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"content": "\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/282023539″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cfigure id=\"attachment_12041713\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12041713\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-800x465.jpg\" alt=\"21 year old Jacob Collier debuts at the Monterey Jazz Festival\" width=\"800\" height=\"465\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-800x465.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-400x232.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-768x446.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-1180x686.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-960x558.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">21-year-old Jacob Collier debuts at the Monterey Jazz Festival \u003ccite>(Photo: Greg Gorman/Monterey Jazz Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 16-18:\u003c/strong> The Monterey Jazz Festival turns 59, the longest continuously-running jazz fest in the world, and the organizers are keeping it as fresh as ever. Along with such exalted names as Wayne Shorter, Gregory Porter, Joshua Redman and Cecile McLorin Salvant they’ve booked mulit-instrumentalist \u003ca href=\"http://www.jacobcollier.co.uk/\" target=\"_blank\" rel=\"noopener\">Jacob Collier,\u003c/a> a 21-year-old whiz kid and protege of \u003ca href=\"http://www.montereyjazzfestival.org/\" target=\"_blank\" rel=\"noopener\">Quincy Jones\u003c/a>, who is blowing minds in the world of jazz and pop with his four-and-a-half octave range, looping skills and great songwriting. Christian McBride also hosts and directs a well-deserved tribute to Jones. And Berkeley singer and flutist Elena Pinderhughes makes her debut as well. Details for this giant of a festival are \u003ca href=\"http://www.montereyjazzfestival.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12041715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12041715\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-800x533.jpg\" alt=\"Azerbaijani mugham vocalists Alim Qasimov and Fargana Qasimova join the Silk Road Ensemble and the Mark Morris Dance Group for the world premiere of ‘Layla and Majnun’ at Cal Performances\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Azerbaijani mugham vocalists Alim Qasimov and Fargana Qasimova join the Silk Road Ensemble and the Mark Morris Dance Group for the world premiere of ‘Layla and Majnun’ at Cal Performances \u003ccite>(Photo: David O'Connor/Cal Performances )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept 30 – Oct. 2:\u003c/strong> We’re featuring just one dance performance here — but it’s choice. \u003ca href=\"https://calperformances.org/\" target=\"_blank\" rel=\"noopener\">Cal Performances \u003c/a>is the West Coast headquarters for \u003ca href=\"http://markmorrisdancegroup.org/\" target=\"_blank\" rel=\"noopener\">Mark Morris \u003c/a>and his dancers, and we are so lucky. This year, Morris has brought a world premiere to open the Cal Performances season, the evening-length dance piece \u003cem>Layla and Majnun. \u003c/em>It’s based on a story of forbidden love by Persian poet Nizami Ganjavi and will be performed by the Morris company dancers, the Silk Road Ensemble (also Cal Performances regulars) and Azerbaijani mugham vocalists Alim Qasimov and Fargana Qasimova. Details \u003ca href=\"https://calperformances.org/performances/2016-17/world-premieres/layla-and-majnun-mark-morris-dance-group-silk-road-ensemble.php\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12041926\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12041926\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-800x554.jpg\" alt=\"Yiji Shi in costume as Bao Yu with director Stan Lai as they rehearse for world premiere of 'Dream of the Red Chamber' at San Francisco Opera\" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-400x277.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-1180x817.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-1920x1329.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-960x665.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yiji Shi in costume as Bao Yu with director Stan Lai as they rehearse for world premiere of ‘Dream of the Red Chamber’ at San Francisco Opera \u003ccite>(Photo: Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 10 – Sept. 29:\u003c/strong> \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">\u003cem>Dream of the Red Chamber\u003c/em>\u003c/a> is probably the biggest deal of the fall classical music calendar. This \u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> world premiere (a co-production with \u003ca href=\"https://www.hk.artsfestival.org/en/\" target=\"_blank\" rel=\"noopener\">The Hong Kong Arts Festival\u003c/a>) is based on the \u003ca href=\"https://www.theguardian.com/books/2016/feb/12/dream-of-the-red-chamber-cao-zuequin-chinas-favourite-novel-unknown-west\" target=\"_blank\" rel=\"noopener\">classic 18th century Chinese novel \u003c/a>about art, poetry, and a doomed love affair. The all-star creative team includes composer and co-librettist Bright Sheng, co-librettist and playwright David Henry Hwang, director Stan Lai and production designer Tim Yip. Hwang insisted that all the leads be Asian or Asian-American, so there’s no yellowface in this production, and the subtitles for the English language libretto are in both English and Chinese. What I heard and saw at a dress rehearsal Wednesday night was truly gorgeous. Details are \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12041929\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12041929\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-800x532.jpg\" alt=\"Philip Glass will join four other pianists for a performance of all 20 of his piano etudes as Bing Hall opens its season at Stanford University\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Philip Glass will join four other pianists for a performance of all 20 of his piano etudes as Bing Hall opens its season at Stanford University \u003ccite>(Photo: Fernando Aceves/Stanford Live)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sept. 29: \u003ca href=\"http://philipglass.com/\" target=\"_blank\" rel=\"noopener\">Philip Glass\u003c/a> is almost 80 years old, a few months younger than his minimalist contemporary Steve Reich, but his fingers are still nimble enough, we hope. Glass will join four other pianists including the Bay Area’s brilliant \u003ca href=\"http://sarahcahill.com/\" target=\"_blank\" rel=\"noopener\">Sarah Cahill \u003c/a>in a performance of all 20 of Glass’ piano études to open the Bing Concert Hall season at Stanford University. Details \u003ca href=\"http://live.stanford.edu/calendar/september-2016/complete-piano-%C3%A9tudes-philip-glass\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12041930\" class=\"wp-caption aligncenter\" style=\"max-width: 548px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12041930 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/It-Cant-Happen-Here-at-Berkeley-Rep-e1473365912931.jpg\" alt=\"David Kelly plays President Buzz Windrip in Berkeley Rep’s new adaptation of Sinclair Lewis’ 1935 novel ‘It Can’t Happen Here.’ a new adaptation based on the 1935 Sinclair Lewis novel.\" width=\"548\" height=\"343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/It-Cant-Happen-Here-at-Berkeley-Rep-e1473365912931.jpg 548w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/It-Cant-Happen-Here-at-Berkeley-Rep-e1473365912931-400x250.jpg 400w\" sizes=\"(max-width: 548px) 100vw, 548px\">\u003cfigcaption class=\"wp-caption-text\">David Kelly plays President Buzz Windrip in Berkeley Rep’s new adaptation of Sinclair Lewis’ 1935 novel ‘It Can’t Happen Here.’ a new adaptation based on the 1935 Sinclair Lewis novel. \u003ccite>(Photo: Kevin Berne/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 23 – Nov. 7\u003c/strong>: I have a very long list of must-see plays for this fall, but none are more topical than this new adaptation of the 1935 Sinclair Lewis novel It Can’t Happen Here. Written as Hitler and Mussolini were on the rise in Europe, Lewis wrote a sprawling novel about what would happen if the US elected a populist president who promised tax cuts, a guaranteed income, and to kick out immigrants (Jews and Italians were among the targets), and make America great again. Berkeley Rep’s Artistic Director Tony Taccone and Bennett Cohen have written this new theatrical version about what happens when Windrip becomes a fascist dictator. Details \u003ca href=\"http://www.berkeleyrep.org/season/1617/10650.asp\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uIaFn5lsLd8\u003c/p>\n\u003cp>\u003cstrong>Oct. 2 – 30:\u003c/strong> \u003cem>Hedwig and the Angry Inch\u003c/em> is almost as topical in its musical treatment of the genderqueer East German glam rocker Hedwig and her husband Yitzhak, their rock band and Hedwig’s botched sex change operation. Bay Area bred stars Darren Criss (\u003cem>Glee\u003c/em>) stars as Hedwig and Lena Hall as Yitzhak. Criss looks great in lipstick and glitter eye makeup. Details of the tour coming to the Golden Gate theater are \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=hedwigandtheangryinch&BOparam::WScontent::loadArticle::context_id=&gclid=CN_0yI_PgM8CFZFafgoddDQBKA\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gk1rTKB6ZF8\u003c/p>\n\u003cp>\u003cstrong>Oct. 19 – Nov. 13\u003c/strong>: American Conservatory Theater’s Carey Perloff is often at her best directing plays by the brilliant Tom Stoppard (\u003cem>Arcadia, Shakespeare in Love)\u003c/em>, who seems to like staging world premieres in San Francisco. Perloff directs \u003cem>The Hard Problem\u003c/em>, Stoppard’s first new play in 10 years, about sex, science, supercomputing and the the nature of the soul. Details \u003ca href=\"http://www.act-sf.org/home/box_office/1617_season/the_hard_problem.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cbtuw6ptZW4\u003c/p>\n\u003cp>\u003cstrong>Sept. 29 – Oct. 2\u003c/strong>: We live in an age of music festival abundance, yet only one manages to be so inclusive and free. \u003ca href=\"http://www.hardlystrictlybluegrass.com/2016/\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass \u003c/a>is Warren Hellman’s great gift to the Bay Area. This year, Dave Alvin offers a tribute to the late Merle Haggard, who died in April, and you can also catch Mavis Staples, John Hammond, San Pablo’s Los Cenzontles, Emmylou Harris (of course), Berkeley’s \u003ca href=\"http://www.laurielewis.com/\" target=\"_blank\" rel=\"noopener\">Laurie Lewis\u003c/a>, South Bay bluesman \u003ca href=\"http://www.akikumar.com/\" target=\"_blank\" rel=\"noopener\">Aki Kumar\u003c/a>, Buddy Miller, even Cyndi Lauper. Details \u003ca href=\"http://www.hardlystrictlybluegrass.com/2016/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=42t0ij0wj-U\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>Oct. 15 & 16\u003c/strong>: The Treasure Island Music Festival is celebrating 10 years in the middle of San Francisco Bay, and it’s the last for the festival at this location. So savor the sunsets. While you’re there, enjoy Oakland’s Kamaiyah, who may be the hottest rapper in the Bay Area, along with the dreamy Icelandic pop of Sigur Ros, James Blake, Purity Ring, Glass Animals, and Ice Cube. And take public transit to Treasure Island and Hardly Strictly; driving there will kill your spirit. Details \u003ca href=\"http://treasureislandfestival.com/2016/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n",
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"title": "Cy and David's Fall Arts Preview: A Whiz Kid at Monterey and an Oakland Rapper on Treasure Island | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/282023539″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/282023539″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_12041713\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12041713\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-800x465.jpg\" alt=\"21 year old Jacob Collier debuts at the Monterey Jazz Festival\" width=\"800\" height=\"465\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-800x465.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-400x232.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-768x446.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-1180x686.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662-960x558.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jacob-Collier-c-Greg-Gorman-Monterey-Jazz-2016-e1473361088662.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">21-year-old Jacob Collier debuts at the Monterey Jazz Festival \u003ccite>(Photo: Greg Gorman/Monterey Jazz Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 16-18:\u003c/strong> The Monterey Jazz Festival turns 59, the longest continuously-running jazz fest in the world, and the organizers are keeping it as fresh as ever. Along with such exalted names as Wayne Shorter, Gregory Porter, Joshua Redman and Cecile McLorin Salvant they’ve booked mulit-instrumentalist \u003ca href=\"http://www.jacobcollier.co.uk/\" target=\"_blank\" rel=\"noopener\">Jacob Collier,\u003c/a> a 21-year-old whiz kid and protege of \u003ca href=\"http://www.montereyjazzfestival.org/\" target=\"_blank\" rel=\"noopener\">Quincy Jones\u003c/a>, who is blowing minds in the world of jazz and pop with his four-and-a-half octave range, looping skills and great songwriting. Christian McBride also hosts and directs a well-deserved tribute to Jones. And Berkeley singer and flutist Elena Pinderhughes makes her debut as well. Details for this giant of a festival are \u003ca href=\"http://www.montereyjazzfestival.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12041715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12041715\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-800x533.jpg\" alt=\"Azerbaijani mugham vocalists Alim Qasimov and Fargana Qasimova join the Silk Road Ensemble and the Mark Morris Dance Group for the world premiere of ‘Layla and Majnun’ at Cal Performances\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/MMDG-Layla-and-Majnun-3-credit-David-O-Connor-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Azerbaijani mugham vocalists Alim Qasimov and Fargana Qasimova join the Silk Road Ensemble and the Mark Morris Dance Group for the world premiere of ‘Layla and Majnun’ at Cal Performances \u003ccite>(Photo: David O'Connor/Cal Performances )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept 30 – Oct. 2:\u003c/strong> We’re featuring just one dance performance here — but it’s choice. \u003ca href=\"https://calperformances.org/\" target=\"_blank\" rel=\"noopener\">Cal Performances \u003c/a>is the West Coast headquarters for \u003ca href=\"http://markmorrisdancegroup.org/\" target=\"_blank\" rel=\"noopener\">Mark Morris \u003c/a>and his dancers, and we are so lucky. This year, Morris has brought a world premiere to open the Cal Performances season, the evening-length dance piece \u003cem>Layla and Majnun. \u003c/em>It’s based on a story of forbidden love by Persian poet Nizami Ganjavi and will be performed by the Morris company dancers, the Silk Road Ensemble (also Cal Performances regulars) and Azerbaijani mugham vocalists Alim Qasimov and Fargana Qasimova. Details \u003ca href=\"https://calperformances.org/performances/2016-17/world-premieres/layla-and-majnun-mark-morris-dance-group-silk-road-ensemble.php\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12041926\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12041926\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-800x554.jpg\" alt=\"Yiji Shi in costume as Bao Yu with director Stan Lai as they rehearse for world premiere of 'Dream of the Red Chamber' at San Francisco Opera\" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-400x277.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-1180x817.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-1920x1329.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Yiji-Shi-in-costume-as-Bao-Yu-with-director-Stan-Lai-960x665.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yiji Shi in costume as Bao Yu with director Stan Lai as they rehearse for world premiere of ‘Dream of the Red Chamber’ at San Francisco Opera \u003ccite>(Photo: Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 10 – Sept. 29:\u003c/strong> \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">\u003cem>Dream of the Red Chamber\u003c/em>\u003c/a> is probably the biggest deal of the fall classical music calendar. This \u003ca href=\"http://sfopera.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> world premiere (a co-production with \u003ca href=\"https://www.hk.artsfestival.org/en/\" target=\"_blank\" rel=\"noopener\">The Hong Kong Arts Festival\u003c/a>) is based on the \u003ca href=\"https://www.theguardian.com/books/2016/feb/12/dream-of-the-red-chamber-cao-zuequin-chinas-favourite-novel-unknown-west\" target=\"_blank\" rel=\"noopener\">classic 18th century Chinese novel \u003c/a>about art, poetry, and a doomed love affair. The all-star creative team includes composer and co-librettist Bright Sheng, co-librettist and playwright David Henry Hwang, director Stan Lai and production designer Tim Yip. Hwang insisted that all the leads be Asian or Asian-American, so there’s no yellowface in this production, and the subtitles for the English language libretto are in both English and Chinese. What I heard and saw at a dress rehearsal Wednesday night was truly gorgeous. Details are \u003ca href=\"http://sfopera.com/discover-opera/201617-season/dream-of-the-red-chamber/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12041929\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12041929\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-800x532.jpg\" alt=\"Philip Glass will join four other pianists for a performance of all 20 of his piano etudes as Bing Hall opens its season at Stanford University\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Glass_FernandoAceves-4-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Philip Glass will join four other pianists for a performance of all 20 of his piano etudes as Bing Hall opens its season at Stanford University \u003ccite>(Photo: Fernando Aceves/Stanford Live)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sept. 29: \u003ca href=\"http://philipglass.com/\" target=\"_blank\" rel=\"noopener\">Philip Glass\u003c/a> is almost 80 years old, a few months younger than his minimalist contemporary Steve Reich, but his fingers are still nimble enough, we hope. Glass will join four other pianists including the Bay Area’s brilliant \u003ca href=\"http://sarahcahill.com/\" target=\"_blank\" rel=\"noopener\">Sarah Cahill \u003c/a>in a performance of all 20 of Glass’ piano études to open the Bing Concert Hall season at Stanford University. Details \u003ca href=\"http://live.stanford.edu/calendar/september-2016/complete-piano-%C3%A9tudes-philip-glass\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12041930\" class=\"wp-caption aligncenter\" style=\"max-width: 548px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12041930 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/It-Cant-Happen-Here-at-Berkeley-Rep-e1473365912931.jpg\" alt=\"David Kelly plays President Buzz Windrip in Berkeley Rep’s new adaptation of Sinclair Lewis’ 1935 novel ‘It Can’t Happen Here.’ a new adaptation based on the 1935 Sinclair Lewis novel.\" width=\"548\" height=\"343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/It-Cant-Happen-Here-at-Berkeley-Rep-e1473365912931.jpg 548w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/It-Cant-Happen-Here-at-Berkeley-Rep-e1473365912931-400x250.jpg 400w\" sizes=\"(max-width: 548px) 100vw, 548px\">\u003cfigcaption class=\"wp-caption-text\">David Kelly plays President Buzz Windrip in Berkeley Rep’s new adaptation of Sinclair Lewis’ 1935 novel ‘It Can’t Happen Here.’ a new adaptation based on the 1935 Sinclair Lewis novel. \u003ccite>(Photo: Kevin Berne/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Sept. 23 – Nov. 7\u003c/strong>: I have a very long list of must-see plays for this fall, but none are more topical than this new adaptation of the 1935 Sinclair Lewis novel It Can’t Happen Here. Written as Hitler and Mussolini were on the rise in Europe, Lewis wrote a sprawling novel about what would happen if the US elected a populist president who promised tax cuts, a guaranteed income, and to kick out immigrants (Jews and Italians were among the targets), and make America great again. Berkeley Rep’s Artistic Director Tony Taccone and Bennett Cohen have written this new theatrical version about what happens when Windrip becomes a fascist dictator. Details \u003ca href=\"http://www.berkeleyrep.org/season/1617/10650.asp\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/uIaFn5lsLd8'\n title='//www.youtube.com/embed/uIaFn5lsLd8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Oct. 2 – 30:\u003c/strong> \u003cem>Hedwig and the Angry Inch\u003c/em> is almost as topical in its musical treatment of the genderqueer East German glam rocker Hedwig and her husband Yitzhak, their rock band and Hedwig’s botched sex change operation. Bay Area bred stars Darren Criss (\u003cem>Glee\u003c/em>) stars as Hedwig and Lena Hall as Yitzhak. Criss looks great in lipstick and glitter eye makeup. Details of the tour coming to the Golden Gate theater are \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=hedwigandtheangryinch&BOparam::WScontent::loadArticle::context_id=&gclid=CN_0yI_PgM8CFZFafgoddDQBKA\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/gk1rTKB6ZF8'\n title='//www.youtube.com/embed/gk1rTKB6ZF8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Oct. 19 – Nov. 13\u003c/strong>: American Conservatory Theater’s Carey Perloff is often at her best directing plays by the brilliant Tom Stoppard (\u003cem>Arcadia, Shakespeare in Love)\u003c/em>, who seems to like staging world premieres in San Francisco. Perloff directs \u003cem>The Hard Problem\u003c/em>, Stoppard’s first new play in 10 years, about sex, science, supercomputing and the the nature of the soul. Details \u003ca href=\"http://www.act-sf.org/home/box_office/1617_season/the_hard_problem.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cbtuw6ptZW4'\n title='//www.youtube.com/embed/cbtuw6ptZW4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Sept. 29 – Oct. 2\u003c/strong>: We live in an age of music festival abundance, yet only one manages to be so inclusive and free. \u003ca href=\"http://www.hardlystrictlybluegrass.com/2016/\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass \u003c/a>is Warren Hellman’s great gift to the Bay Area. This year, Dave Alvin offers a tribute to the late Merle Haggard, who died in April, and you can also catch Mavis Staples, John Hammond, San Pablo’s Los Cenzontles, Emmylou Harris (of course), Berkeley’s \u003ca href=\"http://www.laurielewis.com/\" target=\"_blank\" rel=\"noopener\">Laurie Lewis\u003c/a>, South Bay bluesman \u003ca href=\"http://www.akikumar.com/\" target=\"_blank\" rel=\"noopener\">Aki Kumar\u003c/a>, Buddy Miller, even Cyndi Lauper. Details \u003ca href=\"http://www.hardlystrictlybluegrass.com/2016/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/42t0ij0wj-U'\n title='//www.youtube.com/embed/42t0ij0wj-U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct. 15 & 16\u003c/strong>: The Treasure Island Music Festival is celebrating 10 years in the middle of San Francisco Bay, and it’s the last for the festival at this location. So savor the sunsets. While you’re there, enjoy Oakland’s Kamaiyah, who may be the hottest rapper in the Bay Area, along with the dreamy Icelandic pop of Sigur Ros, James Blake, Purity Ring, Glass Animals, and Ice Cube. And take public transit to Treasure Island and Hardly Strictly; driving there will kill your spirit. Details \u003ca href=\"http://treasureislandfestival.com/2016/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "escape-the-distractions-and-see-these-ten-dance-events",
"title": "Escape the Distractions and See these Ten Dance Events",
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"content": "\u003cp>Fall is upon us and we’re desperately trying to dodge the howling sirocco of the presidential election campaign. Seeking new distractions now that the throbbing beat of samba, bossa nova and funk from Rio is a distant echo, now that the glorious sight of athletes flying through the air and synchronously swimming is a distant memory. Stop trying to parse the rapping Chihuahua, the naked woman swimming in a fish tank, and the unnerving sight of Frank Ocean self-immolating in \u003cem>Blond/Blonde\u003c/em>.\u003c/p>\n\u003cp>Rather, give thanks for the mind-blowing array of dance around the Bay Area. Here are 10 must-see things-involving-dance this fall:\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11993543\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11993543\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-600x600.jpg\" alt=\"The Milissa Payne Project’s Jessica Woodman (Photo: David DeSilva)\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva.jpg 1800w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The Milissa Payne Project’s Jessica Woodman (Photo: David DeSilva)\u003c/figcaption>\u003c/figure>\n\u003ch3>West Wave Dance Festival 25th anniversary season\u003c/h3>\n\u003ch5>Sept. 14 – 18\u003cbr>\nZ Space, San Francisco\u003cbr>\n\u003ca href=\"http://safehousearts.info/west_wave25\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Dance may be the most expensive art to produce, and, in tough economic times like these, \u003ca href=\"https://www.sfcv.org/music-news/silicon-valley-ballet-shuts-down\" target=\"_blank\" rel=\"noopener\">dance companies are vulnerable\u003c/a>. That is why the continued flourishing of West Wave Dance over the past 25 years seems like a veritable miracle. Fans can ring in the next quarter-century through five nights packed with 25 troupes and solo performers on the spectrum from household name to undiscovered, who are pushing the frontiers of ballet, belly dance, bharatanatyam, and more. Each will present a new work on themes that touch on the casualties of war, stereotypes of beauty, the stresses faced by African American boys, the hilarity of romance gone wrong, a modern-day Frankenstein, and other surprising things you didn’t think could be danced. The line up includes Oakland Ballet, 13th Floor, Anjal Chande/The Soham Dance Project, BodiGram, Mary Carbonara Dances, The Milissa Payne Project, and FatChanceBellyDance.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11993544\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11993544\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Pictured-Claire-Cunningham-and-Jess-Curtis-Photo-by-Robbie-Sweeny-800x534.jpg\" alt=\"Claire Cunningham and Jess Curtis (Photo: Robbie Sweeny)\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Pictured-Claire-Cunningham-and-Jess-Curtis-Photo-by-Robbie-Sweeny-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Pictured-Claire-Cunningham-and-Jess-Curtis-Photo-by-Robbie-Sweeny-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Pictured-Claire-Cunningham-and-Jess-Curtis-Photo-by-Robbie-Sweeny-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Pictured-Claire-Cunningham-and-Jess-Curtis-Photo-by-Robbie-Sweeny-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Pictured-Claire-Cunningham-and-Jess-Curtis-Photo-by-Robbie-Sweeny-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Pictured-Claire-Cunningham-and-Jess-Curtis-Photo-by-Robbie-Sweeny-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Pictured-Claire-Cunningham-and-Jess-Curtis-Photo-by-Robbie-Sweeny.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Claire Cunningham and Jess Curtis (Photo: Robbie Sweeny)\u003c/figcaption>\u003c/figure>\n\u003ch3>Jess Curtis/Gravity and Claire Cunningham: \u003cem>The Way You Look (At Me) Tonight\u003c/em>\u003c/h3>\n\u003ch5>Sept. 29 – Oct 9\u003cbr>\nCounterPulse, San Francisco\u003cbr>\n\u003ca href=\"http://www.counterpulse.org/event/gravity-claire-cunningham/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>A decade after their first encounter, Curtis and Cunningham reunite for this duet that combines movement, song, story-telling, and video. U.K.-based Cunningham is renowned for her exploration of the creative possibilities that spring from physical disability and the tools created to mitigate it – in her case, crutches. In this world premiere, the pair assess their perceptions of each other – as a man and a woman of different ages, bodies and backgrounds. Curtis’ previous work presages an evening that will be provocative and whimsical. Click \u003ca href=\"https://www.youtube.com/watch?v=CiRIqPU6arc\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to watch the trailer.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11993545\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11993545\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Silk-Road-Ensemble-Layla-and-Majnun-5-credit-Todd-Rosenberg-Photography-800x533.jpg\" alt=\"The Silk Road Ensemble (Photo: Todd Rosenberg)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Silk-Road-Ensemble-Layla-and-Majnun-5-credit-Todd-Rosenberg-Photography-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Silk-Road-Ensemble-Layla-and-Majnun-5-credit-Todd-Rosenberg-Photography-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Silk-Road-Ensemble-Layla-and-Majnun-5-credit-Todd-Rosenberg-Photography-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Silk-Road-Ensemble-Layla-and-Majnun-5-credit-Todd-Rosenberg-Photography-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Silk-Road-Ensemble-Layla-and-Majnun-5-credit-Todd-Rosenberg-Photography-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Silk-Road-Ensemble-Layla-and-Majnun-5-credit-Todd-Rosenberg-Photography.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Silk Road Ensemble (Photo: Todd Rosenberg)\u003c/figcaption>\u003c/figure>\n\u003ch3>Mark Morris Dance Group: \u003cem>Layla and Majnun\u003c/em>\u003c/h3>\n\u003ch5>Sept. 30 – Oct 2\u003cbr>\nZellerbach Hall, Berkeley\u003cbr>\n\u003ca href=\"https://calperformances.org/performances/2016-17/world-premieres/layla-and-majnun-mark-morris-dance-group-silk-road-ensemble.php\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Handel, Mozart, Stravinsky — Mark Morris has been there, done that. His latest evening-length extravaganza is an updating of the first Middle Eastern opera, written in 1908 by Azerbaijani composer Uzeyir Hajibeyli. Centered on an ancient Persian tale of thwarted romance, Layla and Manjun provides the backdrop for Morris’ modern exploration of themes of love, tragedy and social justice. Renowned Azerbaijani singer Alim Qasimov performs with his daughter Fargana Qasimova, accompanied by the musicians of the Silk Road Ensemble. Click \u003ca href=\"https://www.youtube.com/watch?v=bS8ztsh6jt4\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to learn more about the production from Morris himself.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11997666\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11997666 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Embodiment-Project.-Photo-by-Andrew-Weeks-1-800x534.jpg\" alt=\"Embodiment Project (Photo: Andrew Weeks)\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Embodiment-Project.-Photo-by-Andrew-Weeks-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Embodiment-Project.-Photo-by-Andrew-Weeks-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Embodiment-Project.-Photo-by-Andrew-Weeks-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Embodiment-Project.-Photo-by-Andrew-Weeks-1-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Embodiment-Project.-Photo-by-Andrew-Weeks-1-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Embodiment-Project.-Photo-by-Andrew-Weeks-1-960x641.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rama Mahesh Hall and Dante “Animal” Rose of Embodiment Project (Photo: Andrew Weeks)\u003c/figcaption>\u003c/figure>\n\u003ch3>ODC Theater: \u003cem>Welcome Home @ 40\u003c/em>\u003c/h3>\n\u003ch5>Oct. 18 – 30\u003cbr>\nODC Theater, San Francisco\u003cbr>\n\u003ca href=\"http://odcdance.org/theater_innerpage.php?linkid=11&categid=209\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>They drove to San Francisco from Oberlin, Ohio, in a yellow school bus in 1976. They never left. This fall, the indefatigable Brenda Way and collaborators celebrate 40 years of history-making dance performances in the theater they built in San Francisco’s Mission District. Festivities include the premiere of a piece of documentary dance theater by Nicole Klaymoon’s \u003ca href=\"http://www.embodimentproject.org\" target=\"_blank\" rel=\"noopener\">Embodiment Project\u003c/a> on the subject of street violence and police brutality. And choreographer Christy Funsch will lead a series of “Wrecking Sessions” in which other artists will be invited to tinker with her work.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11993546\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11993546\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/C_DTSF_Film_Stil_38A0471_jess12-800x500.jpg\" alt=\"Dance Theatre of San Francisco with Jessica Wagner (Photo: Josh LaCunha/RJ Muna)\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/C_DTSF_Film_Stil_38A0471_jess12-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/C_DTSF_Film_Stil_38A0471_jess12-400x250.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/C_DTSF_Film_Stil_38A0471_jess12-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/C_DTSF_Film_Stil_38A0471_jess12-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/C_DTSF_Film_Stil_38A0471_jess12-1920x1200.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/C_DTSF_Film_Stil_38A0471_jess12-960x600.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dance Theatre of San Francisco with Jessica Wagner (Photo: Josh LaCunha/RJ Muna)\u003c/figcaption>\u003c/figure>\n\u003ch3>Dance Theatre of San Francisco: \u003cem>Unspoken\u003c/em>\u003c/h3>\n\u003ch5>Oct. 7 – 13\u003cbr>\nVogue Theatre, San Francisco\u003cbr>\n\u003ca href=\"http://www.dancetheatersf.org/#!dtsf-screenseries/q8w1h\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>Still in its adolescence, the repertory company Dance Theatre of San Francisco eschews a live season this fall to bring us \u003cem>Unspoken\u003c/em>, a dance film collaboration between choreographer and artistic director Dexandro “D” Montalvo and visual artist RJ Muna. The mercurial soundscape by Daniel Berkman and Muna’s trademark shimmer show off this polished, classically trained company of nine at their sleekest and most mysterious.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11993547\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11993547\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Kick_Ball_Change_Snap_from_film_06_@Guy-Sadot-800x450.jpg\" alt=\"'Kick Ball Change' (Photo: Guy Sadot)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kick_Ball_Change_Snap_from_film_06_@Guy-Sadot-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kick_Ball_Change_Snap_from_film_06_@Guy-Sadot-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kick_Ball_Change_Snap_from_film_06_@Guy-Sadot-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kick_Ball_Change_Snap_from_film_06_@Guy-Sadot-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kick_Ball_Change_Snap_from_film_06_@Guy-Sadot.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kick_Ball_Change_Snap_from_film_06_@Guy-Sadot-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Kick Ball Change,’ a Russian entry into this year’s San Francisco Dance Film Festival (Photo: Guy Sadot)\u003c/figcaption>\u003c/figure>\n\u003ch3>San Francisco Dance Film Festival \u003c/h3>\n\u003ch5>Oct. 19-23\u003cbr>\nBrava Theater Center, San Francisco\u003cbr>\n\u003ca href=\"http://www.sfdancefilmfest.org\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Kicking off with the heart-pounding dramatization of Rudolf Nureyev’s legendary escape from his KGB minders into the embrace of the French police in 1961, the festival veers from documentary to high-tech art films. Now in its seventh year, it continues to expand its reach, screening for the first time films from Slovakia, the Russian Federation, Peru, French Polynesia, Mexico, Argentina and Finland. U.S. premieres include \u003cem>Graceful Girls\u003c/em>, an inquiry into the competitive and uniquely Australian dance sport of Calisthenics. Closer to home, \u003cem>Pharaohs of Memphis\u003c/em> examines the origins of jookin’, a dance form that originated in Memphis to keep gang warfare at bay. Unique to the SFDFF is a ‘co-laboratory’ experiment that pairs choreographers with cinematographers and puts them under tight time pressure to invent something. This year, Nicole Klaymoon (with Joe Stillwater) and Deborah Slater (with Hervé Cohen) are in the hot seat. Click \u003ca href=\"https://vimeo.com/178976110/258af60e30\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to watch the festival trailer.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11993548\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11993548\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/DimensionsDanceTheater_ProjectPanther2016_Circle-800x509.jpg\" alt=\"Ulysses Cooperwood (at center), and Dimensions Dance Theater company in the 1996 production of ‘Project Panther’ (Photo courtesy Dimensions Dance Theater)\" width=\"800\" height=\"509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DimensionsDanceTheater_ProjectPanther2016_Circle-800x509.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DimensionsDanceTheater_ProjectPanther2016_Circle-400x254.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DimensionsDanceTheater_ProjectPanther2016_Circle-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DimensionsDanceTheater_ProjectPanther2016_Circle-1180x750.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DimensionsDanceTheater_ProjectPanther2016_Circle-1920x1221.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DimensionsDanceTheater_ProjectPanther2016_Circle-960x610.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ulysses Cooperwood (at center), and Dimensions Dance Theater company in the 1996 production of ‘Project Panther’ (Photo courtesy Dimensions Dance Theater)\u003c/figcaption>\u003c/figure>\n\u003ch3>Dimensions Dance Theater: \u003cem>Project Panther\u003c/em>\u003c/h3>\n\u003ch5>Oct. 15\u003cbr>\nMalonga Casquelourd Center for the Arts, Oakland\u003cbr>\n\u003ca href=\"http://www.dimensionsdance.org/images/PROJECT%20PANTHER.pdf\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>Fresh from their electrifying performance of \u003cem>The Town on Notice\u003c/em> at the \u003ca href=\"https://ww2.kqed.org/arts/2016/08/25/why-are-there-so-few-opportunities-for-black-choreographers/\" target=\"_blank\" rel=\"noopener\">Black Choreographers Festival\u003c/a>, Dimensions Dance Theater revives \u003cem>Project Panther\u003c/em> to mark the occasion of the 50th anniversary of the founding of the Black Panther Party. The original 1996 dance theater piece examined the civic and humanitarian legacy of the Panthers, and their role as agents of social change. The script has been updated, as has the original score by Glen Pearson, which travels through the era of R&B and funk with a nod to the present-day world of hip-hop.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11994268\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11994268\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/SFTD-2016.-Marina-Fukushima-photographed-by-Andy-Mogg-800x533.jpg\" alt=\"Marina Fukushima for San Francisco Trolley Dances (Photo: Andy Mogg)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SFTD-2016.-Marina-Fukushima-photographed-by-Andy-Mogg-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SFTD-2016.-Marina-Fukushima-photographed-by-Andy-Mogg-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SFTD-2016.-Marina-Fukushima-photographed-by-Andy-Mogg-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SFTD-2016.-Marina-Fukushima-photographed-by-Andy-Mogg-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SFTD-2016.-Marina-Fukushima-photographed-by-Andy-Mogg-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SFTD-2016.-Marina-Fukushima-photographed-by-Andy-Mogg-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marina Fukushima for San Francisco Trolley Dances (Photo: Andy Mogg)\u003c/figcaption>\u003c/figure>\n\u003ch3>San Francisco Trolley Dances \u003c/h3>\n\u003ch5>Oct. 15 – 16\u003cbr>\nStarts at: Eureka Valley/Harvey Milk Memorial Branch Library, San Francisco\u003cbr>\n\u003ca href=\"http://epiphanydance.org/work/trolley-dances\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Dance-loving fans of public transport will be in their element on this October weekend. They get to ride the Muni from the Castro to the Financial District/South of Market and, along the route, witness the marvels of the Chitresh Das Dance Company, Margaret Jenkins Dance Company, James Graham Dance Theatre, Monique Jenkinson a.k.a. Fauxnique, Laura Elaine Ellis, Parangal Dance Company and Epiphany Productions.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11993549\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11993549\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/MichaelMontgomery_photobyRJMuna-800x450.jpg\" alt=\"Michael Montgomery of Alonzo King’s LINES Ballet (Photo: RJ Muna)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MichaelMontgomery_photobyRJMuna-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MichaelMontgomery_photobyRJMuna-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MichaelMontgomery_photobyRJMuna-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MichaelMontgomery_photobyRJMuna-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MichaelMontgomery_photobyRJMuna-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MichaelMontgomery_photobyRJMuna-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Montgomery of Alonzo King’s LINES Ballet (Photo: RJ Muna)\u003c/figcaption>\u003c/figure>\n\u003ch3>Alonzo King LINES Ballet\u003c/h3>\n\u003ch5>Nov. 2 – 6\u003cbr>\nYerba Buena Center for the Arts, San Francisco\u003cbr>\n\u003ca href=\"https://linesballet.org/performances/fall-season/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Alonzo King’s work is invariably a visual and aural splendor, and his dancers are finely chiseled and implausibly long-limbed. Their glories are flaunted this season in a new work, set to a score performed live by mezzo-soprano Maya Lahyani. This world premiere is paired with a revival of \u003cem>Meyer\u003c/em>, King’s collaboration with composer and bass virtuoso Edgar Meyer, performed against a backdrop of dripping water that adds an intriguing dimension to the lush score.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11994267\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11994267\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/SOMA-Now-and-Then.-Joe-Landini-photographed-by-Robbie-Sweeny-4-800x403.jpg\" alt=\"Joe Landini in 'SOMA Now and Then' (Photo: Robbie Sweeny)\" width=\"800\" height=\"403\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SOMA-Now-and-Then.-Joe-Landini-photographed-by-Robbie-Sweeny-4-800x403.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SOMA-Now-and-Then.-Joe-Landini-photographed-by-Robbie-Sweeny-4-400x201.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SOMA-Now-and-Then.-Joe-Landini-photographed-by-Robbie-Sweeny-4-768x387.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SOMA-Now-and-Then.-Joe-Landini-photographed-by-Robbie-Sweeny-4-1180x594.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SOMA-Now-and-Then.-Joe-Landini-photographed-by-Robbie-Sweeny-4-1920x966.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SOMA-Now-and-Then.-Joe-Landini-photographed-by-Robbie-Sweeny-4-960x483.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joe Landini in ‘SOMA Now and Then’ (Photo: Robbie Sweeny)\u003c/figcaption>\u003c/figure>\n\u003ch3>Amy Lewis and Joe Landini: \u003cem>SOMA Now and Then\u003c/em>\u003c/h3>\n\u003ch5>Nov. 12 – Dec. 4\u003cbr>\nStarts at: 1347 Folsom St./ Dore Alley, San Francisco\u003cbr>\n\u003ca href=\"http://www.pushproductions.org/events/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>The historical transformation of the neighborhood south of Market, and concomitant shifts in queer culture from the raunchy 1980’s to today’s tech-fueled gentrification, are the twin subjects of this walking-dancing tour by Amy Lewis and Joe Landini (you walk, they dance.) Director-choreographer Lewis tackles the changes wrought by the 1906 earthquake and fire, the encroachment of the Bay Bridge, and the erection of the Moscone Center and Yerba Buena complex, while Landini guides us through back alleys and secret corridors. For mature audiences.\n\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "As the echo of the drum beats from Rio fades away and Fall descends, here are ten not-to-miss dance performances this season.",
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"title": "Escape the Distractions and See these Ten Dance Events | KQED",
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"headline": "Escape the Distractions and See these Ten Dance Events",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fall is upon us and we’re desperately trying to dodge the howling sirocco of the presidential election campaign. Seeking new distractions now that the throbbing beat of samba, bossa nova and funk from Rio is a distant echo, now that the glorious sight of athletes flying through the air and synchronously swimming is a distant memory. Stop trying to parse the rapping Chihuahua, the naked woman swimming in a fish tank, and the unnerving sight of Frank Ocean self-immolating in \u003cem>Blond/Blonde\u003c/em>.\u003c/p>\n\u003cp>Rather, give thanks for the mind-blowing array of dance around the Bay Area. Here are 10 must-see things-involving-dance this fall:\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11993543\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11993543\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-600x600.jpg\" alt=\"The Milissa Payne Project’s Jessica Woodman (Photo: David DeSilva)\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/The-Milissa-Payne-Project.pictured-Jessica-Woodman.photo-by-David-DeSilva.jpg 1800w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The Milissa Payne Project’s Jessica Woodman (Photo: David DeSilva)\u003c/figcaption>\u003c/figure>\n\u003ch3>West Wave Dance Festival 25th anniversary season\u003c/h3>\n\u003ch5>Sept. 14 – 18\u003cbr>\nZ Space, San Francisco\u003cbr>\n\u003ca href=\"http://safehousearts.info/west_wave25\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Dance may be the most expensive art to produce, and, in tough economic times like these, \u003ca href=\"https://www.sfcv.org/music-news/silicon-valley-ballet-shuts-down\" target=\"_blank\" rel=\"noopener\">dance companies are vulnerable\u003c/a>. That is why the continued flourishing of West Wave Dance over the past 25 years seems like a veritable miracle. Fans can ring in the next quarter-century through five nights packed with 25 troupes and solo performers on the spectrum from household name to undiscovered, who are pushing the frontiers of ballet, belly dance, bharatanatyam, and more. Each will present a new work on themes that touch on the casualties of war, stereotypes of beauty, the stresses faced by African American boys, the hilarity of romance gone wrong, a modern-day Frankenstein, and other surprising things you didn’t think could be danced. The line up includes Oakland Ballet, 13th Floor, Anjal Chande/The Soham Dance Project, BodiGram, Mary Carbonara Dances, The Milissa Payne Project, and FatChanceBellyDance.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11993544\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11993544\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Pictured-Claire-Cunningham-and-Jess-Curtis-Photo-by-Robbie-Sweeny-800x534.jpg\" alt=\"Claire Cunningham and Jess Curtis (Photo: Robbie Sweeny)\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Pictured-Claire-Cunningham-and-Jess-Curtis-Photo-by-Robbie-Sweeny-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Pictured-Claire-Cunningham-and-Jess-Curtis-Photo-by-Robbie-Sweeny-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Pictured-Claire-Cunningham-and-Jess-Curtis-Photo-by-Robbie-Sweeny-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Pictured-Claire-Cunningham-and-Jess-Curtis-Photo-by-Robbie-Sweeny-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Pictured-Claire-Cunningham-and-Jess-Curtis-Photo-by-Robbie-Sweeny-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Pictured-Claire-Cunningham-and-Jess-Curtis-Photo-by-Robbie-Sweeny-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Pictured-Claire-Cunningham-and-Jess-Curtis-Photo-by-Robbie-Sweeny.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Claire Cunningham and Jess Curtis (Photo: Robbie Sweeny)\u003c/figcaption>\u003c/figure>\n\u003ch3>Jess Curtis/Gravity and Claire Cunningham: \u003cem>The Way You Look (At Me) Tonight\u003c/em>\u003c/h3>\n\u003ch5>Sept. 29 – Oct 9\u003cbr>\nCounterPulse, San Francisco\u003cbr>\n\u003ca href=\"http://www.counterpulse.org/event/gravity-claire-cunningham/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>A decade after their first encounter, Curtis and Cunningham reunite for this duet that combines movement, song, story-telling, and video. U.K.-based Cunningham is renowned for her exploration of the creative possibilities that spring from physical disability and the tools created to mitigate it – in her case, crutches. In this world premiere, the pair assess their perceptions of each other – as a man and a woman of different ages, bodies and backgrounds. Curtis’ previous work presages an evening that will be provocative and whimsical. Click \u003ca href=\"https://www.youtube.com/watch?v=CiRIqPU6arc\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to watch the trailer.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11993545\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11993545\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Silk-Road-Ensemble-Layla-and-Majnun-5-credit-Todd-Rosenberg-Photography-800x533.jpg\" alt=\"The Silk Road Ensemble (Photo: Todd Rosenberg)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Silk-Road-Ensemble-Layla-and-Majnun-5-credit-Todd-Rosenberg-Photography-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Silk-Road-Ensemble-Layla-and-Majnun-5-credit-Todd-Rosenberg-Photography-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Silk-Road-Ensemble-Layla-and-Majnun-5-credit-Todd-Rosenberg-Photography-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Silk-Road-Ensemble-Layla-and-Majnun-5-credit-Todd-Rosenberg-Photography-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Silk-Road-Ensemble-Layla-and-Majnun-5-credit-Todd-Rosenberg-Photography-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Silk-Road-Ensemble-Layla-and-Majnun-5-credit-Todd-Rosenberg-Photography.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Silk Road Ensemble (Photo: Todd Rosenberg)\u003c/figcaption>\u003c/figure>\n\u003ch3>Mark Morris Dance Group: \u003cem>Layla and Majnun\u003c/em>\u003c/h3>\n\u003ch5>Sept. 30 – Oct 2\u003cbr>\nZellerbach Hall, Berkeley\u003cbr>\n\u003ca href=\"https://calperformances.org/performances/2016-17/world-premieres/layla-and-majnun-mark-morris-dance-group-silk-road-ensemble.php\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Handel, Mozart, Stravinsky — Mark Morris has been there, done that. His latest evening-length extravaganza is an updating of the first Middle Eastern opera, written in 1908 by Azerbaijani composer Uzeyir Hajibeyli. Centered on an ancient Persian tale of thwarted romance, Layla and Manjun provides the backdrop for Morris’ modern exploration of themes of love, tragedy and social justice. Renowned Azerbaijani singer Alim Qasimov performs with his daughter Fargana Qasimova, accompanied by the musicians of the Silk Road Ensemble. Click \u003ca href=\"https://www.youtube.com/watch?v=bS8ztsh6jt4\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to learn more about the production from Morris himself.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11997666\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11997666 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Embodiment-Project.-Photo-by-Andrew-Weeks-1-800x534.jpg\" alt=\"Embodiment Project (Photo: Andrew Weeks)\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Embodiment-Project.-Photo-by-Andrew-Weeks-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Embodiment-Project.-Photo-by-Andrew-Weeks-1-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Embodiment-Project.-Photo-by-Andrew-Weeks-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Embodiment-Project.-Photo-by-Andrew-Weeks-1-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Embodiment-Project.-Photo-by-Andrew-Weeks-1-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Embodiment-Project.-Photo-by-Andrew-Weeks-1-960x641.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rama Mahesh Hall and Dante “Animal” Rose of Embodiment Project (Photo: Andrew Weeks)\u003c/figcaption>\u003c/figure>\n\u003ch3>ODC Theater: \u003cem>Welcome Home @ 40\u003c/em>\u003c/h3>\n\u003ch5>Oct. 18 – 30\u003cbr>\nODC Theater, San Francisco\u003cbr>\n\u003ca href=\"http://odcdance.org/theater_innerpage.php?linkid=11&categid=209\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>They drove to San Francisco from Oberlin, Ohio, in a yellow school bus in 1976. They never left. This fall, the indefatigable Brenda Way and collaborators celebrate 40 years of history-making dance performances in the theater they built in San Francisco’s Mission District. Festivities include the premiere of a piece of documentary dance theater by Nicole Klaymoon’s \u003ca href=\"http://www.embodimentproject.org\" target=\"_blank\" rel=\"noopener\">Embodiment Project\u003c/a> on the subject of street violence and police brutality. And choreographer Christy Funsch will lead a series of “Wrecking Sessions” in which other artists will be invited to tinker with her work.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11993546\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11993546\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/C_DTSF_Film_Stil_38A0471_jess12-800x500.jpg\" alt=\"Dance Theatre of San Francisco with Jessica Wagner (Photo: Josh LaCunha/RJ Muna)\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/C_DTSF_Film_Stil_38A0471_jess12-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/C_DTSF_Film_Stil_38A0471_jess12-400x250.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/C_DTSF_Film_Stil_38A0471_jess12-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/C_DTSF_Film_Stil_38A0471_jess12-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/C_DTSF_Film_Stil_38A0471_jess12-1920x1200.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/C_DTSF_Film_Stil_38A0471_jess12-960x600.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dance Theatre of San Francisco with Jessica Wagner (Photo: Josh LaCunha/RJ Muna)\u003c/figcaption>\u003c/figure>\n\u003ch3>Dance Theatre of San Francisco: \u003cem>Unspoken\u003c/em>\u003c/h3>\n\u003ch5>Oct. 7 – 13\u003cbr>\nVogue Theatre, San Francisco\u003cbr>\n\u003ca href=\"http://www.dancetheatersf.org/#!dtsf-screenseries/q8w1h\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>Still in its adolescence, the repertory company Dance Theatre of San Francisco eschews a live season this fall to bring us \u003cem>Unspoken\u003c/em>, a dance film collaboration between choreographer and artistic director Dexandro “D” Montalvo and visual artist RJ Muna. The mercurial soundscape by Daniel Berkman and Muna’s trademark shimmer show off this polished, classically trained company of nine at their sleekest and most mysterious.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11993547\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11993547\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Kick_Ball_Change_Snap_from_film_06_@Guy-Sadot-800x450.jpg\" alt=\"'Kick Ball Change' (Photo: Guy Sadot)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kick_Ball_Change_Snap_from_film_06_@Guy-Sadot-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kick_Ball_Change_Snap_from_film_06_@Guy-Sadot-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kick_Ball_Change_Snap_from_film_06_@Guy-Sadot-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kick_Ball_Change_Snap_from_film_06_@Guy-Sadot-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kick_Ball_Change_Snap_from_film_06_@Guy-Sadot.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kick_Ball_Change_Snap_from_film_06_@Guy-Sadot-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Kick Ball Change,’ a Russian entry into this year’s San Francisco Dance Film Festival (Photo: Guy Sadot)\u003c/figcaption>\u003c/figure>\n\u003ch3>San Francisco Dance Film Festival \u003c/h3>\n\u003ch5>Oct. 19-23\u003cbr>\nBrava Theater Center, San Francisco\u003cbr>\n\u003ca href=\"http://www.sfdancefilmfest.org\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Kicking off with the heart-pounding dramatization of Rudolf Nureyev’s legendary escape from his KGB minders into the embrace of the French police in 1961, the festival veers from documentary to high-tech art films. Now in its seventh year, it continues to expand its reach, screening for the first time films from Slovakia, the Russian Federation, Peru, French Polynesia, Mexico, Argentina and Finland. U.S. premieres include \u003cem>Graceful Girls\u003c/em>, an inquiry into the competitive and uniquely Australian dance sport of Calisthenics. Closer to home, \u003cem>Pharaohs of Memphis\u003c/em> examines the origins of jookin’, a dance form that originated in Memphis to keep gang warfare at bay. Unique to the SFDFF is a ‘co-laboratory’ experiment that pairs choreographers with cinematographers and puts them under tight time pressure to invent something. This year, Nicole Klaymoon (with Joe Stillwater) and Deborah Slater (with Hervé Cohen) are in the hot seat. Click \u003ca href=\"https://vimeo.com/178976110/258af60e30\" target=\"_blank\" rel=\"noopener\">here\u003c/a> to watch the festival trailer.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11993548\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11993548\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/DimensionsDanceTheater_ProjectPanther2016_Circle-800x509.jpg\" alt=\"Ulysses Cooperwood (at center), and Dimensions Dance Theater company in the 1996 production of ‘Project Panther’ (Photo courtesy Dimensions Dance Theater)\" width=\"800\" height=\"509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DimensionsDanceTheater_ProjectPanther2016_Circle-800x509.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DimensionsDanceTheater_ProjectPanther2016_Circle-400x254.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DimensionsDanceTheater_ProjectPanther2016_Circle-768x488.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DimensionsDanceTheater_ProjectPanther2016_Circle-1180x750.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DimensionsDanceTheater_ProjectPanther2016_Circle-1920x1221.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DimensionsDanceTheater_ProjectPanther2016_Circle-960x610.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ulysses Cooperwood (at center), and Dimensions Dance Theater company in the 1996 production of ‘Project Panther’ (Photo courtesy Dimensions Dance Theater)\u003c/figcaption>\u003c/figure>\n\u003ch3>Dimensions Dance Theater: \u003cem>Project Panther\u003c/em>\u003c/h3>\n\u003ch5>Oct. 15\u003cbr>\nMalonga Casquelourd Center for the Arts, Oakland\u003cbr>\n\u003ca href=\"http://www.dimensionsdance.org/images/PROJECT%20PANTHER.pdf\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>Fresh from their electrifying performance of \u003cem>The Town on Notice\u003c/em> at the \u003ca href=\"https://ww2.kqed.org/arts/2016/08/25/why-are-there-so-few-opportunities-for-black-choreographers/\" target=\"_blank\" rel=\"noopener\">Black Choreographers Festival\u003c/a>, Dimensions Dance Theater revives \u003cem>Project Panther\u003c/em> to mark the occasion of the 50th anniversary of the founding of the Black Panther Party. The original 1996 dance theater piece examined the civic and humanitarian legacy of the Panthers, and their role as agents of social change. The script has been updated, as has the original score by Glen Pearson, which travels through the era of R&B and funk with a nod to the present-day world of hip-hop.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11994268\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11994268\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/SFTD-2016.-Marina-Fukushima-photographed-by-Andy-Mogg-800x533.jpg\" alt=\"Marina Fukushima for San Francisco Trolley Dances (Photo: Andy Mogg)\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SFTD-2016.-Marina-Fukushima-photographed-by-Andy-Mogg-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SFTD-2016.-Marina-Fukushima-photographed-by-Andy-Mogg-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SFTD-2016.-Marina-Fukushima-photographed-by-Andy-Mogg-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SFTD-2016.-Marina-Fukushima-photographed-by-Andy-Mogg-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SFTD-2016.-Marina-Fukushima-photographed-by-Andy-Mogg-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SFTD-2016.-Marina-Fukushima-photographed-by-Andy-Mogg-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marina Fukushima for San Francisco Trolley Dances (Photo: Andy Mogg)\u003c/figcaption>\u003c/figure>\n\u003ch3>San Francisco Trolley Dances \u003c/h3>\n\u003ch5>Oct. 15 – 16\u003cbr>\nStarts at: Eureka Valley/Harvey Milk Memorial Branch Library, San Francisco\u003cbr>\n\u003ca href=\"http://epiphanydance.org/work/trolley-dances\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Dance-loving fans of public transport will be in their element on this October weekend. They get to ride the Muni from the Castro to the Financial District/South of Market and, along the route, witness the marvels of the Chitresh Das Dance Company, Margaret Jenkins Dance Company, James Graham Dance Theatre, Monique Jenkinson a.k.a. Fauxnique, Laura Elaine Ellis, Parangal Dance Company and Epiphany Productions.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11993549\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11993549\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/MichaelMontgomery_photobyRJMuna-800x450.jpg\" alt=\"Michael Montgomery of Alonzo King’s LINES Ballet (Photo: RJ Muna)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MichaelMontgomery_photobyRJMuna-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MichaelMontgomery_photobyRJMuna-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MichaelMontgomery_photobyRJMuna-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MichaelMontgomery_photobyRJMuna-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MichaelMontgomery_photobyRJMuna-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/MichaelMontgomery_photobyRJMuna-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Montgomery of Alonzo King’s LINES Ballet (Photo: RJ Muna)\u003c/figcaption>\u003c/figure>\n\u003ch3>Alonzo King LINES Ballet\u003c/h3>\n\u003ch5>Nov. 2 – 6\u003cbr>\nYerba Buena Center for the Arts, San Francisco\u003cbr>\n\u003ca href=\"https://linesballet.org/performances/fall-season/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Alonzo King’s work is invariably a visual and aural splendor, and his dancers are finely chiseled and implausibly long-limbed. Their glories are flaunted this season in a new work, set to a score performed live by mezzo-soprano Maya Lahyani. This world premiere is paired with a revival of \u003cem>Meyer\u003c/em>, King’s collaboration with composer and bass virtuoso Edgar Meyer, performed against a backdrop of dripping water that adds an intriguing dimension to the lush score.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11994267\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11994267\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/SOMA-Now-and-Then.-Joe-Landini-photographed-by-Robbie-Sweeny-4-800x403.jpg\" alt=\"Joe Landini in 'SOMA Now and Then' (Photo: Robbie Sweeny)\" width=\"800\" height=\"403\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SOMA-Now-and-Then.-Joe-Landini-photographed-by-Robbie-Sweeny-4-800x403.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SOMA-Now-and-Then.-Joe-Landini-photographed-by-Robbie-Sweeny-4-400x201.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SOMA-Now-and-Then.-Joe-Landini-photographed-by-Robbie-Sweeny-4-768x387.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SOMA-Now-and-Then.-Joe-Landini-photographed-by-Robbie-Sweeny-4-1180x594.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SOMA-Now-and-Then.-Joe-Landini-photographed-by-Robbie-Sweeny-4-1920x966.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/SOMA-Now-and-Then.-Joe-Landini-photographed-by-Robbie-Sweeny-4-960x483.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joe Landini in ‘SOMA Now and Then’ (Photo: Robbie Sweeny)\u003c/figcaption>\u003c/figure>\n\u003ch3>Amy Lewis and Joe Landini: \u003cem>SOMA Now and Then\u003c/em>\u003c/h3>\n\u003ch5>Nov. 12 – Dec. 4\u003cbr>\nStarts at: 1347 Folsom St./ Dore Alley, San Francisco\u003cbr>\n\u003ca href=\"http://www.pushproductions.org/events/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>The historical transformation of the neighborhood south of Market, and concomitant shifts in queer culture from the raunchy 1980’s to today’s tech-fueled gentrification, are the twin subjects of this walking-dancing tour by Amy Lewis and Joe Landini (you walk, they dance.) Director-choreographer Lewis tackles the changes wrought by the 1906 earthquake and fire, the encroachment of the Bay Bridge, and the erection of the Moscone Center and Yerba Buena complex, while Landini guides us through back alleys and secret corridors. For mature audiences.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"description": "Jonathan Curiel has written widely about music, film, books, art, photography and other cultural subjects. \u003ci>SF Weekly's\u003c/i> art critic, he is a former staff writer with the \u003ci>San Francisco Chronicle\u003c/i>, and has also written on the arts for \u003ca href=\"http://www.salon.com/\">Salon\u003c/a>, the \u003ci>Christian Science Monitor\u003c/i>, \u003ci>The Wire\u003c/i> (a London music magazine), \u003ci>Tablet\u003c/i> and \u003ci>GlobalPost\u003c/i>. He has researched architecture at England's Oxford University, taught music journalism at the UCLA Herb Alpert School of Music, and been a juror at the San Francisco International Film Festival.",
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"slug": "staging-of-800-year-old-persian-poem-unites-cultures-on-911-anniversary",
"title": "Staging of 800-Year-Old Persian Poem Unites Cultures on 9/11 Anniversary",
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"content": "\u003cp>In December of 1972, Helen Mirren and a coterie of other actors openly worried that \u003ca href=\"https://en.wikipedia.org/wiki/Peter_Brook\">Peter Brook\u003c/a> had gone “mad,” and they had a point: The famed British theater director had decided to take the troupe on a 100-day tour across the Sahara Desert and West Africa in four-wheel-drive vehicles so they could perform an interpretation of a 12th-century Persian poem called \u003ca href=\"https://en.wikipedia.org/wiki/The_Conference_of_the_Birds\">\u003cem>The Conference of the Birds\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Nothing like it had ever been attempted. But Brook was committed to staging \u003ca href=\"https://en.wikipedia.org/wiki/Attar_of_Nishapur\">Farid ud-Din Attar\u003c/a>‘s parable about birds who struggle to find a higher truth about the divine and their place in the world.\u003c/p>\n\u003cp>And now Vinita Sud Belani and Usha Srinivasan – directors of two Bay Area arts organizations – are committed to staging Brook’s version of \u003cem>Conference\u003c/em> in San Jose. The show will unfold Friday, Sep. 9 – Sunday, Sep. 11 at the Mexican Heritage Plaza. This time, however, the directors are putting much of the focus on dance, as well as giving many of the birds portrayed in the piece cultural specificity.\u003c/p>\n\u003cfigure id=\"attachment_12027653\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12027653 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Hula_Azteca_BellyDance-800x405.jpg\" width=\"800\" height=\"405\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Hula_Azteca_BellyDance-800x405.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Hula_Azteca_BellyDance-400x202.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Hula_Azteca_BellyDance-768x388.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Hula_Azteca_BellyDance-1180x597.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Hula_Azteca_BellyDance-1920x971.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Hula_Azteca_BellyDance-960x485.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Belly dancers (left), an Aztec dancer (center) and hula dancers share the stage in the San Jose production of The Conference of the Birds \u003ccite>(Prabhakar Subrahmanyam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The production reads as a veritable avian United Nations. Mexican folkloric dancers represent the herons, Chinese dancers, the phoenix and peacocks, Hawaiian dancers the ducks, and belly dancers the partridges. Dance traditions from India, where Belani and Srinivasan have roots, characterize the parrots and exotic birds, while a Persian dancer plays the Simorgh – a Persian bird of mythical origin that’s a God figure in \u003cem>The Conference of the Birds\u003c/em>.\u003c/p>\n\u003cp>Actors and singers also portray birds, including the hoopoe, which organizes the gathering because it sees the world under such stress. “I see nothing but quarrels, desperate fights for a scrap of territory, wars for a few grains of corn,” the bird bellows in Brook’s version. “This can’t go on.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When Brook staged \u003cem>Conference\u003c/em> in sub-Saharan Africa, the Vietnam War was at a desperate stage, and violent conflicts were fresh in Northern Ireland, Germany, and Burundi. Belani and Srinivasan’s version of the work coincides with the 15th anniversary of the 9/11 terror attacks. Belani, who is close friends with the French co-writer of Brook’s production, \u003ca href=\"https://en.wikipedia.org/wiki/Jean-Claude_Carri%C3%A8re\">Jean-Claude Carriere\u003c/a>, whom she met during her years living in France, says the timing of the San Jose production is deliberate. The performances will begin with a moment of silence.\u003c/p>\n\u003cp>“What we’re trying to show on the anniversary of 9/11 – in this period of so much hatred all over the world, so much desire to go back to nationalistic tendencies – is an example of how beautiful it is to live together and celebrate each other’s goodness, rather than trying to find the bad,” says Belani, who is founder and artistic director of the Bay Area-based South Asian theater company \u003ca href=\"http://enacte.org/mission/\">EnActe Arts\u003c/a>. “Art is only successful if it makes people talk, and it brings up subjects that should be breakfast and dinner table conversations, and asks questions.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Conference Of the Birds : Re-imagined for today's Silicon Valley\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/afZDo3nX2zU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Like Rumi’s poetry or Shakespeare’s plays, Attar’s epic has found new audiences with each successive generation, and \u003cem>Conference\u003c/em> is regularly performed in the U.S. Both in the Persian original and in a variety of English translations, Attar’s phrases are rhymed. But Brook and Carriere created a more accessible narrative from the Sufi work – though it retains the original’s scale, where love, death, longing, and resolve are key elements of the birds’ search for answers.\u003c/p>\n\u003cp>Srinivasan, who directs the organization the Silicon Valley-based, multi-disciplinary performing arts organization \u003ca href=\"http://www.sangamarts.org/\">Sangam Arts\u003c/a>, says too many Bay Area arts events happen in “cultural silos,” where a cultural group presents work before an audience comprised mainly of the same cultural group. Like preaching to the converted, these events become isolated happenings, Srinivasan says.\u003c/p>\n\u003cp>Belani has witnessed this cultural isolation first-hand here in the Bay Area. “The Bay Area is one of the most diverse communities in the United States, and it seemed that people were living together, going to school together, working together, but nobody was really creating art together,” says Belani. “I went to the San Francisco Ethnic Dance Festival once, and there were all these amazing dance companies, and they were dancing one after the other – and nobody was interacting with anyone else. This was Mexican culture. This was Chinese culture. This was Indian culture. There was a gap between each of them.”\u003c/p>\n\u003cp>With their reimagining of \u003cem>Conference\u003c/em>, Belani and Srinivasan are mixing cultures on stage. And they want the audience to be as broad as possible — to reach people, like Brook did, who may never have heard of the work, nor of the great Persian poet behind it.\u003c/p>\n\u003cp>\u003ci>“\u003c/i>The play as we’re doing it is just a very raucous, joyous celebration of what the Bay Area looks like today,” Belani says. “We’re trying to show that we can live as neighbors, go to school as neighbors, but we can also do art together. And the sum total of the art we create is so much more than the one-plus-one, individual art forms.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://enacte.org/production/the-conference-of-the-birds/\">\u003cem>The Conference of the Birds\u003c/em>\u003c/a> runs Friday, Sep. 9 through Sunday, Sep. 11 at Mexican Heritage Plaza in San Jose.\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In December of 1972, Helen Mirren and a coterie of other actors openly worried that \u003ca href=\"https://en.wikipedia.org/wiki/Peter_Brook\">Peter Brook\u003c/a> had gone “mad,” and they had a point: The famed British theater director had decided to take the troupe on a 100-day tour across the Sahara Desert and West Africa in four-wheel-drive vehicles so they could perform an interpretation of a 12th-century Persian poem called \u003ca href=\"https://en.wikipedia.org/wiki/The_Conference_of_the_Birds\">\u003cem>The Conference of the Birds\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Nothing like it had ever been attempted. But Brook was committed to staging \u003ca href=\"https://en.wikipedia.org/wiki/Attar_of_Nishapur\">Farid ud-Din Attar\u003c/a>‘s parable about birds who struggle to find a higher truth about the divine and their place in the world.\u003c/p>\n\u003cp>And now Vinita Sud Belani and Usha Srinivasan – directors of two Bay Area arts organizations – are committed to staging Brook’s version of \u003cem>Conference\u003c/em> in San Jose. The show will unfold Friday, Sep. 9 – Sunday, Sep. 11 at the Mexican Heritage Plaza. This time, however, the directors are putting much of the focus on dance, as well as giving many of the birds portrayed in the piece cultural specificity.\u003c/p>\n\u003cfigure id=\"attachment_12027653\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12027653 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Hula_Azteca_BellyDance-800x405.jpg\" width=\"800\" height=\"405\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Hula_Azteca_BellyDance-800x405.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Hula_Azteca_BellyDance-400x202.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Hula_Azteca_BellyDance-768x388.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Hula_Azteca_BellyDance-1180x597.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Hula_Azteca_BellyDance-1920x971.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Hula_Azteca_BellyDance-960x485.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Belly dancers (left), an Aztec dancer (center) and hula dancers share the stage in the San Jose production of The Conference of the Birds \u003ccite>(Prabhakar Subrahmanyam)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The production reads as a veritable avian United Nations. Mexican folkloric dancers represent the herons, Chinese dancers, the phoenix and peacocks, Hawaiian dancers the ducks, and belly dancers the partridges. Dance traditions from India, where Belani and Srinivasan have roots, characterize the parrots and exotic birds, while a Persian dancer plays the Simorgh – a Persian bird of mythical origin that’s a God figure in \u003cem>The Conference of the Birds\u003c/em>.\u003c/p>\n\u003cp>Actors and singers also portray birds, including the hoopoe, which organizes the gathering because it sees the world under such stress. “I see nothing but quarrels, desperate fights for a scrap of territory, wars for a few grains of corn,” the bird bellows in Brook’s version. “This can’t go on.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When Brook staged \u003cem>Conference\u003c/em> in sub-Saharan Africa, the Vietnam War was at a desperate stage, and violent conflicts were fresh in Northern Ireland, Germany, and Burundi. Belani and Srinivasan’s version of the work coincides with the 15th anniversary of the 9/11 terror attacks. Belani, who is close friends with the French co-writer of Brook’s production, \u003ca href=\"https://en.wikipedia.org/wiki/Jean-Claude_Carri%C3%A8re\">Jean-Claude Carriere\u003c/a>, whom she met during her years living in France, says the timing of the San Jose production is deliberate. The performances will begin with a moment of silence.\u003c/p>\n\u003cp>“What we’re trying to show on the anniversary of 9/11 – in this period of so much hatred all over the world, so much desire to go back to nationalistic tendencies – is an example of how beautiful it is to live together and celebrate each other’s goodness, rather than trying to find the bad,” says Belani, who is founder and artistic director of the Bay Area-based South Asian theater company \u003ca href=\"http://enacte.org/mission/\">EnActe Arts\u003c/a>. “Art is only successful if it makes people talk, and it brings up subjects that should be breakfast and dinner table conversations, and asks questions.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Conference Of the Birds : Re-imagined for today's Silicon Valley\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/afZDo3nX2zU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Like Rumi’s poetry or Shakespeare’s plays, Attar’s epic has found new audiences with each successive generation, and \u003cem>Conference\u003c/em> is regularly performed in the U.S. Both in the Persian original and in a variety of English translations, Attar’s phrases are rhymed. But Brook and Carriere created a more accessible narrative from the Sufi work – though it retains the original’s scale, where love, death, longing, and resolve are key elements of the birds’ search for answers.\u003c/p>\n\u003cp>Srinivasan, who directs the organization the Silicon Valley-based, multi-disciplinary performing arts organization \u003ca href=\"http://www.sangamarts.org/\">Sangam Arts\u003c/a>, says too many Bay Area arts events happen in “cultural silos,” where a cultural group presents work before an audience comprised mainly of the same cultural group. Like preaching to the converted, these events become isolated happenings, Srinivasan says.\u003c/p>\n\u003cp>Belani has witnessed this cultural isolation first-hand here in the Bay Area. “The Bay Area is one of the most diverse communities in the United States, and it seemed that people were living together, going to school together, working together, but nobody was really creating art together,” says Belani. “I went to the San Francisco Ethnic Dance Festival once, and there were all these amazing dance companies, and they were dancing one after the other – and nobody was interacting with anyone else. This was Mexican culture. This was Chinese culture. This was Indian culture. There was a gap between each of them.”\u003c/p>\n\u003cp>With their reimagining of \u003cem>Conference\u003c/em>, Belani and Srinivasan are mixing cultures on stage. And they want the audience to be as broad as possible — to reach people, like Brook did, who may never have heard of the work, nor of the great Persian poet behind it.\u003c/p>\n\u003cp>\u003ci>“\u003c/i>The play as we’re doing it is just a very raucous, joyous celebration of what the Bay Area looks like today,” Belani says. “We’re trying to show that we can live as neighbors, go to school as neighbors, but we can also do art together. And the sum total of the art we create is so much more than the one-plus-one, individual art forms.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://enacte.org/production/the-conference-of-the-birds/\">\u003cem>The Conference of the Birds\u003c/em>\u003c/a> runs Friday, Sep. 9 through Sunday, Sep. 11 at Mexican Heritage Plaza in San Jose.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/b>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/279907304″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003chr>\n\u003cp>https://www.youtube.com/watch?v=oLARQ8c_Z8k\u003c/p>\n\u003cp>\u003cstrong>Aug. 26-28:\u003c/strong> Violinist and composer \u003ca href=\"http://www.markoconnor.com/o-connor-band\" target=\"_blank\" rel=\"noopener\">Mark O’Connor \u003c/a>debuted at the Grand Ole Opry at the age of 12, and has played with everyone from Stéphane Grappelli to Dolly Parton to Yo Yo Ma. Now he’s featuring wife Maggie (also on violin), their son Forrest on mandolin, plus lead singer Kate Lee, Forrest’s fiancé in the O’Connor family band. I’m guessing this is a very tight group, except when they’re bickering like crazy. David says he gets the chills thinking about how the Grappelli link ties O’Connor to the work of the great gypsy jazz guitarist Django Reinhardt (born 1910), so there will be a century-and-change of music history at the O’Connor Band’s shows on Aug. 26 at \u003ca href=\"https://www.kuumbwajazz.org/calendar/7pm-mark-oconnor8-26-16/\" target=\"_blank\" rel=\"noopener\">Kuumbwa Jazz\u003c/a> in Santa Cruz, Aug. 27 \u003ca href=\"https://lesherartscenter.showare.com/eventperformances.asp?evt=518\" target=\"_blank\" rel=\"noopener\">at the Lesher Center in Walnut Creek\u003c/a>, and Aug 28 at \u003ca href=\"http://www.thefreight.org/mark-oconnors-oconnor-band\" target=\"_blank\" rel=\"noopener\">Freight and Salvage in Berkeley\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EiSC2VzQznA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Aug 26-28\u003c/strong>: \u003ca href=\"http://www.bcfhereandnow.com/\" target=\"_blank\" rel=\"noopener\">The Black Choreographers Festival\u003c/a> is doing its first summer series, with some of the region’s best African American choreographers trying out new material. They’re tackling big issues like the anxiety of being a young black man and gentrification in Oakland. Look for work from \u003ca href=\"https://www.dimensionsdance.org/\" target=\"_blank\" rel=\"noopener\">Dimensions Dance Theater\u003c/a>, \u003ca href=\"http://www.dawsondancesf.org/\" target=\"_blank\" rel=\"noopener\">Dawson Dance SF’s\u003c/a> founding director Gregory Dawson, Urban Jazz Dance Company, LA’s JazzAntiqua Dance Ensemble, and several youth dance companies, including the terrific \u003ca href=\"http://cultureshockdance.org/oakland/\" target=\"_blank\" rel=\"noopener\">Culture Shock Oakland\u003c/a> (see their work in the video above). Details for the three day Black Choreographers Festival are \u003ca href=\"http://www.bcfhereandnow.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cQbQfkinWCo\u003c/p>\n\u003cp>\u003cstrong>Aug. 28\u003c/strong>: \u003ca href=\"http://www.ecrmusicgroup.com/artists/blake-morgan/\" target=\"_blank\" rel=\"noopener\">Blake Morgan \u003c/a>is a singer-songwriter who is also well known for his advocacy for the rights of performers and for his family background as for his music. He started an \u003ca href=\"http://irespectmusic.org/\" target=\"_blank\" rel=\"noopener\">online petition\u003c/a> to fight for royalties for performing artists when their records are played on the radio. He’s the one who lured \u003ca href=\"http://www.ecrmusicgroup.com/artists/lesley-gore/\" target=\"_blank\" rel=\"noopener\">Lesley Gore\u003c/a> out of semi-retirement to record an album a few years ago for Morgan’s own label, and he’s the son of proto-feminist Robin Morgan who coined the term, “The personal is political.” And his dad is Kenneth Pitchford, an original member of the Gay Liberation Front. Did we mention Morgan’s a terrific songwriter? Details for his show at the Hotel Utah on Sunday are \u003ca href=\"http://www.hotelutah.com/event/1205461-janita-blake-morgan-pat-san-francisco/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11980102\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11980102 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/DameionBrown_2605-e1472165746925-800x505.jpg\" alt=\"Dameion Brown is ‘Othello’ at Marin Shakespeare Company\" width=\"800\" height=\"505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DameionBrown_2605-e1472165746925-800x505.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DameionBrown_2605-e1472165746925-400x253.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DameionBrown_2605-e1472165746925-768x485.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DameionBrown_2605-e1472165746925-1180x745.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DameionBrown_2605-e1472165746925-1920x1212.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DameionBrown_2605-e1472165746925-960x606.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dameion Brown is ‘Othello’ at Marin Shakespeare Company \u003ccite>(Photo: Steven Underwood/Marin Shakes )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 26-Sept. 25 & Sept. 14-Oct. 9:\u003c/strong> In a time of heightened racial tension, we’re highlighting two productions of \u003cem>Othello\u003c/em>, one of Shakespeare’s most enduring tragic heroes. Othello was the Moor, the other, the black man in a white society, who had to be better than everyone else to fit in, and yet was still plotted against and driven mad to the point of homicide. Actor \u003ca href=\"http://marinshakespeare.org/2016/07/29/meet-dameion-brown/\" target=\"_blank\" rel=\"noopener\">Dameion Brown\u003c/a>, a former Solano State Prison inmate, plays Othello at the \u003ca href=\"http://marinshakespeare.org/on-stage/\" target=\"_blank\" rel=\"noopener\">Marin Shakespeare Company\u003c/a>, and Brown told me he feels a lot in common with the character. “I know the feeling of being viewed as not good enough,” Brown said in a phone interview. “These things \u003cem>Othello\u003c/em> went through, the racism, even though he was the greatest general they had. He was still looked upon as the Moor, and back in the Elizabethan era, it was not much different than the n-word is used by others toward African-Americans today.” Details \u003ca href=\"http://marinshakespeare.org/tickets/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=82BMdcJFkYM\u003c/p>\n\u003cp>Meanwhile, California Shakespeare Theater’s new Artistic Director Eric Ting directs actor Aldo Billingslea (also Provost for Diversity at Santa Clara University) as the titular character in their production of \u003cem>Othello\u003c/em>. Billingslea was terrific in August Wilson’s \u003cem>Fences\u003c/em> at Cal Shakes earlier this year. Liz Sklar plays Desdemona. Details for Cal Shakes production are \u003ca href=\"https://tickets.calshakes.org/Online/default.asp\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11980266\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11980266 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Quantum-Dragon-Theater-800x328.jpg\" alt=\"Quantum Dragon Theatre Founding Members\" width=\"800\" height=\"328\">\u003cfigcaption class=\"wp-caption-text\">Quantum Dragon Theatre’s Founding Members \u003ccite>(Photo: Courtesy Quantum Dragon Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 26-Sept. 10\u003c/strong>: \u003ca href=\"http://www.quantumdragon.org/\" target=\"_blank\" rel=\"noopener\">Quantum Dragon Theatre\u003c/a> is a new company focusing on works of science fiction and fantasy, both new and classic. Their first play is \u003ca href=\"http://www.quantumdragon.org/#!speed-of-light/no57l\" target=\"_blank\" rel=\"noopener\">\u003cem>Speed of Light\u003c/em>\u003c/a> by by Bella Poynton, about Mayra, a woman scientist who also has a drug addiction, as she discovers the secret to traveling at light speed. Details \u003ca href=\"http://www.quantumdragon.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bEtDVy55shI\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Aug 30 & Sept 2-3\u003c/strong>: The \u003ca href=\"http://unknownmortalorchestra.com/\" target=\"_blank\" rel=\"noopener\">Unknown Mortal Orchestra\u003c/a> is a very odd trio playing retro 70’s funk and disco. But founder Ruban Nielson likes to thrash out thoroughly 21st century issues in his lyrics, including polyamory and heartache on last year’s \u003cem>Multi-Love\u003c/em>: “Checked into my heart and trashed it like a hotel room. Who is your God? Where is she?” Which doesn’t mean they don’t have some fun as well with their psychedelic take on The Grateful Dead’s \u003ca href=\"https://www.youtube.com/watch?v=dtQd-i4pIBA\" target=\"_blank\" rel=\"noopener\">“Shakedown Street.”\u003c/a> Your best chance to catch the band is at the Lagunitas Brewing Company in Petaluma on Tuesday Aug. 30. Details \u003ca href=\"https://lagunitas.com/music/unknownmortalorchestra\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> But they’re also doing a pair of sold out shows (opening for Tame Impala) at the Greek in Berkeley Sept 2 & 3rd. Details \u003ca href=\"http://www.livenation.com/events/534029-sep-3-2016-tame-impala\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/279907304″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/279907304″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003chr>\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/oLARQ8c_Z8k'\n title='//www.youtube.com/embed/oLARQ8c_Z8k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 26-28:\u003c/strong> Violinist and composer \u003ca href=\"http://www.markoconnor.com/o-connor-band\" target=\"_blank\" rel=\"noopener\">Mark O’Connor \u003c/a>debuted at the Grand Ole Opry at the age of 12, and has played with everyone from Stéphane Grappelli to Dolly Parton to Yo Yo Ma. Now he’s featuring wife Maggie (also on violin), their son Forrest on mandolin, plus lead singer Kate Lee, Forrest’s fiancé in the O’Connor family band. I’m guessing this is a very tight group, except when they’re bickering like crazy. David says he gets the chills thinking about how the Grappelli link ties O’Connor to the work of the great gypsy jazz guitarist Django Reinhardt (born 1910), so there will be a century-and-change of music history at the O’Connor Band’s shows on Aug. 26 at \u003ca href=\"https://www.kuumbwajazz.org/calendar/7pm-mark-oconnor8-26-16/\" target=\"_blank\" rel=\"noopener\">Kuumbwa Jazz\u003c/a> in Santa Cruz, Aug. 27 \u003ca href=\"https://lesherartscenter.showare.com/eventperformances.asp?evt=518\" target=\"_blank\" rel=\"noopener\">at the Lesher Center in Walnut Creek\u003c/a>, and Aug 28 at \u003ca href=\"http://www.thefreight.org/mark-oconnors-oconnor-band\" target=\"_blank\" rel=\"noopener\">Freight and Salvage in Berkeley\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/EiSC2VzQznA'\n title='//www.youtube.com/embed/EiSC2VzQznA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Aug 26-28\u003c/strong>: \u003ca href=\"http://www.bcfhereandnow.com/\" target=\"_blank\" rel=\"noopener\">The Black Choreographers Festival\u003c/a> is doing its first summer series, with some of the region’s best African American choreographers trying out new material. They’re tackling big issues like the anxiety of being a young black man and gentrification in Oakland. Look for work from \u003ca href=\"https://www.dimensionsdance.org/\" target=\"_blank\" rel=\"noopener\">Dimensions Dance Theater\u003c/a>, \u003ca href=\"http://www.dawsondancesf.org/\" target=\"_blank\" rel=\"noopener\">Dawson Dance SF’s\u003c/a> founding director Gregory Dawson, Urban Jazz Dance Company, LA’s JazzAntiqua Dance Ensemble, and several youth dance companies, including the terrific \u003ca href=\"http://cultureshockdance.org/oakland/\" target=\"_blank\" rel=\"noopener\">Culture Shock Oakland\u003c/a> (see their work in the video above). Details for the three day Black Choreographers Festival are \u003ca href=\"http://www.bcfhereandnow.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cQbQfkinWCo'\n title='//www.youtube.com/embed/cQbQfkinWCo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 28\u003c/strong>: \u003ca href=\"http://www.ecrmusicgroup.com/artists/blake-morgan/\" target=\"_blank\" rel=\"noopener\">Blake Morgan \u003c/a>is a singer-songwriter who is also well known for his advocacy for the rights of performers and for his family background as for his music. He started an \u003ca href=\"http://irespectmusic.org/\" target=\"_blank\" rel=\"noopener\">online petition\u003c/a> to fight for royalties for performing artists when their records are played on the radio. He’s the one who lured \u003ca href=\"http://www.ecrmusicgroup.com/artists/lesley-gore/\" target=\"_blank\" rel=\"noopener\">Lesley Gore\u003c/a> out of semi-retirement to record an album a few years ago for Morgan’s own label, and he’s the son of proto-feminist Robin Morgan who coined the term, “The personal is political.” And his dad is Kenneth Pitchford, an original member of the Gay Liberation Front. Did we mention Morgan’s a terrific songwriter? Details for his show at the Hotel Utah on Sunday are \u003ca href=\"http://www.hotelutah.com/event/1205461-janita-blake-morgan-pat-san-francisco/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11980102\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11980102 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/DameionBrown_2605-e1472165746925-800x505.jpg\" alt=\"Dameion Brown is ‘Othello’ at Marin Shakespeare Company\" width=\"800\" height=\"505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DameionBrown_2605-e1472165746925-800x505.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DameionBrown_2605-e1472165746925-400x253.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DameionBrown_2605-e1472165746925-768x485.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DameionBrown_2605-e1472165746925-1180x745.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DameionBrown_2605-e1472165746925-1920x1212.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/DameionBrown_2605-e1472165746925-960x606.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dameion Brown is ‘Othello’ at Marin Shakespeare Company \u003ccite>(Photo: Steven Underwood/Marin Shakes )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 26-Sept. 25 & Sept. 14-Oct. 9:\u003c/strong> In a time of heightened racial tension, we’re highlighting two productions of \u003cem>Othello\u003c/em>, one of Shakespeare’s most enduring tragic heroes. Othello was the Moor, the other, the black man in a white society, who had to be better than everyone else to fit in, and yet was still plotted against and driven mad to the point of homicide. Actor \u003ca href=\"http://marinshakespeare.org/2016/07/29/meet-dameion-brown/\" target=\"_blank\" rel=\"noopener\">Dameion Brown\u003c/a>, a former Solano State Prison inmate, plays Othello at the \u003ca href=\"http://marinshakespeare.org/on-stage/\" target=\"_blank\" rel=\"noopener\">Marin Shakespeare Company\u003c/a>, and Brown told me he feels a lot in common with the character. “I know the feeling of being viewed as not good enough,” Brown said in a phone interview. “These things \u003cem>Othello\u003c/em> went through, the racism, even though he was the greatest general they had. He was still looked upon as the Moor, and back in the Elizabethan era, it was not much different than the n-word is used by others toward African-Americans today.” Details \u003ca href=\"http://marinshakespeare.org/tickets/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/82BMdcJFkYM'\n title='//www.youtube.com/embed/82BMdcJFkYM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Meanwhile, California Shakespeare Theater’s new Artistic Director Eric Ting directs actor Aldo Billingslea (also Provost for Diversity at Santa Clara University) as the titular character in their production of \u003cem>Othello\u003c/em>. Billingslea was terrific in August Wilson’s \u003cem>Fences\u003c/em> at Cal Shakes earlier this year. Liz Sklar plays Desdemona. Details for Cal Shakes production are \u003ca href=\"https://tickets.calshakes.org/Online/default.asp\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11980266\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11980266 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Quantum-Dragon-Theater-800x328.jpg\" alt=\"Quantum Dragon Theatre Founding Members\" width=\"800\" height=\"328\">\u003cfigcaption class=\"wp-caption-text\">Quantum Dragon Theatre’s Founding Members \u003ccite>(Photo: Courtesy Quantum Dragon Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Aug. 26-Sept. 10\u003c/strong>: \u003ca href=\"http://www.quantumdragon.org/\" target=\"_blank\" rel=\"noopener\">Quantum Dragon Theatre\u003c/a> is a new company focusing on works of science fiction and fantasy, both new and classic. Their first play is \u003ca href=\"http://www.quantumdragon.org/#!speed-of-light/no57l\" target=\"_blank\" rel=\"noopener\">\u003cem>Speed of Light\u003c/em>\u003c/a> by by Bella Poynton, about Mayra, a woman scientist who also has a drug addiction, as she discovers the secret to traveling at light speed. Details \u003ca href=\"http://www.quantumdragon.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/bEtDVy55shI'\n title='//www.youtube.com/embed/bEtDVy55shI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Aug 30 & Sept 2-3\u003c/strong>: The \u003ca href=\"http://unknownmortalorchestra.com/\" target=\"_blank\" rel=\"noopener\">Unknown Mortal Orchestra\u003c/a> is a very odd trio playing retro 70’s funk and disco. But founder Ruban Nielson likes to thrash out thoroughly 21st century issues in his lyrics, including polyamory and heartache on last year’s \u003cem>Multi-Love\u003c/em>: “Checked into my heart and trashed it like a hotel room. Who is your God? Where is she?” Which doesn’t mean they don’t have some fun as well with their psychedelic take on The Grateful Dead’s \u003ca href=\"https://www.youtube.com/watch?v=dtQd-i4pIBA\" target=\"_blank\" rel=\"noopener\">“Shakedown Street.”\u003c/a> Your best chance to catch the band is at the Lagunitas Brewing Company in Petaluma on Tuesday Aug. 30. Details \u003ca href=\"https://lagunitas.com/music/unknownmortalorchestra\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> But they’re also doing a pair of sold out shows (opening for Tame Impala) at the Greek in Berkeley Sept 2 & 3rd. Details \u003ca href=\"http://www.livenation.com/events/534029-sep-3-2016-tame-impala\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "why-are-there-so-few-opportunities-for-black-choreographers",
"title": "Why Aren't We Seeing More Work By Black Choreographers?",
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"content": "\u003cp>\u003cem>Angst\u003c/em> is the title of Kendra Kimbrough Barnes’ new piece for the summer season of the \u003ca href=\"http://www.bcfhereandnow.com\" target=\"_blank\" rel=\"noopener\">Black Choreographers Festival\u003c/a> (BCF), running Friday, Aug 26 through Sunday, Aug. 28 at Oakland’s Laney College. The dance was born from interviews of African American youth grappling with debilitating anxiety – at a time when fraught images of the violent deaths of young black men have rallied communities across America.\u003c/p>\n\u003cp>Barnes was the epitome of serenity as she took her dancers through rehearsal in an Oakland studio recently, shaping small, piercing gestures and big acrobatic lifts, and adding emotional color to movement. While \u003cem>Angst\u003c/em> will premiere in November, Barnes will preview an excerpt in this summer program.\u003c/p>\n\u003cfigure id=\"attachment_11955599\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11955599 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Kendra-Kimbrough-Dance-Ensemble.-Clearance.-Photo-by-Kimara-Allan-Dixon-e1471726423656-800x379.jpg\" alt=\"Kendra Kimbrough Dance Ensemble \" width=\"800\" height=\"379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kendra-Kimbrough-Dance-Ensemble.-Clearance.-Photo-by-Kimara-Allan-Dixon-e1471726423656-800x379.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kendra-Kimbrough-Dance-Ensemble.-Clearance.-Photo-by-Kimara-Allan-Dixon-e1471726423656-400x189.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kendra-Kimbrough-Dance-Ensemble.-Clearance.-Photo-by-Kimara-Allan-Dixon-e1471726423656-768x364.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kendra-Kimbrough-Dance-Ensemble.-Clearance.-Photo-by-Kimara-Allan-Dixon-e1471726423656-1180x559.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kendra-Kimbrough-Dance-Ensemble.-Clearance.-Photo-by-Kimara-Allan-Dixon-e1471726423656-960x455.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kendra-Kimbrough-Dance-Ensemble.-Clearance.-Photo-by-Kimara-Allan-Dixon-e1471726423656.jpg 1786w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kendra Kimbrough Dance Ensemble \u003ccite>(Photo: Alan Kimara Dixon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>BCF includes artists from outside the Bay Area – this year there’s the \u003ca href=\"http://www.jazzantiqua.org/\" target=\"_blank\" rel=\"noopener\">JazzAntiqua Dance Ensemble\u003c/a> from Los Angeles – but focuses on presenting local talent. The event has built a loyal following over the 11 years of its existence, largely within the black community. But despite this success, developing broader audiences remains a challenge — not just for this festival, but also for black choreographers and companies around the U.S.\u003c/p>\n\u003cp>\u003cstrong>A slim pipeline\u003c/strong>\u003c/p>\n\u003cp>Across the nation, a sprinkling of \u003ca href=\"http://nbaf.org\" target=\"_blank\" rel=\"noopener\">black arts festivals\u003c/a> and a few presenting organizations offer strong support for black choreographers. These include \u003ca href=\"http://www.danspaceproject.org\" target=\"_blank\" rel=\"noopener\">Danspace Project\u003c/a> and the \u003ca href=\"http://www.joyce.org\" target=\"_blank\" rel=\"noopener\">Joyce Theatre\u003c/a> in New York, and \u003ca href=\"https://ybca.org\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a> and \u003ca href=\"http://www.counterpulse.org\" target=\"_blank\" rel=\"noopener\">CounterPulse\u003c/a> in San Francisco. Plus, \u003ca href=\"https://www.linesballet.org\" target=\"_blank\" rel=\"noopener\">Alonzo King LINES Ballet\u003c/a> and the two largest predominantly black dance companies, \u003ca href=\"https://www.alvinailey.org\" target=\"_blank\" rel=\"noopener\">Alvin Ailey American Dance Theater\u003c/a> and \u003ca href=\"http://www.dancetheatreofharlem.org\" target=\"_blank\" rel=\"noopener\">Dance Theatre of Harlem\u003c/a> have produced a few well-known choreographers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Yet outside the hip hop world, the pipeline of black choreographers remains slim, though the number is growing. The \u003ca href=\"http://www.iabdassociation.org\" target=\"_blank\" rel=\"noopener\">International Association of Blacks in Dance (IABD)\u003c/a>, a Washington D.C.-based advocacy group, expects the number of black choreographers in the upcoming edition of its directory to rise to around 100 in 2017, up from 36 in 1995.\u003c/p>\n\u003cp>From the pioneering days of Alvin Ailey, Bill T. Jones, Alonzo King, Blondell Cummings, Dianne McIntyre, Jawole Willa Jo Zollar and others in the mid- to late-20th century, growth in opportunities to see the work of black dance-makers does not seem to have kept pace with the innovation that is going on in the dance world at large.\u003c/p>\n\u003cp>“We’re having more conversations about black dancers and their exclusion from mainstream and avant garde dance,” said \u003ca href=\"http://www.abrahaminmotion.org\" target=\"_blank\" rel=\"noopener\">Kyle Abraham\u003c/a>, a fêted African American choreographer, and one of several artists I interviewed for this story. “Before, there was only an ‘Ailey box.’ It’s less specific of a box now, though still limited.” In his own work, Abraham fuses elements of hip-hop, jazz, African dance idioms, and modern dance to create a fine, bitter heat.\u003c/p>\n\u003cfigure id=\"attachment_11955603\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11955603 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/JazzAntiqua.-From-left-Chris-Smith-Shari-Rhone-Marie-Pellefigue.-Photo-by-Joe-Lambie-e1471726487199-800x452.jpg\" alt=\"Chris Smith, Shari Rhone, Marie Pellefigue of JazzAntiqua Ensemble \" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/JazzAntiqua.-From-left-Chris-Smith-Shari-Rhone-Marie-Pellefigue.-Photo-by-Joe-Lambie-e1471726487199-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/JazzAntiqua.-From-left-Chris-Smith-Shari-Rhone-Marie-Pellefigue.-Photo-by-Joe-Lambie-e1471726487199-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/JazzAntiqua.-From-left-Chris-Smith-Shari-Rhone-Marie-Pellefigue.-Photo-by-Joe-Lambie-e1471726487199-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/JazzAntiqua.-From-left-Chris-Smith-Shari-Rhone-Marie-Pellefigue.-Photo-by-Joe-Lambie-e1471726487199.jpg 861w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Smith, Shari Rhone, Marie Pellefigue of JazzAntiqua Ensemble \u003ccite>(Photo: Joe Lambie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Festivals remain a critical platform for the exposure of African American choreographers, as they have for \u003ca href=\"http://www.camilleabrown.org\" target=\"_blank\" rel=\"noopener\">Camille A. Brown\u003c/a>, who is recognized for her socially conscious work. Yet she chafes at being labeled \u003ca href=\"https://youtu.be/bln9K5Xm3sQ?t=15m17s\" target=\"_blank\" rel=\"noopener\">a black choreographer\u003c/a>. “Limitations are placed on choreographers of color right out of the gate,” Brown said. “We are also still dealing with the ‘one black dance company on our roster a year’ mentality from some presenters. ”\u003c/p>\n\u003cp>Deborah Vaughan, who in 1972 co-founded \u003ca href=\"https://www.dimensionsdance.org\" target=\"_blank\" rel=\"noopener\">Dimensions Dance Theater\u003c/a>, \u003ca href=\"http://dancersgroup.org/2013/09/dimensions-dance-theater-four-decades-strong/\" target=\"_blank\" rel=\"noopener\">one of the oldest African American dance companies on the West Coast\u003c/a>, agrees. “One of the things that really upset me was to be put in a box,” Vaughan said. “We’re black, so we should do African dance.” Dimensions brings an excerpt from \u003cem>The Town on Notice\u003c/em> to BCF this season, a project inspired by community reactions to the gentrification of Oakland.\u003c/p>\n\u003cp>Some choreographers are looking beyond festivals to address the issue. Jawole Willa Jo Zollar, a Brooklyn-based choreographer and the leader of the dance collective \u003ca href=\"https://www.urbanbushwomen.org\" target=\"_blank\" rel=\"noopener\">Urban Bush Women (UBW)\u003c/a>, recently launched a \u003ca href=\"http://www.urbanbushwomencenter.org\" target=\"_blank\" rel=\"noopener\">choreographic center\u003c/a> to nurture black women choreographers.\u003c/p>\n\u003cfigure id=\"attachment_11955601\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11955601 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Dimensions-Dance-Theater.-The-Town-On-Notice.-Photo-by-Edward-Miller-e1471726536963-800x475.jpg\" alt=\"Dimensions Dance Theater in 'The Town on Notice'. Conceived and directed by Deborah Vaughan, choreography by Latanya Tigner and Colette Eloi \" width=\"800\" height=\"475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Dimensions-Dance-Theater.-The-Town-On-Notice.-Photo-by-Edward-Miller-e1471726536963-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Dimensions-Dance-Theater.-The-Town-On-Notice.-Photo-by-Edward-Miller-e1471726536963-400x238.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Dimensions-Dance-Theater.-The-Town-On-Notice.-Photo-by-Edward-Miller-e1471726536963-768x456.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Dimensions-Dance-Theater.-The-Town-On-Notice.-Photo-by-Edward-Miller-e1471726536963-1180x701.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Dimensions-Dance-Theater.-The-Town-On-Notice.-Photo-by-Edward-Miller-e1471726536963-1920x1140.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Dimensions-Dance-Theater.-The-Town-On-Notice.-Photo-by-Edward-Miller-e1471726536963-960x570.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dimensions Dance Theater in ‘The Town on Notice’. Conceived and directed by Deborah Vaughan, choreography by Latanya Tigner and Colette Eloi \u003ccite>(Photo: Edward Miller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the odds are still heavily stacked against choreographers of color. Choreographer \u003ca href=\"http://www.emiadance.org/#!director/c14ag\" target=\"_blank\" rel=\"noopener\">Fredrick Earl Mosley\u003c/a>, whose popular \u003ca href=\"https://vimeo.com/129247344\" target=\"_blank\" rel=\"noopener\">workshops\u003c/a> have united veterans and newcomers, calls out grant application processes that he said are, “inaccessible to artists who are not considered ‘mainstream.'” Mosley said that funding bodies are often just looking for choreographers who are already successful.\u003c/p>\n\u003cp>\u003cstrong>Forbidding world of classical ballet\u003c/strong>\u003c/p>\n\u003cp>While some African American choreographers have made headway in the contemporary dance field, the world of classical ballet is even more forbidding to black artists. Of the three largest American ballet companies, \u003ca href=\"http://www.abt.org/default.aspx\" target=\"_blank\" rel=\"noopener\">American Ballet Theatre\u003c/a> and \u003ca href=\"https://www.sfballet.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Ballet\u003c/a> last staged work by African American choreographers in 2000 (Christian Holder) and 1994 (Donald McKayle) respectively. And four black choreographers have come through the portals of \u003ca href=\"https://www.nycballet.com/\" target=\"_blank\" rel=\"noopener\">New York City Ballet\u003c/a>’s eminent Choreographic Institute, which has offered two-week residencies to about 150 up-and-comers since its founding in 2000.\u003c/p>\n\u003cp>Alonzo King staked a singular outpost in the industry with his establishment of \u003ca href=\"https://www.linesballet.org/\" target=\"_blank\" rel=\"noopener\">LINES Ballet \u003c/a>in San Francisco in 1984. The dance pioneer has gone on to influence a number of choreographers of color.\u003c/p>\n\u003cp>Partly inspired by King, newcomer Jeremy McQueen is creating ballets rooted in black history and in the African American experience. McQueen’s collaborative, known as the \u003ca href=\"http://www.blackirisproject.org/#top\" target=\"_blank\" rel=\"noopener\">Black Iris Project\u003c/a>, just unfurled a triple bill of new work, all grounded in classical ballet, at \u003ca href=\"http://artsbeat.blogs.nytimes.com/2016/02/25/jeremy-mcqueens-ballet-collective-to-foster-black-works/\" target=\"_blank\" rel=\"noopener\">New York Live Arts\u003c/a>, which drew sizeable non-dance audiences. \u003cem>Madiba\u003c/em>, McQueen’s ballet inspired by the life of Nelson Mandela, will be featured in \u003cem>\u003ca href=\"https://www.kennedy-center.org/calendar/event/BRBSF\" target=\"_blank\" rel=\"noopener\">Ballet Across America\u003c/a>\u003c/em> next April, a Kennedy Center program curated by ballet superstars Misty Copeland and Justin Peck.\u003c/p>\n\u003cfigure id=\"attachment_11955602\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11955602 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/03-Reconstruction-Study-1.-David-Boyce-Byb-Chanel-Bibene-Chris-Evans-pictured.-Photo-by-Alan-Kimara-Dixon-e1471726603915-800x479.jpg\" alt=\"David Boyce, Byb Chanel Bibene and Chris Evans in 'Reconstruction Study #1' \" width=\"800\" height=\"479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/03-Reconstruction-Study-1.-David-Boyce-Byb-Chanel-Bibene-Chris-Evans-pictured.-Photo-by-Alan-Kimara-Dixon-e1471726603915-800x479.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/03-Reconstruction-Study-1.-David-Boyce-Byb-Chanel-Bibene-Chris-Evans-pictured.-Photo-by-Alan-Kimara-Dixon-e1471726603915-400x239.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/03-Reconstruction-Study-1.-David-Boyce-Byb-Chanel-Bibene-Chris-Evans-pictured.-Photo-by-Alan-Kimara-Dixon-e1471726603915-768x459.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/03-Reconstruction-Study-1.-David-Boyce-Byb-Chanel-Bibene-Chris-Evans-pictured.-Photo-by-Alan-Kimara-Dixon-e1471726603915-1180x706.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/03-Reconstruction-Study-1.-David-Boyce-Byb-Chanel-Bibene-Chris-Evans-pictured.-Photo-by-Alan-Kimara-Dixon-e1471726603915-960x574.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/03-Reconstruction-Study-1.-David-Boyce-Byb-Chanel-Bibene-Chris-Evans-pictured.-Photo-by-Alan-Kimara-Dixon-e1471726603915.jpg 1782w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Boyce, Byb Chanel Bibene and Chris Evans in ‘Reconstruction Study #1’ \u003ccite>(Photo: Alan Kimara Dixon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>LINES alumnus Gregory Dawson founded his own company, \u003ca href=\"http://www.dawsondancesf.org\" target=\"_blank\" rel=\"noopener\">dawsondancesf\u003c/a>, in 2007. He unveils a new work at BCF this season, inspired by the life of 18th century castrato singer Farinelli. Dawson danced with LINES for nearly 20 years. He says he has been inspired by King’s philosophy and process, and acknowledges that he’s borrowed formal elements from King’s vocabulary, too. “Consciously or not, I’ve borrowed or inherited an aesthetic which is discernibly within Alonzo’s lineage,” Dawson said.\u003c/p>\n\u003cp>\u003cstrong>Come for the dance. Stay for the struggle.\u003c/strong>\u003c/p>\n\u003cp>A few weeks before BCF, I sat in on a rehearsal for \u003cem>\u003ca href=\"https://evansmousike.wordpress.com/ark-of-bones/\" target=\"_blank\" rel=\"noopener\">Reconstruction Study #1\u003c/a> \u003c/em>at Richmond’s MilkBar. The work-in-progress is a collaboration between dancer-musician \u003ca href=\"https://evansmousike.wordpress.com\" target=\"_blank\" rel=\"noopener\">Chris Evans\u003c/a>, Congolese dance artist Byb Chanel Bibene, and musician-composer David Boyce. It’s based on several stories including that of Jim Coble, an African American man who killed ten white people in Broken Arrow, Oklahoma in the early 20th century.\u003c/p>\n\u003cp>Evans suggested to her partners that they kick off rehearsal with improv for a section of the piece that deals with rage. Boyce’s saxophone waxed mournful then threatening, while Evans glided seamlessly between floor and cello, conjuring an ominous thrumming. She and Bibene traced their own tortuous paths on the studio floor, rarely looking at each other even through the occasional tense moments of contact, yet somehow intimately connected.\u003c/p>\n\u003cp>This happened to be the evening when America was recovering from the blistering “Make America Safe Again” tirades of the Republican National Convention, girding for the next slogan attack.\u003c/p>\n\u003cp>“Talking about rage, did you watch the convention last night?” Boyce said to his colleagues. This stuff is classic.”\u003c/p>\n\u003cp>“Does this make you think about leaving America?” Evans asked Bibene.\u003c/p>\n\u003cp>“No, of course not,” replied Bibene, who is a survivor of the civil wars that devastated the Congo in the 1990s. “This country has laws. You stay for the struggle.”\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.bcfhereandnow.com\" target=\"_blank\" rel=\"noopener\">The Black Choreographers Festival Summer Series\u003c/a> runs through Sunday, Aug. 28 at Laney College, Oakland.\u003cbr>\n\u003c/em>\u003c/p>\n\u003cp>\u003cem>Dimensions Dance Theater revives \u003ca href=\"http://www.dimensionsdance.org/images/PROJECT%20PANTHER.pdf\" target=\"_blank\" rel=\"noopener\">Project Panther\u003c/a> on Saturday, Oct. 15 at the Malonga Casquelourd Center for the Arts in Oakland on the occasion of the 50th anniversary of the founding of the Black Panther Party.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Urban Bush Women brings \u003ca href=\"https://www.fordtheatres.org/calendar/ford-signature-series-urban-bush-women-and-contra-tiempo\" target=\"_blank\" rel=\"noopener\">Walking with ‘Trane\u003c/a>, an extended riff on the legacy of the legendary John Coltrane, to the Ford Theatres in Los Angeles on Saturday, Aug. 27.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Angst\u003c/em> is the title of Kendra Kimbrough Barnes’ new piece for the summer season of the \u003ca href=\"http://www.bcfhereandnow.com\" target=\"_blank\" rel=\"noopener\">Black Choreographers Festival\u003c/a> (BCF), running Friday, Aug 26 through Sunday, Aug. 28 at Oakland’s Laney College. The dance was born from interviews of African American youth grappling with debilitating anxiety – at a time when fraught images of the violent deaths of young black men have rallied communities across America.\u003c/p>\n\u003cp>Barnes was the epitome of serenity as she took her dancers through rehearsal in an Oakland studio recently, shaping small, piercing gestures and big acrobatic lifts, and adding emotional color to movement. While \u003cem>Angst\u003c/em> will premiere in November, Barnes will preview an excerpt in this summer program.\u003c/p>\n\u003cfigure id=\"attachment_11955599\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11955599 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Kendra-Kimbrough-Dance-Ensemble.-Clearance.-Photo-by-Kimara-Allan-Dixon-e1471726423656-800x379.jpg\" alt=\"Kendra Kimbrough Dance Ensemble \" width=\"800\" height=\"379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kendra-Kimbrough-Dance-Ensemble.-Clearance.-Photo-by-Kimara-Allan-Dixon-e1471726423656-800x379.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kendra-Kimbrough-Dance-Ensemble.-Clearance.-Photo-by-Kimara-Allan-Dixon-e1471726423656-400x189.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kendra-Kimbrough-Dance-Ensemble.-Clearance.-Photo-by-Kimara-Allan-Dixon-e1471726423656-768x364.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kendra-Kimbrough-Dance-Ensemble.-Clearance.-Photo-by-Kimara-Allan-Dixon-e1471726423656-1180x559.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kendra-Kimbrough-Dance-Ensemble.-Clearance.-Photo-by-Kimara-Allan-Dixon-e1471726423656-960x455.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Kendra-Kimbrough-Dance-Ensemble.-Clearance.-Photo-by-Kimara-Allan-Dixon-e1471726423656.jpg 1786w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kendra Kimbrough Dance Ensemble \u003ccite>(Photo: Alan Kimara Dixon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>BCF includes artists from outside the Bay Area – this year there’s the \u003ca href=\"http://www.jazzantiqua.org/\" target=\"_blank\" rel=\"noopener\">JazzAntiqua Dance Ensemble\u003c/a> from Los Angeles – but focuses on presenting local talent. The event has built a loyal following over the 11 years of its existence, largely within the black community. But despite this success, developing broader audiences remains a challenge — not just for this festival, but also for black choreographers and companies around the U.S.\u003c/p>\n\u003cp>\u003cstrong>A slim pipeline\u003c/strong>\u003c/p>\n\u003cp>Across the nation, a sprinkling of \u003ca href=\"http://nbaf.org\" target=\"_blank\" rel=\"noopener\">black arts festivals\u003c/a> and a few presenting organizations offer strong support for black choreographers. These include \u003ca href=\"http://www.danspaceproject.org\" target=\"_blank\" rel=\"noopener\">Danspace Project\u003c/a> and the \u003ca href=\"http://www.joyce.org\" target=\"_blank\" rel=\"noopener\">Joyce Theatre\u003c/a> in New York, and \u003ca href=\"https://ybca.org\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a> and \u003ca href=\"http://www.counterpulse.org\" target=\"_blank\" rel=\"noopener\">CounterPulse\u003c/a> in San Francisco. Plus, \u003ca href=\"https://www.linesballet.org\" target=\"_blank\" rel=\"noopener\">Alonzo King LINES Ballet\u003c/a> and the two largest predominantly black dance companies, \u003ca href=\"https://www.alvinailey.org\" target=\"_blank\" rel=\"noopener\">Alvin Ailey American Dance Theater\u003c/a> and \u003ca href=\"http://www.dancetheatreofharlem.org\" target=\"_blank\" rel=\"noopener\">Dance Theatre of Harlem\u003c/a> have produced a few well-known choreographers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yet outside the hip hop world, the pipeline of black choreographers remains slim, though the number is growing. The \u003ca href=\"http://www.iabdassociation.org\" target=\"_blank\" rel=\"noopener\">International Association of Blacks in Dance (IABD)\u003c/a>, a Washington D.C.-based advocacy group, expects the number of black choreographers in the upcoming edition of its directory to rise to around 100 in 2017, up from 36 in 1995.\u003c/p>\n\u003cp>From the pioneering days of Alvin Ailey, Bill T. Jones, Alonzo King, Blondell Cummings, Dianne McIntyre, Jawole Willa Jo Zollar and others in the mid- to late-20th century, growth in opportunities to see the work of black dance-makers does not seem to have kept pace with the innovation that is going on in the dance world at large.\u003c/p>\n\u003cp>“We’re having more conversations about black dancers and their exclusion from mainstream and avant garde dance,” said \u003ca href=\"http://www.abrahaminmotion.org\" target=\"_blank\" rel=\"noopener\">Kyle Abraham\u003c/a>, a fêted African American choreographer, and one of several artists I interviewed for this story. “Before, there was only an ‘Ailey box.’ It’s less specific of a box now, though still limited.” In his own work, Abraham fuses elements of hip-hop, jazz, African dance idioms, and modern dance to create a fine, bitter heat.\u003c/p>\n\u003cfigure id=\"attachment_11955603\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11955603 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/JazzAntiqua.-From-left-Chris-Smith-Shari-Rhone-Marie-Pellefigue.-Photo-by-Joe-Lambie-e1471726487199-800x452.jpg\" alt=\"Chris Smith, Shari Rhone, Marie Pellefigue of JazzAntiqua Ensemble \" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/JazzAntiqua.-From-left-Chris-Smith-Shari-Rhone-Marie-Pellefigue.-Photo-by-Joe-Lambie-e1471726487199-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/JazzAntiqua.-From-left-Chris-Smith-Shari-Rhone-Marie-Pellefigue.-Photo-by-Joe-Lambie-e1471726487199-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/JazzAntiqua.-From-left-Chris-Smith-Shari-Rhone-Marie-Pellefigue.-Photo-by-Joe-Lambie-e1471726487199-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/JazzAntiqua.-From-left-Chris-Smith-Shari-Rhone-Marie-Pellefigue.-Photo-by-Joe-Lambie-e1471726487199.jpg 861w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Smith, Shari Rhone, Marie Pellefigue of JazzAntiqua Ensemble \u003ccite>(Photo: Joe Lambie)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Festivals remain a critical platform for the exposure of African American choreographers, as they have for \u003ca href=\"http://www.camilleabrown.org\" target=\"_blank\" rel=\"noopener\">Camille A. Brown\u003c/a>, who is recognized for her socially conscious work. Yet she chafes at being labeled \u003ca href=\"https://youtu.be/bln9K5Xm3sQ?t=15m17s\" target=\"_blank\" rel=\"noopener\">a black choreographer\u003c/a>. “Limitations are placed on choreographers of color right out of the gate,” Brown said. “We are also still dealing with the ‘one black dance company on our roster a year’ mentality from some presenters. ”\u003c/p>\n\u003cp>Deborah Vaughan, who in 1972 co-founded \u003ca href=\"https://www.dimensionsdance.org\" target=\"_blank\" rel=\"noopener\">Dimensions Dance Theater\u003c/a>, \u003ca href=\"http://dancersgroup.org/2013/09/dimensions-dance-theater-four-decades-strong/\" target=\"_blank\" rel=\"noopener\">one of the oldest African American dance companies on the West Coast\u003c/a>, agrees. “One of the things that really upset me was to be put in a box,” Vaughan said. “We’re black, so we should do African dance.” Dimensions brings an excerpt from \u003cem>The Town on Notice\u003c/em> to BCF this season, a project inspired by community reactions to the gentrification of Oakland.\u003c/p>\n\u003cp>Some choreographers are looking beyond festivals to address the issue. Jawole Willa Jo Zollar, a Brooklyn-based choreographer and the leader of the dance collective \u003ca href=\"https://www.urbanbushwomen.org\" target=\"_blank\" rel=\"noopener\">Urban Bush Women (UBW)\u003c/a>, recently launched a \u003ca href=\"http://www.urbanbushwomencenter.org\" target=\"_blank\" rel=\"noopener\">choreographic center\u003c/a> to nurture black women choreographers.\u003c/p>\n\u003cfigure id=\"attachment_11955601\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11955601 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/Dimensions-Dance-Theater.-The-Town-On-Notice.-Photo-by-Edward-Miller-e1471726536963-800x475.jpg\" alt=\"Dimensions Dance Theater in 'The Town on Notice'. Conceived and directed by Deborah Vaughan, choreography by Latanya Tigner and Colette Eloi \" width=\"800\" height=\"475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Dimensions-Dance-Theater.-The-Town-On-Notice.-Photo-by-Edward-Miller-e1471726536963-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Dimensions-Dance-Theater.-The-Town-On-Notice.-Photo-by-Edward-Miller-e1471726536963-400x238.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Dimensions-Dance-Theater.-The-Town-On-Notice.-Photo-by-Edward-Miller-e1471726536963-768x456.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Dimensions-Dance-Theater.-The-Town-On-Notice.-Photo-by-Edward-Miller-e1471726536963-1180x701.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Dimensions-Dance-Theater.-The-Town-On-Notice.-Photo-by-Edward-Miller-e1471726536963-1920x1140.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/Dimensions-Dance-Theater.-The-Town-On-Notice.-Photo-by-Edward-Miller-e1471726536963-960x570.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dimensions Dance Theater in ‘The Town on Notice’. Conceived and directed by Deborah Vaughan, choreography by Latanya Tigner and Colette Eloi \u003ccite>(Photo: Edward Miller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the odds are still heavily stacked against choreographers of color. Choreographer \u003ca href=\"http://www.emiadance.org/#!director/c14ag\" target=\"_blank\" rel=\"noopener\">Fredrick Earl Mosley\u003c/a>, whose popular \u003ca href=\"https://vimeo.com/129247344\" target=\"_blank\" rel=\"noopener\">workshops\u003c/a> have united veterans and newcomers, calls out grant application processes that he said are, “inaccessible to artists who are not considered ‘mainstream.'” Mosley said that funding bodies are often just looking for choreographers who are already successful.\u003c/p>\n\u003cp>\u003cstrong>Forbidding world of classical ballet\u003c/strong>\u003c/p>\n\u003cp>While some African American choreographers have made headway in the contemporary dance field, the world of classical ballet is even more forbidding to black artists. Of the three largest American ballet companies, \u003ca href=\"http://www.abt.org/default.aspx\" target=\"_blank\" rel=\"noopener\">American Ballet Theatre\u003c/a> and \u003ca href=\"https://www.sfballet.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Ballet\u003c/a> last staged work by African American choreographers in 2000 (Christian Holder) and 1994 (Donald McKayle) respectively. And four black choreographers have come through the portals of \u003ca href=\"https://www.nycballet.com/\" target=\"_blank\" rel=\"noopener\">New York City Ballet\u003c/a>’s eminent Choreographic Institute, which has offered two-week residencies to about 150 up-and-comers since its founding in 2000.\u003c/p>\n\u003cp>Alonzo King staked a singular outpost in the industry with his establishment of \u003ca href=\"https://www.linesballet.org/\" target=\"_blank\" rel=\"noopener\">LINES Ballet \u003c/a>in San Francisco in 1984. The dance pioneer has gone on to influence a number of choreographers of color.\u003c/p>\n\u003cp>Partly inspired by King, newcomer Jeremy McQueen is creating ballets rooted in black history and in the African American experience. McQueen’s collaborative, known as the \u003ca href=\"http://www.blackirisproject.org/#top\" target=\"_blank\" rel=\"noopener\">Black Iris Project\u003c/a>, just unfurled a triple bill of new work, all grounded in classical ballet, at \u003ca href=\"http://artsbeat.blogs.nytimes.com/2016/02/25/jeremy-mcqueens-ballet-collective-to-foster-black-works/\" target=\"_blank\" rel=\"noopener\">New York Live Arts\u003c/a>, which drew sizeable non-dance audiences. \u003cem>Madiba\u003c/em>, McQueen’s ballet inspired by the life of Nelson Mandela, will be featured in \u003cem>\u003ca href=\"https://www.kennedy-center.org/calendar/event/BRBSF\" target=\"_blank\" rel=\"noopener\">Ballet Across America\u003c/a>\u003c/em> next April, a Kennedy Center program curated by ballet superstars Misty Copeland and Justin Peck.\u003c/p>\n\u003cfigure id=\"attachment_11955602\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11955602 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/03-Reconstruction-Study-1.-David-Boyce-Byb-Chanel-Bibene-Chris-Evans-pictured.-Photo-by-Alan-Kimara-Dixon-e1471726603915-800x479.jpg\" alt=\"David Boyce, Byb Chanel Bibene and Chris Evans in 'Reconstruction Study #1' \" width=\"800\" height=\"479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/03-Reconstruction-Study-1.-David-Boyce-Byb-Chanel-Bibene-Chris-Evans-pictured.-Photo-by-Alan-Kimara-Dixon-e1471726603915-800x479.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/03-Reconstruction-Study-1.-David-Boyce-Byb-Chanel-Bibene-Chris-Evans-pictured.-Photo-by-Alan-Kimara-Dixon-e1471726603915-400x239.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/03-Reconstruction-Study-1.-David-Boyce-Byb-Chanel-Bibene-Chris-Evans-pictured.-Photo-by-Alan-Kimara-Dixon-e1471726603915-768x459.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/03-Reconstruction-Study-1.-David-Boyce-Byb-Chanel-Bibene-Chris-Evans-pictured.-Photo-by-Alan-Kimara-Dixon-e1471726603915-1180x706.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/03-Reconstruction-Study-1.-David-Boyce-Byb-Chanel-Bibene-Chris-Evans-pictured.-Photo-by-Alan-Kimara-Dixon-e1471726603915-960x574.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/03-Reconstruction-Study-1.-David-Boyce-Byb-Chanel-Bibene-Chris-Evans-pictured.-Photo-by-Alan-Kimara-Dixon-e1471726603915.jpg 1782w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Boyce, Byb Chanel Bibene and Chris Evans in ‘Reconstruction Study #1’ \u003ccite>(Photo: Alan Kimara Dixon)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>LINES alumnus Gregory Dawson founded his own company, \u003ca href=\"http://www.dawsondancesf.org\" target=\"_blank\" rel=\"noopener\">dawsondancesf\u003c/a>, in 2007. He unveils a new work at BCF this season, inspired by the life of 18th century castrato singer Farinelli. Dawson danced with LINES for nearly 20 years. He says he has been inspired by King’s philosophy and process, and acknowledges that he’s borrowed formal elements from King’s vocabulary, too. “Consciously or not, I’ve borrowed or inherited an aesthetic which is discernibly within Alonzo’s lineage,” Dawson said.\u003c/p>\n\u003cp>\u003cstrong>Come for the dance. Stay for the struggle.\u003c/strong>\u003c/p>\n\u003cp>A few weeks before BCF, I sat in on a rehearsal for \u003cem>\u003ca href=\"https://evansmousike.wordpress.com/ark-of-bones/\" target=\"_blank\" rel=\"noopener\">Reconstruction Study #1\u003c/a> \u003c/em>at Richmond’s MilkBar. The work-in-progress is a collaboration between dancer-musician \u003ca href=\"https://evansmousike.wordpress.com\" target=\"_blank\" rel=\"noopener\">Chris Evans\u003c/a>, Congolese dance artist Byb Chanel Bibene, and musician-composer David Boyce. It’s based on several stories including that of Jim Coble, an African American man who killed ten white people in Broken Arrow, Oklahoma in the early 20th century.\u003c/p>\n\u003cp>Evans suggested to her partners that they kick off rehearsal with improv for a section of the piece that deals with rage. Boyce’s saxophone waxed mournful then threatening, while Evans glided seamlessly between floor and cello, conjuring an ominous thrumming. She and Bibene traced their own tortuous paths on the studio floor, rarely looking at each other even through the occasional tense moments of contact, yet somehow intimately connected.\u003c/p>\n\u003cp>This happened to be the evening when America was recovering from the blistering “Make America Safe Again” tirades of the Republican National Convention, girding for the next slogan attack.\u003c/p>\n\u003cp>“Talking about rage, did you watch the convention last night?” Boyce said to his colleagues. This stuff is classic.”\u003c/p>\n\u003cp>“Does this make you think about leaving America?” Evans asked Bibene.\u003c/p>\n\u003cp>“No, of course not,” replied Bibene, who is a survivor of the civil wars that devastated the Congo in the 1990s. “This country has laws. You stay for the struggle.”\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.bcfhereandnow.com\" target=\"_blank\" rel=\"noopener\">The Black Choreographers Festival Summer Series\u003c/a> runs through Sunday, Aug. 28 at Laney College, Oakland.\u003cbr>\n\u003c/em>\u003c/p>\n\u003cp>\u003cem>Dimensions Dance Theater revives \u003ca href=\"http://www.dimensionsdance.org/images/PROJECT%20PANTHER.pdf\" target=\"_blank\" rel=\"noopener\">Project Panther\u003c/a> on Saturday, Oct. 15 at the Malonga Casquelourd Center for the Arts in Oakland on the occasion of the 50th anniversary of the founding of the Black Panther Party.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Urban Bush Women brings \u003ca href=\"https://www.fordtheatres.org/calendar/ford-signature-series-urban-bush-women-and-contra-tiempo\" target=\"_blank\" rel=\"noopener\">Walking with ‘Trane\u003c/a>, an extended riff on the legacy of the legendary John Coltrane, to the Ford Theatres in Los Angeles on Saturday, Aug. 27.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>\u003ca href=\"https://soundcloud.com/kqed/the-do-list-breakup-music-street-festivals-and-air-dancing\">https://soundcloud.com/kqed/the-do-list-breakup-music-street-festivals-and-air-dancing\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Aug. 25\u003c/strong>: The sixth-generation San Francisco singer-songwriter \u003ca href=\"http://www.essencemusic.com/site\" target=\"_blank\" rel=\"noopener\">Essence\u003c/a> (her real name) has a new album out, \u003ca href=\"http://gypsetmagazine.com/black-wings/\" target=\"_blank\" rel=\"noopener\">\u003cem>Black Wings\u003c/em>\u003c/a>, after a 10-year marriage and divorce.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kItgnwf40t0\u003c/p>\n\u003cp>Sounds both stressful and joyful, and but the album is terrific, full of smart songs about betrayal, dishonesty, and escape — see the video above, featuring a nifty disguise. Details on her show at Sweetwater in Mill Valley are \u003ca href=\"http://www.sweetwatermusichall.com/event/1256379/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=K5RGr4zsyHY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Aug. 19 – 21:\u003c/strong> Aerial dance is a young art, pioneered in the Bay Area, that mixes the thrills of rock climbing and circus, with the ambitions of modern dance. Nothing is more beautiful than watching a troupe seem to defy gravity, and here’s a chance to catch the world’s best aerial dancers at the Aerial Dance Festival at Fort Mason. Zaccho Dance Theater has organized this event featuring their own work, plus the Upswing Aerial Dance Company, Nehara Kalev & Glenn Easley, Bandaloop, Flyaway Productions, Karl Gillick, Syn Circus and more. Details are \u003ca href=\"https://fortmason.org/event/the-san-francisco-aerial-arts-festival/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8x-U62JCF44\u003c/p>\n\u003cp>\u003cstrong>Aug. 24\u003c/strong>: \u003ca href=\"http://www.barbaradane.net/HOME.html\" target=\"_blank\" rel=\"noopener\">Barbara Dane \u003c/a>is still making vital American roots music at 89. She’s been crediting her pianist and arranger Tammy Hall for reinvigorating her performances, but Dane has always worked with the best, singing jazz, blues, folk, and roots rock with everyone from the Chamber Brothers to Louis Armstrong. Her new album features songs by Abbey Lincoln, Duke Ellington , Paul Simon, and Lennon-McCartney, and every one’s a winner. Details for her album release party at Yoshi’s are \u003ca href=\"http://www.yoshis.com/event/1216997-barbara-dane-oakland/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=20CjztqC1eY\u003c/p>\n\u003cp>\u003cstrong>Aug. 24 – Sept. 17:\u003c/strong> This is a coup for Robert Kelley, the artistic director at \u003ca href=\"http://www.theatreworks.org/\" target=\"_blank\" rel=\"noopener\">Theatreworks Silicon Valley\u003c/a>. He’s booked \u003ca href=\"http://ww2.kqed.org/arts/feeds/items/joel-selvin-on-rocks-darkest-day/\" target=\"_blank\" rel=\"noopener\">Andrew Lippa\u003c/a> leading a quartet of performers doing songs from some of Lippa’s Broadway and London shows, including \u003cem>Life of the Party\u003c/em>, \u003cem>The Addams Family\u003c/em>, and \u003cem>Big Fish\u003c/em>. This revue comes from London, with the same cast of Lippa, Damien Humbley, Sally Ann Triplett, and Teal Wicks. Details for three-week run at the \u003ca href=\"http://www.mountainview.gov/depts/cs/mvcpa/subsite/default.asp\" target=\"_blank\" rel=\"noopener\">Mountain View Center for the Performing Arts \u003c/a>are \u003ca href=\"http://www.theatreworks.org/shows/1617-season/the-life-of-the-party\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eRsn0PlvBvc\u003c/p>\n\u003cp>\u003cstrong>Aug. 20\u003c/strong>: \u003ca href=\"https://boulevardsfunk.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Boulevards\u003c/a> (Jamil Rashad) is just one of the bands playing the 20th Street Block Party this Saturday, but I just love that popping old-school bass line. This noo- to-6pm festival on Saturday is how \u003ca href=\"http://noisepop.com/\" target=\"_blank\" rel=\"noopener\">Noise Pop\u003c/a> gives some love to the Mission District, including raising funds for the \u003ca href=\"http://www.mlvs.org/index.php/en/\" target=\"_blank\" rel=\"noopener\">Mission Language and Vocational School\u003c/a>. Other headliners include LA’s Chicano Batman, Dos Four, Miami Horror, La Gente, Oakland’s Hazel English, SF’s Spooky Mansion; and Oakland’s Madeline Kenney. Details \u003ca href=\"http://www.20thstreetblockparty.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Jfoxsfhi-kk\u003c/p>\n\u003cp>\u003cstrong>Aug. 20 & 21\u003c/strong>: Oakland’s Art and Soul is my personal favorite street party. It’s easy to get to on BART, a great family event, with a eclectic mix of art, food and music. Tony! Toni! Toné! is the biggest name, but there’s a blues stage with Oakland’s \u003ca href=\"https://en.wikipedia.org/wiki/Sonny_Rhodes\" target=\"_blank\" rel=\"noopener\">Sonny Rhodes \u003c/a>and other local players, plus a gospel and dance stage, and music from local favorites John Santos and Linda Tillery, not to mention the Oakland Throwdown barbeque competition that brings contenders from all over California, plus lowriders and funnel cake. Details \u003ca href=\"http://artandsouloakland.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HbJ6Jsy0JfY\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Aug 22\u003c/strong>: \u003ca href=\"http://www.gogos.com/\" target=\"_blank\" rel=\"noopener\">The Go-Go’s \u003c/a>are giving a farewell tour after 38 years as a pioneering, all woman, punk pop band out of LA. The band deserves hall of fame consideration if only for “We Got the Beat.” This last tour features the band’s “classic” lineup with \u003ca href=\"http://www.billboard.com/artist/281139/belinda-carlisle/chart\" target=\"_blank\" rel=\"noopener\">Belinda Carlisle\u003c/a>, Jane Wiedlin, Charlotte Caffey and Gina Schock, but not bassist Kathy Valentine, who sued her former bandmates in 2013 after leaving over “irreconcilable differences.” \u003ca href=\"http://www.bestcoast.net/\" target=\"_blank\" rel=\"noopener\">Best Coast \u003c/a>opens. Details of their Mountain Winery show are \u003ca href=\"http://www.axs.com/events/308107/the-go-go-s-tickets?skin=mountainwinery\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>\u003ca href=\"https://soundcloud.com/kqed/the-do-list-breakup-music-street-festivals-and-air-dancing\">https://soundcloud.com/kqed/the-do-list-breakup-music-street-festivals-and-air-dancing\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Aug. 25\u003c/strong>: The sixth-generation San Francisco singer-songwriter \u003ca href=\"http://www.essencemusic.com/site\" target=\"_blank\" rel=\"noopener\">Essence\u003c/a> (her real name) has a new album out, \u003ca href=\"http://gypsetmagazine.com/black-wings/\" target=\"_blank\" rel=\"noopener\">\u003cem>Black Wings\u003c/em>\u003c/a>, after a 10-year marriage and divorce.\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/kItgnwf40t0'\n title='//www.youtube.com/embed/kItgnwf40t0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sounds both stressful and joyful, and but the album is terrific, full of smart songs about betrayal, dishonesty, and escape — see the video above, featuring a nifty disguise. Details on her show at Sweetwater in Mill Valley are \u003ca href=\"http://www.sweetwatermusichall.com/event/1256379/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/K5RGr4zsyHY'\n title='//www.youtube.com/embed/K5RGr4zsyHY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Aug. 19 – 21:\u003c/strong> Aerial dance is a young art, pioneered in the Bay Area, that mixes the thrills of rock climbing and circus, with the ambitions of modern dance. Nothing is more beautiful than watching a troupe seem to defy gravity, and here’s a chance to catch the world’s best aerial dancers at the Aerial Dance Festival at Fort Mason. Zaccho Dance Theater has organized this event featuring their own work, plus the Upswing Aerial Dance Company, Nehara Kalev & Glenn Easley, Bandaloop, Flyaway Productions, Karl Gillick, Syn Circus and more. Details are \u003ca href=\"https://fortmason.org/event/the-san-francisco-aerial-arts-festival/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/8x-U62JCF44'\n title='//www.youtube.com/embed/8x-U62JCF44'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 24\u003c/strong>: \u003ca href=\"http://www.barbaradane.net/HOME.html\" target=\"_blank\" rel=\"noopener\">Barbara Dane \u003c/a>is still making vital American roots music at 89. She’s been crediting her pianist and arranger Tammy Hall for reinvigorating her performances, but Dane has always worked with the best, singing jazz, blues, folk, and roots rock with everyone from the Chamber Brothers to Louis Armstrong. Her new album features songs by Abbey Lincoln, Duke Ellington , Paul Simon, and Lennon-McCartney, and every one’s a winner. Details for her album release party at Yoshi’s are \u003ca href=\"http://www.yoshis.com/event/1216997-barbara-dane-oakland/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/20CjztqC1eY'\n title='//www.youtube.com/embed/20CjztqC1eY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 24 – Sept. 17:\u003c/strong> This is a coup for Robert Kelley, the artistic director at \u003ca href=\"http://www.theatreworks.org/\" target=\"_blank\" rel=\"noopener\">Theatreworks Silicon Valley\u003c/a>. He’s booked \u003ca href=\"http://ww2.kqed.org/arts/feeds/items/joel-selvin-on-rocks-darkest-day/\" target=\"_blank\" rel=\"noopener\">Andrew Lippa\u003c/a> leading a quartet of performers doing songs from some of Lippa’s Broadway and London shows, including \u003cem>Life of the Party\u003c/em>, \u003cem>The Addams Family\u003c/em>, and \u003cem>Big Fish\u003c/em>. This revue comes from London, with the same cast of Lippa, Damien Humbley, Sally Ann Triplett, and Teal Wicks. Details for three-week run at the \u003ca href=\"http://www.mountainview.gov/depts/cs/mvcpa/subsite/default.asp\" target=\"_blank\" rel=\"noopener\">Mountain View Center for the Performing Arts \u003c/a>are \u003ca href=\"http://www.theatreworks.org/shows/1617-season/the-life-of-the-party\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/eRsn0PlvBvc'\n title='//www.youtube.com/embed/eRsn0PlvBvc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 20\u003c/strong>: \u003ca href=\"https://boulevardsfunk.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Boulevards\u003c/a> (Jamil Rashad) is just one of the bands playing the 20th Street Block Party this Saturday, but I just love that popping old-school bass line. This noo- to-6pm festival on Saturday is how \u003ca href=\"http://noisepop.com/\" target=\"_blank\" rel=\"noopener\">Noise Pop\u003c/a> gives some love to the Mission District, including raising funds for the \u003ca href=\"http://www.mlvs.org/index.php/en/\" target=\"_blank\" rel=\"noopener\">Mission Language and Vocational School\u003c/a>. Other headliners include LA’s Chicano Batman, Dos Four, Miami Horror, La Gente, Oakland’s Hazel English, SF’s Spooky Mansion; and Oakland’s Madeline Kenney. Details \u003ca href=\"http://www.20thstreetblockparty.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Jfoxsfhi-kk'\n title='//www.youtube.com/embed/Jfoxsfhi-kk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 20 & 21\u003c/strong>: Oakland’s Art and Soul is my personal favorite street party. It’s easy to get to on BART, a great family event, with a eclectic mix of art, food and music. Tony! Toni! Toné! is the biggest name, but there’s a blues stage with Oakland’s \u003ca href=\"https://en.wikipedia.org/wiki/Sonny_Rhodes\" target=\"_blank\" rel=\"noopener\">Sonny Rhodes \u003c/a>and other local players, plus a gospel and dance stage, and music from local favorites John Santos and Linda Tillery, not to mention the Oakland Throwdown barbeque competition that brings contenders from all over California, plus lowriders and funnel cake. Details \u003ca href=\"http://artandsouloakland.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/HbJ6Jsy0JfY'\n title='//www.youtube.com/embed/HbJ6Jsy0JfY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Aug 22\u003c/strong>: \u003ca href=\"http://www.gogos.com/\" target=\"_blank\" rel=\"noopener\">The Go-Go’s \u003c/a>are giving a farewell tour after 38 years as a pioneering, all woman, punk pop band out of LA. The band deserves hall of fame consideration if only for “We Got the Beat.” This last tour features the band’s “classic” lineup with \u003ca href=\"http://www.billboard.com/artist/281139/belinda-carlisle/chart\" target=\"_blank\" rel=\"noopener\">Belinda Carlisle\u003c/a>, Jane Wiedlin, Charlotte Caffey and Gina Schock, but not bassist Kathy Valentine, who sued her former bandmates in 2013 after leaving over “irreconcilable differences.” \u003ca href=\"http://www.bestcoast.net/\" target=\"_blank\" rel=\"noopener\">Best Coast \u003c/a>opens. Details of their Mountain Winery show are \u003ca href=\"http://www.axs.com/events/308107/the-go-go-s-tickets?skin=mountainwinery\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp class=\"x_MsoNormal\">The founder of the Bay Area’s annual gathering of the Deaf dancers and choreographers from around the world says you don’t need to hear music in order to be able to move to it.\u003c/p>\n\u003cp class=\"x_MsoNormal\">Antoine Hunter is one of the most high-profile dancers with hearing loss working in the United States today. He grew up in West Oakland, the son of a single mom. Hunter fell in love with dance at the age of five when he saw an Oakland Ballet production of \u003ci>The Nutcracker\u003c/i>. He wanted to start dancing right away, but his mother couldn’t afford to pay for classes. It wasn’t until he was in high school that Hunter could begin his education as a dancer.\u003c/p>\n\u003cp class=\"x_MsoNormal\">Since then, Hunter’s dance career has gone gangbusters. He has performed locally with Kim Epifano’s Trolley Dances and Robert Moses’ Kin Dance Company among others, as well as nationally, at the Kennedy Center and more. Today, Hunter is artistic director of Urban Jazz Dance and the founder of the Bay Area Deaf International Dance Festival. A passionate advocate for dance in the Deaf community, Hunter proves that you don’t need to be able to hear music to express yourself through movement.\u003c/p>\n\u003cp class=\"x_p1\">[contextly_sidebar id=”YFzmM8tT7UGHS0ekpMDrSrh33ohIByvk”] In anticipation of the 4\u003csup>th\u003c/sup> annual Bay Area International Deaf Dance Festival of 2016, KQED Arts sat down with Hunter to hear about his passion for dancing and what dance means for members of the Deaf community\u003c/p>\n\u003cp class=\"x_p1\">\u003cstrong>What inspired you to become a dancer? \u003c/strong>\u003cb>\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp class=\"x_p1\">\u003cspan class=\"x_s1\">God and my community. I didn’t expect to be a dancer. It was my calling before I could understand the full meaning of it. Being a dancer is like being a wizard. We create magical things. \u003c/span>\u003cb>\u003ci>\u003c/i>\u003c/b>\u003c/p>\n\u003cp class=\"x_p1\">\u003cstrong>How is it possible to dance if you can’t hear the music?\u003c/strong>\u003c/p>\n\u003cp class=\"x_p1\">It works in the same\u003cstrong> \u003c/strong>\u003cspan class=\"x_s1\">way that breathing works for all things that are alive. Whether you can hear or not, dancing is a spiritual, emotional and freeing thing. You just dance. You tap into the physical or spiritual plane of dance and it all comes out. This reminds me of Muhammad Ali and James Brown. When you see them dance, it’s about life.\u003c/span>\u003c/p>\n\u003cp class=\"x_p1\">\u003cb>What is the most difficult part of being a dancer when you’re Deaf? \u003c/b>\u003c/p>\n\u003cp class=\"x_p1\">\u003cspan class=\"x_s1\">We’re too attractive! They want us to do everything! Just kiddin’! My experience is of working with hearing artists who want me to do things that relate to sound, which can be challenging. Sometimes, artists say things like, “when you hear this, I want you to fall to the floor,” or, “when you hear the tempo change, I want you go faster.” Since I can’t hear these cues, I need to find a way to make this happen with any help. Not all companies are willing and able to give me cues. So I’ve got to make it happen myself\u003ci>. \u003c/i>\u003c/span>\u003c/p>\n\u003cp>\u003cb>What’s your favorite music to dance to?\u003c/b>\u003c/p>\n\u003cp class=\"x_p1\">\u003cspan class=\"x_s1\">Jazz, soul, pop and Afro music. I also love Mozart and a lot of country too.\u003c/span>\u003c/p>\n\u003cp class=\"x_p1\">\u003cstrong>What would you say to Deaf people who find it difficult to do what \u003cspan class=\"x_s1\">they want to do?\u003c/span>\u003c/strong>\u003c/p>\n\u003cp class=\"x_p1\">I would ask them\u003cspan class=\"x_s1\"> a few questions: who are you doing it for? How much do you care about it? If the thing you want to do is worth living for, then you’re one step closer to your happiness.\u003c/span>\u003c/p>\n\u003cp class=\"x_p1\">\u003cstrong>What is your idea of perfect happiness?\u003c/strong>\u003cbr>\nSeeing me and my little girl Zula dancing with her mom Racha , and her brothers Zahn and Sol, like there is no tomorrow… Laughing until\u003cbr>\nour stomachs hurt. Then Seeing people dance with their families … I\u003cbr>\nlove seeing and feeling that.\u003c/p>\n\u003cp class=\"x_p1\">\u003cb>What is your biggest dream?\u003c/b>\u003c/p>\n\u003cp class=\"x_p1\">\u003cspan class=\"x_s1\">My biggest dream is to present the Deaf Dance Festival nationally. I want it to be a place for healing, education and empowerment. I also want to see Zula Hunter perform with Antoine Hunter.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp class=\"x_p1\">\u003cspan class=\"x_s1\">\u003ci>The Bay Area International Deaf Dance Festival runs Friday, Aug. 12 – Sunday, Aug. 14. For tickets and information, click \u003ca href=\"https://mail.kqed.org/owa/redir.aspx?C=74f6c5810a704f98bf3d9c7429473bc1&URL=http%3a%2f%2fwww.brownpapertickets.com%2fevent%2f2561054\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/i>\u003c/span>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp class=\"x_p1\">\u003cspan class=\"x_s1\">God and my community. I didn’t expect to be a dancer. It was my calling before I could understand the full meaning of it. Being a dancer is like being a wizard. We create magical things. \u003c/span>\u003cb>\u003ci>\u003c/i>\u003c/b>\u003c/p>\n\u003cp class=\"x_p1\">\u003cstrong>How is it possible to dance if you can’t hear the music?\u003c/strong>\u003c/p>\n\u003cp class=\"x_p1\">It works in the same\u003cstrong> \u003c/strong>\u003cspan class=\"x_s1\">way that breathing works for all things that are alive. Whether you can hear or not, dancing is a spiritual, emotional and freeing thing. You just dance. You tap into the physical or spiritual plane of dance and it all comes out. This reminds me of Muhammad Ali and James Brown. When you see them dance, it’s about life.\u003c/span>\u003c/p>\n\u003cp class=\"x_p1\">\u003cb>What is the most difficult part of being a dancer when you’re Deaf? \u003c/b>\u003c/p>\n\u003cp class=\"x_p1\">\u003cspan class=\"x_s1\">We’re too attractive! They want us to do everything! Just kiddin’! My experience is of working with hearing artists who want me to do things that relate to sound, which can be challenging. Sometimes, artists say things like, “when you hear this, I want you to fall to the floor,” or, “when you hear the tempo change, I want you go faster.” Since I can’t hear these cues, I need to find a way to make this happen with any help. Not all companies are willing and able to give me cues. So I’ve got to make it happen myself\u003ci>. \u003c/i>\u003c/span>\u003c/p>\n\u003cp>\u003cb>What’s your favorite music to dance to?\u003c/b>\u003c/p>\n\u003cp class=\"x_p1\">\u003cspan class=\"x_s1\">Jazz, soul, pop and Afro music. I also love Mozart and a lot of country too.\u003c/span>\u003c/p>\n\u003cp class=\"x_p1\">\u003cstrong>What would you say to Deaf people who find it difficult to do what \u003cspan class=\"x_s1\">they want to do?\u003c/span>\u003c/strong>\u003c/p>\n\u003cp class=\"x_p1\">I would ask them\u003cspan class=\"x_s1\"> a few questions: who are you doing it for? How much do you care about it? If the thing you want to do is worth living for, then you’re one step closer to your happiness.\u003c/span>\u003c/p>\n\u003cp class=\"x_p1\">\u003cstrong>What is your idea of perfect happiness?\u003c/strong>\u003cbr>\nSeeing me and my little girl Zula dancing with her mom Racha , and her brothers Zahn and Sol, like there is no tomorrow… Laughing until\u003cbr>\nour stomachs hurt. Then Seeing people dance with their families … I\u003cbr>\nlove seeing and feeling that.\u003c/p>\n\u003cp class=\"x_p1\">\u003cb>What is your biggest dream?\u003c/b>\u003c/p>\n\u003cp class=\"x_p1\">\u003cspan class=\"x_s1\">My biggest dream is to present the Deaf Dance Festival nationally. I want it to be a place for healing, education and empowerment. I also want to see Zula Hunter perform with Antoine Hunter.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp class=\"x_p1\">\u003cspan class=\"x_s1\">\u003ci>The Bay Area International Deaf Dance Festival runs Friday, Aug. 12 – Sunday, Aug. 14. For tickets and information, click \u003ca href=\"https://mail.kqed.org/owa/redir.aspx?C=74f6c5810a704f98bf3d9c7429473bc1&URL=http%3a%2f%2fwww.brownpapertickets.com%2fevent%2f2561054\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/i>\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cy-and-davids-picks-two-not-sold-out-music-fests-a-gender-fluid-rocker-and-queens-of-camp",
"title": "Cy and David's Picks: Two Not-Sold-Out Music Fests, a Gender-Fluid Rocker, and Queens of Camp",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>https://soundcloud.com/kqed/the-do-list-august-5th-2016\u003c/p>\n\u003c/aside>\n\u003cp>\u003cstrong>Aug. 5:\u003c/strong> We’re highlighting the little \u003ca href=\"http://www.petalumamusicfestival.org/\" target=\"_blank\" rel=\"noopener\">Petaluma Music Festival\u003c/a> (Aug. 5) over \u003ca href=\"http://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a> (Aug. 5-7) for three reasons: Petaluma is just $45 bucks for a day (profits all go to Petaluma schools), with music by Sacramento native \u003ca href=\"http://www.jackiegreene.com\" target=\"_blank\" rel=\"noopener\">Jackie Greene\u003c/a>, The Motherhips, Moonalice, \u003ca href=\"http://www.moetar.com/\" target=\"_blank\" rel=\"noopener\">Moetar\u003c/a> (great band), and other jambands.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=olg2Wh0k9oI\u003c/p>\n\u003cp>Outside Lands (Radiohead, Lionel Richie) is $145/day. Petaluma expects barely four thousand at their home at the Sonoma/Marin Fairgrounds. Figure 55 thousand a day at Outside Lands. And finally, Outside Lands is sold out. Details on the Petaluma Music Festival are \u003ca href=\"http://www.petalumamusicfestival.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And BTW, we have an Outside Lands preview from our own \u003ca href=\"http://ww2.kqed.org/pop/2016/04/05/outside-lands-2016-radiohead-lcd-soundsystem-lionel-richie-and-muppets/\" target=\"_blank\" rel=\"noopener\">Emma Silvers here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11890032\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11890032\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/campo-jim-carmody-2_orig-e1470210208137-800x457.jpg\" alt=\"Hieronymo Acosta (Luis Vega) squares off against a strange acting Ken Ingersoll (Walker Hare) in People of Interest's 'Campo Maldito.'\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/campo-jim-carmody-2_orig-e1470210208137-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/campo-jim-carmody-2_orig-e1470210208137-400x229.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/campo-jim-carmody-2_orig-e1470210208137-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/campo-jim-carmody-2_orig-e1470210208137-960x549.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/campo-jim-carmody-2_orig-e1470210208137.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hieronymo Acosta (Luis Vega) squares off against a strange acting Ken Ingersoll (Walker Hare) in People of Interest’s ‘Campo Maldito.’ \u003ccite>(Photo: Jim Carmody/People of Interest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Aug. 13\u003c/strong>: \u003ca href=\"http://www.peopleofinterest.org/campo-maldito.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Campo Maldito \u003c/em>\u003c/a>is a play, created by the San Diego theater company \u003ca href=\"http://www.peopleofinterest.org/\" target=\"_blank\" rel=\"noopener\">People of Interest\u003c/a>, about ghosts and gentrification. It was a hit at the New York and San Francisco Fringe Festivals a few years ago, and is just as timely now. A tech startup moves into San Francisco’s Tenderloin, and the white entrepreneur hires a Santeria priest to purify the office with scary results. The well-told moral may be don’t displace the living or piss of the dead. The producers are offering free tickets to neighborhood residents. Details for the run at San Francisco’s \u003ca href=\"http://www.theexit.org/\" target=\"_blank\" rel=\"noopener\">Exit Theatre\u003c/a> are \u003ca href=\"http://www.brownpapertickets.com/event/2559855\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-SlId-8Noh8\u003c/p>\n\u003cp>\u003cstrong>Continuing through Aug. 13: \u003c/strong>It will hard to imagine the \u003ca href=\"http://cabrillomusic.org/\" target=\"_blank\" rel=\"noopener\">Cabrillo Festival of Contemporary Music\u003c/a> without \u003ca href=\"http://www.marinalsop.com/\" target=\"_blank\" rel=\"noopener\">Marin Alsop\u003c/a>. This champion of women as conductors and composers is exiting after 25 years as artistic director and conductor at the festival, leaving a brilliant legacy of newly commissioned music. The video above is for a new symphonic ballet by \u003ca href=\"http://www.annaclyne.com/\" target=\"_blank\" rel=\"noopener\">Anna Clyne \u003c/a>preming at the festival. And over the years, Alsop has welcomed Berkeley’s \u003ca href=\"http://www.earbox.com/\" target=\"_blank\" rel=\"noopener\">John Adams\u003c/a> (composing a new work this year dedicated to Alsop), the Peninsula’s \u003ca href=\"http://www.masonbates.com\" target=\"_blank\" rel=\"noopener\">Mason Bates\u003c/a>, John Corigliano, Jennifer Higdon and many others. Don’t miss your chance to see Alsop’s swan song. (Wouldn’t it be nice if the San Francisco Symphony brings her back to the Bay Area as a guest conductor once in a while. Imagine her taking over for MTT when he eventually retires). Details for Cabrillo are \u003ca href=\"http://cabrillomusic.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=o9OY_-PHMTs\u003c/p>\n\u003cp>\u003cstrong>Aug. 10-27\u003c/strong>: Here’s a stage musical that promises to be topless, tasteless and so much fun. \u003ca href=\"http://www.theatlantic.com/entertainment/archive/2014/04/its-still-ok-to-hate-em-showgirls-em/360644/\" target=\"_blank\" rel=\"noopener\">\u003cem>Showgirls\u003c/em>\u003c/a> was a really trashy and exploitative 1995 film, starring Gina Gershon and Elizabeth Berkeley, about Vegas showgirls, and what they’ll do (anything, apparently) to succeed. The movie has long been a favorite of drag queens, and now we’re getting the West Coast premiere of \u003cem>Showgirls the Musical\u003c/em>, co-starring \u003ca href=\"http://aprilkidwell.com/\" target=\"_blank\" rel=\"noopener\">April Kidwell \u003c/a>(repeating the role she originated in the New York production) and San Francisco drag queen \u003ca href=\"http://store.peacheschrist.com/\" target=\"_blank\" rel=\"noopener\">Peaches Christ \u003c/a>(Joshua Grannell), in the role of the older diva. “As drag queens and cult enthusiasts,” Christ/Grannell told me, “we saw the value in taking this film, and celebrating the absurdity, so that we take the misogyny and the sexism and put it in a drag context, and refuse to take this seriously. I don’t think this was the intention of the filmmakers at all.” This is a rare adults-only Do List item, and details for the run at the \u003ca href=\"http://www.victoriatheatre.org/\" target=\"_blank\" rel=\"noopener\">Victoria Theatre\u003c/a> in San Francisco are \u003ca href=\"http://www.showgirlsthemusical.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NDOenFQazrA\u003c/p>\n\u003cp>\u003cstrong>Aug. 10: \u003c/strong>\u003ca href=\"http://ezrafurman.com/\" target=\"_blank\" rel=\"noopener\">Ezra Furman\u003c/a> is another performer who looks good in pearls (see Peaches Christ above), He’s a gender non-conforming, smart (and smartass) conservative Jew who doesn’t play concerts on the Sabbath (Friday evening through Saturday at dusk). He’s also a terrific songwriter and singer with a knack for power pop melodic hooks, and a deep respect for rock and roll traditions from doo-wop to Bruce Springsteen to Little Richard. His new EP is about “the theme of the mind unmoored,” but Furman never seems to lose his artistic way. Details for his show at the Swedish American Hall in San Francisco Wednesday, are \u003ca href=\"http://www.swedishamericanhall.com/main/calendar/224/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IICw3txlrbs\u003c/p>\n\u003cp>\u003cstrong>Through Aug 6\u003c/strong>: For a couple of years now, we’ve been following San Francisco choreographer \u003ca href=\"http://www.postballet.org/artistic-director/\" target=\"_blank\" rel=\"noopener\">Robert Dekkers\u003c/a>‘ evolving dance opus about community and our place in the universe. Now he and his company \u003ca href=\"http://www.postballet.org/\" target=\"_blank\" rel=\"noopener\">Post:Ballet\u003c/a> are performing all the chapters together in a new staging that features food, mylar balloons, and live music performed by the Living Earth Project. Expect strange and brilliant\u003cem>. Details \u003ca href=\"http://www.zspace.org/guest-shows/do-be\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"title": "Cy and David's Picks: Two Not-Sold-Out Music Fests, a Gender-Fluid Rocker, and Queens of Camp | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>https://soundcloud.com/kqed/the-do-list-august-5th-2016\u003c/p>\n\u003c/aside>\n\u003cp>\u003cstrong>Aug. 5:\u003c/strong> We’re highlighting the little \u003ca href=\"http://www.petalumamusicfestival.org/\" target=\"_blank\" rel=\"noopener\">Petaluma Music Festival\u003c/a> (Aug. 5) over \u003ca href=\"http://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a> (Aug. 5-7) for three reasons: Petaluma is just $45 bucks for a day (profits all go to Petaluma schools), with music by Sacramento native \u003ca href=\"http://www.jackiegreene.com\" target=\"_blank\" rel=\"noopener\">Jackie Greene\u003c/a>, The Motherhips, Moonalice, \u003ca href=\"http://www.moetar.com/\" target=\"_blank\" rel=\"noopener\">Moetar\u003c/a> (great band), and other jambands.\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/olg2Wh0k9oI'\n title='//www.youtube.com/embed/olg2Wh0k9oI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Outside Lands (Radiohead, Lionel Richie) is $145/day. Petaluma expects barely four thousand at their home at the Sonoma/Marin Fairgrounds. Figure 55 thousand a day at Outside Lands. And finally, Outside Lands is sold out. Details on the Petaluma Music Festival are \u003ca href=\"http://www.petalumamusicfestival.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And BTW, we have an Outside Lands preview from our own \u003ca href=\"http://ww2.kqed.org/pop/2016/04/05/outside-lands-2016-radiohead-lcd-soundsystem-lionel-richie-and-muppets/\" target=\"_blank\" rel=\"noopener\">Emma Silvers here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11890032\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11890032\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/campo-jim-carmody-2_orig-e1470210208137-800x457.jpg\" alt=\"Hieronymo Acosta (Luis Vega) squares off against a strange acting Ken Ingersoll (Walker Hare) in People of Interest's 'Campo Maldito.'\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/campo-jim-carmody-2_orig-e1470210208137-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/campo-jim-carmody-2_orig-e1470210208137-400x229.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/campo-jim-carmody-2_orig-e1470210208137-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/campo-jim-carmody-2_orig-e1470210208137-960x549.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/campo-jim-carmody-2_orig-e1470210208137.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hieronymo Acosta (Luis Vega) squares off against a strange acting Ken Ingersoll (Walker Hare) in People of Interest’s ‘Campo Maldito.’ \u003ccite>(Photo: Jim Carmody/People of Interest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Aug. 13\u003c/strong>: \u003ca href=\"http://www.peopleofinterest.org/campo-maldito.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Campo Maldito \u003c/em>\u003c/a>is a play, created by the San Diego theater company \u003ca href=\"http://www.peopleofinterest.org/\" target=\"_blank\" rel=\"noopener\">People of Interest\u003c/a>, about ghosts and gentrification. It was a hit at the New York and San Francisco Fringe Festivals a few years ago, and is just as timely now. A tech startup moves into San Francisco’s Tenderloin, and the white entrepreneur hires a Santeria priest to purify the office with scary results. The well-told moral may be don’t displace the living or piss of the dead. The producers are offering free tickets to neighborhood residents. Details for the run at San Francisco’s \u003ca href=\"http://www.theexit.org/\" target=\"_blank\" rel=\"noopener\">Exit Theatre\u003c/a> are \u003ca href=\"http://www.brownpapertickets.com/event/2559855\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-SlId-8Noh8'\n title='//www.youtube.com/embed/-SlId-8Noh8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Continuing through Aug. 13: \u003c/strong>It will hard to imagine the \u003ca href=\"http://cabrillomusic.org/\" target=\"_blank\" rel=\"noopener\">Cabrillo Festival of Contemporary Music\u003c/a> without \u003ca href=\"http://www.marinalsop.com/\" target=\"_blank\" rel=\"noopener\">Marin Alsop\u003c/a>. This champion of women as conductors and composers is exiting after 25 years as artistic director and conductor at the festival, leaving a brilliant legacy of newly commissioned music. The video above is for a new symphonic ballet by \u003ca href=\"http://www.annaclyne.com/\" target=\"_blank\" rel=\"noopener\">Anna Clyne \u003c/a>preming at the festival. And over the years, Alsop has welcomed Berkeley’s \u003ca href=\"http://www.earbox.com/\" target=\"_blank\" rel=\"noopener\">John Adams\u003c/a> (composing a new work this year dedicated to Alsop), the Peninsula’s \u003ca href=\"http://www.masonbates.com\" target=\"_blank\" rel=\"noopener\">Mason Bates\u003c/a>, John Corigliano, Jennifer Higdon and many others. Don’t miss your chance to see Alsop’s swan song. (Wouldn’t it be nice if the San Francisco Symphony brings her back to the Bay Area as a guest conductor once in a while. Imagine her taking over for MTT when he eventually retires). Details for Cabrillo are \u003ca href=\"http://cabrillomusic.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/o9OY_-PHMTs'\n title='//www.youtube.com/embed/o9OY_-PHMTs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 10-27\u003c/strong>: Here’s a stage musical that promises to be topless, tasteless and so much fun. \u003ca href=\"http://www.theatlantic.com/entertainment/archive/2014/04/its-still-ok-to-hate-em-showgirls-em/360644/\" target=\"_blank\" rel=\"noopener\">\u003cem>Showgirls\u003c/em>\u003c/a> was a really trashy and exploitative 1995 film, starring Gina Gershon and Elizabeth Berkeley, about Vegas showgirls, and what they’ll do (anything, apparently) to succeed. The movie has long been a favorite of drag queens, and now we’re getting the West Coast premiere of \u003cem>Showgirls the Musical\u003c/em>, co-starring \u003ca href=\"http://aprilkidwell.com/\" target=\"_blank\" rel=\"noopener\">April Kidwell \u003c/a>(repeating the role she originated in the New York production) and San Francisco drag queen \u003ca href=\"http://store.peacheschrist.com/\" target=\"_blank\" rel=\"noopener\">Peaches Christ \u003c/a>(Joshua Grannell), in the role of the older diva. “As drag queens and cult enthusiasts,” Christ/Grannell told me, “we saw the value in taking this film, and celebrating the absurdity, so that we take the misogyny and the sexism and put it in a drag context, and refuse to take this seriously. I don’t think this was the intention of the filmmakers at all.” This is a rare adults-only Do List item, and details for the run at the \u003ca href=\"http://www.victoriatheatre.org/\" target=\"_blank\" rel=\"noopener\">Victoria Theatre\u003c/a> in San Francisco are \u003ca href=\"http://www.showgirlsthemusical.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/NDOenFQazrA'\n title='//www.youtube.com/embed/NDOenFQazrA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 10: \u003c/strong>\u003ca href=\"http://ezrafurman.com/\" target=\"_blank\" rel=\"noopener\">Ezra Furman\u003c/a> is another performer who looks good in pearls (see Peaches Christ above), He’s a gender non-conforming, smart (and smartass) conservative Jew who doesn’t play concerts on the Sabbath (Friday evening through Saturday at dusk). He’s also a terrific songwriter and singer with a knack for power pop melodic hooks, and a deep respect for rock and roll traditions from doo-wop to Bruce Springsteen to Little Richard. His new EP is about “the theme of the mind unmoored,” but Furman never seems to lose his artistic way. Details for his show at the Swedish American Hall in San Francisco Wednesday, are \u003ca href=\"http://www.swedishamericanhall.com/main/calendar/224/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/IICw3txlrbs'\n title='//www.youtube.com/embed/IICw3txlrbs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Through Aug 6\u003c/strong>: For a couple of years now, we’ve been following San Francisco choreographer \u003ca href=\"http://www.postballet.org/artistic-director/\" target=\"_blank\" rel=\"noopener\">Robert Dekkers\u003c/a>‘ evolving dance opus about community and our place in the universe. Now he and his company \u003ca href=\"http://www.postballet.org/\" target=\"_blank\" rel=\"noopener\">Post:Ballet\u003c/a> are performing all the chapters together in a new staging that features food, mylar balloons, and live music performed by the Living Earth Project. Expect strange and brilliant\u003cem>. Details \u003ca href=\"http://www.zspace.org/guest-shows/do-be\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Post:Ballet & The Living Earth Show are Throwing a Madcap Party at Z Space with 'Do Be'",
"headTitle": "Post:Ballet & The Living Earth Show are Throwing a Madcap Party at Z Space with ‘Do Be’ | KQED",
"content": "\u003cp>In his boyhood, Robert Dekkers must have been what poet Robert Frost christened “\u003ca href=\"https://www.poetryfoundation.org/poems-and-poets/poems/detail/44260\" target=\"_blank\" rel=\"noopener\">a swinger of birches\u003c/a>” – a fearless and intellectually curious young man with a scientific bent to his explorations. Now 31, Dekkers has been running his own dance company, \u003ca href=\"http://www.postballet.org/\" target=\"_blank\" rel=\"noopener\">Post:Ballet\u003c/a>, for the past six years. He’s also much in demand as a choreographer for other companies.\u003c/p>\n\u003cp>But Dekkers still possesses a childlike wonder and impish streak. \u003cem>\u003ca href=\"http://www.postballet.org/dobe/\" target=\"_blank\" rel=\"noopener\">Do Be\u003c/a>\u003c/em>, his latest evening-length collaboration with the guitar-percussion duo known as \u003ca href=\"http://thelivingearthshow.com\" target=\"_blank\" rel=\"noopener\">The Living Earth Show\u003c/a> is packed with mischief and whimsy. It’s a surreal, madcap adventure with universal appeal, notwithstanding its adult level of sophistication.\u003c/p>\n\u003cp>Involving Post:Ballet’s nine dancers and musicians Travis Andrews (electric guitar) and Andy Meyerson (percussion), \u003cem>Do Be\u003c/em> looks to be the kind of party where stuff gets smashed, the dominant shade of lipstick is teal blue, the cuisine is haute, the music is haunting, and the audience gets to dress up.\u003c/p>\n\u003cp>At a dress rehearsal last week, dancers zoomed around the stage in zip-up wardrobes mounted on casters. They floated in sunny yellow cloud-like tutus with shiny silver and gold balloons in the shape of stars harnessed to their backs. They grappled with tender precision and played childhood games. They threw tantrums as well as furniture and clothes out of suitcases under a canopy of lampshades suspended in air. They slid noiselessly across the stage in socks and spun like angels, their rapier-like limbs betraying the rigors of classical ballet training, meanwhile, their daring off-balance moves courted anarchy.\u003c/p>\n\u003cfigure id=\"attachment_11881726\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11881726 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/unnamed-10-e1470086380981-800x451.jpg\" alt=\"Christian Squires of Post: Ballet in Robert Dekkers' 'Do Be'\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/unnamed-10-e1470086380981-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/unnamed-10-e1470086380981-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/unnamed-10-e1470086380981-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/unnamed-10-e1470086380981-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/unnamed-10-e1470086380981-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/unnamed-10-e1470086380981.jpg 1368w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christian Squires of Post: Ballet in Robert Dekkers’ ‘Do Be’ \u003ccite>(Photo: Tricia Cronin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meyerson and Andrews commissioned the five-movement score for \u003cem>Do Be\u003c/em> from five cutting-edge composers with wildly contrasting approaches. In rehearsal last week, Andrews maneuvered a laptop, a harmonica, and five different guitars – bowing one of them to particularly poignant effect – while Meyerson bounced from drum kit to vibraphone, an array of power tools, and the classic \u003cem>Simon \u003c/em>electronic buzzer game from the 1970’s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Composer Jacob Cooper’s score also has Meyerson pulverizing china and glassware with a hammer. (No doubt his silver foil space-age costume will protect him from flying shards.) The versatile duo sings live as well, delivering, in Nicole Lizée’s score, a gripping interpretation of “Michael, Row Your Boat Ashore” – a spiritual originally sung by freed slaves during the American Civil War.\u003c/p>\n\u003cp>Images of quest and a lonely struggle compete with scenes of playful, familial mayhem, orchestrated by a large team of collaborators that includes set and costume designer Christian Squires, architect Robbie Gilson, lighting designer Jim French, and other creative artists.\u003c/p>\n\u003cp>Post:Ballet has unveiled a few of the individual episodes of \u003cem>Do Be\u003c/em> over the past 18 months. And a music video of one segment of the show, entitled “Tassel,” scored by Anna Meredith and directed by John Sanborn, has just been released this week.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=IICw3txlrbs&w=560&h=315]\u003c/p>\n\u003cp>I reviewed an early incarnation of “\u003ca href=\"http://www.huffingtonpost.com/carla-escoda/power-plays-by-robert-dek_b_6204488.html\" target=\"_blank\" rel=\"noopener\">Tassel\u003c/a>” and found its rapid devolution from a vision of tranquil domesticity into hell and chaos darkly mesmerizing – like a René Magritte painting come to life. Dekkers has tinkered with the piece since, and seeing it in rehearsal last week, stitched into the fabric of a larger ecosystem, cast the work in a dreamier light.\u003c/p>\n\u003cp>Dekkers explains the work’s title as a critique of modern society’s penchant for “doing” rather than just “being.” “\u003cem>Do Be\u003c/em> emerged from my search for balance amidst a world that is constantly being turned upside down and inside out,” Dekkers says. Over a year ago, while in the throes of pulling together this ambitious collaboration, he suffered a serious injury from which he has taken a long time to recover and which forced him to change the way he worked with his dancers. Though this barely seems to slow down the pace of his creative activities. “I’m a very physical dance-maker,” Dekkers says.\u003c/p>\n\u003cp>Dekkers says \u003cem>Do Be\u003c/em> partly reflects this upheaval in his life. He also says the show was inspired by his interest in environmental and social issues as well as his evolving personal relationships, including his recent marriage to Squires (who, in addition to creating the designs for \u003cem>Do Be\u003c/em>, has danced with Post:Ballet since the company’s inception.)\u003c/p>\n\u003cp>“The older I get, the more I realize that life is inherently chaotic and disorderly – but even amidst all of this commotion, a soft and steady hum keeps us moving forward,” Dekkers says. “It keeps us connected to ourselves, those around us, and our world as a whole.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Do Be\u003c/em> runs from Thursday, Aug. 4 – Saturday, Aug. 6 at \u003ca href=\"http://www.zspace.org/guest-shows/do-be\" target=\"_blank\" rel=\"noopener\">Z Space\u003c/a> in San Francisco. For more information, click \u003ca href=\"http://www.postballet.org/\">here\u003c/a>.\u003c/p>\n\n",
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"excerpt": "Involving musicians from The Living Earth Show, Post: Ballet's latest show looks to be the kind of party where stuff gets smashed, the dominant shade of lipstick is teal blue, and the audience gets to dress up.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In his boyhood, Robert Dekkers must have been what poet Robert Frost christened “\u003ca href=\"https://www.poetryfoundation.org/poems-and-poets/poems/detail/44260\" target=\"_blank\" rel=\"noopener\">a swinger of birches\u003c/a>” – a fearless and intellectually curious young man with a scientific bent to his explorations. Now 31, Dekkers has been running his own dance company, \u003ca href=\"http://www.postballet.org/\" target=\"_blank\" rel=\"noopener\">Post:Ballet\u003c/a>, for the past six years. He’s also much in demand as a choreographer for other companies.\u003c/p>\n\u003cp>But Dekkers still possesses a childlike wonder and impish streak. \u003cem>\u003ca href=\"http://www.postballet.org/dobe/\" target=\"_blank\" rel=\"noopener\">Do Be\u003c/a>\u003c/em>, his latest evening-length collaboration with the guitar-percussion duo known as \u003ca href=\"http://thelivingearthshow.com\" target=\"_blank\" rel=\"noopener\">The Living Earth Show\u003c/a> is packed with mischief and whimsy. It’s a surreal, madcap adventure with universal appeal, notwithstanding its adult level of sophistication.\u003c/p>\n\u003cp>Involving Post:Ballet’s nine dancers and musicians Travis Andrews (electric guitar) and Andy Meyerson (percussion), \u003cem>Do Be\u003c/em> looks to be the kind of party where stuff gets smashed, the dominant shade of lipstick is teal blue, the cuisine is haute, the music is haunting, and the audience gets to dress up.\u003c/p>\n\u003cp>At a dress rehearsal last week, dancers zoomed around the stage in zip-up wardrobes mounted on casters. They floated in sunny yellow cloud-like tutus with shiny silver and gold balloons in the shape of stars harnessed to their backs. They grappled with tender precision and played childhood games. They threw tantrums as well as furniture and clothes out of suitcases under a canopy of lampshades suspended in air. They slid noiselessly across the stage in socks and spun like angels, their rapier-like limbs betraying the rigors of classical ballet training, meanwhile, their daring off-balance moves courted anarchy.\u003c/p>\n\u003cfigure id=\"attachment_11881726\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11881726 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/unnamed-10-e1470086380981-800x451.jpg\" alt=\"Christian Squires of Post: Ballet in Robert Dekkers' 'Do Be'\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/unnamed-10-e1470086380981-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/unnamed-10-e1470086380981-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/unnamed-10-e1470086380981-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/unnamed-10-e1470086380981-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/unnamed-10-e1470086380981-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/unnamed-10-e1470086380981.jpg 1368w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christian Squires of Post: Ballet in Robert Dekkers’ ‘Do Be’ \u003ccite>(Photo: Tricia Cronin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meyerson and Andrews commissioned the five-movement score for \u003cem>Do Be\u003c/em> from five cutting-edge composers with wildly contrasting approaches. In rehearsal last week, Andrews maneuvered a laptop, a harmonica, and five different guitars – bowing one of them to particularly poignant effect – while Meyerson bounced from drum kit to vibraphone, an array of power tools, and the classic \u003cem>Simon \u003c/em>electronic buzzer game from the 1970’s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Composer Jacob Cooper’s score also has Meyerson pulverizing china and glassware with a hammer. (No doubt his silver foil space-age costume will protect him from flying shards.) The versatile duo sings live as well, delivering, in Nicole Lizée’s score, a gripping interpretation of “Michael, Row Your Boat Ashore” – a spiritual originally sung by freed slaves during the American Civil War.\u003c/p>\n\u003cp>Images of quest and a lonely struggle compete with scenes of playful, familial mayhem, orchestrated by a large team of collaborators that includes set and costume designer Christian Squires, architect Robbie Gilson, lighting designer Jim French, and other creative artists.\u003c/p>\n\u003cp>Post:Ballet has unveiled a few of the individual episodes of \u003cem>Do Be\u003c/em> over the past 18 months. And a music video of one segment of the show, entitled “Tassel,” scored by Anna Meredith and directed by John Sanborn, has just been released this week.\u003c/p>\n\u003cp>\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/IICw3txlrbs'\n title='//www.youtube.com/embed/IICw3txlrbs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>I reviewed an early incarnation of “\u003ca href=\"http://www.huffingtonpost.com/carla-escoda/power-plays-by-robert-dek_b_6204488.html\" target=\"_blank\" rel=\"noopener\">Tassel\u003c/a>” and found its rapid devolution from a vision of tranquil domesticity into hell and chaos darkly mesmerizing – like a René Magritte painting come to life. Dekkers has tinkered with the piece since, and seeing it in rehearsal last week, stitched into the fabric of a larger ecosystem, cast the work in a dreamier light.\u003c/p>\n\u003cp>Dekkers explains the work’s title as a critique of modern society’s penchant for “doing” rather than just “being.” “\u003cem>Do Be\u003c/em> emerged from my search for balance amidst a world that is constantly being turned upside down and inside out,” Dekkers says. Over a year ago, while in the throes of pulling together this ambitious collaboration, he suffered a serious injury from which he has taken a long time to recover and which forced him to change the way he worked with his dancers. Though this barely seems to slow down the pace of his creative activities. “I’m a very physical dance-maker,” Dekkers says.\u003c/p>\n\u003cp>Dekkers says \u003cem>Do Be\u003c/em> partly reflects this upheaval in his life. He also says the show was inspired by his interest in environmental and social issues as well as his evolving personal relationships, including his recent marriage to Squires (who, in addition to creating the designs for \u003cem>Do Be\u003c/em>, has danced with Post:Ballet since the company’s inception.)\u003c/p>\n\u003cp>“The older I get, the more I realize that life is inherently chaotic and disorderly – but even amidst all of this commotion, a soft and steady hum keeps us moving forward,” Dekkers says. “It keeps us connected to ourselves, those around us, and our world as a whole.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Do Be\u003c/em> runs from Thursday, Aug. 4 – Saturday, Aug. 6 at \u003ca href=\"http://www.zspace.org/guest-shows/do-be\" target=\"_blank\" rel=\"noopener\">Z Space\u003c/a> in San Francisco. For more information, click \u003ca href=\"http://www.postballet.org/\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cy and David's Picks: The Russians are Coming, Speaking to Angels, and Pottermania",
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"headTitle": "Cy and David’s Picks: The Russians are Coming, Speaking to Angels, and Pottermania | KQED",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/07/TDL20160722.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>https://www.youtube.com/watch?v=vDIPDVw7tTU\u003c/p>\n\u003cp>\u003cstrong>July 22, Aug. 12 & 13\u003c/strong>: Though she’s not as big as the fictional Harry Potter, \u003ca href=\"http://gracepotter.com/\" target=\"_blank\" rel=\"noopener\">Grace Potter \u003c/a> deserves some of the same mania the boy wizard gets for the way she and her band the Nocturnals have made roots-rock both polished and loose enough to be commercial as well as really good. She’s touring now with some of her old band mates, behind \u003cem>Midnight\u003c/em>, her new solo album made with help from producer Eric Valentine. She says she wants her new work to show “growth and change and experimentation.” But it’s her musicianship (watch her play guitar and piano in the video above), and her graceful-yet-powerful voice that makes it all work. Potter is doing a trio of Northern California and Nevada shows at some pretty slick venues: Look for details for her concert at Somo Village \u003ca href=\"http://www.somoconcerts.com/upcoming\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, at the Crystal Bay Club \u003ca href=\"http://devildogshows.com/fri-aug-12th-2016-grace-potter-w-tba-after-party-w-the-nightowls-in-the-crystal-bay-club-casino-crown-room-on-sale-june-10th/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and at Mountain Winery \u003ca href=\"http://www.axs.com/events/309139/grace-potter-tickets?skin=mountainwinery\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3XfvILESXX4\u003c/p>\n\u003cp>\u003cstrong>July 28-31\u003c/strong>: \u003cem>Speak Angels\u003c/em> is a brand new evening-length dance work by \u003ca href=\"http://garrettmoulton.org/\" target=\"_blank\" rel=\"noopener\">Janice Garrett and Charles Moulton\u003c/a> that features 24 dancers, and a troupe of musicians and singers. In past shows, Garrett and Moulton have proved they know how to shape wonderful stories out of these big productions. \u003cem>Speak Angels\u003c/em>, they say, is a dance on the way “sudden, unforeseen moments of illumination” provide guidance and support at key moments of our lives. Details are \u003ca href=\"https://www.ybca.org/whats-on/speak-angels\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hAH7JImhmBw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Continuing through Aug. 6\u003c/strong>: \u003ca href=\"http://www.musicatmenlo.org/\" target=\"_blank\" rel=\"noopener\">Music at Menlo\u003c/a> is a Bay Area treasure and a reminder that some of the best Classical and modern music is written not for orchestra, but for small ensembles. This year, co-Founders and artistic directors Wu Han (piano) and David Finckel (cello) are presenting a feast of Russian composers from Rachmaninoff and Mussorgski to Shostakovich and Prokofiev with performances by the \u003ca href=\"http://calidorestringquartet.com/\" target=\"_blank\" rel=\"noopener\">Calidore String Quartet\u003c/a>, Matthew Lipman, Alexander Sitkovetsky, Gloria Chien and more, plus master classes. Best of all, the concerts are in small rooms perfect for the intimacy of chamber music. Details \u003ca href=\"http://www.musicatmenlo.org/calendar/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rjz8vVH6xVU\u003c/p>\n\u003cp>\u003cstrong>Aug. 26-27\u003c/strong>: Woodsist is a little festival in the Redwoods with a big lineup and now in its 7th year on the Big Sur coast. It’s a celebration of psych folk and indie with Jonathan Richman, Steve Gunn, White Fence, Jessica Pratt, Michael Hurley, Kevin Morby, Cian Nugent, Little Wings, and more in a setting that can’t be beat. Details \u003ca href=\"http://www.woodsist.com/catalog/available/woodsist-festival-2016-big-sur-2/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11841606\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11841606 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-800x475.jpg\" alt=\"'The Gathering' by Arje Shaw features left to right- Kahlil Leneus, Tracy Camp, Edward Nattenberg, and Arje Shaw\" width=\"800\" height=\"475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-400x237.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-768x456.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-1180x700.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-1920x1139.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-960x569.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Gathering’ by Arje Shaw features left to right- Kahlil Leneus, Tracy Camp, Edward Nattenberg, and Arje Shaw \u003ccite>(Photo: David Allen Studio/Live Oak Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 22-Aug. 20\u003c/strong>: \u003ca href=\"http://www.liveoaktheater.org/\" target=\"_blank\" rel=\"noopener\">Berkeley’s Live Oak Theater\u003c/a> is reviving \u003cem>The Gathering\u003c/em> by Arje Shaw, a show about an American family wrestling with the legacy of the Holocaust. Dad is a speechwriter for President Reagan in 1985, just as the Gipper is about to visit Bitberg Cemetery, where SS soldiers are buried. Grandpa is a holocaust survivor who insists his son stop this travesty of history. And between them is the grandson, who the grandfather drags off to Germany in protest. The prolific and terrific \u003ca href=\"http://www.mercurynews.com/entertainment/ci_29618942/theater-profile-invincible-joy-carlin\" target=\"_blank\" rel=\"noopener\">Joy Carlin\u003c/a> directs and in a very-Berkeley update, the Jewish family is bi-racial. Shaw himself plays the grandpa, and actor Kahlil Leneus plays the grandson, a role originated by a young Jesse Eisenberg in 1999. Details \u003ca href=\"http://www.liveoaktheater.org/event/c9ab7dee2e6d9eeef1422cfe4d447de5\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11841768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11841768\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-800x533.jpg\" alt=\"Margo Hall and Aldo Billingslea star in Fences at California Shakespeare Theater\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margo Hall and Aldo Billingslea star in Fences at California Shakespeare Theater \u003ccite>(Photo: Kevin Berne/California Shakespeare Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Through July 31\u003c/strong>: You have one more week to catch one of the best plays of the year, August Wilson’s \u003cem>Fences\u003c/em> at Cal Shakes. Aldo Billingslea and Margo Hall lead a terrific cast in this show, directed by Raelle Myrick-Hodges, about a garbage truck driver and his family in Pittsburgh (PA) in the 1950’s. Details \u003ca href=\"http://www.calshakes.org/v4/ourplays/2016/2016_fences.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=g_gPdGgbrNg\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>July 22 – July 24\u003c/strong>: The J-Pop Summit is a balanced diet of Japanese popular culture, celebrating the country’s music (including Wednesday Campanella, who’s in the video above), anime, manga, Japanese film, plus a Sake tasting, a ramen noodle summit, fashion and cosplay show, and this year will include the festival’s first ever drag contest. The festival outgrew its old home in S.F.’s Japantown, and now is at Fort Mason. Mika Anami is one of the organizers. “It’s a totally different culture,” she told me, “even though there’s a lot that we see in common. So we want to intrigue people enough that one day they eventually decide they want to go visit Japan.” Hope they’re paying for the ticket. Details \u003ca href=\"http://www.j-pop.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n",
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"title": "Cy and David's Picks: The Russians are Coming, Speaking to Angels, and Pottermania | KQED",
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"headline": "Cy and David's Picks: The Russians are Coming, Speaking to Angels, and Pottermania",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/07/TDL20160722.mp3\u003cbr>\n\u003c/p>\u003c/aside>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vDIPDVw7tTU'\n title='//www.youtube.com/embed/vDIPDVw7tTU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 22, Aug. 12 & 13\u003c/strong>: Though she’s not as big as the fictional Harry Potter, \u003ca href=\"http://gracepotter.com/\" target=\"_blank\" rel=\"noopener\">Grace Potter \u003c/a> deserves some of the same mania the boy wizard gets for the way she and her band the Nocturnals have made roots-rock both polished and loose enough to be commercial as well as really good. She’s touring now with some of her old band mates, behind \u003cem>Midnight\u003c/em>, her new solo album made with help from producer Eric Valentine. She says she wants her new work to show “growth and change and experimentation.” But it’s her musicianship (watch her play guitar and piano in the video above), and her graceful-yet-powerful voice that makes it all work. Potter is doing a trio of Northern California and Nevada shows at some pretty slick venues: Look for details for her concert at Somo Village \u003ca href=\"http://www.somoconcerts.com/upcoming\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, at the Crystal Bay Club \u003ca href=\"http://devildogshows.com/fri-aug-12th-2016-grace-potter-w-tba-after-party-w-the-nightowls-in-the-crystal-bay-club-casino-crown-room-on-sale-june-10th/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and at Mountain Winery \u003ca href=\"http://www.axs.com/events/309139/grace-potter-tickets?skin=mountainwinery\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3XfvILESXX4'\n title='//www.youtube.com/embed/3XfvILESXX4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 28-31\u003c/strong>: \u003cem>Speak Angels\u003c/em> is a brand new evening-length dance work by \u003ca href=\"http://garrettmoulton.org/\" target=\"_blank\" rel=\"noopener\">Janice Garrett and Charles Moulton\u003c/a> that features 24 dancers, and a troupe of musicians and singers. In past shows, Garrett and Moulton have proved they know how to shape wonderful stories out of these big productions. \u003cem>Speak Angels\u003c/em>, they say, is a dance on the way “sudden, unforeseen moments of illumination” provide guidance and support at key moments of our lives. Details are \u003ca href=\"https://www.ybca.org/whats-on/speak-angels\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/hAH7JImhmBw'\n title='//www.youtube.com/embed/hAH7JImhmBw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Continuing through Aug. 6\u003c/strong>: \u003ca href=\"http://www.musicatmenlo.org/\" target=\"_blank\" rel=\"noopener\">Music at Menlo\u003c/a> is a Bay Area treasure and a reminder that some of the best Classical and modern music is written not for orchestra, but for small ensembles. This year, co-Founders and artistic directors Wu Han (piano) and David Finckel (cello) are presenting a feast of Russian composers from Rachmaninoff and Mussorgski to Shostakovich and Prokofiev with performances by the \u003ca href=\"http://calidorestringquartet.com/\" target=\"_blank\" rel=\"noopener\">Calidore String Quartet\u003c/a>, Matthew Lipman, Alexander Sitkovetsky, Gloria Chien and more, plus master classes. Best of all, the concerts are in small rooms perfect for the intimacy of chamber music. Details \u003ca href=\"http://www.musicatmenlo.org/calendar/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rjz8vVH6xVU'\n title='//www.youtube.com/embed/rjz8vVH6xVU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Aug. 26-27\u003c/strong>: Woodsist is a little festival in the Redwoods with a big lineup and now in its 7th year on the Big Sur coast. It’s a celebration of psych folk and indie with Jonathan Richman, Steve Gunn, White Fence, Jessica Pratt, Michael Hurley, Kevin Morby, Cian Nugent, Little Wings, and more in a setting that can’t be beat. Details \u003ca href=\"http://www.woodsist.com/catalog/available/woodsist-festival-2016-big-sur-2/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11841606\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11841606 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-800x475.jpg\" alt=\"'The Gathering' by Arje Shaw features left to right- Kahlil Leneus, Tracy Camp, Edward Nattenberg, and Arje Shaw\" width=\"800\" height=\"475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-400x237.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-768x456.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-1180x700.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-1920x1139.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Gathering-by-Arje-Shaw-features-left-to-right-Kahlil-Leneus-Tracy-Camp-Edward-Nattenberg-and-Arje-Shaw-960x569.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Gathering’ by Arje Shaw features left to right- Kahlil Leneus, Tracy Camp, Edward Nattenberg, and Arje Shaw \u003ccite>(Photo: David Allen Studio/Live Oak Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 22-Aug. 20\u003c/strong>: \u003ca href=\"http://www.liveoaktheater.org/\" target=\"_blank\" rel=\"noopener\">Berkeley’s Live Oak Theater\u003c/a> is reviving \u003cem>The Gathering\u003c/em> by Arje Shaw, a show about an American family wrestling with the legacy of the Holocaust. Dad is a speechwriter for President Reagan in 1985, just as the Gipper is about to visit Bitberg Cemetery, where SS soldiers are buried. Grandpa is a holocaust survivor who insists his son stop this travesty of history. And between them is the grandson, who the grandfather drags off to Germany in protest. The prolific and terrific \u003ca href=\"http://www.mercurynews.com/entertainment/ci_29618942/theater-profile-invincible-joy-carlin\" target=\"_blank\" rel=\"noopener\">Joy Carlin\u003c/a> directs and in a very-Berkeley update, the Jewish family is bi-racial. Shaw himself plays the grandpa, and actor Kahlil Leneus plays the grandson, a role originated by a young Jesse Eisenberg in 1999. Details \u003ca href=\"http://www.liveoaktheater.org/event/c9ab7dee2e6d9eeef1422cfe4d447de5\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11841768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11841768\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-800x533.jpg\" alt=\"Margo Hall and Aldo Billingslea star in Fences at California Shakespeare Theater\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Margo-Hall-and-Aldo-Billingslea-star-in-Fences-at-California-Shakespeare-Theater-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Margo Hall and Aldo Billingslea star in Fences at California Shakespeare Theater \u003ccite>(Photo: Kevin Berne/California Shakespeare Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Through July 31\u003c/strong>: You have one more week to catch one of the best plays of the year, August Wilson’s \u003cem>Fences\u003c/em> at Cal Shakes. Aldo Billingslea and Margo Hall lead a terrific cast in this show, directed by Raelle Myrick-Hodges, about a garbage truck driver and his family in Pittsburgh (PA) in the 1950’s. Details \u003ca href=\"http://www.calshakes.org/v4/ourplays/2016/2016_fences.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/g_gPdGgbrNg'\n title='//www.youtube.com/embed/g_gPdGgbrNg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>July 22 – July 24\u003c/strong>: The J-Pop Summit is a balanced diet of Japanese popular culture, celebrating the country’s music (including Wednesday Campanella, who’s in the video above), anime, manga, Japanese film, plus a Sake tasting, a ramen noodle summit, fashion and cosplay show, and this year will include the festival’s first ever drag contest. The festival outgrew its old home in S.F.’s Japantown, and now is at Fort Mason. Mika Anami is one of the organizers. “It’s a totally different culture,” she told me, “even though there’s a lot that we see in common. So we want to intrigue people enough that one day they eventually decide they want to go visit Japan.” Hope they’re paying for the ticket. Details \u003ca href=\"http://www.j-pop.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "women-to-watch-my-linh-le",
"title": "Women to Watch: My-Linh Le",
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"content": "\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch\u003c/a>, a series celebrating 20 local artists, creatives and makers who are pushing boundaries in 2016. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>As a dancer with a law degree, Oakland-based artist My-Linh Le is no stranger to being at the intersection of unlikely things. With her newest endeavor \u003ca href=\"http://www.mudwatertheatre.com/\" target=\"_blank\" rel=\"noopener\">Mud Water\u003cbr>\nTheatre\u003c/a>, Le takes turf dancing, ballet and poetry and weaves them together in her typical fashion: with passion, love and delight in the unexpected.\u003c/p>\n\u003cp>\u003cb>Where do you live?\u003c/b>\u003cbr>\nLake Merritt, Oakland.[contextly_sidebar id=”8j2me1m99D5ysIjGeycuzyoVASYhXTue”]\u003c/p>\n\u003cp>\u003cb>Describe yourself in one word?\u003c/b>\u003cbr>\nVisceral.\u003c/p>\n\u003cp>\u003cb>What did you do last night?\u003c/b>\u003cbr>\nI paid my annual visit to the Homeland Cultural Center in Long Beach, CA. Every Monday night they have an open freestyle dance session where anyone can show up to dance, or just watch, or learn from some of the older street dancers who have been at it since the 1980s or even earlier. I learned a new trick or two from one of my favorite dancers in the whole world. Then I drove back to Oakland right after.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>What can’t you live without?\u003c/b>\u003cbr>\n\u003cspan style=\"line-height: 1.5\">Love, balance, nature, community/connection, all my limbs, music, inspiration, passion, clean water and air and food and so many other things that I’m realizing what a miracle it is that I’m alive.\u003c/span>\u003c/p>\n\u003cp>\u003cb>If you could travel anywhere in the world, where would it be?\u003c/b>\u003cbr>\nLike if I were invincible and there were absolutely no limitations on my ability to travel to these places? I would say the bottom of the Arctic Ocean or the top of Mount Meru, maybe the jungles of Indonesia or the Amazon rainforest.\u003c/p>\n\u003cp>\u003cb>Who is your personal hero? Why?\u003c/b>\u003cbr>\nMy mom. She’s the bravest, most resilient fighter I know. And when she loves, she does so fiercely, selflessly, and completely. And she just has an incredible amount of energy and strength to do most things herself.\u003c/p>\n\u003cfigure id=\"attachment_11800952\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11800952\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/wp-body-mylinh-800x450.jpg\" alt=\"My-Linh Le\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-mylinh-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-mylinh-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-mylinh-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-mylinh-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-mylinh.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-mylinh-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">My-Linh Le \u003ccite>(Photo: Travis Jensen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did you find your creative voice?\u003c/strong>\u003cbr>\nIt found me! Somewhat late in life. I didn’t start dancing until I was 17 and it only finally happened because of two things: one, my high school offered a dance class as an alternative to P.E., and two, I got a driver’s license and my parents gave me a car which was sort of amazing given how strict they were. As soon as I gained enough autonomy, I learned to lie and tell them I was going off to do volunteer work, and then I would go to a dance practice or rehearsal instead.\u003c/p>\n\u003cp>\u003cstrong>What is something most people don’t know about you?\u003c/strong>\u003cbr>\nThat I am unlimited. But of course that is something even I myself don’t know about me.\u003c/p>\n\u003cp>\u003cstrong>What do you do when you feel uninspired?\u003c/strong>\u003cbr>\nWait it out. Sleep it off. Pray on it. Watch a movie. Cook/eat something delicious. Take a long bath. Visit a mountain. Let go and trust myself.\u003c/p>\n\u003cp>\u003cstrong>What’s been your biggest ‘learning moment,’ and what did you you take from the experience?\u003c/strong>\u003cbr>\nThat it’s not about becoming “better” but rather becoming more of who you are. The problem with focusing on becoming better is that you’re always comparing yourself to something else, even if that something else is your potentially “better” self. I once read a quote by Hayao Miyazaki that really spoke to this lesson: “To be born means being compelled to choose an era, a place, a life. To exist here, now, means to lose the possibility of being countless other potential selves.” You have never been this you before and you will never be this you again. That’s what loving yourself entails — really taking an honest and extensive look at all that you are and all that you feel, really knowing, and being gentle and compassionate even after all of the terrible things surface.\u003c/p>\n\u003cfigure id=\"attachment_11800954\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11800954 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/wp-body-mylinh-3-800x331.jpg\" alt=\"My-Linh Le\" width=\"800\" height=\"331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-mylinh-3-800x331.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-mylinh-3-400x166.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-mylinh-3-768x318.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-mylinh-3-1180x489.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-mylinh-3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-mylinh-3-960x398.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">My-Linh Le \u003ccite>(Photo: Travis Jensen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What’s your greatest achievement, and how has it shaped you?\u003c/strong>\u003cbr>\nProbably getting through law school, passing the California bar exam, and surviving my first job as an attorney. The skills I picked up in that whole process really shaped the way I communicate, the way I listen or take in information, the way I write, the way I edit, the way I organize, the way I push attention to details, and so on. This affects not only my artmaking but also how I conduct myself in all of my relationships (professional and personal).\u003c/p>\n\u003cp>\u003cstrong>Coffee or tea? What kind?\u003c/strong>\u003cbr>\nNeither — water, no ice. Sparkling if I’m at a fancy restaurant and I feel like the waiter is sizing me up.\u003c/p>\n\u003cp>\u003cstrong>What does a perfect day look like for you?\u003c/strong>\u003cbr>\nNot too big, not too small.. not too hot, not too cold.[contextly_sidebar id=”XxwdY6fsID6DnHzEBugocHe4fuHCpEBg”]\u003c/p>\n\u003cp>\u003cstrong>Who are your local inspirations?\u003c/strong>\u003cbr>\nI find inspiration everywhere, from almost everything. Steph Curry — I don’t even care about basketball (or any other sport) at all, but I could find a whole world of inspiration in how graceful he is. Len Carella is an artist whose work I adore, I’ve seen his ceramics here and there and fall in love whenever I see them. The activism in Oakland has really lit a fire in me — I work with the \u003ca href=\"http://www.biologicaldiversity.org/\" target=\"_blank\" rel=\"noopener\">Center for Biological Diversity\u003c/a> and I am inspired everyday by the fearlessness and genius of the environmentalists that work there. And of course the dancers here and all over the Bay Area who inspire me everyday, of which there are way too many for me to name. But the biggest influence on my own dance comes from the San Jose crew \u003ca href=\"https://www.facebook.com/Playboyz-Inc-759220467442810/\" target=\"_blank\" rel=\"noopener\">Playboyz Inc.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Favorite meal?\u003c/strong>\u003cbr>\nDessert.\u003c/p>\n\u003cfigure id=\"attachment_11800955\" class=\"wp-caption aligncenter\" style=\"max-width: 691px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11800955\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/wp-body-mylinh-2-691x600.jpg\" alt=\"My-Linh Le\" width=\"691\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-mylinh-2-691x600.jpg 691w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-mylinh-2-400x348.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-mylinh-2-768x667.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-mylinh-2-1180x1025.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-mylinh-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-mylinh-2-960x834.jpg 960w\" sizes=\"(max-width: 691px) 100vw, 691px\">\u003cfigcaption class=\"wp-caption-text\">My-Linh Le \u003ccite>(Photo: Travis Jensen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What upcoming show are you excited about?\u003c/strong>\u003cbr>\nWould it be self-centered to say the second iteration of Mud Water? Honestly, the project has little to do with me (I’m not performing in it), I just think the Mud Water dancers are so incredibly talented and they’re all such beautiful and fascinating people. I’m really excited to see what else surfaces as they get deeper into this project.\u003c/p>\n\u003cp>\u003cstrong>Where do you see yourself in five years?\u003c/strong>\u003cbr>\nStill doing what I’m doing now, I think, only with more certainty, skill, grace, and confidence, I should hope.\u003c/p>\n\u003cp>\u003cstrong>If you could live in a book, TV show, movie, play or painting, what would it be?\u003c/strong>\u003cbr>\nOh my god, \u003ca href=\"https://en.wikipedia.org/wiki/Avatar:_The_Last_Airbender\" target=\"_blank\" rel=\"noopener\">\u003cem>Avatar: the Last Airbender\u003c/em>\u003c/a>. But if you had asked me this 20 years ago, I would’ve said \u003ca href=\"http://anneofgreengables.com/\" target=\"_blank\" rel=\"noopener\">Anne of Green Gables\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Where and when can people see you or your art in action?\u003c/strong>\u003cbr>\nMud Water will be performing later this year in November at the University of San Francisco, and at Dance Mission Theater. Visit us at \u003ca href=\"http://www.mudwatertheatre.com\" target=\"_blank\" rel=\"noopener\">mudwatertheatre.com\u003c/a> to see some samples of our project and to subscribe for updates.\u003c/p>\n\u003cp>\u003cstrong>Check out KQED Arts’ profile on My-Linh and her work with the Mud Water Project below: \u003c/strong>\u003c/p>\n\u003cp>https://youtu.be/6JUCv9uaaAE\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener\">We\u003c/a> want to hear from you! Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch\u003c/a>, a series celebrating 20 local artists, creatives and makers who are pushing boundaries in 2016. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>As a dancer with a law degree, Oakland-based artist My-Linh Le is no stranger to being at the intersection of unlikely things. With her newest endeavor \u003ca href=\"http://www.mudwatertheatre.com/\" target=\"_blank\" rel=\"noopener\">Mud Water\u003cbr>\nTheatre\u003c/a>, Le takes turf dancing, ballet and poetry and weaves them together in her typical fashion: with passion, love and delight in the unexpected.\u003c/p>\n\u003cp>\u003cb>Where do you live?\u003c/b>\u003cbr>\nLake Merritt, Oakland.\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cb>Describe yourself in one word?\u003c/b>\u003cbr>\nVisceral.\u003c/p>\n\u003cp>\u003cb>What did you do last night?\u003c/b>\u003cbr>\nI paid my annual visit to the Homeland Cultural Center in Long Beach, CA. Every Monday night they have an open freestyle dance session where anyone can show up to dance, or just watch, or learn from some of the older street dancers who have been at it since the 1980s or even earlier. I learned a new trick or two from one of my favorite dancers in the whole world. Then I drove back to Oakland right after.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>What can’t you live without?\u003c/b>\u003cbr>\n\u003cspan style=\"line-height: 1.5\">Love, balance, nature, community/connection, all my limbs, music, inspiration, passion, clean water and air and food and so many other things that I’m realizing what a miracle it is that I’m alive.\u003c/span>\u003c/p>\n\u003cp>\u003cb>If you could travel anywhere in the world, where would it be?\u003c/b>\u003cbr>\nLike if I were invincible and there were absolutely no limitations on my ability to travel to these places? I would say the bottom of the Arctic Ocean or the top of Mount Meru, maybe the jungles of Indonesia or the Amazon rainforest.\u003c/p>\n\u003cp>\u003cb>Who is your personal hero? Why?\u003c/b>\u003cbr>\nMy mom. She’s the bravest, most resilient fighter I know. And when she loves, she does so fiercely, selflessly, and completely. And she just has an incredible amount of energy and strength to do most things herself.\u003c/p>\n\u003cfigure id=\"attachment_11800952\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11800952\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/wp-body-mylinh-800x450.jpg\" alt=\"My-Linh Le\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-mylinh-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-mylinh-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-mylinh-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-mylinh-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-mylinh.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-mylinh-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">My-Linh Le \u003ccite>(Photo: Travis Jensen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did you find your creative voice?\u003c/strong>\u003cbr>\nIt found me! Somewhat late in life. I didn’t start dancing until I was 17 and it only finally happened because of two things: one, my high school offered a dance class as an alternative to P.E., and two, I got a driver’s license and my parents gave me a car which was sort of amazing given how strict they were. As soon as I gained enough autonomy, I learned to lie and tell them I was going off to do volunteer work, and then I would go to a dance practice or rehearsal instead.\u003c/p>\n\u003cp>\u003cstrong>What is something most people don’t know about you?\u003c/strong>\u003cbr>\nThat I am unlimited. But of course that is something even I myself don’t know about me.\u003c/p>\n\u003cp>\u003cstrong>What do you do when you feel uninspired?\u003c/strong>\u003cbr>\nWait it out. Sleep it off. Pray on it. Watch a movie. Cook/eat something delicious. Take a long bath. Visit a mountain. Let go and trust myself.\u003c/p>\n\u003cp>\u003cstrong>What’s been your biggest ‘learning moment,’ and what did you you take from the experience?\u003c/strong>\u003cbr>\nThat it’s not about becoming “better” but rather becoming more of who you are. The problem with focusing on becoming better is that you’re always comparing yourself to something else, even if that something else is your potentially “better” self. I once read a quote by Hayao Miyazaki that really spoke to this lesson: “To be born means being compelled to choose an era, a place, a life. To exist here, now, means to lose the possibility of being countless other potential selves.” You have never been this you before and you will never be this you again. That’s what loving yourself entails — really taking an honest and extensive look at all that you are and all that you feel, really knowing, and being gentle and compassionate even after all of the terrible things surface.\u003c/p>\n\u003cfigure id=\"attachment_11800954\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11800954 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/wp-body-mylinh-3-800x331.jpg\" alt=\"My-Linh Le\" width=\"800\" height=\"331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-mylinh-3-800x331.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-mylinh-3-400x166.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-mylinh-3-768x318.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-mylinh-3-1180x489.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-mylinh-3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-mylinh-3-960x398.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">My-Linh Le \u003ccite>(Photo: Travis Jensen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What’s your greatest achievement, and how has it shaped you?\u003c/strong>\u003cbr>\nProbably getting through law school, passing the California bar exam, and surviving my first job as an attorney. The skills I picked up in that whole process really shaped the way I communicate, the way I listen or take in information, the way I write, the way I edit, the way I organize, the way I push attention to details, and so on. This affects not only my artmaking but also how I conduct myself in all of my relationships (professional and personal).\u003c/p>\n\u003cp>\u003cstrong>Coffee or tea? What kind?\u003c/strong>\u003cbr>\nNeither — water, no ice. Sparkling if I’m at a fancy restaurant and I feel like the waiter is sizing me up.\u003c/p>\n\u003cp>\u003cstrong>What does a perfect day look like for you?\u003c/strong>\u003cbr>\nNot too big, not too small.. not too hot, not too cold.\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Who are your local inspirations?\u003c/strong>\u003cbr>\nI find inspiration everywhere, from almost everything. Steph Curry — I don’t even care about basketball (or any other sport) at all, but I could find a whole world of inspiration in how graceful he is. Len Carella is an artist whose work I adore, I’ve seen his ceramics here and there and fall in love whenever I see them. The activism in Oakland has really lit a fire in me — I work with the \u003ca href=\"http://www.biologicaldiversity.org/\" target=\"_blank\" rel=\"noopener\">Center for Biological Diversity\u003c/a> and I am inspired everyday by the fearlessness and genius of the environmentalists that work there. And of course the dancers here and all over the Bay Area who inspire me everyday, of which there are way too many for me to name. But the biggest influence on my own dance comes from the San Jose crew \u003ca href=\"https://www.facebook.com/Playboyz-Inc-759220467442810/\" target=\"_blank\" rel=\"noopener\">Playboyz Inc.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Favorite meal?\u003c/strong>\u003cbr>\nDessert.\u003c/p>\n\u003cfigure id=\"attachment_11800955\" class=\"wp-caption aligncenter\" style=\"max-width: 691px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11800955\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/wp-body-mylinh-2-691x600.jpg\" alt=\"My-Linh Le\" width=\"691\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-mylinh-2-691x600.jpg 691w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-mylinh-2-400x348.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-mylinh-2-768x667.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-mylinh-2-1180x1025.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-mylinh-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/wp-body-mylinh-2-960x834.jpg 960w\" sizes=\"(max-width: 691px) 100vw, 691px\">\u003cfigcaption class=\"wp-caption-text\">My-Linh Le \u003ccite>(Photo: Travis Jensen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What upcoming show are you excited about?\u003c/strong>\u003cbr>\nWould it be self-centered to say the second iteration of Mud Water? Honestly, the project has little to do with me (I’m not performing in it), I just think the Mud Water dancers are so incredibly talented and they’re all such beautiful and fascinating people. I’m really excited to see what else surfaces as they get deeper into this project.\u003c/p>\n\u003cp>\u003cstrong>Where do you see yourself in five years?\u003c/strong>\u003cbr>\nStill doing what I’m doing now, I think, only with more certainty, skill, grace, and confidence, I should hope.\u003c/p>\n\u003cp>\u003cstrong>If you could live in a book, TV show, movie, play or painting, what would it be?\u003c/strong>\u003cbr>\nOh my god, \u003ca href=\"https://en.wikipedia.org/wiki/Avatar:_The_Last_Airbender\" target=\"_blank\" rel=\"noopener\">\u003cem>Avatar: the Last Airbender\u003c/em>\u003c/a>. But if you had asked me this 20 years ago, I would’ve said \u003ca href=\"http://anneofgreengables.com/\" target=\"_blank\" rel=\"noopener\">Anne of Green Gables\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Where and when can people see you or your art in action?\u003c/strong>\u003cbr>\nMud Water will be performing later this year in November at the University of San Francisco, and at Dance Mission Theater. Visit us at \u003ca href=\"http://www.mudwatertheatre.com\" target=\"_blank\" rel=\"noopener\">mudwatertheatre.com\u003c/a> to see some samples of our project and to subscribe for updates.\u003c/p>\n\u003cp>\u003cstrong>Check out KQED Arts’ profile on My-Linh and her work with the Mud Water Project below: \u003c/strong>\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/6JUCv9uaaAE'\n title='//www.youtube.com/embed/6JUCv9uaaAE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener\">We\u003c/a> want to hear from you! Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/07/TDL20160708.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>https://www.youtube.com/watch?v=CO6RhAMLSWU\u003c/p>\n\u003cp>\u003cstrong>July 10\u003c/strong>: Singer-songwriter \u003ca href=\"http://margaretglaspy.com/\" target=\"_blank\" rel=\"noopener\">Margaret Glaspy\u003c/a> writes smart lyrics about relationships with a voice that’s sometimes girlish, sometimes raspy, both sweet and angry. “You and I have been a mistake,” she sings on her new album, “I let it linger too long” — a line that reminds me perfectly of the recent experiences of someone I know. We have to mention Glaspy’s local connection. She’s from Red Bluff, though she lives in Brooklyn now. So I’m waiting (maybe in vain) for her to record a song about the glories of the Upper Sacramento Valley. Details of her \u003ca href=\"http://www.rickshawstop.com/\" target=\"_blank\" rel=\"noopener\">Rickshaw Stop\u003c/a> show on Sunday are \u003ca href=\"http://www.rickshawstop.com/event/1171939-margaret-glaspy-san-francisco/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_OiTWrMDwmM’\u003c/p>\n\u003cp>\u003cstrong>July 8-10\u003c/strong>: \u003ca href=\"http://asimagery.org/\" target=\"_blank\" rel=\"noopener\">Amy Seiwert \u003c/a>(prounced \u003cem>SIGH-wurt\u003c/em>) is a very busy dance maker, and she’s back with her sixth annual Sketch series (this weekend at Ft. Mason), a chance to experiment and mix modern and classical styles. This time she’s commissioned new work from the Bay Area’s prolific Val Caniparoli, and from young choreographer Nicole Haskins of Smuin Ballet. The theme at Sketch 6 is language, so, Seiwert’s new dance is set to a poem by Neil Gaiman. Ticket and show \u003ca href=\"https://fortmason.org/event/sketch-6-use-your-words/\" target=\"_blank\" rel=\"noopener\">details are here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=viqRKOu63eE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>July 9-23\u003c/strong>: The programming for the \u003ca href=\"http://www.mendocinomusic.org\" target=\"_blank\" rel=\"noopener\">Mendocino Music Festival\u003c/a> made David use a cliche he says he hates: “Something for everyone.” The two-week festival in Fort Bragg and the town of Mendocino features adventurous (and personable) classical musicians like Geoff Nuttall (Stanford’s St. Lawrence String Quartet) and Gloria Cheng, a mini-Beethoven festival, a production of Mozart’s \u003cem>Abduction from the Seraglio\u003c/em>, and then there’s a pop lineup as well — including Peter Mawanga and his band out of Malawi, guitar wizard Alex Di Grassi, busker Jack Broadbent (he plays a mean slide guitar), and the amazing gospel and soul singer Liz Vice. Yes, it is \u003cem>so\u003c/em> worth the drive to Mendocino and Fort Bragg. Details\u003ca href=\"http://mendocinomusic.org/\" target=\"_blank\" rel=\"noopener\"> here. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11786645\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11786645\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/San-Jose-Opera-presents-excerpts-from-the-upcoming-season-in-a-free-concert-at-Willow-Glens-Bramhall-Park-800x554.jpg\" alt=\"San Jose Opera presents excerpts from the upcoming season in a free concert at Willow Glen's Bramhall Park\" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/San-Jose-Opera-presents-excerpts-from-the-upcoming-season-in-a-free-concert-at-Willow-Glens-Bramhall-Park-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/San-Jose-Opera-presents-excerpts-from-the-upcoming-season-in-a-free-concert-at-Willow-Glens-Bramhall-Park-400x277.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/San-Jose-Opera-presents-excerpts-from-the-upcoming-season-in-a-free-concert-at-Willow-Glens-Bramhall-Park-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/San-Jose-Opera-presents-excerpts-from-the-upcoming-season-in-a-free-concert-at-Willow-Glens-Bramhall-Park-1180x817.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/San-Jose-Opera-presents-excerpts-from-the-upcoming-season-in-a-free-concert-at-Willow-Glens-Bramhall-Park-960x665.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/San-Jose-Opera-presents-excerpts-from-the-upcoming-season-in-a-free-concert-at-Willow-Glens-Bramhall-Park.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Jose Opera presents excerpts from the upcoming season in a free concert at Willow Glen’s Bramhall Park \u003ccite>(Photo: Courtesy San Jose Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"line-height: 1.5\">\u003cstrong>July 10\u003c/strong>: The Bay Area’s little opera company that tries harder, San Jose Opera, is offering a free concert — so it’s our CHEAP THRILL! Sunday in Bramhall Park in Willow Glen at 6:30, with selections from their new season — La Boheme, Lucia de Lammermoor, Barber of Seville, Silent Night. Details\u003ca href=\"http://www.operasj.org/events/561/opera-in-bramhall-park/\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BSSBwQOkHgE\u003c/p>\n\u003cp>\u003cstrong>July 9-Aug. 27\u003c/strong>: We both loved the one-man play Dan Hoyle wrote and performed a few years ago about the way the country was so divided over President Obama and the Tea Party. He compiled the work out of interviews he did across America, and out of his eloquent imagination. Now he’s updated the show, with new conversations about Trump and the politics of 2016. But he told me this week that the concerns of 2012 remain sadly relevant. “Because the financial housing bubble of 2008,” he said, “is still wreaking havoc on people’s lives, and they want a radical change. Almost everyone I talked to was excited about either Trump or Bernie, and sometimes at the same time.” Details of this fresh revival at the Marsh in San Francisco are \u003ca href=\"http://themarsh.org/dan_hoyle/dan-hoyle-2/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FCQDdCBltIU\u003c/p>\n\u003cp>\u003cstrong>July 9\u003c/strong>: I like to think that the sun always comes out somewhere in San Francisco, no matter how foggy the weather (like it’s been this week). But there will definitely be some heat on the stage when all the little indie bands play at \u003ca href=\"http://www.phonodelsol.com/\" target=\"_blank\" rel=\"noopener\">Phono del Sol \u003c/a>Saturday. This is a co-production of \u003ca href=\"http://thebaybridged.com/\" target=\"_blank\" rel=\"noopener\">The Bay Bridged\u003c/a> and John Van der Slice’s \u003ca href=\"http://www.tinytelephone.com/\" target=\"_blank\" rel=\"noopener\">Tiny Telephone studios\u003c/a>. Which means impeccable taste, with Chairlift as the headliner, and San Francisco bands \u003ca href=\"https://www.facebook.com/HotFlashHeatWave/\" target=\"_blank\" rel=\"noopener\">Hot Flash Heat Wave \u003c/a>( new album), Oakland’s \u003ca href=\"https://theseshen.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">The Seshen\u003c/a>, Alvvays, Born Ruffians, Mr Little Jeans, The She’s, SF rapper \u003ca href=\"http://adamvida.com/\" target=\"_blank\" rel=\"noopener\">Adam Vida\u003c/a> (very cool), and more. Details \u003ca href=\"http://www.phonodelsol.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/07/TDL20160708.mp3\u003cbr>\n\u003c/p>\u003c/aside>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/CO6RhAMLSWU'\n title='//www.youtube.com/embed/CO6RhAMLSWU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 10\u003c/strong>: Singer-songwriter \u003ca href=\"http://margaretglaspy.com/\" target=\"_blank\" rel=\"noopener\">Margaret Glaspy\u003c/a> writes smart lyrics about relationships with a voice that’s sometimes girlish, sometimes raspy, both sweet and angry. “You and I have been a mistake,” she sings on her new album, “I let it linger too long” — a line that reminds me perfectly of the recent experiences of someone I know. We have to mention Glaspy’s local connection. She’s from Red Bluff, though she lives in Brooklyn now. So I’m waiting (maybe in vain) for her to record a song about the glories of the Upper Sacramento Valley. Details of her \u003ca href=\"http://www.rickshawstop.com/\" target=\"_blank\" rel=\"noopener\">Rickshaw Stop\u003c/a> show on Sunday are \u003ca href=\"http://www.rickshawstop.com/event/1171939-margaret-glaspy-san-francisco/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/_OiTWrMDwmM'\n title='//www.youtube.com/embed/_OiTWrMDwmM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 8-10\u003c/strong>: \u003ca href=\"http://asimagery.org/\" target=\"_blank\" rel=\"noopener\">Amy Seiwert \u003c/a>(prounced \u003cem>SIGH-wurt\u003c/em>) is a very busy dance maker, and she’s back with her sixth annual Sketch series (this weekend at Ft. Mason), a chance to experiment and mix modern and classical styles. This time she’s commissioned new work from the Bay Area’s prolific Val Caniparoli, and from young choreographer Nicole Haskins of Smuin Ballet. The theme at Sketch 6 is language, so, Seiwert’s new dance is set to a poem by Neil Gaiman. Ticket and show \u003ca href=\"https://fortmason.org/event/sketch-6-use-your-words/\" target=\"_blank\" rel=\"noopener\">details are here. \u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/viqRKOu63eE'\n title='//www.youtube.com/embed/viqRKOu63eE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>July 9-23\u003c/strong>: The programming for the \u003ca href=\"http://www.mendocinomusic.org\" target=\"_blank\" rel=\"noopener\">Mendocino Music Festival\u003c/a> made David use a cliche he says he hates: “Something for everyone.” The two-week festival in Fort Bragg and the town of Mendocino features adventurous (and personable) classical musicians like Geoff Nuttall (Stanford’s St. Lawrence String Quartet) and Gloria Cheng, a mini-Beethoven festival, a production of Mozart’s \u003cem>Abduction from the Seraglio\u003c/em>, and then there’s a pop lineup as well — including Peter Mawanga and his band out of Malawi, guitar wizard Alex Di Grassi, busker Jack Broadbent (he plays a mean slide guitar), and the amazing gospel and soul singer Liz Vice. Yes, it is \u003cem>so\u003c/em> worth the drive to Mendocino and Fort Bragg. Details\u003ca href=\"http://mendocinomusic.org/\" target=\"_blank\" rel=\"noopener\"> here. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11786645\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11786645\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/San-Jose-Opera-presents-excerpts-from-the-upcoming-season-in-a-free-concert-at-Willow-Glens-Bramhall-Park-800x554.jpg\" alt=\"San Jose Opera presents excerpts from the upcoming season in a free concert at Willow Glen's Bramhall Park\" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/San-Jose-Opera-presents-excerpts-from-the-upcoming-season-in-a-free-concert-at-Willow-Glens-Bramhall-Park-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/San-Jose-Opera-presents-excerpts-from-the-upcoming-season-in-a-free-concert-at-Willow-Glens-Bramhall-Park-400x277.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/San-Jose-Opera-presents-excerpts-from-the-upcoming-season-in-a-free-concert-at-Willow-Glens-Bramhall-Park-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/San-Jose-Opera-presents-excerpts-from-the-upcoming-season-in-a-free-concert-at-Willow-Glens-Bramhall-Park-1180x817.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/San-Jose-Opera-presents-excerpts-from-the-upcoming-season-in-a-free-concert-at-Willow-Glens-Bramhall-Park-960x665.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/San-Jose-Opera-presents-excerpts-from-the-upcoming-season-in-a-free-concert-at-Willow-Glens-Bramhall-Park.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Jose Opera presents excerpts from the upcoming season in a free concert at Willow Glen’s Bramhall Park \u003ccite>(Photo: Courtesy San Jose Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"line-height: 1.5\">\u003cstrong>July 10\u003c/strong>: The Bay Area’s little opera company that tries harder, San Jose Opera, is offering a free concert — so it’s our CHEAP THRILL! Sunday in Bramhall Park in Willow Glen at 6:30, with selections from their new season — La Boheme, Lucia de Lammermoor, Barber of Seville, Silent Night. Details\u003ca href=\"http://www.operasj.org/events/561/opera-in-bramhall-park/\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/BSSBwQOkHgE'\n title='//www.youtube.com/embed/BSSBwQOkHgE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 9-Aug. 27\u003c/strong>: We both loved the one-man play Dan Hoyle wrote and performed a few years ago about the way the country was so divided over President Obama and the Tea Party. He compiled the work out of interviews he did across America, and out of his eloquent imagination. Now he’s updated the show, with new conversations about Trump and the politics of 2016. But he told me this week that the concerns of 2012 remain sadly relevant. “Because the financial housing bubble of 2008,” he said, “is still wreaking havoc on people’s lives, and they want a radical change. Almost everyone I talked to was excited about either Trump or Bernie, and sometimes at the same time.” Details of this fresh revival at the Marsh in San Francisco are \u003ca href=\"http://themarsh.org/dan_hoyle/dan-hoyle-2/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FCQDdCBltIU'\n title='//www.youtube.com/embed/FCQDdCBltIU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 9\u003c/strong>: I like to think that the sun always comes out somewhere in San Francisco, no matter how foggy the weather (like it’s been this week). But there will definitely be some heat on the stage when all the little indie bands play at \u003ca href=\"http://www.phonodelsol.com/\" target=\"_blank\" rel=\"noopener\">Phono del Sol \u003c/a>Saturday. This is a co-production of \u003ca href=\"http://thebaybridged.com/\" target=\"_blank\" rel=\"noopener\">The Bay Bridged\u003c/a> and John Van der Slice’s \u003ca href=\"http://www.tinytelephone.com/\" target=\"_blank\" rel=\"noopener\">Tiny Telephone studios\u003c/a>. Which means impeccable taste, with Chairlift as the headliner, and San Francisco bands \u003ca href=\"https://www.facebook.com/HotFlashHeatWave/\" target=\"_blank\" rel=\"noopener\">Hot Flash Heat Wave \u003c/a>( new album), Oakland’s \u003ca href=\"https://theseshen.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">The Seshen\u003c/a>, Alvvays, Born Ruffians, Mr Little Jeans, The She’s, SF rapper \u003ca href=\"http://adamvida.com/\" target=\"_blank\" rel=\"noopener\">Adam Vida\u003c/a> (very cool), and more. Details \u003ca href=\"http://www.phonodelsol.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"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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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
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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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"tagline": "Politics from a personal perspective",
"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.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"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.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
"id": "reveal",
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"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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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"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": {
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