from nothing to the sanity of world leaders and the merits of profanity.\u003c/p>\n\u003cp>Much of the talk also centers on what it’s like for a guy to live in the Oval Office, the White House and a position of extreme power. A recurring theme: how a regular person adjusts to both the privilege and the stress that come with the presidency.\u003c/p>\n\u003cp>“Bad stuff, or stupid stuff, is happening constantly, right?” Obama says. “Every day. So you have to be able to just make fun of a lot of that, like: ‘That was even dumber and more annoying than usual.’ That’s when cursing is really useful.”\u003c/p>\n\u003cp>The show streams on Crackle; you can also \u003ca href=\"http://comediansincarsgettingcoffee.com/president-barack-obama-just-tell-him-you-re-the-president\" target=\"_blank\" rel=\"noopener\">watch the episode here\u003c/a>. (Crackle has disabled the embed option on this video.)\u003c/p>\n\u003cp>Some highlight questions:\u003c/p>\n\u003cul>\n\u003cli>“You ever go on eBay?”\u003c/li>\n\u003cli>“What sport is politics? Is it chess? Is it liar’s poker?”\u003c/li>\n\u003cli>“Have you ever touched a thermostat in here?”\u003c/li>\n\u003c/ul>\n\u003cp>And some of Obama’s answers:\u003c/p>\n\u003cul>\n\u003cli>“It’s not cool, generally, wandering around in my underwear.”\u003c/li>\n\u003cli>“They don’t put out suits. I have a closet like normal people do.”\u003c/li>\n\u003cli>“I do really well with the 0-8 demographic. They love me,” Obama says, crediting his ears — and the fact that small children like to say “Barackobama.” He adds, “It’s like a Nickelodeon thing.”\u003c/li>\n\u003c/ul>\n\u003cp>When Seinfeld asks Obama, “How many world leaders do you think are just completely out of their mind?” the president answers, “A pretty sizable percent.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The pair were never allowed to leave the White House complex, although Obama did take a turn driving the Stingray — which bore a bumper sticker reading, “My other car is a 5 ton bulletproof limousine.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As he did when he appeared on Zach Galifianakis’ show \u003ca href=\"http://www.npr.org/sections/thetwo-way/2014/03/11/288995340/obama-goes-between-the-ferns-to-talk-with-zach-galifianakis\" target=\"_blank\" rel=\"noopener\">Between Two Ferns\u003c/a> last year, Obama briefly broke off from the comedy bits to tout the merits of his health care plan — prompting Seinfeld to turn away from his coffee and urge his viewers, “It’s a great thing. Please try Obamacare today.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Seinfeld+And+Obama%2C+Driving+A+Stingray+And+Getting+Coffee&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>They chat, they joke, they drive a classic 1963 Corvette. When President Obama appears on Jerry Seinfeld’s online show \u003cem>Comedians in Cars Getting Coffee\u003c/em>, their conversation topics range from nothing to the sanity of world leaders and the merits of profanity.\u003c/p>\n\u003cp>Much of the talk also centers on what it’s like for a guy to live in the Oval Office, the White House and a position of extreme power. A recurring theme: how a regular person adjusts to both the privilege and the stress that come with the presidency.\u003c/p>\n\u003cp>“Bad stuff, or stupid stuff, is happening constantly, right?” Obama says. “Every day. So you have to be able to just make fun of a lot of that, like: ‘That was even dumber and more annoying than usual.’ That’s when cursing is really useful.”\u003c/p>\n\u003cp>The show streams on Crackle; you can also \u003ca href=\"http://comediansincarsgettingcoffee.com/president-barack-obama-just-tell-him-you-re-the-president\" target=\"_blank\" rel=\"noopener\">watch the episode here\u003c/a>. (Crackle has disabled the embed option on this video.)\u003c/p>\n\u003cp>Some highlight questions:\u003c/p>\n\u003cul>\n\u003cli>“You ever go on eBay?”\u003c/li>\n\u003cli>“What sport is politics? Is it chess? Is it liar’s poker?”\u003c/li>\n\u003cli>“Have you ever touched a thermostat in here?”\u003c/li>\n\u003c/ul>\n\u003cp>And some of Obama’s answers:\u003c/p>\n\u003cul>\n\u003cli>“It’s not cool, generally, wandering around in my underwear.”\u003c/li>\n\u003cli>“They don’t put out suits. I have a closet like normal people do.”\u003c/li>\n\u003cli>“I do really well with the 0-8 demographic. They love me,” Obama says, crediting his ears — and the fact that small children like to say “Barackobama.” He adds, “It’s like a Nickelodeon thing.”\u003c/li>\n\u003c/ul>\n\u003cp>When Seinfeld asks Obama, “How many world leaders do you think are just completely out of their mind?” the president answers, “A pretty sizable percent.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The pair were never allowed to leave the White House complex, although Obama did take a turn driving the Stingray — which bore a bumper sticker reading, “My other car is a 5 ton bulletproof limousine.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As he did when he appeared on Zach Galifianakis’ show \u003ca href=\"http://www.npr.org/sections/thetwo-way/2014/03/11/288995340/obama-goes-between-the-ferns-to-talk-with-zach-galifianakis\" target=\"_blank\" rel=\"noopener\">Between Two Ferns\u003c/a> last year, Obama briefly broke off from the comedy bits to tout the merits of his health care plan — prompting Seinfeld to turn away from his coffee and urge his viewers, “It’s a great thing. Please try Obamacare today.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Seinfeld+And+Obama%2C+Driving+A+Stingray+And+Getting+Coffee&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Narrowly beating a statute of limitations deadline to file charges, prosecutors in Pennsylvania announced a felony sexual assault charge against comedian Bill Cosby on Wednesday. A former Temple University employee says Cosby drugged and assaulted her in January of 2004.\u003c/p>\n\u003cp>Montgomery County, Pa., prosecutors have charged Cosby with aggravated indecent assault, a first-degree felony.\u003c/p>\n\u003cp>“These charges stem from a sexual assault,” according to prosecutor Kevin Steele, who said the assault occurred at Cosby’s house in Cheltenham, a Montgomery County township that’s just outside Philadelphia.\u003c/p>\n\u003cp>Steele said Cosby is expected to appear in court to be arraigned Wednesday afternoon; he also urged any other victims to contact his office.\u003c/p>\n\u003cp>Over the past year, Cosby has been accused of sexually abusing dozens of women. Cosby has denied those charges, and earlier this month, he filed lawsuits \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/12/14/459750910/bill-cosby-sues-women-who-accused-him-of-sexual-misconduct\" target=\"_blank\" rel=\"noopener\">against seven of his accusers\u003c/a>, saying they had made up the claims to extract money from him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When NPR’s Scott Simon \u003ca href=\"http://www.npr.org/sections/thetwo-way/2014/11/15/364297097/in-npr-interview-bill-cosby-declines-to-discuss-assault-allegations\" target=\"_blank\" rel=\"noopener\">asked Cosby about the allegations\u003c/a> against him during a November 2014 interview, the comedian refused to respond, shaking his head in silence.\u003c/p>\n\u003cp>Pennsylvania has a 12-year statute of limitations on felony sex crimes, meaning prosecutors had until January to bring charges against Cosby, 78.\u003c/p>\n\u003cp>\u003ca href=\"http://www.legis.state.pa.us/cfdocs/legis/LI/consCheck.cfm?txtType=HTM&ttl=18&div=0&chpt=31\" target=\"_blank\" rel=\"noopener\">Under state law\u003c/a>, aggravated indecent assault has a range of definitions, from having sexual contact with a person without their consent to doing so after an attacker has “substantially impaired the complainant’s power to appraise or control his or her conduct by administering or employing, without the knowledge of the complainant, drugs, intoxicants or other means for the purpose of preventing resistance.”\u003c/p>\n\u003cp>After the Temple employee, Andrea Constand, accused Cosby of sexually assaulting her in 2004, a Montgomery County prosecutor decided in 2005 that charges weren’t warranted in the case. But that prosecutor lost his re-election bid last month to Steele, who made pursuing charges against Cosby an issue in his campaign.\u003c/p>\n\u003cp>On Wednesday, Steele outlined a timeline of events in 2004, saying Cosby established a friendship with the victim and then made sexual advances that were rejected. After that, Cosby urged her to take pills and drink wine, Steele said.\u003c/p>\n\u003cp>According to \u003ca href=\"https://www.documentcloud.org/documents/2661361-Criminal-Complaint-William-Cosby.html\" target=\"_blank\" rel=\"noopener\">the criminal complaint filed Wednesday\u003c/a>, Constand “considered Cosby, thirty-seven years her senior, to be a mentor, and described instances in which he invited her to his home for dinner, invited her to restaurants, invited her to events, introduced her to people, and provided her with guidance and career advice.”\u003c/p>\n\u003cp>The 2005 investigation into Cosby led to a deposition in which \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/07/06/420652103/report-cosby-admitted-giving-woman-sedative-quaaludes\" target=\"_blank\" rel=\"noopener\">Cosby admitted that he\u003c/a> had, as the Two-Way reported, “obtained the sedative Quaalude with the intent of giving the drug to women with whom he wanted to have sex, and he acknowledged giving it to at least one woman.”\u003c/p>\n\u003cdiv id=\"res461483149\" class=\"bucketwrap statichtml\" align=\"left\" style=\"padding-left:100px\">\u003c/div>\n\u003cp>That testimony became public this past summer, prompting new calls for charges against Cosby. Announcing the charges Wednesday, Steele said the decision was made after “new information” came to light in July.\u003c/p>\n\u003cp>Cosby gave his deposition in the course of a civil trial, before he and Constand reached a settlement over her lawsuit against him.\u003c/p>\n\u003cp>As part of their deal, the two sides signed a confidentiality agreement — but the records were unsealed at the request of the Associated Press, in part because the judge in the case said he regarded Cosby as something of a public servant who can be expected to forfeit some privacy protections, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/07/07/420830305/the-cosby-revelation-how-a-decade-old-deposition-came-to-light\" target=\"_blank\" rel=\"noopener\">as Eyder reported for the Two-Way\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We’ll note that while NPR \u003ca href=\"http://ethics.npr.org/category/i-respect/#423\" target=\"_blank\" rel=\"noopener\">doesn’t usually identify\u003c/a> people who say they’re the victims of sexual assault, we’ve done so in this case, because Constand has taken a public stand on the case. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bill+Cosby+Is+Charged+With+Felony+Sex+Crime+Over+2004+Case&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Pennsylvania has a 12-year statute of limitations on felony sex crimes, meaning prosecutors had until January to bring charges against the comedian.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Narrowly beating a statute of limitations deadline to file charges, prosecutors in Pennsylvania announced a felony sexual assault charge against comedian Bill Cosby on Wednesday. A former Temple University employee says Cosby drugged and assaulted her in January of 2004.\u003c/p>\n\u003cp>Montgomery County, Pa., prosecutors have charged Cosby with aggravated indecent assault, a first-degree felony.\u003c/p>\n\u003cp>“These charges stem from a sexual assault,” according to prosecutor Kevin Steele, who said the assault occurred at Cosby’s house in Cheltenham, a Montgomery County township that’s just outside Philadelphia.\u003c/p>\n\u003cp>Steele said Cosby is expected to appear in court to be arraigned Wednesday afternoon; he also urged any other victims to contact his office.\u003c/p>\n\u003cp>Over the past year, Cosby has been accused of sexually abusing dozens of women. Cosby has denied those charges, and earlier this month, he filed lawsuits \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/12/14/459750910/bill-cosby-sues-women-who-accused-him-of-sexual-misconduct\" target=\"_blank\" rel=\"noopener\">against seven of his accusers\u003c/a>, saying they had made up the claims to extract money from him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When NPR’s Scott Simon \u003ca href=\"http://www.npr.org/sections/thetwo-way/2014/11/15/364297097/in-npr-interview-bill-cosby-declines-to-discuss-assault-allegations\" target=\"_blank\" rel=\"noopener\">asked Cosby about the allegations\u003c/a> against him during a November 2014 interview, the comedian refused to respond, shaking his head in silence.\u003c/p>\n\u003cp>Pennsylvania has a 12-year statute of limitations on felony sex crimes, meaning prosecutors had until January to bring charges against Cosby, 78.\u003c/p>\n\u003cp>\u003ca href=\"http://www.legis.state.pa.us/cfdocs/legis/LI/consCheck.cfm?txtType=HTM&ttl=18&div=0&chpt=31\" target=\"_blank\" rel=\"noopener\">Under state law\u003c/a>, aggravated indecent assault has a range of definitions, from having sexual contact with a person without their consent to doing so after an attacker has “substantially impaired the complainant’s power to appraise or control his or her conduct by administering or employing, without the knowledge of the complainant, drugs, intoxicants or other means for the purpose of preventing resistance.”\u003c/p>\n\u003cp>After the Temple employee, Andrea Constand, accused Cosby of sexually assaulting her in 2004, a Montgomery County prosecutor decided in 2005 that charges weren’t warranted in the case. But that prosecutor lost his re-election bid last month to Steele, who made pursuing charges against Cosby an issue in his campaign.\u003c/p>\n\u003cp>On Wednesday, Steele outlined a timeline of events in 2004, saying Cosby established a friendship with the victim and then made sexual advances that were rejected. After that, Cosby urged her to take pills and drink wine, Steele said.\u003c/p>\n\u003cp>According to \u003ca href=\"https://www.documentcloud.org/documents/2661361-Criminal-Complaint-William-Cosby.html\" target=\"_blank\" rel=\"noopener\">the criminal complaint filed Wednesday\u003c/a>, Constand “considered Cosby, thirty-seven years her senior, to be a mentor, and described instances in which he invited her to his home for dinner, invited her to restaurants, invited her to events, introduced her to people, and provided her with guidance and career advice.”\u003c/p>\n\u003cp>The 2005 investigation into Cosby led to a deposition in which \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/07/06/420652103/report-cosby-admitted-giving-woman-sedative-quaaludes\" target=\"_blank\" rel=\"noopener\">Cosby admitted that he\u003c/a> had, as the Two-Way reported, “obtained the sedative Quaalude with the intent of giving the drug to women with whom he wanted to have sex, and he acknowledged giving it to at least one woman.”\u003c/p>\n\u003cdiv id=\"res461483149\" class=\"bucketwrap statichtml\" align=\"left\" style=\"padding-left:100px\">\u003c/div>\n\u003cp>That testimony became public this past summer, prompting new calls for charges against Cosby. Announcing the charges Wednesday, Steele said the decision was made after “new information” came to light in July.\u003c/p>\n\u003cp>Cosby gave his deposition in the course of a civil trial, before he and Constand reached a settlement over her lawsuit against him.\u003c/p>\n\u003cp>As part of their deal, the two sides signed a confidentiality agreement — but the records were unsealed at the request of the Associated Press, in part because the judge in the case said he regarded Cosby as something of a public servant who can be expected to forfeit some privacy protections, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/07/07/420830305/the-cosby-revelation-how-a-decade-old-deposition-came-to-light\" target=\"_blank\" rel=\"noopener\">as Eyder reported for the Two-Way\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We’ll note that while NPR \u003ca href=\"http://ethics.npr.org/category/i-respect/#423\" target=\"_blank\" rel=\"noopener\">doesn’t usually identify\u003c/a> people who say they’re the victims of sexual assault, we’ve done so in this case, because Constand has taken a public stand on the case. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bill+Cosby+Is+Charged+With+Felony+Sex+Crime+Over+2004+Case&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>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/2015/12/TDL20151225.mp3\u003c/p>\n\u003c/aside>\n\u003cfigure id=\"attachment_11187019\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11187019\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Berkeley-Choro-2-1180x944.jpg\" alt=\"Harvey Weinapel, Jane Lenoir, Ricardo Peixoto, and Brian Rice of Berkeley Choro Ensemble\" width=\"640\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Berkeley-Choro-2-1180x944.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Berkeley-Choro-2-400x320.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Berkeley-Choro-2-750x600.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Berkeley-Choro-2-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Berkeley-Choro-2-960x768.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Berkeley-Choro-2.jpg 1500w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Harvey Weinapel, Jane Lenoir, Ricardo Peixoto, and Brian Rice of Berkeley Choro Ensemble \u003ccite>(Photo courtesy of: Berkeley Choro Ensemble)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dec. 26: \u003c/strong>The\u003ca href=\"http://www.berkeleychoroensemble.com/\" target=\"_blank\" rel=\"noopener\"> Berkeley Choro Ensemble\u003c/a> is always so inventive in its approach to choro (pronounced: \u003cem>shoro\u003c/em>), the Brazilian style that mixes ragtime, blues, and European classical traditions. Sounds like a tuneful way to spend an evening in Pt. Richmond with Pt. Richmond Jazz. Details \u003ca href=\"http://prjazz.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11187018\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11187018\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Potted-Potter-e1450908490965-1180x661.jpg\" alt=\"Daniel Clarkson and Jefferson Turner of Potted Potter\" width=\"640\" height=\"359\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Potted-Potter-e1450908490965-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Potted-Potter-e1450908490965-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Potted-Potter-e1450908490965-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Potted-Potter-e1450908490965-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Potted-Potter-e1450908490965-960x538.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Potted-Potter-e1450908490965.jpg 1200w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Clarkson and Jefferson Turner of Potted Potter \u003ccite>(Photo Courtesy of: Potted Potter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Through Jan. 4th:\u003c/strong> So you waited up at the bookstore for all the Harry Potter books on the night of their release, and you know the plots of the books and the movies by heart. You still need to see \u003cem>\u003ca href=\"http://www.pottedpotter.com/\" target=\"_blank\" rel=\"noopener\">Potted Potter\u003c/a>, \u003c/em>in which Daniel Clarkson and Jefferson Turner, two comic nerds, cram all seven books into a frantic, funny evening. They make silly jokes, digress wildly, and still manage to tell a great story, sort of like J.K. Rowling herself. Potted Potter is at \u003ca href=\"https://palaceoffinearts.org/event/potted-potter/\" target=\"_blank\" rel=\"noopener\">the Palace of the Legion of Honor.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Zko8teqeSbA\u003c/p>\n\u003cp>\u003cstrong>Dec. 26:\u003c/strong> This next item is a no-caroling zone (and Merry Christmas by the way). \u003ca href=\"https://www.facebook.com/BulletproofStockings\" target=\"_blank\" rel=\"noopener\">Bulletproof Stockings\u003c/a> are devoutly Jewish and rocking. They’re four ultra-orthodox women from Crown Heights in NYC, and lead singer Perl Wolfe sounds like a cantorial Adele. It’s nice to hear religious music so full of passion and love, inspired by Torah and Lubavitcher prayer traditions, at a time when religion is sometimes the rationale for hate and violence. There’s no official ban on men, but Bulletproof Stockings prefers a women only audience. A good night for cross dressing? Details \u003ca href=\"http://www.slimspresents.com/event/bulletproof-stockings-gamh/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>More Far Out!\u003c/strong> Here are some events coming in 2016 that we think are a big deal and might sell out.\u003c/p>\n\u003cfigure id=\"attachment_11187129\" class=\"wp-caption aligncenter\" style=\"max-width: 595px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11187129\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/BAM-PFA.jpg\" alt=\"The new Berkeley Art Museum and Pacific Film Archive\" width=\"595\" height=\"395\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/BAM-PFA.jpg 595w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/BAM-PFA-400x266.jpg 400w\" sizes=\"(max-width: 595px) 100vw, 595px\">\u003cfigcaption class=\"wp-caption-text\">The new Berkeley Art Museum and Pacific Film Archive \u003ccite>(Photo: Iwan Baan. Courtesy of Diller Scofidio + Renfro and EHDD.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan 31:\u003c/strong> The new Berkeley Art Museum and the Pacific Film Archives reopen in a spectacular new building. The old BAM building was a brutalist horror, but with great programming and art inside. The new 25 thousand square foot home is just down the street in Cal’s former printing plant, under a striking stainless steel roof. The inaugural exhibit is\u003ca href=\"http://www.bampfa.berkeley.edu/program/architecture-life\" target=\"_blank\" rel=\"noopener\"> \u003cem>Architecture of Life, \u003c/em>\u003c/a>about how we experience and live with architecture. Plus the PFA reopens in February with expanded programming and two new theaters. The first movie on the schedule- Ingmar Bergman’s classic art house flick \u003cem>The Seventh Seal\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_11187130\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11187130\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/SFMOMA-Dispatches-from-the-site-1180x787.jpg\" alt=\"SF Museum of Modern Art renovation\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMOMA-Dispatches-from-the-site-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMOMA-Dispatches-from-the-site-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMOMA-Dispatches-from-the-site-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMOMA-Dispatches-from-the-site-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMOMA-Dispatches-from-the-site-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMOMA-Dispatches-from-the-site.jpg 1600w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">SF Museum of Modern Art renovation \u003ccite>(Photo Credit: Henrik Kam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 14: \u003c/strong>The reopening of the \u003ca href=\"https://www.sfmoma.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Museum of Modern Art \u003c/a>is the biggest visual arts event of the year. After three years of renovation, costing upwards of $150 million, the old Mario Botta building and its giant new wing will make SFMOMA the largest modern art museum in the country. All that space will be filled with 1,100 works of art on longterm loan from the Fisher family, plus more than 4,000 new works.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Jan. 15:\u003c/strong> Conceptual artist and sculptor David Ireland’s greatest work was his home at \u003ca href=\"http://500cappstreet.org/\">500 Capp Street\u003c/a>. Now the 100 year old house will reopen after a major renovation with daily tours of Ireland’s art, and as a study center for artists. So at least one arts organization won’t be priced out of the Mission. Details of the opening celebrations \u003ca href=\"http://500cappstreet.org/event/opening-celebrations/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0WTRzqCxSx0\u003c/p>\n\u003cp>Feb. 19-28\u003ca href=\"http://www.bampfa.berkeley.edu/program/architecture-life\">: \u003c/a>\u003ca href=\"https://www.sfjazz.org/\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a> and \u003ca href=\"https://operaparallele.org\" target=\"_blank\" rel=\"noopener\">Opera Parallele\u003c/a> are teaming up to produce a fully staged production of \u003ca href=\"https://sfjazz.org/events/2015-16/0221/champion\" target=\"_blank\" rel=\"noopener\">Champion\u003c/a>, \u003ca href=\"http://www.terenceblanchard.com/\" target=\"_blank\" rel=\"noopener\">Terence Blanchard’\u003c/a>s opera about boxer Emile Griffith, and \u003ca href=\"http://www.theguardian.com/sport/2015/sep/10/boxer-emile-griffith-gay-taunts-book-extract\" target=\"_blank\" rel=\"noopener\">w\u003c/a>\u003ca href=\"http://www.theguardian.com/sport/2015/sep/10/boxer-emile-griffith-gay-taunts-book-extract\" target=\"_blank\" rel=\"noopener\">hat happened when boxer Benny Paret outed Griffith as gay just before their bout\u003c/a>. Here’s what Griffith later said about the incident: “I kill a man and most people understand and forgive me. However, I love a man, and to so many people this is an unforgivable sin.”\u003c/p>\n\u003cfigure id=\"attachment_11187471\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11187471\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Wheeldons-Continuum-e1450921935957.jpg\" alt=\"San Francisco Ballet in Wheeldon's Continuum\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Wheeldons-Continuum-e1450921935957.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Wheeldons-Continuum-e1450921935957-400x223.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Wheeldons-Continuum-e1450921935957-768x427.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Ballet in Wheeldon’s Continuum \u003ccite>(Photo Credit: Erik Tomasson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jan. 24-May 8: Among the highlights when the \u003ca href=\"https://www.sfballet.org/tickets/2016_season\" target=\"_blank\" rel=\"noopener\">San Francisco Ballet\u003c/a> returns to the Opera House, a number of works by \u003ca href=\"http://www.roh.org.uk/people/christopher-wheeldon\" target=\"_blank\" rel=\"noopener\">Christopher Wheeldon \u003c/a>(who just won a Tony for his choreography for An American in Paris on Broadway), \u003ca href=\"https://www.sfballet.org/tickets/production/overview/program-2-2016\" target=\"_blank\" rel=\"noopener\">\u003cem>Fearful Symmetries\u003c/em>, a world premiere by wunderkind Liam Scarlett\u003c/a> (Jan. 27), and \u003ca href=\"https://www.sfballet.org/tickets/production/overview/program-7-2016\" target=\"_blank\" rel=\"noopener\">\u003cem>In the Countenance of Kings\u003c/em>, a world premiere by the hot choreographer Justin Peck\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 22-May 12:\u003c/strong> Cal Performances is presenting a very full and eclectic lineup including \u003ca href=\"https://calperformances.org/performances/2015-16/recital/renee-fleming.php\" target=\"_blank\" rel=\"noopener\">Renee Fleming in recital March 5\u003c/a>, the Mark Morris Group and Philharmonia Baroque in Morris’ masterpiece \u003ca href=\"https://calperformances.org/performances/2015-16/dance/mark-morris-dance-group-philharmonia-baroque-orchestra-lallegro.php\" target=\"_blank\" rel=\"noopener\">L’allegro, Il Peneroso Ed il Moderato, March 11-13\u003c/a>; and don’t miss a chance to hear from the creators of \u003ca href=\"http://calperformances.org/performances/2015-16/theater/binge-worthy-journalism-serial-sarah-koenig-and-julie-snyder.php\" target=\"_blank\" rel=\"noopener\">SERIAL, Sarah Koenig and Julie Snyder \u003c/a>March 6. We’d bet that will sell out.\u003c/p>\n\u003cfigure id=\"attachment_10811127\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10811127\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/KronosWuMan.jpg\" alt=\"The Kronos Quartet perform with Wu Man at the Terry Riley Festival in San Francisco.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/KronosWuMan.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/KronosWuMan-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Kronos Quartet perform with Wu Man at the Terry Riley Festival in San Francisco. (Photo: Evan Neff) \u003ccite>(Evan Neff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Feb. 2-7: America’s most adventurous chamber group, the Kronos Quartet, holds i\u003ca href=\"http://kronosquartet.org/kronos-presents/\" target=\"_blank\" rel=\"noopener\">ts Explorer Series festival at SFJAZZ \u003c/a>with frequent guest, pipa master Wu Man, the west coast premiere of a work about Chernobyl, and a concert by multi-instrumentalists David Coulter and Van-Anh Vo (from Fremont and also a composer), plus there’s a family concert celebrating the Lunar New Year.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cfigure id=\"attachment_11187019\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11187019\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Berkeley-Choro-2-1180x944.jpg\" alt=\"Harvey Weinapel, Jane Lenoir, Ricardo Peixoto, and Brian Rice of Berkeley Choro Ensemble\" width=\"640\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Berkeley-Choro-2-1180x944.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Berkeley-Choro-2-400x320.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Berkeley-Choro-2-750x600.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Berkeley-Choro-2-768x614.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Berkeley-Choro-2-960x768.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Berkeley-Choro-2.jpg 1500w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Harvey Weinapel, Jane Lenoir, Ricardo Peixoto, and Brian Rice of Berkeley Choro Ensemble \u003ccite>(Photo courtesy of: Berkeley Choro Ensemble)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Dec. 26: \u003c/strong>The\u003ca href=\"http://www.berkeleychoroensemble.com/\" target=\"_blank\" rel=\"noopener\"> Berkeley Choro Ensemble\u003c/a> is always so inventive in its approach to choro (pronounced: \u003cem>shoro\u003c/em>), the Brazilian style that mixes ragtime, blues, and European classical traditions. Sounds like a tuneful way to spend an evening in Pt. Richmond with Pt. Richmond Jazz. Details \u003ca href=\"http://prjazz.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11187018\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11187018\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Potted-Potter-e1450908490965-1180x661.jpg\" alt=\"Daniel Clarkson and Jefferson Turner of Potted Potter\" width=\"640\" height=\"359\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Potted-Potter-e1450908490965-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Potted-Potter-e1450908490965-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Potted-Potter-e1450908490965-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Potted-Potter-e1450908490965-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Potted-Potter-e1450908490965-960x538.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Potted-Potter-e1450908490965.jpg 1200w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Daniel Clarkson and Jefferson Turner of Potted Potter \u003ccite>(Photo Courtesy of: Potted Potter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Through Jan. 4th:\u003c/strong> So you waited up at the bookstore for all the Harry Potter books on the night of their release, and you know the plots of the books and the movies by heart. You still need to see \u003cem>\u003ca href=\"http://www.pottedpotter.com/\" target=\"_blank\" rel=\"noopener\">Potted Potter\u003c/a>, \u003c/em>in which Daniel Clarkson and Jefferson Turner, two comic nerds, cram all seven books into a frantic, funny evening. They make silly jokes, digress wildly, and still manage to tell a great story, sort of like J.K. Rowling herself. Potted Potter is at \u003ca href=\"https://palaceoffinearts.org/event/potted-potter/\" target=\"_blank\" rel=\"noopener\">the Palace of the Legion of Honor.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Zko8teqeSbA'\n title='//www.youtube.com/embed/Zko8teqeSbA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Dec. 26:\u003c/strong> This next item is a no-caroling zone (and Merry Christmas by the way). \u003ca href=\"https://www.facebook.com/BulletproofStockings\" target=\"_blank\" rel=\"noopener\">Bulletproof Stockings\u003c/a> are devoutly Jewish and rocking. They’re four ultra-orthodox women from Crown Heights in NYC, and lead singer Perl Wolfe sounds like a cantorial Adele. It’s nice to hear religious music so full of passion and love, inspired by Torah and Lubavitcher prayer traditions, at a time when religion is sometimes the rationale for hate and violence. There’s no official ban on men, but Bulletproof Stockings prefers a women only audience. A good night for cross dressing? Details \u003ca href=\"http://www.slimspresents.com/event/bulletproof-stockings-gamh/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>More Far Out!\u003c/strong> Here are some events coming in 2016 that we think are a big deal and might sell out.\u003c/p>\n\u003cfigure id=\"attachment_11187129\" class=\"wp-caption aligncenter\" style=\"max-width: 595px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11187129\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/BAM-PFA.jpg\" alt=\"The new Berkeley Art Museum and Pacific Film Archive\" width=\"595\" height=\"395\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/BAM-PFA.jpg 595w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/BAM-PFA-400x266.jpg 400w\" sizes=\"(max-width: 595px) 100vw, 595px\">\u003cfigcaption class=\"wp-caption-text\">The new Berkeley Art Museum and Pacific Film Archive \u003ccite>(Photo: Iwan Baan. Courtesy of Diller Scofidio + Renfro and EHDD.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Jan 31:\u003c/strong> The new Berkeley Art Museum and the Pacific Film Archives reopen in a spectacular new building. The old BAM building was a brutalist horror, but with great programming and art inside. The new 25 thousand square foot home is just down the street in Cal’s former printing plant, under a striking stainless steel roof. The inaugural exhibit is\u003ca href=\"http://www.bampfa.berkeley.edu/program/architecture-life\" target=\"_blank\" rel=\"noopener\"> \u003cem>Architecture of Life, \u003c/em>\u003c/a>about how we experience and live with architecture. Plus the PFA reopens in February with expanded programming and two new theaters. The first movie on the schedule- Ingmar Bergman’s classic art house flick \u003cem>The Seventh Seal\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_11187130\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11187130\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/SFMOMA-Dispatches-from-the-site-1180x787.jpg\" alt=\"SF Museum of Modern Art renovation\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMOMA-Dispatches-from-the-site-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMOMA-Dispatches-from-the-site-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMOMA-Dispatches-from-the-site-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMOMA-Dispatches-from-the-site-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMOMA-Dispatches-from-the-site-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/SFMOMA-Dispatches-from-the-site.jpg 1600w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">SF Museum of Modern Art renovation \u003ccite>(Photo Credit: Henrik Kam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 14: \u003c/strong>The reopening of the \u003ca href=\"https://www.sfmoma.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Museum of Modern Art \u003c/a>is the biggest visual arts event of the year. After three years of renovation, costing upwards of $150 million, the old Mario Botta building and its giant new wing will make SFMOMA the largest modern art museum in the country. All that space will be filled with 1,100 works of art on longterm loan from the Fisher family, plus more than 4,000 new works.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 15:\u003c/strong> Conceptual artist and sculptor David Ireland’s greatest work was his home at \u003ca href=\"http://500cappstreet.org/\">500 Capp Street\u003c/a>. Now the 100 year old house will reopen after a major renovation with daily tours of Ireland’s art, and as a study center for artists. So at least one arts organization won’t be priced out of the Mission. Details of the opening celebrations \u003ca href=\"http://500cappstreet.org/event/opening-celebrations/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0WTRzqCxSx0'\n title='//www.youtube.com/embed/0WTRzqCxSx0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Feb. 19-28\u003ca href=\"http://www.bampfa.berkeley.edu/program/architecture-life\">: \u003c/a>\u003ca href=\"https://www.sfjazz.org/\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a> and \u003ca href=\"https://operaparallele.org\" target=\"_blank\" rel=\"noopener\">Opera Parallele\u003c/a> are teaming up to produce a fully staged production of \u003ca href=\"https://sfjazz.org/events/2015-16/0221/champion\" target=\"_blank\" rel=\"noopener\">Champion\u003c/a>, \u003ca href=\"http://www.terenceblanchard.com/\" target=\"_blank\" rel=\"noopener\">Terence Blanchard’\u003c/a>s opera about boxer Emile Griffith, and \u003ca href=\"http://www.theguardian.com/sport/2015/sep/10/boxer-emile-griffith-gay-taunts-book-extract\" target=\"_blank\" rel=\"noopener\">w\u003c/a>\u003ca href=\"http://www.theguardian.com/sport/2015/sep/10/boxer-emile-griffith-gay-taunts-book-extract\" target=\"_blank\" rel=\"noopener\">hat happened when boxer Benny Paret outed Griffith as gay just before their bout\u003c/a>. Here’s what Griffith later said about the incident: “I kill a man and most people understand and forgive me. However, I love a man, and to so many people this is an unforgivable sin.”\u003c/p>\n\u003cfigure id=\"attachment_11187471\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11187471\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/Wheeldons-Continuum-e1450921935957.jpg\" alt=\"San Francisco Ballet in Wheeldon's Continuum\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Wheeldons-Continuum-e1450921935957.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Wheeldons-Continuum-e1450921935957-400x223.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/Wheeldons-Continuum-e1450921935957-768x427.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Ballet in Wheeldon’s Continuum \u003ccite>(Photo Credit: Erik Tomasson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jan. 24-May 8: Among the highlights when the \u003ca href=\"https://www.sfballet.org/tickets/2016_season\" target=\"_blank\" rel=\"noopener\">San Francisco Ballet\u003c/a> returns to the Opera House, a number of works by \u003ca href=\"http://www.roh.org.uk/people/christopher-wheeldon\" target=\"_blank\" rel=\"noopener\">Christopher Wheeldon \u003c/a>(who just won a Tony for his choreography for An American in Paris on Broadway), \u003ca href=\"https://www.sfballet.org/tickets/production/overview/program-2-2016\" target=\"_blank\" rel=\"noopener\">\u003cem>Fearful Symmetries\u003c/em>, a world premiere by wunderkind Liam Scarlett\u003c/a> (Jan. 27), and \u003ca href=\"https://www.sfballet.org/tickets/production/overview/program-7-2016\" target=\"_blank\" rel=\"noopener\">\u003cem>In the Countenance of Kings\u003c/em>, a world premiere by the hot choreographer Justin Peck\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 22-May 12:\u003c/strong> Cal Performances is presenting a very full and eclectic lineup including \u003ca href=\"https://calperformances.org/performances/2015-16/recital/renee-fleming.php\" target=\"_blank\" rel=\"noopener\">Renee Fleming in recital March 5\u003c/a>, the Mark Morris Group and Philharmonia Baroque in Morris’ masterpiece \u003ca href=\"https://calperformances.org/performances/2015-16/dance/mark-morris-dance-group-philharmonia-baroque-orchestra-lallegro.php\" target=\"_blank\" rel=\"noopener\">L’allegro, Il Peneroso Ed il Moderato, March 11-13\u003c/a>; and don’t miss a chance to hear from the creators of \u003ca href=\"http://calperformances.org/performances/2015-16/theater/binge-worthy-journalism-serial-sarah-koenig-and-julie-snyder.php\" target=\"_blank\" rel=\"noopener\">SERIAL, Sarah Koenig and Julie Snyder \u003c/a>March 6. We’d bet that will sell out.\u003c/p>\n\u003cfigure id=\"attachment_10811127\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10811127\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/KronosWuMan.jpg\" alt=\"The Kronos Quartet perform with Wu Man at the Terry Riley Festival in San Francisco.\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/KronosWuMan.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/KronosWuMan-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Kronos Quartet perform with Wu Man at the Terry Riley Festival in San Francisco. (Photo: Evan Neff) \u003ccite>(Evan Neff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Feb. 2-7: America’s most adventurous chamber group, the Kronos Quartet, holds i\u003ca href=\"http://kronosquartet.org/kronos-presents/\" target=\"_blank\" rel=\"noopener\">ts Explorer Series festival at SFJAZZ \u003c/a>with frequent guest, pipa master Wu Man, the west coast premiere of a work about Chernobyl, and a concert by multi-instrumentalists David Coulter and Van-Anh Vo (from Fremont and also a composer), plus there’s a family concert celebrating the Lunar New Year.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cheap Date: 'Purple Rain,' Krazy Karaoke and Chinese Food",
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"content": "\u003cp>Alright, dear penny-pinchers: Hanukkah has come and gone, Christmas is almost upon us, and hopefully by now you’ve figured out how to make and/or purchase some gifts for your loved ones without forfeiting your lunch money for the next six months.\u003c/p>\n\u003cp>If, however, said shopping (or, you know, life in the most expensive metropolitan area in the United States) has left you feeling a little light in the bank account, it’s still entirely possible to get out and have fun this week. Bonus: Roughly half the city is gone!\u003c/p>\n\u003cp>If you’re among those of us still here — you might be a native or you might just not want to go home to Wisconsin — do yourself a favor and get out and enjoy it: These streets is ours. Here are six $20-and-under options, a.k.a. this week’s \u003cstrong>Cheap Date.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Christmas Eve: \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-11184483\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/OIYC_HolidayConcert2014-400x267.jpg\" alt=\"OIYC_HolidayConcert2014\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/OIYC_HolidayConcert2014-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/OIYC_HolidayConcert2014-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/OIYC_HolidayConcert2014-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/OIYC_HolidayConcert2014-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/OIYC_HolidayConcert2014-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/OIYC_HolidayConcert2014.jpg 1200w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.slimspresents.com/event/oakland-interfaith-gospel-choir-ensemble-early-show-slims/\" target=\"_blank\" rel=\"noopener\">Oakland Interfaith Gospel Choir\u003c/a> (two shows) at Slim’s, SF. \u003c/strong>Joyful, raucous, rowdy, grin-inducing gospel music for everyone, regardless of denomination. 7 p.m., and 10 p.m., both $15; \u003ca href=\"http://www.slimspresents.com/event/oakland-interfaith-gospel-choir-ensemble-early-show-slims/\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.theknockoutsf.com/#!about/cee5\" target=\"_blank\" rel=\"noopener\">The Annual Krazy for Karaoke Holiday Party\u003c/a> at The Knockout, SF.\u003c/strong> “Screeching begins at 10 p.m.” So you have time to take in an early gospel show, then tear it up to “Love Is a Battlefield” or “Gin & Juice” a few hours later. \u003ca href=\"http://www.theknockoutsf.com/#!about/cee5\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Christmas Day: \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://www.facebook.com/events/548179738669383/\" target=\"_blank\" rel=\"noopener\">Purple Rain\u003c/a>\u003c/em> at the New Parkway, Oakland.\u003c/strong> Because nothing says “holiday spirit” like watching Prince, at his prime, fight (with concert sequences!) for his deserved stardom — and his girl. $8; \u003ca href=\"https://www.facebook.com/events/548179738669383/\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AuXK8ZbTmLk\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/events/974099155996971/\" target=\"_blank\" rel=\"noopener\">Jewish Christmas\u003c/a> at the Make Out Room, SF. \u003c/strong>Standup comedy, strip dreidel, live music, and a neverending stream of films by Woody Allen, Larry David, and Sascha Baron Cohen — and Chinese food, of course. What, you want we should starve? $5 – $10; \u003ca href=\"https://www.facebook.com/events/974099155996971/\" target=\"_blank\" rel=\"noopener\">Details here. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Saturday, Dec. 26: \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.sweetwatermusichall.com/event/993211-monophonics-annual-soulful-mill-valley/\" target=\"_blank\" rel=\"noopener\">Monophonics\u003c/a> at the Sweetwater Music Hall, Mill Valley. \u003c/strong>One of the Bay Area’s best-loved funk-soul acts proudly carries a torch passed down by the likes of Parliament-Funkadelic and Sly & the Family Stone. $20 in advance;\u003ca href=\"http://www.sweetwatermusichall.com/event/993211-monophonics-annual-soulful-mill-valley/\" target=\"_blank\" rel=\"noopener\"> details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nPpdgcERNAU\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"http://sfoasis.com/event.cfm?id=152203&cart\" target=\"_blank\" rel=\"noopener\">Mother: Nightmare After Christmas\u003c/a>,\u003c/em> a Tim Burton tribute night at Oasis, SF. \u003c/strong>You read all about local drag legend \u003ca href=\"http://ww2.kqed.org/arts/2015/12/14/drag-legend-heklina-on-glamour-realness-and-the-work-that-goes-unseen/\" target=\"_blank\" rel=\"noopener\">Heklina in last week’s Backstage Heroes\u003c/a> — why not visit her club for yourself, especially on night that promises campy dance routines of the most gleefully weird variety? $10;\u003ca href=\"http://sfoasis.com/event.cfm?id=152203&cart\" target=\"_blank\" rel=\"noopener\"> details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/AQXVHITd1N4\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Alright, dear penny-pinchers: Hanukkah has come and gone, Christmas is almost upon us, and hopefully by now you’ve figured out how to make and/or purchase some gifts for your loved ones without forfeiting your lunch money for the next six months.\u003c/p>\n\u003cp>If, however, said shopping (or, you know, life in the most expensive metropolitan area in the United States) has left you feeling a little light in the bank account, it’s still entirely possible to get out and have fun this week. Bonus: Roughly half the city is gone!\u003c/p>\n\u003cp>If you’re among those of us still here — you might be a native or you might just not want to go home to Wisconsin — do yourself a favor and get out and enjoy it: These streets is ours. Here are six $20-and-under options, a.k.a. this week’s \u003cstrong>Cheap Date.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Christmas Eve: \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-11184483\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/12/OIYC_HolidayConcert2014-400x267.jpg\" alt=\"OIYC_HolidayConcert2014\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/OIYC_HolidayConcert2014-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/OIYC_HolidayConcert2014-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/OIYC_HolidayConcert2014-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/OIYC_HolidayConcert2014-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/OIYC_HolidayConcert2014-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/12/OIYC_HolidayConcert2014.jpg 1200w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.slimspresents.com/event/oakland-interfaith-gospel-choir-ensemble-early-show-slims/\" target=\"_blank\" rel=\"noopener\">Oakland Interfaith Gospel Choir\u003c/a> (two shows) at Slim’s, SF. \u003c/strong>Joyful, raucous, rowdy, grin-inducing gospel music for everyone, regardless of denomination. 7 p.m., and 10 p.m., both $15; \u003ca href=\"http://www.slimspresents.com/event/oakland-interfaith-gospel-choir-ensemble-early-show-slims/\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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"link": "/radio/program/code-switch-life-kit",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"meta": {
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
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