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"content": "\u003cp>The fires in the North Bay may be contained, but life is hardly back to normal. On the Do List this week, Tomas Riley, former Executive Director for Counterpulse in San Francisco, joins me to talk about fundraisers for fire survivors and ways people can visit and support Sonoma and Napa County artists. Plus we discuss art and politics as the Mariinsky Orchestra barnstorms the Bay Area, a pair of dance festivals and a punk fest featuring women and trans bandleaders. We hope you like the show.\u003c/p>\n\u003cp>\u003cstrong>Oct. 28-Nov. 11:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXiw\" target=\"_blank\" rel=\"noopener\"> Wine Country fundraisers and arts events range from a pop-up sale of apparel by Johnny Cupcakes to an art auction to a music fest in Napa\u003c/a> \u003ca href=\"https://ww2.kqed.org/arts/2017/10/25/how-to-help-fire-survivors-through-art/\" target=\"_blank\" rel=\"noopener\">Valley\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 29-Nov. 4: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXiR\" target=\"_blank\" rel=\"noopener\">Valery Gergiev leads his Mariinsky Orchestra on a tour of Bay Area concert halls\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 28: \u003c/strong>\u003ca href=\"http://lil10.youthspeaks.org/\" target=\"_blank\" rel=\"noopener\">The Life is Living Fest celebrates community at Defremery (a.k.a. Little Bobby Hutton) Park\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 10-12:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXiY\" target=\"_blank\" rel=\"noopener\">The Festival of Latin American Contemporary Choreographers features dance about current events and politics\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Nov. 2-5: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXjr\" target=\"_blank\" rel=\"noopener\">Jess Curtis makes dances that don’t have to be seen to be appreciated\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 2-6: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXjE\" target=\"_blank\" rel=\"noopener\">The West Coast Women’s Darkwave Festival\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 28-29: \u003c/strong>\u003ca href=\"https://www.facebook.com/LaUltimaParadaSJ/\" target=\"_blank\" rel=\"noopener\">Join the family friendly fun at La Ultima Parada, a Day of the Dead celebration at the School of Arts and Culture in San Jose of Life on the Day of the Dead in San Jose\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 12:\u003c/strong>\u003ca href=\"https://www.brava.org/all-events/2017/11/12/diana-gameros-celebrates-her-new-album-arullo-with-a-cd-release-party-and-concert\" target=\"_blank\" rel=\"noopener\"> Diana Gameros celebrates the release of her album Arullo (Lullaby in English) at Brava For Women in the Arts in San Franciso\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13812638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13812638\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-800x558.jpg\" alt=\"Tomas Riley and Cy Musiker of KQED\" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-1920x1339.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-1180x823.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-960x669.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-520x363.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tomas Riley and Cy Musiker of KQED \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Nov. 2-5: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXjr\" target=\"_blank\" rel=\"noopener\">Jess Curtis makes dances that don’t have to be seen to be appreciated\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 2-6: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXjE\" target=\"_blank\" rel=\"noopener\">The West Coast Women’s Darkwave Festival\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 28-29: \u003c/strong>\u003ca href=\"https://www.facebook.com/LaUltimaParadaSJ/\" target=\"_blank\" rel=\"noopener\">Join the family friendly fun at La Ultima Parada, a Day of the Dead celebration at the School of Arts and Culture in San Jose of Life on the Day of the Dead in San Jose\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 12:\u003c/strong>\u003ca href=\"https://www.brava.org/all-events/2017/11/12/diana-gameros-celebrates-her-new-album-arullo-with-a-cd-release-party-and-concert\" target=\"_blank\" rel=\"noopener\"> Diana Gameros celebrates the release of her album Arullo (Lullaby in English) at Brava For Women in the Arts in San Franciso\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13812638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13812638\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-800x558.jpg\" alt=\"Tomas Riley and Cy Musiker of KQED\" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-1920x1339.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-1180x823.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-960x669.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-520x363.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tomas Riley and Cy Musiker of KQED \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Festival of Latin American Contemporary Choreographers puts the emphasis on \u003cem>contemporary\u003c/em>. This is not folkloric dance, at least not in a classical sense. The festival, now in its fourth year, always presents new dances from the Latin American diaspora. This year’s theme is Rest/Unrest, and participants include the Piñata Dance Collective, led by \u003ca href=\"http://lizboubion.org/\" target=\"_blank\" rel=\"noopener\">Liz Duran Boubion\u003c/a>, based in San Francisco. With a response to rape culture called \u003cem>Don’t Grab\u003c/em>, Violeta Luna presents an excerpt from a three-part work that tries to rescue the memory of those buried in Mexican mass graves, and \u003ca href=\"http://davalosdance.org/index.html\" target=\"_blank\" rel=\"noopener\">Catherine Marie Davalos\u003c/a> and her company present a dance inspired by the song “Las Golondrinas” about Mexicans crossing the border into the United States. \u003ca href=\"http://www.flaccdanza.org/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=d8U4M-7L93A\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Jess Curtis isn’t afraid to put big ideas on stage and see what happens. In his new mini-festival Intercontinental Collaborations #7, Curtis says he’s focusing on ways to make dance more accessible — especially to people with physical disabilities or the blind.\u003c/p>\n\u003cp>“I’ve been really interested in finding ways that allow people to experience dance-based performance not just by looking at it,” he told me on a visit to KQED this week, “but by feeling it whooshing past you, and hearing the performers, describing what’s happening, in poetic ways.” My co-host this week, Tomas Riley, says that when he was executive director at Counterpulse, he worked with Curtis, a tall man with a shock of white hair, and always “appreciated the generosity with which (Curtis) shares himself and the stage.”\u003c/p>\n\u003cp>The festival will feature three dances: the U.S. Premiere of a work by Croi Glan Integrated Dance from Cork, Ireland, about digital culture; \u003cem>Sight Unseen\u003c/em>, a world premiere by Curtis in collaboration with Celine Alwyn, Sherwood Chen, Gabriel Christian, Rachael Dichter, and Tiffany Taylor, who is vision impaired; and \u003cem>A Portrait of Me as You\u003c/em>, a solo work by San Francisco artist Rachael Dichter. \u003ca href=\"https://www.jesscurtisgravity.org/icc7\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CiRIqPU6arc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>After an awful pair of weeks, arts venues in Napa and Sonoma Counties are trying to resume programming, even as their employees mourn their losses. My co-host this week, Ariana Proehl, grew up in Santa Rosa. She said how inspiring it’s been to see the community coming together, with generous help from first responders and volunteers. “My aunt, who’s a painter living in Sebastopol immediately emailed her artist friends looking to organize an art show to raise money for victims of the fires, and I trust we’ll be seeing lots more of that spirit in the days and weeks to come,” she said.\u003c/p>\n\u003cp>Rene and Irish Mike are hosting a fundraiser Saturday afternoon Oct 21, at the Longboard Margarita Bar in Pacifica. It’s free, but they’re passing the hat for the \u003ca href=\"http://sonomahumane.org/\" target=\"_blank\" rel=\"noopener\">Sonoma Humane Society\u003c/a>, with music by The Sam Chase, wunderkind Matt Jaffe and others. \u003ca href=\"https://www.facebook.com/events/1054875204655614\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Dean Biersch owns the \u003ca href=\"http://www.hopmonk.com/\" target=\"_blank\" rel=\"noopener\">The Hopmonk Taverns \u003c/a>in Sonoma, Sebastopol and Novato. He’s scheduled shows this week so his clubs can be a gathering place for the community again. \u003c/span>“And a close second for us,” Biersch told me by phone, “is to keep the staff employed. You know most of these people are working for hourly wages and tips, and this is going to hit very hard.” \u003cb>\u003ci>\u003cbr>\n\u003c/i>\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The\u003ca href=\"http://gmc.sonoma.edu//\" target=\"_blank\" rel=\"noopener\"> Green Music Center\u003c/a> at Sonoma State in Rohnert Park plans to resume its regular schedule Sunday Oct. 22 with a \u003ca href=\"http://gmc.sonoma.edu/event/3532121-hudson-jack-dejohnette-larry-grenadier\" target=\"_blank\" rel=\"noopener\">concert by the jazz band Hudson.\u003c/a> Director Jacob Yarrow says the center is offering free tickets for the rest of October to anyone impacted by the fire: “Pay as you can, come as you are, please come and just be with your community.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13806933\" class=\"wp-caption aligncenter\" style=\"max-width: 520px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13806933\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2.jpg\" alt=\"An image from the exhibit 'Bittersweet Harvest,' about the U.S. Bracero program, at the Napa Valley Museum.\" width=\"520\" height=\"235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2-160x72.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2-240x108.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2-375x169.jpg 375w\" sizes=\"(max-width: 520px) 100vw, 520px\">\u003cfigcaption class=\"wp-caption-text\">An image from the exhibit ‘Bittersweet Harvest,’ about the U.S. Bracero program, at the Napa Valley Museum. \u003ccite>(Photo Courtesy of the Smithsonian Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://lutherburbankcenter.org/\" target=\"_blank\" rel=\"noopener\">The Luther Burbank Center in Santa Rosa\u003c/a> is still standing, but the fires badly damaged the east wing, including a smaller auditorium. Luther Burbank plans to resume regular concerts\u003ca href=\"https://lutherburbankcenter.org/event/air-supply/\" target=\"_blank\" rel=\"noopener\"> Nov. 11 with a show by Air Supply\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Across the Mayacamas Range, \u003ca href=\"http://www.dirosaart.org/\" target=\"_blank\" rel=\"noopener\">the di Rosa Center for Contemporary Arts,\u003c/a> south of Napa, reopens Sunday October 22nd, \u003ca href=\"http://napavalleymuseum.org/\" target=\"_blank\" rel=\"noopener\">The Napa Valley Museum\u003c/a> in Yountville has just reopened. No damage there or to the \u003ca href=\"http://lincolntheater.com/\" target=\"_blank\" rel=\"noopener\">Napa Valley Performing Arts Center\u003c/a>, also in Yountville, which plans to resume shows in November. And\u003ca href=\"http://www.bluenotenapa.com/\" target=\"_blank\" rel=\"noopener\"> Blue Note Napa\u003c/a> is scheduled to reopen Nov. 7 with a show by Dennis Quaid and the Sharks. \u003c/span>\u003c/p>\n\u003cp>Now for the rest of the show:\u003c/p>\n\u003cp>\u003cstrong>Oct. 25-29:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VX84\" target=\"_blank\" rel=\"noopener\">Mariza, the queen of fado, brings her songs of longing to Bing Hall and SFJAZZ\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 28:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VX8k\" target=\"_blank\" rel=\"noopener\">The YBCA Summit is like a Ted Talk times 100 on the themes of culture, politics, truth, and equity.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 26-29:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VX8r\" target=\"_blank\" rel=\"noopener\"> Axis Dance welcomes a new artistic director and celebrates a 30th anniversary\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 26:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VX8G\" target=\"_blank\" rel=\"noopener\"> Open Mike Eagle raps about housing projects and iPads\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After an awful pair of weeks, arts venues in Napa and Sonoma Counties are trying to resume programming, even as their employees mourn their losses. My co-host this week, Ariana Proehl, grew up in Santa Rosa. She said how inspiring it’s been to see the community coming together, with generous help from first responders and volunteers. “My aunt, who’s a painter living in Sebastopol immediately emailed her artist friends looking to organize an art show to raise money for victims of the fires, and I trust we’ll be seeing lots more of that spirit in the days and weeks to come,” she said.\u003c/p>\n\u003cp>Rene and Irish Mike are hosting a fundraiser Saturday afternoon Oct 21, at the Longboard Margarita Bar in Pacifica. It’s free, but they’re passing the hat for the \u003ca href=\"http://sonomahumane.org/\" target=\"_blank\" rel=\"noopener\">Sonoma Humane Society\u003c/a>, with music by The Sam Chase, wunderkind Matt Jaffe and others. \u003ca href=\"https://www.facebook.com/events/1054875204655614\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Dean Biersch owns the \u003ca href=\"http://www.hopmonk.com/\" target=\"_blank\" rel=\"noopener\">The Hopmonk Taverns \u003c/a>in Sonoma, Sebastopol and Novato. He’s scheduled shows this week so his clubs can be a gathering place for the community again. \u003c/span>“And a close second for us,” Biersch told me by phone, “is to keep the staff employed. You know most of these people are working for hourly wages and tips, and this is going to hit very hard.” \u003cb>\u003ci>\u003cbr>\n\u003c/i>\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The\u003ca href=\"http://gmc.sonoma.edu//\" target=\"_blank\" rel=\"noopener\"> Green Music Center\u003c/a> at Sonoma State in Rohnert Park plans to resume its regular schedule Sunday Oct. 22 with a \u003ca href=\"http://gmc.sonoma.edu/event/3532121-hudson-jack-dejohnette-larry-grenadier\" target=\"_blank\" rel=\"noopener\">concert by the jazz band Hudson.\u003c/a> Director Jacob Yarrow says the center is offering free tickets for the rest of October to anyone impacted by the fire: “Pay as you can, come as you are, please come and just be with your community.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13806933\" class=\"wp-caption aligncenter\" style=\"max-width: 520px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13806933\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2.jpg\" alt=\"An image from the exhibit 'Bittersweet Harvest,' about the U.S. Bracero program, at the Napa Valley Museum.\" width=\"520\" height=\"235\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2-160x72.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2-240x108.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/bittersweet_harvest_2-375x169.jpg 375w\" sizes=\"(max-width: 520px) 100vw, 520px\">\u003cfigcaption class=\"wp-caption-text\">An image from the exhibit ‘Bittersweet Harvest,’ about the U.S. Bracero program, at the Napa Valley Museum. \u003ccite>(Photo Courtesy of the Smithsonian Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003ca href=\"https://lutherburbankcenter.org/\" target=\"_blank\" rel=\"noopener\">The Luther Burbank Center in Santa Rosa\u003c/a> is still standing, but the fires badly damaged the east wing, including a smaller auditorium. Luther Burbank plans to resume regular concerts\u003ca href=\"https://lutherburbankcenter.org/event/air-supply/\" target=\"_blank\" rel=\"noopener\"> Nov. 11 with a show by Air Supply\u003c/a>. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Across the Mayacamas Range, \u003ca href=\"http://www.dirosaart.org/\" target=\"_blank\" rel=\"noopener\">the di Rosa Center for Contemporary Arts,\u003c/a> south of Napa, reopens Sunday October 22nd, \u003ca href=\"http://napavalleymuseum.org/\" target=\"_blank\" rel=\"noopener\">The Napa Valley Museum\u003c/a> in Yountville has just reopened. No damage there or to the \u003ca href=\"http://lincolntheater.com/\" target=\"_blank\" rel=\"noopener\">Napa Valley Performing Arts Center\u003c/a>, also in Yountville, which plans to resume shows in November. And\u003ca href=\"http://www.bluenotenapa.com/\" target=\"_blank\" rel=\"noopener\"> Blue Note Napa\u003c/a> is scheduled to reopen Nov. 7 with a show by Dennis Quaid and the Sharks. \u003c/span>\u003c/p>\n\u003cp>Now for the rest of the show:\u003c/p>\n\u003cp>\u003cstrong>Oct. 25-29:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VX84\" target=\"_blank\" rel=\"noopener\">Mariza, the queen of fado, brings her songs of longing to Bing Hall and SFJAZZ\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 28:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VX8k\" target=\"_blank\" rel=\"noopener\">The YBCA Summit is like a Ted Talk times 100 on the themes of culture, politics, truth, and equity.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 26-29:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VX8r\" target=\"_blank\" rel=\"noopener\"> Axis Dance welcomes a new artistic director and celebrates a 30th anniversary\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Oct. 26:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VX8G\" target=\"_blank\" rel=\"noopener\"> Open Mike Eagle raps about housing projects and iPads\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Axis Dance is celebrating its 30th anniversary, with a new artistic director in charge. He’s Marc Brew, a dancer and choreographer from Glasgow, who says he feels right at home at Axis, based at Oakland’s Malonga Casquelourd Center for the Arts, because he’s worked with the company so often in the past. Axis is an integrated dance company, meaning some of its dancers have disabilities. Founding director Judith Smith uses a wheelchair, as does Brew; one of the dancers has one arm; and none of that matters when they’re moving to the music with grace and agility.\u003c/p>\n\u003cp>Brew’s calls his new dance \u003cem>Radical Impact, \u003c/em>with original music by Oakland’s Joowan Kim, the leader of the \u003ca href=\"http://www.ensemblemiknawooj.com/\" target=\"_blank\" rel=\"noopener\">Ensemble Mik Nawooj\u003c/a>. Brew says it offers a showcase for the company’s dancers to explain who they really are. “One of the tasks I gave the dancers, (when I first arrived) was a writing task, and the question I gave them was how has your identity changed or shifted during your lifetime,” Brew told me after a rehearsal in Oakland. “And they haven’t shared that response with anyone, and the second movement begins in silence with their solos when they begin to reveal who they are as people.” Also on the program a dance by the great Amy Seiwert. For the Axis Home Season, \u003ca href=\"http://www.axisdance.org/performances/\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cwKEt8Q3_tQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Jill Soloway created the show \u003cem>Transparent\u003c/em> on Amazon, Abdi Soltani \u003c/span>\u003cspan style=\"font-weight: 400\">directs the ACLU of Northern California, Boots Riley is a filmmaker and lead singer for the Coup, Saul Williams is a rapper and poet. And here’s what they have in common: they’re speaking and performing at the Yerba Buena Center for the Arts 100 Summit. The Fillmore activists the Green sisters (pictured above) are also there. My guest co-host Ariana Proehl notes that o\u003c/span>ne of her former mentors, Lateefah Simon, now president of the Bay Area’s Akonadi Foundation, is at the summit, and is one of the most spirited, lyrical speakers she’s ever heard. I’m also singing the praises of pianist Samora Pinderhughes, born and raised in Berkeley, and comedian Zahra Noorbaksh a KQED Women to Watch and Do List co-host. She’s very funny. And if you go, don’t miss Lil Buck, a master of Jook dancer out of Memphis. He’s a poet with his feet. \u003ca href=\"https://www.ybca.org/whats-on/2017-ybca-100-summit\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eXfVIPqcF9I\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Those who think virtual reality (VR) is solely the province of gamers, adventure-seekers, and simulation builders may be startled to see how dance-makers are employing the technology on screen. For the first time, the \u003ca href=\"http://www.sfdancefilmfest.org/2017-schedule/virtual-reality-experience/\" target=\"_blank\" rel=\"noopener\">San Francisco Dance Film Festival\u003c/a>, which opens on Thursday, Oct. 19 at San Francisco’s Brava Theater, will be screening a handful of 360° and VR dance films that play around with a variety of effects designed to yank the viewer into another world.\u003c/p>\n\u003cp>I previewed these films with skepticism — not just because of the ungainly contraption you have to strap onto your forehead to view them, but also because no film can replicate the thrill of live dance or the dancer’s sense of precariousness. “Unless you find something to replace that, it will always feel like a shadow of the real thing,” film director Saschka Unseld says.\u003c/p>\n\u003cfigure id=\"attachment_13811571\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13811571 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Marni-Wood_Amari-Cheatom_ThroughYou_photo-by-Cameron-Bertron-800x533.jpg\" alt=\"Marni Wood and Amari Cheatom in 'Through You' (Directors: Saschka Unseld, Lily Baldwin)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Marni-Wood_Amari-Cheatom_ThroughYou_photo-by-Cameron-Bertron-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Marni-Wood_Amari-Cheatom_ThroughYou_photo-by-Cameron-Bertron-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Marni-Wood_Amari-Cheatom_ThroughYou_photo-by-Cameron-Bertron-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Marni-Wood_Amari-Cheatom_ThroughYou_photo-by-Cameron-Bertron-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Marni-Wood_Amari-Cheatom_ThroughYou_photo-by-Cameron-Bertron-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Marni-Wood_Amari-Cheatom_ThroughYou_photo-by-Cameron-Bertron-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Marni-Wood_Amari-Cheatom_ThroughYou_photo-by-Cameron-Bertron-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Marni-Wood_Amari-Cheatom_ThroughYou_photo-by-Cameron-Bertron-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Marni-Wood_Amari-Cheatom_ThroughYou_photo-by-Cameron-Bertron-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Marni-Wood_Amari-Cheatom_ThroughYou_photo-by-Cameron-Bertron-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marni Wood and Amari Cheatom in ‘Through You’ (Directors: Saschka Unseld, Lily Baldwin) \u003ccite>(Photo: Courtesy of Saschka Unseld and Lily Baldwin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unseld teamed up with director and choreographer Lily Baldwin to make \u003cem>Through You\u003c/em>, one of the films to be screened at the festival. The pair sought to create an authentic sense of place and a palpable connection to the dancers by shooting on location. They also pushed the camera a lot closer to the performers than is typical and moved it in response to the dancers’ movements. This runs counter to the prevailing wisdom that these kinds of camera movements tend to make viewers motion sick. In addition, the filmmakers pushed the post-production process. They ended up with close to 200 cuts – versus the 10 to 20 cuts typical of the VR filmmaking process. This gives the film a dreamlike quality.\u003c/p>\n\u003cp>\u003cem>Through You\u003c/em> is a cascade of impressions of a romantic relationship that unfolds from the 1970s into the future, telescoping time and capturing a couple as they age. Scenes are painted in vivid, painstaking detail, and bleed into each other in such a way that it is hard to tell what is memory and what is dream or hallucination. As a viewer teleported into these scenes, I felt somehow complicit in what was happening to the couple, and frustrated that I couldn’t comfort them in the aftermath of loss.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IMuuFGZRJA0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though Unseld and Baldwin used visual effects in some of the scenes, like setting a room on fire, Baldwin says they refrained from embellishing the presentation of the human body: “The raw imperfections of the human body as seen in VR bring us back to our bodies, to our mortality,” Baldwin says.\u003c/p>\n\u003cp>This is in striking contrast to the way VR is used in making video games, which often revolve around imaginary worlds peopled by superhuman bodies or inhuman forms. “Our avatar selves inhabit ideal worlds of invincibility,” Baldwin says. “Gaming invokes the what-if world. What if I was not mortal?”\u003c/p>\n\u003cp>But with her dance film, Baldwin says, she wanted to give viewers a different sense of the human body. “It’s about being startled by the hard-knock reality of this articulate body which is engaging you,” Baldwin says. To that end, the filmmakers put a powerful, older dancer on screen – the legendary Marni Thomas Wood – to confront a culture which Baldwin describes as being “so hooked on a sense of perfection, on youth.”\u003c/p>\n\u003cfigure id=\"attachment_13811570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13811570 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/bburgs2-800x533.jpg\" alt=\"The making of 'Paul Taylor Dance Company 360° Brochure' \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/bburgs2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/bburgs2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/bburgs2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/bburgs2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/bburgs2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/bburgs2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/bburgs2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/bburgs2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/bburgs2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/bburgs2-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The making of ‘Paul Taylor Dance Company 360° Brochure’ \u003ccite>(Photo: Francisco Graziano)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To get these ideas across requires “absolute clarity of image,” Baldwin says. This is where the technology falls down. Although VR headsets are becoming \u003ca href=\"https://techcrunch.com/2017/10/11/oculus-announces-199-oculus-go-standalone-headset/?ncid=rss&utm_source=tctwreshare&utm_medium=feed&utm_campaign=Feed%3A+Techcrunch+%28TechCrunch%29&sr_share=twitter\" target=\"_blank\" rel=\"noopener\">cheaper\u003c/a> and more \u003ca href=\"http://fortune.com/2017/03/01/google-cardboard-virtual-reality-shipments/\" target=\"_blank\" rel=\"noopener\">ubiquitous\u003c/a>, display resolution falls far short of that which we’re used to on our laptops, tablets and smartphones. Some of the dances made for VR are available for viewing without a headset, but you trade the immersive quality of the virtual experience for a sharper image.\u003c/p>\n\u003cp>Research engineer Bhautik Joshi, who builds \u003ca href=\"http://fortune.com/2017/01/20/kristen-stewart-artificial-intelligence-machine-learning-come-swim/\" target=\"_blank\" rel=\"noopener\">software tools to help creative people tell stories through VR\u003c/a>, tells me that the display resolution we’re looking for is probably about two years out. But he doesn’t see today’s technical shortcomings as necessarily hampering the impact of the best dance films. “If your film is compelling enough, even with a low-resolution display, if you can suspend disbelief in the viewer, you can get away with it,” Joshi says.\u003c/p>\n\u003cp>I was swayed by this argument after watching a couple of the films.\u003c/p>\n\u003cp>\u003cem>Lifeboat\u003c/em>, a music video by Luke Willis, starring dancer-singer-songwriter Shannon Rugani, was shot against the landscape of what looks like a parched riverbed. I lost interest momentarily in the dance and started looking around, at one point looking down to where my hands and feet should have been. When I saw nothing but cracked earth, I felt the shock of disembodiment. From that point, I connected more viscerally to the dancers; they suddenly became more “real” because I wasn’t.\u003c/p>\n\u003cfigure id=\"attachment_13811572\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13811572 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Photo-1-Lifeboat_Still_1-800x400.jpg\" alt=\"Shannon Rugani and Luke Willis in 'Lifeboat' \" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-1-Lifeboat_Still_1-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-1-Lifeboat_Still_1-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-1-Lifeboat_Still_1-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-1-Lifeboat_Still_1-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-1-Lifeboat_Still_1-1180x590.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-1-Lifeboat_Still_1-960x480.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-1-Lifeboat_Still_1-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-1-Lifeboat_Still_1-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-1-Lifeboat_Still_1-520x260.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-1-Lifeboat_Still_1.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shannon Rugani and Luke Willis in ‘Lifeboat’ \u003ccite>(Photo: Courtesy of Luke Willis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And in \u003cem>Silent Resonance\u003c/em>, a film from Pacific Northwest Ballet, visual effects enhance an intimate duet between two ballet dancers. As their limbs sweep through space and intertwine, they appear to leave a ghostly vapor trail (known in the industry as a ‘tracer effect’). Floating in darkness, the disembodied viewer is drawn into the dancers’ iridescent orbit – as if the pair were celestial bodies – in a way that conventional film would not.\u003c/p>\n\u003cfigure id=\"attachment_13811569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13811569 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/anicca_still005_crop2-800x539.png\" alt=\"'Anicca' (Director: Cecilia Sweet-Coll)\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/anicca_still005_crop2-800x539.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/anicca_still005_crop2-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/anicca_still005_crop2-768x518.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/anicca_still005_crop2-1020x687.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/anicca_still005_crop2-1180x795.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/anicca_still005_crop2-960x647.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/anicca_still005_crop2-240x162.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/anicca_still005_crop2-375x253.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/anicca_still005_crop2-520x350.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/anicca_still005_crop2.png 1282w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Anicca’ (Director: Cecilia Sweet-Coll) \u003ccite>(Photo: Courtesy Cecilia Sweet-Coll)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even when there are no human dancers visible on screen, viewer disembodiment can amplify a mood. This is the case with Cecilia Sweet-Coll’s film \u003cem>Anicca\u003c/em>, in which motion captured from dancers animates a mysterious and whimsical landscape.\u003c/p>\n\u003cp>Then there are the dance films that seek to put viewers literally at the center of an unfolding tradition, rather than create a sense of disembodiment. Works like \u003cem>A History of Cuban Dance\u003c/em> and the \u003cem>Paul Taylor Dance Company 360° Brochure\u003c/em> offer viewers a unique perspective on the evolution of a body of work. Wandering around a virtual recreation of Cuba with a VR headset on gives you the powerful sensation of the live experience of dance – with no barriers between musicians, dancers and audience. In an amorphous performing space such as the street, I felt I could be drawn into the dance at any time.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rFJL29Wv1L0\u003c/p>\n\u003cp>I ended up enjoying a number of the festival’s VR offerings. However, this is likely not a watershed moment for VR in dance. The hardware is still clunky, and the technology not within economic reach for most people involved in dance filmmaking. Yet interest is growing in \u003ca href=\"https://bachtrack.com/review-hubbard-street-dance-harris-theater-chicago-september-2017\" target=\"_blank\" rel=\"noopener\">“immersive” experiences\u003c/a> and \u003ca href=\"http://www.dancemagazine.com/abt-site-specific-benjamin-millepied-2492090951.html\" target=\"_blank\" rel=\"noopener\">site-specific dance\u003c/a>, and VR will likely become an increasingly powerful tool for nimble dance companies focused on aggressively building their\u003ca href=\"https://www.artsprofessional.co.uk/magazine/307/case-study/digital-season\" target=\"_blank\" rel=\"noopener\"> digital footprint\u003c/a> to reach broader and younger audiences.\u003c/p>\n\u003cp>\u003ca href=\"http://elenajessop.com\" target=\"_blank\" rel=\"noopener\">Elly Nattinger\u003c/a>, a software engineer who works in VR and who trained as a dancer and choreographer herself, believes that the field of VR has a lot to learn from dance and theater. Equipped with a VR headset, the viewer is free to gaze around – a freedom that threatens a filmmaker’s directorial lens. Nattinger says performing arts directors are experienced in controlling the audience’s eye. “The audience is often looking at the thing that is important – because there is so much stage tradition to help them pick that out,” Nattinger says. “So, the more that dance and performance experts start playing with VR, the more that everyone else using VR can take their techniques and learn from them.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=8&v=8UbSxSFLmx8\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"http://www.sfdancefilmfest.org\" target=\"_blank\" rel=\"noopener\">San Francisco Dance Film Festival\u003c/a> runs from Thursday, Oct. 19 to Sunday, Oct. 22 at the Brava Theater in San Francisco. Bhautik Joshi and Elly Nattinger will be among a group of panelists, including filmmakers, discussing the festival’s VR films on Sunday, Oct. 22 at 2 pm. More information \u003ca href=\"http://www.sfdancefilmfest.org/2017-schedule/virtual-reality-experience/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Those who think virtual reality (VR) is solely the province of gamers, adventure-seekers, and simulation builders may be startled to see how dance-makers are employing the technology on screen. For the first time, the \u003ca href=\"http://www.sfdancefilmfest.org/2017-schedule/virtual-reality-experience/\" target=\"_blank\" rel=\"noopener\">San Francisco Dance Film Festival\u003c/a>, which opens on Thursday, Oct. 19 at San Francisco’s Brava Theater, will be screening a handful of 360° and VR dance films that play around with a variety of effects designed to yank the viewer into another world.\u003c/p>\n\u003cp>I previewed these films with skepticism — not just because of the ungainly contraption you have to strap onto your forehead to view them, but also because no film can replicate the thrill of live dance or the dancer’s sense of precariousness. “Unless you find something to replace that, it will always feel like a shadow of the real thing,” film director Saschka Unseld says.\u003c/p>\n\u003cfigure id=\"attachment_13811571\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13811571 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Marni-Wood_Amari-Cheatom_ThroughYou_photo-by-Cameron-Bertron-800x533.jpg\" alt=\"Marni Wood and Amari Cheatom in 'Through You' (Directors: Saschka Unseld, Lily Baldwin)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Marni-Wood_Amari-Cheatom_ThroughYou_photo-by-Cameron-Bertron-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Marni-Wood_Amari-Cheatom_ThroughYou_photo-by-Cameron-Bertron-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Marni-Wood_Amari-Cheatom_ThroughYou_photo-by-Cameron-Bertron-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Marni-Wood_Amari-Cheatom_ThroughYou_photo-by-Cameron-Bertron-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Marni-Wood_Amari-Cheatom_ThroughYou_photo-by-Cameron-Bertron-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Marni-Wood_Amari-Cheatom_ThroughYou_photo-by-Cameron-Bertron-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Marni-Wood_Amari-Cheatom_ThroughYou_photo-by-Cameron-Bertron-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Marni-Wood_Amari-Cheatom_ThroughYou_photo-by-Cameron-Bertron-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Marni-Wood_Amari-Cheatom_ThroughYou_photo-by-Cameron-Bertron-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Marni-Wood_Amari-Cheatom_ThroughYou_photo-by-Cameron-Bertron-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marni Wood and Amari Cheatom in ‘Through You’ (Directors: Saschka Unseld, Lily Baldwin) \u003ccite>(Photo: Courtesy of Saschka Unseld and Lily Baldwin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unseld teamed up with director and choreographer Lily Baldwin to make \u003cem>Through You\u003c/em>, one of the films to be screened at the festival. The pair sought to create an authentic sense of place and a palpable connection to the dancers by shooting on location. They also pushed the camera a lot closer to the performers than is typical and moved it in response to the dancers’ movements. This runs counter to the prevailing wisdom that these kinds of camera movements tend to make viewers motion sick. In addition, the filmmakers pushed the post-production process. They ended up with close to 200 cuts – versus the 10 to 20 cuts typical of the VR filmmaking process. This gives the film a dreamlike quality.\u003c/p>\n\u003cp>\u003cem>Through You\u003c/em> is a cascade of impressions of a romantic relationship that unfolds from the 1970s into the future, telescoping time and capturing a couple as they age. Scenes are painted in vivid, painstaking detail, and bleed into each other in such a way that it is hard to tell what is memory and what is dream or hallucination. As a viewer teleported into these scenes, I felt somehow complicit in what was happening to the couple, and frustrated that I couldn’t comfort them in the aftermath of loss.\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/IMuuFGZRJA0'\n title='//www.youtube.com/embed/IMuuFGZRJA0'\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>Though Unseld and Baldwin used visual effects in some of the scenes, like setting a room on fire, Baldwin says they refrained from embellishing the presentation of the human body: “The raw imperfections of the human body as seen in VR bring us back to our bodies, to our mortality,” Baldwin says.\u003c/p>\n\u003cp>This is in striking contrast to the way VR is used in making video games, which often revolve around imaginary worlds peopled by superhuman bodies or inhuman forms. “Our avatar selves inhabit ideal worlds of invincibility,” Baldwin says. “Gaming invokes the what-if world. What if I was not mortal?”\u003c/p>\n\u003cp>But with her dance film, Baldwin says, she wanted to give viewers a different sense of the human body. “It’s about being startled by the hard-knock reality of this articulate body which is engaging you,” Baldwin says. To that end, the filmmakers put a powerful, older dancer on screen – the legendary Marni Thomas Wood – to confront a culture which Baldwin describes as being “so hooked on a sense of perfection, on youth.”\u003c/p>\n\u003cfigure id=\"attachment_13811570\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13811570 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/bburgs2-800x533.jpg\" alt=\"The making of 'Paul Taylor Dance Company 360° Brochure' \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/bburgs2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/bburgs2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/bburgs2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/bburgs2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/bburgs2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/bburgs2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/bburgs2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/bburgs2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/bburgs2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/bburgs2-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The making of ‘Paul Taylor Dance Company 360° Brochure’ \u003ccite>(Photo: Francisco Graziano)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To get these ideas across requires “absolute clarity of image,” Baldwin says. This is where the technology falls down. Although VR headsets are becoming \u003ca href=\"https://techcrunch.com/2017/10/11/oculus-announces-199-oculus-go-standalone-headset/?ncid=rss&utm_source=tctwreshare&utm_medium=feed&utm_campaign=Feed%3A+Techcrunch+%28TechCrunch%29&sr_share=twitter\" target=\"_blank\" rel=\"noopener\">cheaper\u003c/a> and more \u003ca href=\"http://fortune.com/2017/03/01/google-cardboard-virtual-reality-shipments/\" target=\"_blank\" rel=\"noopener\">ubiquitous\u003c/a>, display resolution falls far short of that which we’re used to on our laptops, tablets and smartphones. Some of the dances made for VR are available for viewing without a headset, but you trade the immersive quality of the virtual experience for a sharper image.\u003c/p>\n\u003cp>Research engineer Bhautik Joshi, who builds \u003ca href=\"http://fortune.com/2017/01/20/kristen-stewart-artificial-intelligence-machine-learning-come-swim/\" target=\"_blank\" rel=\"noopener\">software tools to help creative people tell stories through VR\u003c/a>, tells me that the display resolution we’re looking for is probably about two years out. But he doesn’t see today’s technical shortcomings as necessarily hampering the impact of the best dance films. “If your film is compelling enough, even with a low-resolution display, if you can suspend disbelief in the viewer, you can get away with it,” Joshi says.\u003c/p>\n\u003cp>I was swayed by this argument after watching a couple of the films.\u003c/p>\n\u003cp>\u003cem>Lifeboat\u003c/em>, a music video by Luke Willis, starring dancer-singer-songwriter Shannon Rugani, was shot against the landscape of what looks like a parched riverbed. I lost interest momentarily in the dance and started looking around, at one point looking down to where my hands and feet should have been. When I saw nothing but cracked earth, I felt the shock of disembodiment. From that point, I connected more viscerally to the dancers; they suddenly became more “real” because I wasn’t.\u003c/p>\n\u003cfigure id=\"attachment_13811572\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13811572 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Photo-1-Lifeboat_Still_1-800x400.jpg\" alt=\"Shannon Rugani and Luke Willis in 'Lifeboat' \" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-1-Lifeboat_Still_1-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-1-Lifeboat_Still_1-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-1-Lifeboat_Still_1-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-1-Lifeboat_Still_1-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-1-Lifeboat_Still_1-1180x590.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-1-Lifeboat_Still_1-960x480.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-1-Lifeboat_Still_1-240x120.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-1-Lifeboat_Still_1-375x188.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-1-Lifeboat_Still_1-520x260.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Photo-1-Lifeboat_Still_1.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shannon Rugani and Luke Willis in ‘Lifeboat’ \u003ccite>(Photo: Courtesy of Luke Willis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And in \u003cem>Silent Resonance\u003c/em>, a film from Pacific Northwest Ballet, visual effects enhance an intimate duet between two ballet dancers. As their limbs sweep through space and intertwine, they appear to leave a ghostly vapor trail (known in the industry as a ‘tracer effect’). Floating in darkness, the disembodied viewer is drawn into the dancers’ iridescent orbit – as if the pair were celestial bodies – in a way that conventional film would not.\u003c/p>\n\u003cfigure id=\"attachment_13811569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13811569 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/anicca_still005_crop2-800x539.png\" alt=\"'Anicca' (Director: Cecilia Sweet-Coll)\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/anicca_still005_crop2-800x539.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/anicca_still005_crop2-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/anicca_still005_crop2-768x518.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/anicca_still005_crop2-1020x687.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/anicca_still005_crop2-1180x795.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/anicca_still005_crop2-960x647.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/anicca_still005_crop2-240x162.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/anicca_still005_crop2-375x253.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/anicca_still005_crop2-520x350.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/anicca_still005_crop2.png 1282w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Anicca’ (Director: Cecilia Sweet-Coll) \u003ccite>(Photo: Courtesy Cecilia Sweet-Coll)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even when there are no human dancers visible on screen, viewer disembodiment can amplify a mood. This is the case with Cecilia Sweet-Coll’s film \u003cem>Anicca\u003c/em>, in which motion captured from dancers animates a mysterious and whimsical landscape.\u003c/p>\n\u003cp>Then there are the dance films that seek to put viewers literally at the center of an unfolding tradition, rather than create a sense of disembodiment. Works like \u003cem>A History of Cuban Dance\u003c/em> and the \u003cem>Paul Taylor Dance Company 360° Brochure\u003c/em> offer viewers a unique perspective on the evolution of a body of work. Wandering around a virtual recreation of Cuba with a VR headset on gives you the powerful sensation of the live experience of dance – with no barriers between musicians, dancers and audience. In an amorphous performing space such as the street, I felt I could be drawn into the dance at any time.\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/rFJL29Wv1L0'\n title='//www.youtube.com/embed/rFJL29Wv1L0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I ended up enjoying a number of the festival’s VR offerings. However, this is likely not a watershed moment for VR in dance. The hardware is still clunky, and the technology not within economic reach for most people involved in dance filmmaking. Yet interest is growing in \u003ca href=\"https://bachtrack.com/review-hubbard-street-dance-harris-theater-chicago-september-2017\" target=\"_blank\" rel=\"noopener\">“immersive” experiences\u003c/a> and \u003ca href=\"http://www.dancemagazine.com/abt-site-specific-benjamin-millepied-2492090951.html\" target=\"_blank\" rel=\"noopener\">site-specific dance\u003c/a>, and VR will likely become an increasingly powerful tool for nimble dance companies focused on aggressively building their\u003ca href=\"https://www.artsprofessional.co.uk/magazine/307/case-study/digital-season\" target=\"_blank\" rel=\"noopener\"> digital footprint\u003c/a> to reach broader and younger audiences.\u003c/p>\n\u003cp>\u003ca href=\"http://elenajessop.com\" target=\"_blank\" rel=\"noopener\">Elly Nattinger\u003c/a>, a software engineer who works in VR and who trained as a dancer and choreographer herself, believes that the field of VR has a lot to learn from dance and theater. Equipped with a VR headset, the viewer is free to gaze around – a freedom that threatens a filmmaker’s directorial lens. Nattinger says performing arts directors are experienced in controlling the audience’s eye. “The audience is often looking at the thing that is important – because there is so much stage tradition to help them pick that out,” Nattinger says. “So, the more that dance and performance experts start playing with VR, the more that everyone else using VR can take their techniques and learn from them.”\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/8UbSxSFLmx8'\n title='//www.youtube.com/embed/8UbSxSFLmx8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"http://www.sfdancefilmfest.org\" target=\"_blank\" rel=\"noopener\">San Francisco Dance Film Festival\u003c/a> runs from Thursday, Oct. 19 to Sunday, Oct. 22 at the Brava Theater in San Francisco. Bhautik Joshi and Elly Nattinger will be among a group of panelists, including filmmakers, discussing the festival’s VR films on Sunday, Oct. 22 at 2 pm. More information \u003ca href=\"http://www.sfdancefilmfest.org/2017-schedule/virtual-reality-experience/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Above the Ballet, Where the Tutus Are Made",
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"content": "\u003cp>The New York City Ballet’s costume shop is located on the eighth floor of a building in Lincoln Center. There are spectacular views of the Hudson River, but no one’s looking out the windows. They’re all working with a quiet intensity.\u003c/p>\n\u003cp>“It’s a shop full of 18 people,” says Marc Happel, the City Ballet’s director of costumes. “Amazing craftspeople, machine operators, hand stitching, we have three drapers. I mean the level of costume-making here is probably the highest you could get.”\u003c/p>\n\u003cp>In addition to preparing costumes for the regular season, next week the City Ballet will present its annual Fall Gala, where fashion designers are paired with choreographers to create new dances and new costumes. That means the costume shop has less than three months to build garments designed by people who don’t usually worry about athletic, sweaty dancers.\u003c/p>\n\u003cp>That’s where Happel provides invaluable assistance. He’s run the shop for 11 years, and before that worked on Broadway and at the Metropolitan Opera.\u003c/p>\n\u003cp>“Many times the fabrics that [the designers] do come up with we often use in ballet, like chiffon or organza or crepe du chine,” he says. “But what we have at our disposal is companies that make stretch chiffon and stretch crepe du chine. So that’s to our advantage.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Actress Sarah Jessica Parker is on the board of the City Ballet and came up with the idea of the annual Fall Gala six years ago. She sees Happel and the costume shop as invaluable partners.\u003c/p>\n\u003cp>“Marc knows the reality of everything,” Parker says. “He can solve the inevitable technical questions that come up. Because, yes, they know all the layers that are required. They know how every fabric moves, they know what a seam does, what a hem does, what stretches, what doesn’t, what absorbs, what doesn’t, what can be lifted, what can move.”\u003c/p>\n\u003cp>And the designers value working with Marc Happel, too. The first gala featured designs by Italian couturier Valentino, and Happel says he was very hands on.\u003c/p>\n\u003cp>“To the point where he would call me when he was on vacation on his what he called a boat — which I knew was a six-story yacht — in the Mediterranean,” Happel says. “He would call me because he had just had a thought that the black ruffle on this one costume should be pleated and not ruched.”\u003c/p>\n\u003cp>But the ultimate client is the dancer.\u003c/p>\n\u003cp>“My job is to make them as comfortable and as happy with what they’re wearing, so they’re not really thinking about it too much,” he says.\u003c/p>\n\u003cp>While a rehearsal of \u003cem>Swan Lake\u003c/em> is happening onstage, backstage Happel and one of his drapers are fitting a costume by designer Tsumori Chisato on ballerina Sterling Hyltin. The fabric is hand-painted and the tutu looks like a hat box. While choreographer Justin Peck looks on, Hyltin does movements from the ballet, looking in the mirror the whole time. Afterwards, she says the costume is incredible.\u003c/p>\n\u003cp>“I mean I wear a tutu a lot, but not a tutu that’s that structured and geometric,” Hyltin says. “And I think it’s going to be a lot of fun just sort of learning how it moves and see how that influences the way I dance.”\u003c/p>\n\u003cp>Both the dances and the costumes will live beyond the Fashion Gala, as part of New York City Ballet’s repertory. But Happel doesn’t have time to worry about it. There’s just too much work to do.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I always say it’s like you have four freight trains heading to the station at the same time and you’re just hoping in some ways that they all get there at the same time,” he says. “And we have a gala.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Above+The+Ballet%2C+Where+The+Tutus+Are+Made&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The New York City Ballet’s costume shop is located on the eighth floor of a building in Lincoln Center. There are spectacular views of the Hudson River, but no one’s looking out the windows. They’re all working with a quiet intensity.\u003c/p>\n\u003cp>“It’s a shop full of 18 people,” says Marc Happel, the City Ballet’s director of costumes. “Amazing craftspeople, machine operators, hand stitching, we have three drapers. I mean the level of costume-making here is probably the highest you could get.”\u003c/p>\n\u003cp>In addition to preparing costumes for the regular season, next week the City Ballet will present its annual Fall Gala, where fashion designers are paired with choreographers to create new dances and new costumes. That means the costume shop has less than three months to build garments designed by people who don’t usually worry about athletic, sweaty dancers.\u003c/p>\n\u003cp>That’s where Happel provides invaluable assistance. He’s run the shop for 11 years, and before that worked on Broadway and at the Metropolitan Opera.\u003c/p>\n\u003cp>“Many times the fabrics that [the designers] do come up with we often use in ballet, like chiffon or organza or crepe du chine,” he says. “But what we have at our disposal is companies that make stretch chiffon and stretch crepe du chine. So that’s to our advantage.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Actress Sarah Jessica Parker is on the board of the City Ballet and came up with the idea of the annual Fall Gala six years ago. She sees Happel and the costume shop as invaluable partners.\u003c/p>\n\u003cp>“Marc knows the reality of everything,” Parker says. “He can solve the inevitable technical questions that come up. Because, yes, they know all the layers that are required. They know how every fabric moves, they know what a seam does, what a hem does, what stretches, what doesn’t, what absorbs, what doesn’t, what can be lifted, what can move.”\u003c/p>\n\u003cp>And the designers value working with Marc Happel, too. The first gala featured designs by Italian couturier Valentino, and Happel says he was very hands on.\u003c/p>\n\u003cp>“To the point where he would call me when he was on vacation on his what he called a boat — which I knew was a six-story yacht — in the Mediterranean,” Happel says. “He would call me because he had just had a thought that the black ruffle on this one costume should be pleated and not ruched.”\u003c/p>\n\u003cp>But the ultimate client is the dancer.\u003c/p>\n\u003cp>“My job is to make them as comfortable and as happy with what they’re wearing, so they’re not really thinking about it too much,” he says.\u003c/p>\n\u003cp>While a rehearsal of \u003cem>Swan Lake\u003c/em> is happening onstage, backstage Happel and one of his drapers are fitting a costume by designer Tsumori Chisato on ballerina Sterling Hyltin. The fabric is hand-painted and the tutu looks like a hat box. While choreographer Justin Peck looks on, Hyltin does movements from the ballet, looking in the mirror the whole time. Afterwards, she says the costume is incredible.\u003c/p>\n\u003cp>“I mean I wear a tutu a lot, but not a tutu that’s that structured and geometric,” Hyltin says. “And I think it’s going to be a lot of fun just sort of learning how it moves and see how that influences the way I dance.”\u003c/p>\n\u003cp>Both the dances and the costumes will live beyond the Fashion Gala, as part of New York City Ballet’s repertory. But Happel doesn’t have time to worry about it. There’s just too much work to do.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I always say it’s like you have four freight trains heading to the station at the same time and you’re just hoping in some ways that they all get there at the same time,” he says. “And we have a gala.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Above+The+Ballet%2C+Where+The+Tutus+Are+Made&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Gorgeous 'An American in Paris' Musical has Soulless Lead Character",
"headTitle": "Gorgeous ‘An American in Paris’ Musical has Soulless Lead Character | KQED",
"content": "\u003cp>To live and die for dreaminess and glamour is the inherent promise of \u003cem>\u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=anamericaninparis&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener noreferrer\">An American in Paris\u003c/a>. \u003c/em>That’s evident in both Vincent Minnelli’s 1951 film starring Gene Kelly with a George Gershwin score, and choreographer and director Christopher Wheeldon’s hit 2014 Broadway adaption, currently playing at San Francisco’s Orpheum Theatre.\u003c/p>\n\u003cp>Yet that promise is compromised in the musical by anxiety, pain, and a dawning belief that the world that we yearn for, the people we fall madly in love with, might just drift out of reach. And it suggests that our fantasies might be no more than a nasty, taunting illusion to everything we hold dear.\u003c/p>\n\u003cfigure id=\"attachment_13808896\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808896\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-800x450.jpg\" alt=\"Jerry Mulligan (McGee Maddox) and Lise Dassin (Sara Esty) struggle but want to believe in true romance in 'An American in Paris' at the Orpheum.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Mulligan (McGee Maddox) and Lise Dassin (Sara Esty) struggle to believe in true romance in ‘An American in Paris’ at the Orpheum. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And so the musical asks us to acknowledge that our lead — the painter and American of the title Jerry Mulligan — is not just navigating the trails and tribulations of love, but of the past war as well. The same is true of the supporting characters: Mulligan’s friend and fellow American, pianist-composer Arthur Hochberg; local scion and wannabe cabaret star Henri Baurel, and the love of their lives, Lise Dassin, a dancer suffering from a mysterious past and many injustices.\u003c/p>\n\u003cp>However, unlike the supporting characters, Mulligan’s anguish seems tacked-on, more character window-dressing than actual feeling. When he speaks of the ravages of war, you never believe that he knows what he’s talking about, or that he’s actually experiencing any pain. And pain, strangely enough, is the fuel this musical\u003cem> \u003c/em>relies on.\u003c/p>\n\u003cp>Wheeldon and librettist Craig Lucas make an interesting narrative bet: just how much are we willing to pay for the sweetness of a dream? I would say a lot, but much of it depends on the nature of the dream and how it’s assembled. Coming from the world of ballet, Wheeldon places an inordinate amount of faith in dance to resolve the emotional conflicts that haunt these characters.\u003c/p>\n\u003cfigure id=\"attachment_13808894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808894\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-800x451.jpg\" alt=\"Jerry Mulligan (McGee Maddock) and Lise Dassin (Sara Esty) say in dance what they cannot in real life.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Mulligan (McGee Maddock) and Lise Dassin (Sara Esty) say in dance what they cannot in real life. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Mulligan chases down Dassin at the department store where she works, it is his dancing — not what he says or sings — that proves irresistible. And it is dancing that transforms the stage into a colorful explosion of light and movement, a gigantic flower literally bursting open above the frenzy of human tumult beneath it. It’s the type of glorious surrealism that 1950s MGM musicals produced with ease, and the experience of seeing Wheeldon take that aesthetic from the sound stage to the live stage is a pleasure.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Our desire to see dreams come to life, to believe that anything might be possible, rests almost entirely with a realism of the spirit. If we believe in the characters, we’re ready and willing to accept the wildest incongruities. But it’s hard to believe in the dream at the center of \u003cem>An American in Paris \u003c/em>when our hero, Mulligan, is just a set of gestures. McGee Maddox is a talented actor, dancer, and singer, but there’s nothing for him to play. And in some sense, his talent keeps reminding us of what we’re missing, the emptiness at the core of our hero.\u003c/p>\n\u003cp>When Maddox tries to infuse meaning into lines about how Mulligan wishes he could forget the war or how much art means to him, the actor is stymied by the perfunctory nature of the writing. We need a leading man. But what we get instead is a function of the plot, a pastiche of qualities rather than a real human being.\u003c/p>\n\u003cp>Mulligan is clearly not an artist. He has no qualities that suggest a suffering soldier, and in many ways this character barely seems American. He’s just an idea. Now, I would say that this problem goes all the way back to the source material: the character’s an odd defect in the movie too, even with Gene Kelly’s star power. And in both cases, the failure is pure poison to the delicate fantasy before us.\u003c/p>\n\u003cfigure id=\"attachment_13808893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808893\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-800x450.jpg\" alt=\"Jerry Mulligan (McGee Maddox) is more cipher than character in the new stage adaption of 'An American in Paris' at the Orpheum.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Mulligan (McGee Maddox) is more cipher than character in the new stage adaption of ‘An American in Paris’ at the Orpheum. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What we’re left with is Gershwin’s majestic music, which tempers its wild forays with a rhythmic force that suggests everything you hear is part of the same world. It’s a fascinating rebuke to the bland soul at the heart of what should have been a marvelous adventure.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘An American in Paris’ runs through Sunday, Oct. 8 at the Orpheum Theatre in San Francisco. For tickets and information click \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=anamericaninparis&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Despite compelling music, dance and design, there is simply no overcoming the emptiness of the American in Christopher Wheeldon's 'An American in Paris.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To live and die for dreaminess and glamour is the inherent promise of \u003cem>\u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=anamericaninparis&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener noreferrer\">An American in Paris\u003c/a>. \u003c/em>That’s evident in both Vincent Minnelli’s 1951 film starring Gene Kelly with a George Gershwin score, and choreographer and director Christopher Wheeldon’s hit 2014 Broadway adaption, currently playing at San Francisco’s Orpheum Theatre.\u003c/p>\n\u003cp>Yet that promise is compromised in the musical by anxiety, pain, and a dawning belief that the world that we yearn for, the people we fall madly in love with, might just drift out of reach. And it suggests that our fantasies might be no more than a nasty, taunting illusion to everything we hold dear.\u003c/p>\n\u003cfigure id=\"attachment_13808896\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808896\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-800x450.jpg\" alt=\"Jerry Mulligan (McGee Maddox) and Lise Dassin (Sara Esty) struggle but want to believe in true romance in 'An American in Paris' at the Orpheum.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0049-e1505765064631-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Mulligan (McGee Maddox) and Lise Dassin (Sara Esty) struggle to believe in true romance in ‘An American in Paris’ at the Orpheum. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And so the musical asks us to acknowledge that our lead — the painter and American of the title Jerry Mulligan — is not just navigating the trails and tribulations of love, but of the past war as well. The same is true of the supporting characters: Mulligan’s friend and fellow American, pianist-composer Arthur Hochberg; local scion and wannabe cabaret star Henri Baurel, and the love of their lives, Lise Dassin, a dancer suffering from a mysterious past and many injustices.\u003c/p>\n\u003cp>However, unlike the supporting characters, Mulligan’s anguish seems tacked-on, more character window-dressing than actual feeling. When he speaks of the ravages of war, you never believe that he knows what he’s talking about, or that he’s actually experiencing any pain. And pain, strangely enough, is the fuel this musical\u003cem> \u003c/em>relies on.\u003c/p>\n\u003cp>Wheeldon and librettist Craig Lucas make an interesting narrative bet: just how much are we willing to pay for the sweetness of a dream? I would say a lot, but much of it depends on the nature of the dream and how it’s assembled. Coming from the world of ballet, Wheeldon places an inordinate amount of faith in dance to resolve the emotional conflicts that haunt these characters.\u003c/p>\n\u003cfigure id=\"attachment_13808894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808894\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-800x451.jpg\" alt=\"Jerry Mulligan (McGee Maddock) and Lise Dassin (Sara Esty) say in dance what they cannot in real life.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_1210-e1505764620720-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Mulligan (McGee Maddock) and Lise Dassin (Sara Esty) say in dance what they cannot in real life. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Mulligan chases down Dassin at the department store where she works, it is his dancing — not what he says or sings — that proves irresistible. And it is dancing that transforms the stage into a colorful explosion of light and movement, a gigantic flower literally bursting open above the frenzy of human tumult beneath it. It’s the type of glorious surrealism that 1950s MGM musicals produced with ease, and the experience of seeing Wheeldon take that aesthetic from the sound stage to the live stage is a pleasure.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Our desire to see dreams come to life, to believe that anything might be possible, rests almost entirely with a realism of the spirit. If we believe in the characters, we’re ready and willing to accept the wildest incongruities. But it’s hard to believe in the dream at the center of \u003cem>An American in Paris \u003c/em>when our hero, Mulligan, is just a set of gestures. McGee Maddox is a talented actor, dancer, and singer, but there’s nothing for him to play. And in some sense, his talent keeps reminding us of what we’re missing, the emptiness at the core of our hero.\u003c/p>\n\u003cp>When Maddox tries to infuse meaning into lines about how Mulligan wishes he could forget the war or how much art means to him, the actor is stymied by the perfunctory nature of the writing. We need a leading man. But what we get instead is a function of the plot, a pastiche of qualities rather than a real human being.\u003c/p>\n\u003cp>Mulligan is clearly not an artist. He has no qualities that suggest a suffering soldier, and in many ways this character barely seems American. He’s just an idea. Now, I would say that this problem goes all the way back to the source material: the character’s an odd defect in the movie too, even with Gene Kelly’s star power. And in both cases, the failure is pure poison to the delicate fantasy before us.\u003c/p>\n\u003cfigure id=\"attachment_13808893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808893\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-800x450.jpg\" alt=\"Jerry Mulligan (McGee Maddox) is more cipher than character in the new stage adaption of 'An American in Paris' at the Orpheum.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/AAIP_TOUR_0064-e1505764265290-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jerry Mulligan (McGee Maddox) is more cipher than character in the new stage adaption of ‘An American in Paris’ at the Orpheum. \u003ccite>(Photo: Courtesy of the Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What we’re left with is Gershwin’s majestic music, which tempers its wild forays with a rhythmic force that suggests everything you hear is part of the same world. It’s a fascinating rebuke to the bland soul at the heart of what should have been a marvelous adventure.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘An American in Paris’ runs through Sunday, Oct. 8 at the Orpheum Theatre in San Francisco. For tickets and information click \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=anamericaninparis&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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. ",
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"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. ",
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"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>",
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"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?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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