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"content": "\u003cp>“Drink wine. Eat soup. Ask questions.” These are choreographer Cid Pearlman’s instructions to the audience before curtain at \u003cem>\u003ca href=\"http://www.cidpearlman.org/\" target=\"_blank\" rel=\"noopener\">Economies of Effort: 3\u003c/a>.\u003c/em> These words are far from the soothing “silence your cellphones and locate the nearest emergency exit” that we’ve come to expect at the kickoff of a dance performance, and serve to set the tone for the entertaining and provocative experience that is to come.\u003c/p>\n\u003cp>The initial two-weekend-long run of the production at \u003ca href=\"http://www.felixkulpa.com\" target=\"_blank\" rel=\"noopener\">Felix Kulpa Gallery\u003c/a> in Santa Cruz (the company moves to the Joe Goode Annex, San Francisco, in April) takes place in a courtyard bristling with fanciful fountains and sculptures made of found objects. The backdrop includes, among other objects, half-melted vintage Apple computers, a phone booth that looks suspiciously like the scene of a crime, and a PG&E utility pole resting at a graceful angle against the gallery fence. Much of the hardware is the handiwork of Robbie Schoen, sculptor, gallery director, and Cid Pearlman accomplice on this and other projects. The area is also strewn about with plywood boxes constructed by the dancers themselves in \u003cem>\u003ca href=\"http://www.cidpearlman.org/economies-of-effort-1\" target=\"_blank\" rel=\"noopener\">Economies of Effort:1\u003c/a>\u003c/em>, an earlier incarnation of this performance series.\u003c/p>\n\u003cp>At the top of the show, Pearlman’s company of 15 dancers disperses to various corners of the sculpture garden and gallery to engage each other in mysterious and intriguing rituals. Between outbursts of dance, they take turns chopping vegetables and stirring the soup in a stockpot simmering on a burner in the garden.\u003c/p>\n\u003cp>The audience is invited to wander.\u003c/p>\n\u003cfigure id=\"attachment_11423324\" class=\"wp-caption aligncenter\" style=\"max-width: 718px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11423324 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/1040715_1070349846321391_3888383225188117119_o-e1458605688539-718x600.jpg\" alt=\"Cid Pearlman's Economies of Effort:3 (Photo: Adam Freidin) \" width=\"718\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1040715_1070349846321391_3888383225188117119_o-e1458605688539-718x600.jpg 718w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1040715_1070349846321391_3888383225188117119_o-e1458605688539-400x334.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1040715_1070349846321391_3888383225188117119_o-e1458605688539-768x642.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1040715_1070349846321391_3888383225188117119_o-e1458605688539-1180x986.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1040715_1070349846321391_3888383225188117119_o-e1458605688539-960x802.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1040715_1070349846321391_3888383225188117119_o-e1458605688539.jpg 1360w\" sizes=\"(max-width: 718px) 100vw, 718px\">\u003cfigcaption class=\"wp-caption-text\">Cid Pearlman’s ‘Economies of Effort:3’ (Photo: Adam Freidin)\u003c/figcaption>\u003c/figure>\n\u003cp>In one spot, dancers haul each other up to kiss the bright light at the top of a sagging street lamp. In another, a sextet of women repeatedly slams into a gallery wall, exploring it, scaling it, attacking it in impressive unison. Elsewhere, a quartet nuzzles and nudges a woman on top of a card table. At first the action seems playful. But when the group starts sloshing a basin of water over the woman’s head, thoughts of waterboarding come to mind.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In this whimsical playground, the interactions, though mostly lighthearted and droll, often seem deliberately ambiguous. Inside a plywood box, a pair of dancers clamber acrobatically around each other, and over and around a pair of chairs. A sliver of artificial turf lying outside the box, like a welcome mat or a hint of lawn, suggests that this modest space is their home. Their fun-loving maneuvers morph into something more serious: a commentary on the Bay Area housing crisis.\u003c/p>\n\u003cfigure id=\"attachment_11423325\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11423325\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o-800x533.jpg\" alt=\"Cid Pearlman's Economies of Effort:3 (Photo: Adam Freidin) \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cid Pearlman’s ‘Economies of Effort:3’ (Photo: Adam Freidin)\u003c/figcaption>\u003c/figure>\n\u003cp>The most searing sequence is a stylized wrestling match involving three men and a woman, who grapple barefoot inside the tight confines of an area inside the gallery painted checkerboard black and white. The dancers move to the haunting sounds of electric violin and cello emanating from a nearby laptop.\u003c/p>\n\u003cp>\u003cem>Economies of Effort\u003c/em> is a title that suggests hard times and hard work. But for the audience (limited to 35 in each run) the performance feels luxurious. Watching these distinctive dancers at such close quarters, at whatever angles we choose, with the liberty to come and go and share our thoughts with others as we please, is a rare pleasure. We know the show is over when the dancers take their bows in an eerie light thrown off by the steam rising from the stockpot and the murmur of “soup’s ready” ripples through the crowd.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"http://cidpearlman.org/home\" target=\"_blank\" rel=\"noopener\">Economies of Effort:3\u003c/a>\u003c/em> runs for one more weekend in Santa Cruz (Mar. 24 – 27) then migrates to the Joe Goode Annex in San Francisco from Apr. 8 – 9. Admission is free, part of Cid Pearlman’s “Year of Free.”\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In this whimsical playground, the interactions, though mostly lighthearted and droll, often seem deliberately ambiguous. Inside a plywood box, a pair of dancers clamber acrobatically around each other, and over and around a pair of chairs. A sliver of artificial turf lying outside the box, like a welcome mat or a hint of lawn, suggests that this modest space is their home. Their fun-loving maneuvers morph into something more serious: a commentary on the Bay Area housing crisis.\u003c/p>\n\u003cfigure id=\"attachment_11423325\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11423325\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o-800x533.jpg\" alt=\"Cid Pearlman's Economies of Effort:3 (Photo: Adam Freidin) \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/1933429_1070349866321389_8902653849881558589_o.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cid Pearlman’s ‘Economies of Effort:3’ (Photo: Adam Freidin)\u003c/figcaption>\u003c/figure>\n\u003cp>The most searing sequence is a stylized wrestling match involving three men and a woman, who grapple barefoot inside the tight confines of an area inside the gallery painted checkerboard black and white. The dancers move to the haunting sounds of electric violin and cello emanating from a nearby laptop.\u003c/p>\n\u003cp>\u003cem>Economies of Effort\u003c/em> is a title that suggests hard times and hard work. But for the audience (limited to 35 in each run) the performance feels luxurious. Watching these distinctive dancers at such close quarters, at whatever angles we choose, with the liberty to come and go and share our thoughts with others as we please, is a rare pleasure. We know the show is over when the dancers take their bows in an eerie light thrown off by the steam rising from the stockpot and the murmur of “soup’s ready” ripples through the crowd.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"http://cidpearlman.org/home\" target=\"_blank\" rel=\"noopener\">Economies of Effort:3\u003c/a>\u003c/em> runs for one more weekend in Santa Cruz (Mar. 24 – 27) then migrates to the Joe Goode Annex in San Francisco from Apr. 8 – 9. Admission is free, part of Cid Pearlman’s “Year of Free.”\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>One of the most tantalizing films I’ve ever seen is \u003cem>The Swimmer\u003c/em>, a surreal masterpiece from 1968 based on a John Cheever short story. It stars a middle-aged but still very buff and tan Burt Lancaster as a man who impulsively decides to swim home from a suburban summer garden party at a friend’s house by traversing all the many pools that lie between other people’s backyards and his own. As the afternoon unfolds, the bright, jovial atmosphere becomes broodingly autumnal, until our hero, exhausted in his Speedos after a series of unfortunate encounters and mishaps, finally arrives at his empty, derelict home.\u003c/p>\n\u003cp>Cheever’s chilly narrative, reimagined as a 41-minute ballet by company stalwart Yuri Possokhov, is the centerpiece of \u003cem>\u003ca href=\"https://www.sfballet.org/events/sensorium\" target=\"_blank\" rel=\"noopener\">Sensorium\u003c/a>\u003c/em>, a splashy soiree of dance, music, food and booze organized by the San Francisco Ballet (SF Ballet) as a way to reel the millennial crowd into the War Memorial Opera House. The event did well last year, so it’s back again for a second iteration on Wednesday, Mar. 23.\u003c/p>\n\u003cfigure id=\"attachment_11428906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11428906\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-800x526.jpg\" alt=\"Guests at SF Ballet's first Sensorium event in 2015\" width=\"800\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-400x263.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-1180x776.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-1920x1262.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-960x631.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guests at SF Ballet’s first Sensorium event in 2015 \u003ccite>(Photo Erik Tomasson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The choice of Possokhov’s \u003cem>Swimmer\u003c/em> for this event makes sense: Of all the pieces in SF Ballet’s recent history, it’s likely to be one of the most impressive to a young, tech-savvy crowd. Waves of Tom Waits music and immersive video depicting mid-century scenes of suburban Americana sweep the dance along.\u003c/p>\n\u003cp>Beyond the proscenium, \u003cem>Sensorium\u003c/em> gives audiences the chance to experience various pop-up events. These aren’t the usual thing. There’s a pair of massive 30-foot-long crashing wave video projections, inspired by \u003cem>Swimmer, \u003c/em>that you can actually walk through because the video is projected onto “theatrical string” like a 70s-style beaded curtain.\u003c/p>\n\u003cp>And the art-tech company \u003ca href=\"http://teleportlabs.com/\" target=\"_blank\" rel=\"noopener\">Teleport Labs\u003c/a> has created a virtual reality film piece based on a snippets of a rehearsal of \u003cem>Pas/Parts\u003c/em> — that’s the other ballet on the evening’s performance program choreographed by William Forsythe — that apparently can be experienced without those goofy-looking glasses and helmets.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Also, fashion designer Lan Jaenicke is setting up a “mini-atelier” in the lobby of the opera house where she and her team plan to create instant couture gowns tailor-made for a few lucky audience members…out of bed sheets.\u003c/p>\n\u003cp>But here’s what I’m personally most excited about: Professionals from the company are joining audience members on the dance floor after the main performance. After all, it’s not every day you get to boogie on down with ballet stars like Yuan Yuan Tan and Mathilde Froustey.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The San Francisco Ballet presents \u003cem>Sensorium\u003c/em> on Wednesday, Mar. 23 at the War Memorial Opera House in San Francisco. Head \u003ca href=\"https://www.sfballet.org/events/sensorium\" target=\"_blank\" rel=\"noopener\">here \u003c/a>for more information. \u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the most tantalizing films I’ve ever seen is \u003cem>The Swimmer\u003c/em>, a surreal masterpiece from 1968 based on a John Cheever short story. It stars a middle-aged but still very buff and tan Burt Lancaster as a man who impulsively decides to swim home from a suburban summer garden party at a friend’s house by traversing all the many pools that lie between other people’s backyards and his own. As the afternoon unfolds, the bright, jovial atmosphere becomes broodingly autumnal, until our hero, exhausted in his Speedos after a series of unfortunate encounters and mishaps, finally arrives at his empty, derelict home.\u003c/p>\n\u003cp>Cheever’s chilly narrative, reimagined as a 41-minute ballet by company stalwart Yuri Possokhov, is the centerpiece of \u003cem>\u003ca href=\"https://www.sfballet.org/events/sensorium\" target=\"_blank\" rel=\"noopener\">Sensorium\u003c/a>\u003c/em>, a splashy soiree of dance, music, food and booze organized by the San Francisco Ballet (SF Ballet) as a way to reel the millennial crowd into the War Memorial Opera House. The event did well last year, so it’s back again for a second iteration on Wednesday, Mar. 23.\u003c/p>\n\u003cfigure id=\"attachment_11428906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11428906\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-800x526.jpg\" alt=\"Guests at SF Ballet's first Sensorium event in 2015\" width=\"800\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-400x263.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-1180x776.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-1920x1262.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/SEN15EVT_ET31355-e1458695019400-960x631.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guests at SF Ballet’s first Sensorium event in 2015 \u003ccite>(Photo Erik Tomasson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The choice of Possokhov’s \u003cem>Swimmer\u003c/em> for this event makes sense: Of all the pieces in SF Ballet’s recent history, it’s likely to be one of the most impressive to a young, tech-savvy crowd. Waves of Tom Waits music and immersive video depicting mid-century scenes of suburban Americana sweep the dance along.\u003c/p>\n\u003cp>Beyond the proscenium, \u003cem>Sensorium\u003c/em> gives audiences the chance to experience various pop-up events. These aren’t the usual thing. There’s a pair of massive 30-foot-long crashing wave video projections, inspired by \u003cem>Swimmer, \u003c/em>that you can actually walk through because the video is projected onto “theatrical string” like a 70s-style beaded curtain.\u003c/p>\n\u003cp>And the art-tech company \u003ca href=\"http://teleportlabs.com/\" target=\"_blank\" rel=\"noopener\">Teleport Labs\u003c/a> has created a virtual reality film piece based on a snippets of a rehearsal of \u003cem>Pas/Parts\u003c/em> — that’s the other ballet on the evening’s performance program choreographed by William Forsythe — that apparently can be experienced without those goofy-looking glasses and helmets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Also, fashion designer Lan Jaenicke is setting up a “mini-atelier” in the lobby of the opera house where she and her team plan to create instant couture gowns tailor-made for a few lucky audience members…out of bed sheets.\u003c/p>\n\u003cp>But here’s what I’m personally most excited about: Professionals from the company are joining audience members on the dance floor after the main performance. After all, it’s not every day you get to boogie on down with ballet stars like Yuan Yuan Tan and Mathilde Froustey.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The San Francisco Ballet presents \u003cem>Sensorium\u003c/em> on Wednesday, Mar. 23 at the War Memorial Opera House in San Francisco. Head \u003ca href=\"https://www.sfballet.org/events/sensorium\" target=\"_blank\" rel=\"noopener\">here \u003c/a>for more information. \u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Who Is the Dancer on the Highway 101 Overpass?",
"title": "Who Is the Dancer on the Highway 101 Overpass?",
"headTitle": "Bay Curious | News Fix | KQED News",
"content": "\u003cp>\u003cem>As part of our series \u003ca href=\"http://ww2.kqed.org/news/series/baycurious\" target=\"_blank\">Bay Curious\u003c/a>, we are answering questions from KQED listeners and readers. This one comes from San Francisco resident Amy Kistler.\u003c/em>\u003c/p>\n\u003cp>[dropcap]A[/dropcap]my Kistler has seen a man dancing on the 18th Street pedestrian overpass above Highway 101 in San Francisco for years. Her evening commutes from Emeryville back to the city are speckled with sightings of the dancing man, who always holds a large red heart in his hand.\u003c/p>\n\u003cp>\"Is he going to be there, is he not going to be there?\" Kistler regularly wonders as she crawls toward the overpass in rush-hour traffic.\u003c/p>\n\u003cp>[baycuriousbug]\u003c/p>\n\u003cp>It became a kind of game in her office, Kistler said. Her co-workers would share when they saw the dancing man, and try to guess what brought him up to the bridge.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Finally stumped, Kistler asked Bay Curious, \"What's the story with the dancer on the 18th Street overpass?\"\u003c/p>\n\u003cfigure id=\"attachment_10901209\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/javonne-on-bridge.jpg\" alt=\"For many drivers on Highway 101, Javonne Hatfield is a regular fixture on their commute.\" width=\"2560\" height=\"1440\" class=\"size-full wp-image-10901209\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge.jpg 2560w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge-960x540.jpg 960w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">For many drivers on Highway 101, Javonne Hatfield is a regular fixture on their commute. \u003ccite>(Lucas Waldron/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Man Behind The Dance Moves\u003c/h2>\n\u003cp>San Francisco native Javonne Hatfield, 23, started dancing at his family's church when he was 8 years old.\u003c/p>\n\u003cp>\"I was always dancing around and everyone was like, 'Why can't you stay still?' \" he says.\u003c/p>\n\u003cp>From that early age, his mother encouraged him to practice in the arts, and had him take part in musicals and plays at the Cosmopolitan Baptist Church in Ingleside. One day, he tried praise dance, a spiritual performance art done as a form of worship.\u003c/p>\n\u003cp>\"You paint your face white and you mime to inspirational music or gospel music,\" he explains. \u003c/p>\n\u003cp>It was an instant connection for Hatfield.\u003c/p>\n\u003cp>\"I always felt that there was this was unspoken power that comes over me when I participate in any kind of dance,\" he says. \"I would always get this very special feeling and think 'This is for me.'\"\u003c/p>\n\u003ch2>Dancing For Drivers\u003c/h2>\n\u003cp>Three years ago, Hatfield was at a difficult point in life. His mother had died four years earlier and he was going through some big life changes. \u003c/p>\n\u003cp>\"I was trying to figure out, 'What’s my purpose? Why am I here? What can I do at this point in time to get the negative energy out?'\" he says.\u003c/p>\n\u003cp>One evening, he walked out to a bridge over Highway 101 near his Portola district home and stared down at the cars crawling in traffic below him. He says he noticed how unhappy everybody looked -- how they were all focused on getting to their destination and not happy to be there.\u003c/p>\n\u003cp>On a whim, he threw up a peace sign at the drivers.\u003c/p>\n\u003cp>And it felt \u003cem>good\u003c/em>.\u003c/p>\n\u003cp>Quickly, an idea formed and before long Hatfield had returned to the bridge with a piece of cork board he'd cut into the shape of a heart and spray painted red. \u003c/p>\n\u003cp>Looking down at the cars, \"I got chills throughout my body, and I started shaking a little bit. I told myself don’t think about it,\" he says. \"Once I started dancing I could hear the car honks over the music and see people waving at me. That's when it stuck — this is what I need to do.\"\u003c/p>\n\u003cp>After a few location changes, and an upgrade on his heart-shaped prop, Hatfield settled into his regular spot on the pedestrian bridge near the Vermont Street exit. In a way, the bridge -- floating in front of an expansive view of San Francisco -- has been his unofficial stage for the last two and a half years.\u003c/p>\n\u003cfigure id=\"attachment_10900871\" class=\"wp-caption alignleft\" style=\"max-width: 480px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/bridgedance1.gif\" alt=\"Even when Hatfield is having a bad day, he works to brighten someone else's day. "It’s crazy because somehow it always works and makes my day better," he says.\" width=\"480\" height=\"270\" class=\"size-full wp-image-10900871\">\u003cfigcaption class=\"wp-caption-text\">Even when Hatfield is having a bad day, he works to brighten someone else's day. \"It’s crazy because somehow it always works and makes my day better,\" he says. \u003ccite>(Lucas Waldron/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"This particular location is like a gateway in and out of San Francisco,\" Hatfield explains. Drivers going nearly anywhere in the city will pass under him on their way in or out of town.\u003c/p>\n\u003cp>\"I believe what you put out is what you get back. So, I try to just give out good, give out good,\" he says. \"It's all about the love, and that's what my message is.\"\u003c/p>\n\u003cp>Hatfield says the dancing also makes him feel connected to his mother and God. He says a prayer every time before he dances.\u003c/p>\n\u003cp>\"My mom would give people chances if they messed up in life. She was always there for people and had a big heart to share with the community,\" he says. \"With me dancing, that’s my way to keep the love inside of me and share it with the world.\"\u003c/p>\n\u003cp>You can spot Hatfield on the 18th Street overpass during evening commute hours several days a week. If you do see him and wave, it's sure to bring a smile to his face.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Got a question you want KQED’s Bay Curious team to investigate?\u003ca href=\"http://ww2.kqed.org/news/series/baycurious\" target=\"_blank\"> Ask!\u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>As part of our series \u003ca href=\"http://ww2.kqed.org/news/series/baycurious\" target=\"_blank\">Bay Curious\u003c/a>, we are answering questions from KQED listeners and readers. This one comes from San Francisco resident Amy Kistler.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">A\u003c/span>\u003c/p>\u003cp>my Kistler has seen a man dancing on the 18th Street pedestrian overpass above Highway 101 in San Francisco for years. Her evening commutes from Emeryville back to the city are speckled with sightings of the dancing man, who always holds a large red heart in his hand.\u003c/p>\n\u003cp>\"Is he going to be there, is he not going to be there?\" Kistler regularly wonders as she crawls toward the overpass in rush-hour traffic.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" loading=\"lazy\" />\n What do you wonder about the Bay Area, its culture or people that you want KQED to investigate?\n \u003ca href=\"/news/series/baycurious\">Ask Bay Curious.\u003c/a>\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It became a kind of game in her office, Kistler said. Her co-workers would share when they saw the dancing man, and try to guess what brought him up to the bridge.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Finally stumped, Kistler asked Bay Curious, \"What's the story with the dancer on the 18th Street overpass?\"\u003c/p>\n\u003cfigure id=\"attachment_10901209\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/javonne-on-bridge.jpg\" alt=\"For many drivers on Highway 101, Javonne Hatfield is a regular fixture on their commute.\" width=\"2560\" height=\"1440\" class=\"size-full wp-image-10901209\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge.jpg 2560w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge-1920x1080.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/03/javonne-on-bridge-960x540.jpg 960w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">For many drivers on Highway 101, Javonne Hatfield is a regular fixture on their commute. \u003ccite>(Lucas Waldron/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Man Behind The Dance Moves\u003c/h2>\n\u003cp>San Francisco native Javonne Hatfield, 23, started dancing at his family's church when he was 8 years old.\u003c/p>\n\u003cp>\"I was always dancing around and everyone was like, 'Why can't you stay still?' \" he says.\u003c/p>\n\u003cp>From that early age, his mother encouraged him to practice in the arts, and had him take part in musicals and plays at the Cosmopolitan Baptist Church in Ingleside. One day, he tried praise dance, a spiritual performance art done as a form of worship.\u003c/p>\n\u003cp>\"You paint your face white and you mime to inspirational music or gospel music,\" he explains. \u003c/p>\n\u003cp>It was an instant connection for Hatfield.\u003c/p>\n\u003cp>\"I always felt that there was this was unspoken power that comes over me when I participate in any kind of dance,\" he says. \"I would always get this very special feeling and think 'This is for me.'\"\u003c/p>\n\u003ch2>Dancing For Drivers\u003c/h2>\n\u003cp>Three years ago, Hatfield was at a difficult point in life. His mother had died four years earlier and he was going through some big life changes. \u003c/p>\n\u003cp>\"I was trying to figure out, 'What’s my purpose? Why am I here? What can I do at this point in time to get the negative energy out?'\" he says.\u003c/p>\n\u003cp>One evening, he walked out to a bridge over Highway 101 near his Portola district home and stared down at the cars crawling in traffic below him. He says he noticed how unhappy everybody looked -- how they were all focused on getting to their destination and not happy to be there.\u003c/p>\n\u003cp>On a whim, he threw up a peace sign at the drivers.\u003c/p>\n\u003cp>And it felt \u003cem>good\u003c/em>.\u003c/p>\n\u003cp>Quickly, an idea formed and before long Hatfield had returned to the bridge with a piece of cork board he'd cut into the shape of a heart and spray painted red. \u003c/p>\n\u003cp>Looking down at the cars, \"I got chills throughout my body, and I started shaking a little bit. I told myself don’t think about it,\" he says. \"Once I started dancing I could hear the car honks over the music and see people waving at me. That's when it stuck — this is what I need to do.\"\u003c/p>\n\u003cp>After a few location changes, and an upgrade on his heart-shaped prop, Hatfield settled into his regular spot on the pedestrian bridge near the Vermont Street exit. In a way, the bridge -- floating in front of an expansive view of San Francisco -- has been his unofficial stage for the last two and a half years.\u003c/p>\n\u003cfigure id=\"attachment_10900871\" class=\"wp-caption alignleft\" style=\"max-width: 480px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/03/bridgedance1.gif\" alt=\"Even when Hatfield is having a bad day, he works to brighten someone else's day. "It’s crazy because somehow it always works and makes my day better," he says.\" width=\"480\" height=\"270\" class=\"size-full wp-image-10900871\">\u003cfigcaption class=\"wp-caption-text\">Even when Hatfield is having a bad day, he works to brighten someone else's day. \"It’s crazy because somehow it always works and makes my day better,\" he says. \u003ccite>(Lucas Waldron/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"This particular location is like a gateway in and out of San Francisco,\" Hatfield explains. Drivers going nearly anywhere in the city will pass under him on their way in or out of town.\u003c/p>\n\u003cp>\"I believe what you put out is what you get back. So, I try to just give out good, give out good,\" he says. \"It's all about the love, and that's what my message is.\"\u003c/p>\n\u003cp>Hatfield says the dancing also makes him feel connected to his mother and God. He says a prayer every time before he dances.\u003c/p>\n\u003cp>\"My mom would give people chances if they messed up in life. She was always there for people and had a big heart to share with the community,\" he says. \"With me dancing, that’s my way to keep the love inside of me and share it with the world.\"\u003c/p>\n\u003cp>You can spot Hatfield on the 18th Street overpass during evening commute hours several days a week. If you do see him and wave, it's sure to bring a smile to his face.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Got a question you want KQED’s Bay Curious team to investigate?\u003ca href=\"http://ww2.kqed.org/news/series/baycurious\" target=\"_blank\"> Ask!\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In our mashup-obsessed era, it’s hard to rise above the noise of Frankenstein-like creations like \u003ca href=\"https://www.youtube.com/watch?v=Xdgd3uGc-xw\" target=\"_blank\" rel=\"noopener\">Pulpy Days\u003c/a> (a combination of the noirish Tarantino movie \u003cem>Pulp Fiction\u003c/em> and the feel-good \u003cem>Happy Days\u003c/em> TV series) or \u003ca href=\"https://www.youtube.com/watch?v=0H8ZES_LVM8\" target=\"_blank\" rel=\"noopener\">ALF channeling Eminem\u003c/a>. But the modish choreographer Trajal Harrell has created a mashup that pretty much tops this stuff with his latest dance theater work.\u003c/p>\n\u003cp>In \u003cem>\u003ca href=\"http://calperformances.org/performances/2015-16/dance/trajal-harrell-ghost-of-montpellier-meets-the-samurai.php\" target=\"_blank\" rel=\"noopener\">The Ghost of Montpellier Meets the Samurai\u003c/a>\u003c/em>, Harrell smooshes together the aesthetics and careers of a pair of iconoclastic performance artists, both of them incredibly influential yet mostly obscure to American audiences: venerable butoh dance pioneer Tatsumi Hijikata and experimental French choreographer Dominique Bagouet.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Trajal Harrell discusses The Ghost of Montpellier Meets the Samurai\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/6zi7l77Wbi0?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>Hijikata created the out-there performance artform known as butoh in the west in the 1960s with Ohno Kazuo. A staple of Japanese culture today, butoh pushes the human body to extremes through grotesque imagery and taboo themes. Oh, and butoh artists look even more freakish to unattuned audiences because they traditionally cover their bodies entirely in white makeup and move painfully slowly.\u003c/p>\n\u003cp>Bagouet founded the Centre Choreographique Languedoc- Roussillon in Montpellier in 1980. There, he produced important dance pieces like \u003cem>Insaisies\u003c/em> and \u003cem>Fantasia Semplice\u003c/em>, which placed extreme physical demands on his dancers. He died very young, at 41, of AIDS.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Harrell’s 90-minute piece, which gets a local airing this weekend at Cal Performances’ Zellerbach Playhouse, involves seven dancers and Harrell’s signature blend of styles that range from contemporary ballet to voguing. And \u003cem>The Ghost of Montpellier Meets the Samurai\u003c/em> is like a hall of mirrors, where you can’t tell where the real ends and the fake begins: Is Bagouet making a piece about Hijikata? Or Hijikata making a piece as Bagouet? Or Harrell making a piece about both? Or neither? Or all of the above?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Ghost of Montpellier Meets the Samurai \u003c/em>plays at Cal Performances’ Zellerbach Playhouse on Friday, Mar. 18 and Saturday, Mar. 19. For tickets and information visit calperformances.org.\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In our mashup-obsessed era, it’s hard to rise above the noise of Frankenstein-like creations like \u003ca href=\"https://www.youtube.com/watch?v=Xdgd3uGc-xw\" target=\"_blank\" rel=\"noopener\">Pulpy Days\u003c/a> (a combination of the noirish Tarantino movie \u003cem>Pulp Fiction\u003c/em> and the feel-good \u003cem>Happy Days\u003c/em> TV series) or \u003ca href=\"https://www.youtube.com/watch?v=0H8ZES_LVM8\" target=\"_blank\" rel=\"noopener\">ALF channeling Eminem\u003c/a>. But the modish choreographer Trajal Harrell has created a mashup that pretty much tops this stuff with his latest dance theater work.\u003c/p>\n\u003cp>In \u003cem>\u003ca href=\"http://calperformances.org/performances/2015-16/dance/trajal-harrell-ghost-of-montpellier-meets-the-samurai.php\" target=\"_blank\" rel=\"noopener\">The Ghost of Montpellier Meets the Samurai\u003c/a>\u003c/em>, Harrell smooshes together the aesthetics and careers of a pair of iconoclastic performance artists, both of them incredibly influential yet mostly obscure to American audiences: venerable butoh dance pioneer Tatsumi Hijikata and experimental French choreographer Dominique Bagouet.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Trajal Harrell discusses The Ghost of Montpellier Meets the Samurai\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/6zi7l77Wbi0?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>Hijikata created the out-there performance artform known as butoh in the west in the 1960s with Ohno Kazuo. A staple of Japanese culture today, butoh pushes the human body to extremes through grotesque imagery and taboo themes. Oh, and butoh artists look even more freakish to unattuned audiences because they traditionally cover their bodies entirely in white makeup and move painfully slowly.\u003c/p>\n\u003cp>Bagouet founded the Centre Choreographique Languedoc- Roussillon in Montpellier in 1980. There, he produced important dance pieces like \u003cem>Insaisies\u003c/em> and \u003cem>Fantasia Semplice\u003c/em>, which placed extreme physical demands on his dancers. He died very young, at 41, of AIDS.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>Q: What’s special about the elevator at Bloomingdales?\u003c/em>\u003cbr>\n\u003cem> A: It’s the only thing a Jewish girl will go down on.\u003c/em>\u003c/p>\n\u003cp>Jews have been parting their lips since long before the parting of the Red Sea, and have a sense of humor that’s kinkier than a rabbi’s sidelocks. So it makes perfect sense for the \u003ca href=\"https://www.jccsf.org\" target=\"_blank\" rel=\"noopener\">Jewish Community Center of San Francisco\u003c/a> (JCCSF) to peek under the covers of the Jewish sexual experience in \u003cem>\u003ca href=\"https://www.jccsf.org/arts-ideas/uninhibited\" target=\"_blank\" rel=\"noopener\">Uninhibited About Sex\u003c/a>\u003c/em> — a new series of performances, lectures and workshops that runs through the end of May.\u003c/p>\n\u003cp>“Jews are some of the sexiest people around and good healthy sex is a Jewish value for sure,” says Barbara Lane, director of the JCCSF’s Arts & Ideas program. “If this helps get people out of their heads and into their bodies, then far out.”\u003c/p>\n\u003cfigure id=\"attachment_11414654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414654\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-800x554.jpg\" alt=\"Miss Dirty Martini, a performer in ‘Take It Off! Burlesque’, part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-400x277.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-1180x817.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-1920x1329.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-960x665.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miss Dirty Martini, a performer in ‘Take It Off! Burlesque’, part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \u003ccite>(Photo: Leland Bobbe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The action begins on Friday, Mar. 18 with \u003cem>Take it Off! The New Burlesque\u003c/em>, a spicy revue featuring, among other attributes, a pogo striptease act and some of the burlesque scene’s most vivacious exponents like Miss Dirty Martini, Julie Atlas Muz, Miss Harvest Moon, Roky Roulette and Kitten on the Keys.\u003c/p>\n\u003cp>Sex columnist Dan Savage makes an appearance on Monday, Mar. 21, and on Thursday, Mar. 24, JCCSF presents an evening of bawdy storytelling in which a lineup of creative types share sundry sexploits alongside live music and an activity called “Bang-o!” which, allegedly “dares to go where Bingo does not.”\u003c/p>\n\u003cfigure id=\"attachment_11414787\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414787\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Bawdy-Storytelling_image1-Photo-by-Neuroptik-Photography-800x534.jpg\" alt=\"‘Bawdy Storytelling,’ part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \" width=\"800\" height=\"534\">\u003cfigcaption class=\"wp-caption-text\">‘Bawdy Storytelling,’ part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \u003ccite>(Photo: Neuroptik Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In April, the series continues with, among other come-hither curiosities, a night of romantic music from the folks at the ever-inventive \u003cem>UnderCover Presents\u003c/em> series. But don’t worry: Lionel Ritchie’s “Hello” might have been selected by \u003cem>The New York Times\u003c/em> as one of “\u003ca href=\"http://www.nytimes.com/interactive/2016/03/10/magazine/25-songs-that-tell-us-where-music-is-going.html\" target=\"_blank\" rel=\"noopener\">25 songs that tell us where music is going\u003c/a>,” but the mawkish ’80s ballad is unlikely to make an appearance at this evening of cover songs to kiss to. And there’s also an intriguing evening later in the month devoted to animal reproduction involving “dinosaur misogyny, female octopi capable of killing males during intercourse, a homosexual flamingo couple, and promiscuous pandas” hosted by zoologist and BBC broadcaster Jules Howard.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think it’s racy,” Lane says of the entire \u003cem>Uninhibited About Sex\u003c/em> program. “But it’s also responsible. We’re not being salacious just to be salacious. Hopefully we’re being informative and educational.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://www.jccsf.org/arts-ideas/uninhibited\" target=\"_blank\" rel=\"noopener\">Uninhibited About Sex\u003c/a>\u003c/em> runs through Tuesday, May 31 at the Jewish Community Center of San Francisco. For more information, \u003ca href=\"https://www.jccsf.org/arts-ideas/uninhibited\" target=\"_blank\" rel=\"noopener\">go here.\u003c/a>\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Q: What’s special about the elevator at Bloomingdales?\u003c/em>\u003cbr>\n\u003cem> A: It’s the only thing a Jewish girl will go down on.\u003c/em>\u003c/p>\n\u003cp>Jews have been parting their lips since long before the parting of the Red Sea, and have a sense of humor that’s kinkier than a rabbi’s sidelocks. So it makes perfect sense for the \u003ca href=\"https://www.jccsf.org\" target=\"_blank\" rel=\"noopener\">Jewish Community Center of San Francisco\u003c/a> (JCCSF) to peek under the covers of the Jewish sexual experience in \u003cem>\u003ca href=\"https://www.jccsf.org/arts-ideas/uninhibited\" target=\"_blank\" rel=\"noopener\">Uninhibited About Sex\u003c/a>\u003c/em> — a new series of performances, lectures and workshops that runs through the end of May.\u003c/p>\n\u003cp>“Jews are some of the sexiest people around and good healthy sex is a Jewish value for sure,” says Barbara Lane, director of the JCCSF’s Arts & Ideas program. “If this helps get people out of their heads and into their bodies, then far out.”\u003c/p>\n\u003cfigure id=\"attachment_11414654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414654\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-800x554.jpg\" alt=\"Miss Dirty Martini, a performer in ‘Take It Off! Burlesque’, part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-400x277.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-1180x817.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-1920x1329.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-960x665.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miss Dirty Martini, a performer in ‘Take It Off! Burlesque’, part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \u003ccite>(Photo: Leland Bobbe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The action begins on Friday, Mar. 18 with \u003cem>Take it Off! The New Burlesque\u003c/em>, a spicy revue featuring, among other attributes, a pogo striptease act and some of the burlesque scene’s most vivacious exponents like Miss Dirty Martini, Julie Atlas Muz, Miss Harvest Moon, Roky Roulette and Kitten on the Keys.\u003c/p>\n\u003cp>Sex columnist Dan Savage makes an appearance on Monday, Mar. 21, and on Thursday, Mar. 24, JCCSF presents an evening of bawdy storytelling in which a lineup of creative types share sundry sexploits alongside live music and an activity called “Bang-o!” which, allegedly “dares to go where Bingo does not.”\u003c/p>\n\u003cfigure id=\"attachment_11414787\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414787\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Bawdy-Storytelling_image1-Photo-by-Neuroptik-Photography-800x534.jpg\" alt=\"‘Bawdy Storytelling,’ part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \" width=\"800\" height=\"534\">\u003cfigcaption class=\"wp-caption-text\">‘Bawdy Storytelling,’ part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \u003ccite>(Photo: Neuroptik Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In April, the series continues with, among other come-hither curiosities, a night of romantic music from the folks at the ever-inventive \u003cem>UnderCover Presents\u003c/em> series. But don’t worry: Lionel Ritchie’s “Hello” might have been selected by \u003cem>The New York Times\u003c/em> as one of “\u003ca href=\"http://www.nytimes.com/interactive/2016/03/10/magazine/25-songs-that-tell-us-where-music-is-going.html\" target=\"_blank\" rel=\"noopener\">25 songs that tell us where music is going\u003c/a>,” but the mawkish ’80s ballad is unlikely to make an appearance at this evening of cover songs to kiss to. And there’s also an intriguing evening later in the month devoted to animal reproduction involving “dinosaur misogyny, female octopi capable of killing males during intercourse, a homosexual flamingo couple, and promiscuous pandas” hosted by zoologist and BBC broadcaster Jules Howard.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think it’s racy,” Lane says of the entire \u003cem>Uninhibited About Sex\u003c/em> program. “But it’s also responsible. We’re not being salacious just to be salacious. Hopefully we’re being informative and educational.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://www.jccsf.org/arts-ideas/uninhibited\" target=\"_blank\" rel=\"noopener\">Uninhibited About Sex\u003c/a>\u003c/em> runs through Tuesday, May 31 at the Jewish Community Center of San Francisco. For more information, \u003ca href=\"https://www.jccsf.org/arts-ideas/uninhibited\" target=\"_blank\" rel=\"noopener\">go here.\u003c/a>\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>You’ve probably seen old video footage from after World War II of couples whirling across the dance floor to old-school R&B tunes, doing dances called Lindy Hop, Jitterbug, or Boppin’. By the 1970’s a new variation of the same rhythm-driven couples dancing had evolved in Chicago; it was called Steppin’ and was famously celebrated a generation later in singer R. Kelly’s hit song “Step in the Name of Love.”\u003c/p>\n\u003cp>[contextly_sidebar id=”RLHlZFutdpBST0X8pn9NqJExVgBGhDJ4″]\u003c/p>\n\u003cp>Steppin’ is about creating a constant flow between dance partners. Less gymnastic and more mellow than the Lindy Hop, it has become a thriving outlet of personal creativity for people around the country. Steppin’ is especially popular in cities with large African-American communities, where with a little soul and hip-hop sprinkled in, it’s winning over dancers from ages 20 to 70.\u003c/p>\n\u003cp>“Steppin’ feels like dancing on a bed of cotton that’s floating on the surface of the floor…it soothes your soul,” says Ron Brown, principal instructor and co-founder of Just Steppin’, the Bay Area’s first Chicago-style Steppin’ dance class company. Brown says Steppin’ culture has grown so much over the last several years that he travels with fellow devout steppers to workshops across the country. “Every month there is another three-day healing,” he says.\u003c/p>\n\u003cp>Brown, who like many of his students grew up Steppin’ at family parties, started teaching formally in the Berkeley and Oakland area in 2003. Over the years, as soaring housing costs and other factors have pushed many members of the African-American community into surrounding cities, Brown has become a traveling dance instructor. Besides his regular lessons in Oakland, Emeryville and San Francisco, he travels weekly to Sacramento, Elk Grove, Vallejo, Fairfield and Antioch to teach classes and host dance parties.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For Chicago native Shirley Slaughter, finding a local Steppin’ community in her new hometown of Antioch was just the creative sanctuary she had been seeking. “[Steppin’] is a stress reliever,” she says. “The weight of the world just falls from my shoulders and falls at my feet.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You’ve probably seen old video footage from after World War II of couples whirling across the dance floor to old-school R&B tunes, doing dances called Lindy Hop, Jitterbug, or Boppin’. By the 1970’s a new variation of the same rhythm-driven couples dancing had evolved in Chicago; it was called Steppin’ and was famously celebrated a generation later in singer R. Kelly’s hit song “Step in the Name of Love.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Steppin’ is about creating a constant flow between dance partners. Less gymnastic and more mellow than the Lindy Hop, it has become a thriving outlet of personal creativity for people around the country. Steppin’ is especially popular in cities with large African-American communities, where with a little soul and hip-hop sprinkled in, it’s winning over dancers from ages 20 to 70.\u003c/p>\n\u003cp>“Steppin’ feels like dancing on a bed of cotton that’s floating on the surface of the floor…it soothes your soul,” says Ron Brown, principal instructor and co-founder of Just Steppin’, the Bay Area’s first Chicago-style Steppin’ dance class company. Brown says Steppin’ culture has grown so much over the last several years that he travels with fellow devout steppers to workshops across the country. “Every month there is another three-day healing,” he says.\u003c/p>\n\u003cp>Brown, who like many of his students grew up Steppin’ at family parties, started teaching formally in the Berkeley and Oakland area in 2003. Over the years, as soaring housing costs and other factors have pushed many members of the African-American community into surrounding cities, Brown has become a traveling dance instructor. Besides his regular lessons in Oakland, Emeryville and San Francisco, he travels weekly to Sacramento, Elk Grove, Vallejo, Fairfield and Antioch to teach classes and host dance parties.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>If you Google “what do the women say?”, you get a fever of listicles like “\u003ca href=\"http://wallstreetinsanity.com/30-things-women-say-and-what-they-really-mean/\" target=\"_blank\" rel=\"noopener\">30 Things Women Say And What They Really Mean\u003c/a>” and “\u003ca href=\"http://list25.com/25-things-women-say-that-men-misunderstand/\" target=\"_blank\" rel=\"noopener\">25 Things Women Say That Men Misunderstand\u003c/a>”.\u003c/p>\n\u003cp>Undeterred by such inanities, \u003ca href=\"http://www.goldenthread.org/\" target=\"_blank\" rel=\"noopener\">Golden Thread Productions\u003c/a>’ annual International Women’s Day Celebration on Saturday, Mar. 12 at the La Peña Cultural Center in Berkeley — titled \u003cem>What do the Women Say?\u003c/em> — tackles the question in a much more spiritual and creative way.\u003c/p>\n\u003cp>Previous iterations of this one-day festival devoted, since 2011, to exploring the work of Middle Eastern women artists have focused on such themes as activism, sex and sexuality, and female solo performers. This year, the topic is Bay Area women artists who build community through their art.\u003c/p>\n\u003cfigure id=\"attachment_11394570\" class=\"wp-caption aligncenter\" style=\"max-width: 978px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11394570 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790.png\" alt=\"The Aswat Women’s Ensemble. The group performs as part of Golden Thread’s annual International Women’s Day celebration, ‘What Do The Women Say?’\" width=\"978\" height=\"491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790.png 978w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790-400x201.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790-800x402.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790-768x386.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790-960x482.png 960w\" sizes=\"(max-width: 978px) 100vw, 978px\">\u003cfigcaption class=\"wp-caption-text\">The Aswat Women’s Ensemble. The group performs as part of Golden Thread’s annual International Women’s Day celebration, ‘What Do The Women Say?’ \u003ccite>(Photo: Courtesy of Zawaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The women featured are accomplished artists renowned for the excellence of their artistry,” says Golden Thread founding artistic director Torange Yeghiazarian. “But they are also leaders, who have founded important organizations, trained and championed other artists, and worked endlessly to celebrate and preserve culture and history for Middle Eastern immigrant communities in the Bay Area. This is a community that faces growing hostility and has to battle common misconceptions of the well-intended. These artists choose to lift up their community through their art, and document our existence as an immigrant community that has voice and matters.”\u003c/p>\n\u003cp>At the centerpiece of the event is a concert by \u003ca href=\"http://zawaya.org/site/aswat-ensemble/\" target=\"_blank\" rel=\"noopener\">The Aswat Ensemble\u003c/a>, one of the jewels the Bay Area music landscape. The group’s sweet spot is songs from the Arab world, old and new, performed on traditional musical instruments like the qanun (trapezoidal zither), ‘oud (lute), and nay (reed flute). They have terrific singers too.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Arab World Folk Medley by Aswat Ensemble تشكيلة أغاني فلكلورية عربية\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/RUqNLBEm2uY?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>For the Golden Thread event, the \u003ca href=\"http://zawaya.org/site/women-ensemble/\" target=\"_blank\" rel=\"noopener\">Aswat Women’s Ensemble\u003c/a> brings to life classic songs from some of Arabic music’s most famous divas — Asmahan, Fairouz, Shadia, and Dalida.\u003c/p>\n\u003cp>Another highlight of this year’s lineup is a sneak peak at the latest play by Betty Shamieh, a prolific, San Francisco-raised dramatist of Palestinian roots with 15 plays to her name. Among other accolades, Shamieh holds the distinction of becoming, in 2004, the first Palestinian-American to premiere a play off-Broadway — \u003cem>Roar\u003c/em>, a Palestinian domestic drama. Nora el Samahy, a vibrant local actress who frequently performs with Golden Thread and has appeared in plays by Shamieh in the past, performs sections from the playwright’s latest work, \u003cem>The Strangest\u003c/em>.\u003c/p>\n\u003cp>Other artists featured at the celebration include Sharlyn Sawyer, founding artistic director of \u003ca href=\"http://www.dancesilkroad.org/\" target=\"_blank\" rel=\"noopener\">Ballet Afsaneh\u003c/a>, a Bay Area performance company focusing on the dance, poetry, and music of the Silk Road; visual artist and curator Taraneh Hemami, who has curated exhibitions in venues like the \u003ca href=\"http://www.ybca.org\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a> and \u003ca href=\"https://www.soex.org/index.php\" target=\"_blank\" rel=\"noopener\">Southern Exposure\u003c/a> around the themes of displacement, preservation and representation; and Nabila Mango, co-founder of \u003ca href=\"http://zawaya.org/site/\" target=\"_blank\" rel=\"noopener\">Zawaya\u003c/a>, the Aswat Ensemble’s parent organization, which seeks to preserve and promote the Arab arts in the San Francisco Bay Area.\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Experience Golden Thread Productions’ ‘\u003c/span>What Do the Women Say?’ on Saturday, Mar. 12 at\u003cb> \u003c/b>La Peña Cultural Center\u003cspan style=\"font-weight: 400\"> in\u003c/span>\u003cspan style=\"font-weight: 400\"> Berkeley. Information and tickets \u003ca href=\"http://www.goldenthread.org\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you Google “what do the women say?”, you get a fever of listicles like “\u003ca href=\"http://wallstreetinsanity.com/30-things-women-say-and-what-they-really-mean/\" target=\"_blank\" rel=\"noopener\">30 Things Women Say And What They Really Mean\u003c/a>” and “\u003ca href=\"http://list25.com/25-things-women-say-that-men-misunderstand/\" target=\"_blank\" rel=\"noopener\">25 Things Women Say That Men Misunderstand\u003c/a>”.\u003c/p>\n\u003cp>Undeterred by such inanities, \u003ca href=\"http://www.goldenthread.org/\" target=\"_blank\" rel=\"noopener\">Golden Thread Productions\u003c/a>’ annual International Women’s Day Celebration on Saturday, Mar. 12 at the La Peña Cultural Center in Berkeley — titled \u003cem>What do the Women Say?\u003c/em> — tackles the question in a much more spiritual and creative way.\u003c/p>\n\u003cp>Previous iterations of this one-day festival devoted, since 2011, to exploring the work of Middle Eastern women artists have focused on such themes as activism, sex and sexuality, and female solo performers. This year, the topic is Bay Area women artists who build community through their art.\u003c/p>\n\u003cfigure id=\"attachment_11394570\" class=\"wp-caption aligncenter\" style=\"max-width: 978px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11394570 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790.png\" alt=\"The Aswat Women’s Ensemble. The group performs as part of Golden Thread’s annual International Women’s Day celebration, ‘What Do The Women Say?’\" width=\"978\" height=\"491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790.png 978w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790-400x201.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790-800x402.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790-768x386.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790-960x482.png 960w\" sizes=\"(max-width: 978px) 100vw, 978px\">\u003cfigcaption class=\"wp-caption-text\">The Aswat Women’s Ensemble. The group performs as part of Golden Thread’s annual International Women’s Day celebration, ‘What Do The Women Say?’ \u003ccite>(Photo: Courtesy of Zawaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The women featured are accomplished artists renowned for the excellence of their artistry,” says Golden Thread founding artistic director Torange Yeghiazarian. “But they are also leaders, who have founded important organizations, trained and championed other artists, and worked endlessly to celebrate and preserve culture and history for Middle Eastern immigrant communities in the Bay Area. This is a community that faces growing hostility and has to battle common misconceptions of the well-intended. These artists choose to lift up their community through their art, and document our existence as an immigrant community that has voice and matters.”\u003c/p>\n\u003cp>At the centerpiece of the event is a concert by \u003ca href=\"http://zawaya.org/site/aswat-ensemble/\" target=\"_blank\" rel=\"noopener\">The Aswat Ensemble\u003c/a>, one of the jewels the Bay Area music landscape. The group’s sweet spot is songs from the Arab world, old and new, performed on traditional musical instruments like the qanun (trapezoidal zither), ‘oud (lute), and nay (reed flute). They have terrific singers too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Arab World Folk Medley by Aswat Ensemble تشكيلة أغاني فلكلورية عربية\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/RUqNLBEm2uY?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>For the Golden Thread event, the \u003ca href=\"http://zawaya.org/site/women-ensemble/\" target=\"_blank\" rel=\"noopener\">Aswat Women’s Ensemble\u003c/a> brings to life classic songs from some of Arabic music’s most famous divas — Asmahan, Fairouz, Shadia, and Dalida.\u003c/p>\n\u003cp>Another highlight of this year’s lineup is a sneak peak at the latest play by Betty Shamieh, a prolific, San Francisco-raised dramatist of Palestinian roots with 15 plays to her name. Among other accolades, Shamieh holds the distinction of becoming, in 2004, the first Palestinian-American to premiere a play off-Broadway — \u003cem>Roar\u003c/em>, a Palestinian domestic drama. Nora el Samahy, a vibrant local actress who frequently performs with Golden Thread and has appeared in plays by Shamieh in the past, performs sections from the playwright’s latest work, \u003cem>The Strangest\u003c/em>.\u003c/p>\n\u003cp>Other artists featured at the celebration include Sharlyn Sawyer, founding artistic director of \u003ca href=\"http://www.dancesilkroad.org/\" target=\"_blank\" rel=\"noopener\">Ballet Afsaneh\u003c/a>, a Bay Area performance company focusing on the dance, poetry, and music of the Silk Road; visual artist and curator Taraneh Hemami, who has curated exhibitions in venues like the \u003ca href=\"http://www.ybca.org\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a> and \u003ca href=\"https://www.soex.org/index.php\" target=\"_blank\" rel=\"noopener\">Southern Exposure\u003c/a> around the themes of displacement, preservation and representation; and Nabila Mango, co-founder of \u003ca href=\"http://zawaya.org/site/\" target=\"_blank\" rel=\"noopener\">Zawaya\u003c/a>, the Aswat Ensemble’s parent organization, which seeks to preserve and promote the Arab arts in the San Francisco Bay Area.\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Experience Golden Thread Productions’ ‘\u003c/span>What Do the Women Say?’ on Saturday, Mar. 12 at\u003cb> \u003c/b>La Peña Cultural Center\u003cspan style=\"font-weight: 400\"> in\u003c/span>\u003cspan style=\"font-weight: 400\"> Berkeley. Information and tickets \u003ca href=\"http://www.goldenthread.org\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cy-and-davids-picks-a-tribute-to-david-bowie-the-actor-rockage-5-0-and-luring-younger-audiences",
"title": "Cy and David's Picks: A Tribute to David Bowie the Actor, Rockage 5.0, and Luring Younger Audiences",
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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/2016/03/TDL20160311.mp3\u003c/p>\n\u003c/aside>\n\u003cfigure id=\"attachment_11394817\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11394817\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Sean-Jones-800x533.jpg\" alt=\"Trumpeter Sean Jones plays music by Miles Davis\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sean-Jones-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sean-Jones-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sean-Jones-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sean-Jones-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sean-Jones-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sean-Jones-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trumpeter Sean Jones plays music by Miles Davis \u003ccite>(Photo: Jimmy Katz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 16:\u003c/strong> Miles Davis recorded one of the classics of cool jazz in 1961 with his album \u003ca href=\"http://jazztimes.com/articles/13776-in-person-friday-night-at-the-blackhawk-complete-miles-davis\" target=\"_blank\" rel=\"noopener\">\u003cem>In Person Live at the Blackhawk\u003c/em>, \u003c/a>once a popular jazz club in the Tenderloin. Now the terrific trumpeter Sean Jones is going to recreate that set. That alone makes this worth a Do List mention, but it’s also the second in a series of concerts under the heading “Pivot New Adventures in the Performing Arts” from \u003ca href=\"http://www.sfperformances.org/index.html\" target=\"_blank\" rel=\"noopener\">San Francisco Performances \u003c/a>(SFP). Like so many arts organizations, SFP is trying to lure younger audiences with hipper late night shows in a smaller venue (the \u003ca href=\"http://www.act-sf.org/home/about/rentals/strand_theater/rueff.html\" target=\"_blank\" rel=\"noopener\">Strand Theater’s Rueff Room)\u003c/a>, and at lower prices ($25 for all the Pivot concerts). The lineup for Pivot look fabulous if not all that radical: the \u003ca href=\"http://www.sfperformances.org/performances/1516/KronosQuartet.html\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a> plays Friday 03/11, \u003ca href=\"http://www.sfperformances.org/performances/1516/SeanJonesPivot.html\" target=\"_blank\" rel=\"noopener\">Jones plays two shows Wednesday 03/16\u003c/a>, and the polyrhythmic percussionists of \u003ca href=\"http://www.sfperformances.org/performances/1516/ThirdCoastPercussion.html\" target=\"_blank\" rel=\"noopener\">Third Coast Percussion are there Monday March 28.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11394932\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11394932\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Winterreise-800x471.jpg\" alt=\"Matthew Goerne sings Winterreise in a multimedia show produced by William Kentridge\" width=\"800\" height=\"471\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Winterreise-800x471.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Winterreise-400x235.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Winterreise-768x452.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Winterreise-1180x694.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Winterreise-1920x1129.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Winterreise-960x565.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Winterreise.jpg 2040w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Matthew Goerne sings Winterreise in a multimedia show produced by William Kentridge \u003ccite>(Photo: Patrick Berger/ArtComArt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 11-13:\u003c/strong> San Francisco Opera is taking a more ambitious approach to a similar challenge of graying audiences. The Bay Area’s biggest performing arts company is launching its new \u003ca href=\"http://sfopera.com/sfoperalab/\" target=\"_blank\" rel=\"noopener\">SF Opera Lab \u003c/a>at the War Memorial Veterans Building. This is a long dreamed of project for outgoing \u003ca href=\"http://sfopera.com/about-us/people/bios/administration/david-gockley/\" target=\"_blank\" rel=\"noopener\">General Director David Gockley\u003c/a>: a 299 seat theater (OMG-the seats have cup holders) perfect for chamber opera, recitals and experimental work. He’s hired opera director Elkhanah Pulitzer to run the place, “You either adapt and change with the times, and what’s viable, or what’s the famous quote? Experiment or die.” The first program is a multi-media collaboration between South African artist William Kentridge, German baritone Matthias Goerne and pianist Markus Hinterhäuser, with Goerne singing Winterreise, Schubert’s song cycle of despair. Details\u003ca href=\"http://sfopera.com/sfoperalab/season-one/winterreise/\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lfccDapMA14\u003c/p>\n\u003cp>\u003cspan style=\"line-height: 1.5\">\u003cstrong>March 11: \u003c/strong>We didn’t get to say goodby to \u003ca href=\"http://ww2.kqed.org/pop/2016/01/11/this-time-its-personal-why-losing-david-bowie-means-something-different-to-everyone/\" target=\"_blank\" rel=\"noopener\">David Bowie \u003c/a>here on The Do List. We loved his music, but also his work as an actor in movies including his film debut in \u003ca href=\"https://en.wikipedia.org/wiki/The_Man_Who_Fell_to_Earth\" target=\"_blank\" rel=\"noopener\">Nicolas Roeg’s \u003cem>The Man Who Fell to Earth\u003c/em> \u003c/a>from 1976. Bowie plays \u003c/span>an alien on earth to find water for his planet, which is dying from a severe drought. Sound familiar? Bowie co-starred with \u003ca href=\"https://en.wikipedia.org/wiki/Candy_Clark\" target=\"_blank\" rel=\"noopener\">Candy Clark,\u003c/a> who’d snagged an Oscar nomination for her work in American Graffiti. Clark will be at the Castro Theater for a screening of the film. Details \u003ca href=\"http://www.castrotheatre.com/s-events.html\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ha7LSrebuDI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>March 11-13:\u003c/strong> The \u003ca href=\"http://markmorrisdancegroup.org/\" target=\"_blank\" rel=\"noopener\">Mark Morris Dance Group \u003c/a>is bringing one of its finest works to \u003ca href=\"https://calperformances.org/?gclid=CLXRkpKct8sCFYdlfgodWysEIw&gclsrc=aw.ds\" target=\"_blank\" rel=\"noopener\">Cal Performances.\u003c/a> Morris’s wonderfully normal looking dancers romp in this evening length performance of \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/L%27Allegro,_il_Penseroso_ed_il_Moderato\" target=\"_blank\" rel=\"noopener\">L’Allegro, il Penseroso ed il Moderato,\u003c/a> \u003c/em>an oratorio from Handel, with the poetry of John Milton. It’s colorful, witty, and grand, and the music is played by the Bay Area’s Philharmonia Baroque Orchestra and Chorus. You can’t wrong. Details \u003ca href=\"https://calperformances.org/performances/2015-16/dance/mark-morris-dance-group-philharmonia-baroque-orchestra-lallegro.php?gclid=CPeb7MKct8sCFUKUfgodkTULtw&gclsrc=aw.ds\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11395176\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11395176\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Tokyo-fish-Story-800x450.jpg\" alt=\"Tokyo Fish Story\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tokyo-fish-Story-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tokyo-fish-Story-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tokyo-fish-Story-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tokyo-fish-Story-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tokyo-fish-Story-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tokyo-fish-Story.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tokyo Fish Story\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now – April 3:\u003c/strong> Food is so popular these days on Bay Area stages. The warm and funny \u003ca href=\"http://www.berkeleyrep.org/season/1516/9312.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>Aubergine \u003c/em> runs through March 27th at Berkeley Rep\u003c/a>, and Theatreworks is debuting \u003cem>Tokyo Fish Story\u003c/em>, by \u003ca href=\"http://ma-yitheatre.org/labbies/kimber-lee/\" target=\"_blank\" rel=\"noopener\">Kimber Lee\u003c/a>, a young playwright whose work we haven’t seen in the Bay Area yet. This is about a sushi master and the apprentice who wants to shake things up a bit. Details \u003ca href=\"http://www.theatreworks.org/shows/1516-season/tokyo-fish-story\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11395059\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11395059\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Rockages-Eric-Fanali-800x600.jpg\" alt=\"Rockage's Eric Fanali on the right with two other video game lovers\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Rockages-Eric-Fanali-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Rockages-Eric-Fanali-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Rockages-Eric-Fanali-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Rockages-Eric-Fanali-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Rockages-Eric-Fanali.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Rockages-Eric-Fanali-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rockage’s Eric Fanali on the right with two other video game lovers \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 11-13:\u003c/strong> \u003ca href=\"http://rockagesj.tumblr.com/lineup\" target=\"_blank\" rel=\"noopener\">Rockage\u003c/a> is a perfect festival for Silicon Valley, a part of the world that is so eager for the future, it sometimes fails to honor its nerdy past. Eric Fanali’s little festival offers unlimited retro video game arcade play and indy rock at five venues in San Jose’s SOFA district. Geek out to San Jose’s \u003ca href=\"http://www.supersoulbros.com/\" target=\"_blank\" rel=\"noopener\">Super Soul Bros\u003c/a>, Bit Brigade, \u003ca href=\"https://sweetpeaches.bandcamp.com/releases\" target=\"_blank\" rel=\"noopener\">Sweet Peaches\u003c/a> and other bands, and let your fingers fly on the blaster buttons. Details \u003ca href=\"http://rockagesj.tumblr.com/lineup\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>Not enough? David and I have some shoutouts:\u003c/p>\n\u003cp>\u003cstrong>Now through March 20:\u003c/strong> \u003ca href=\"http://caamfest.com/2016/\" target=\"_blank\" rel=\"noopener\">CAAM fest\u003c/a> — the Center For Asian American Media’s annual film and music event continues in San Francisco and Oakland. The festival features lots of small and worthy films- just one highlight the Oscar nominated \u003cem>Sanjay’s Super Team\u003c/em> from Pixar’s Sanjay Patel.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 13: \u003c/strong> The \u003ca href=\"http://www.steinwaysociety.com/\" target=\"_blank\" rel=\"noopener\">Steinway Society-The Bay \u003c/a>\u003ca href=\"http://www.steinwaysociety.com/concerts/haochen-zhang/\" target=\"_blank\" rel=\"noopener\">Area\u003c/a> presents Haochen Zhang, gold medalist in the 2009 Van Cliburn Competition. He was the first Chinese and the youngest pianist ever to win the Gold Medal. Details \u003ca href=\"http://www.steinwaysociety.com/concerts/haochen-zhang/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n",
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"title": "Cy and David's Picks: A Tribute to David Bowie the Actor, Rockage 5.0, and Luring Younger Audiences | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cfigure id=\"attachment_11394817\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11394817\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Sean-Jones-800x533.jpg\" alt=\"Trumpeter Sean Jones plays music by Miles Davis\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sean-Jones-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sean-Jones-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sean-Jones-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sean-Jones-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sean-Jones-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Sean-Jones-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trumpeter Sean Jones plays music by Miles Davis \u003ccite>(Photo: Jimmy Katz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 16:\u003c/strong> Miles Davis recorded one of the classics of cool jazz in 1961 with his album \u003ca href=\"http://jazztimes.com/articles/13776-in-person-friday-night-at-the-blackhawk-complete-miles-davis\" target=\"_blank\" rel=\"noopener\">\u003cem>In Person Live at the Blackhawk\u003c/em>, \u003c/a>once a popular jazz club in the Tenderloin. Now the terrific trumpeter Sean Jones is going to recreate that set. That alone makes this worth a Do List mention, but it’s also the second in a series of concerts under the heading “Pivot New Adventures in the Performing Arts” from \u003ca href=\"http://www.sfperformances.org/index.html\" target=\"_blank\" rel=\"noopener\">San Francisco Performances \u003c/a>(SFP). Like so many arts organizations, SFP is trying to lure younger audiences with hipper late night shows in a smaller venue (the \u003ca href=\"http://www.act-sf.org/home/about/rentals/strand_theater/rueff.html\" target=\"_blank\" rel=\"noopener\">Strand Theater’s Rueff Room)\u003c/a>, and at lower prices ($25 for all the Pivot concerts). The lineup for Pivot look fabulous if not all that radical: the \u003ca href=\"http://www.sfperformances.org/performances/1516/KronosQuartet.html\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a> plays Friday 03/11, \u003ca href=\"http://www.sfperformances.org/performances/1516/SeanJonesPivot.html\" target=\"_blank\" rel=\"noopener\">Jones plays two shows Wednesday 03/16\u003c/a>, and the polyrhythmic percussionists of \u003ca href=\"http://www.sfperformances.org/performances/1516/ThirdCoastPercussion.html\" target=\"_blank\" rel=\"noopener\">Third Coast Percussion are there Monday March 28.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11394932\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11394932\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Winterreise-800x471.jpg\" alt=\"Matthew Goerne sings Winterreise in a multimedia show produced by William Kentridge\" width=\"800\" height=\"471\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Winterreise-800x471.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Winterreise-400x235.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Winterreise-768x452.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Winterreise-1180x694.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Winterreise-1920x1129.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Winterreise-960x565.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Winterreise.jpg 2040w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Matthew Goerne sings Winterreise in a multimedia show produced by William Kentridge \u003ccite>(Photo: Patrick Berger/ArtComArt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 11-13:\u003c/strong> San Francisco Opera is taking a more ambitious approach to a similar challenge of graying audiences. The Bay Area’s biggest performing arts company is launching its new \u003ca href=\"http://sfopera.com/sfoperalab/\" target=\"_blank\" rel=\"noopener\">SF Opera Lab \u003c/a>at the War Memorial Veterans Building. This is a long dreamed of project for outgoing \u003ca href=\"http://sfopera.com/about-us/people/bios/administration/david-gockley/\" target=\"_blank\" rel=\"noopener\">General Director David Gockley\u003c/a>: a 299 seat theater (OMG-the seats have cup holders) perfect for chamber opera, recitals and experimental work. He’s hired opera director Elkhanah Pulitzer to run the place, “You either adapt and change with the times, and what’s viable, or what’s the famous quote? Experiment or die.” The first program is a multi-media collaboration between South African artist William Kentridge, German baritone Matthias Goerne and pianist Markus Hinterhäuser, with Goerne singing Winterreise, Schubert’s song cycle of despair. Details\u003ca href=\"http://sfopera.com/sfoperalab/season-one/winterreise/\" 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/lfccDapMA14'\n title='//www.youtube.com/embed/lfccDapMA14'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"line-height: 1.5\">\u003cstrong>March 11: \u003c/strong>We didn’t get to say goodby to \u003ca href=\"http://ww2.kqed.org/pop/2016/01/11/this-time-its-personal-why-losing-david-bowie-means-something-different-to-everyone/\" target=\"_blank\" rel=\"noopener\">David Bowie \u003c/a>here on The Do List. We loved his music, but also his work as an actor in movies including his film debut in \u003ca href=\"https://en.wikipedia.org/wiki/The_Man_Who_Fell_to_Earth\" target=\"_blank\" rel=\"noopener\">Nicolas Roeg’s \u003cem>The Man Who Fell to Earth\u003c/em> \u003c/a>from 1976. Bowie plays \u003c/span>an alien on earth to find water for his planet, which is dying from a severe drought. Sound familiar? Bowie co-starred with \u003ca href=\"https://en.wikipedia.org/wiki/Candy_Clark\" target=\"_blank\" rel=\"noopener\">Candy Clark,\u003c/a> who’d snagged an Oscar nomination for her work in American Graffiti. Clark will be at the Castro Theater for a screening of the film. Details \u003ca href=\"http://www.castrotheatre.com/s-events.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/Ha7LSrebuDI'\n title='//www.youtube.com/embed/Ha7LSrebuDI'\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>March 11-13:\u003c/strong> The \u003ca href=\"http://markmorrisdancegroup.org/\" target=\"_blank\" rel=\"noopener\">Mark Morris Dance Group \u003c/a>is bringing one of its finest works to \u003ca href=\"https://calperformances.org/?gclid=CLXRkpKct8sCFYdlfgodWysEIw&gclsrc=aw.ds\" target=\"_blank\" rel=\"noopener\">Cal Performances.\u003c/a> Morris’s wonderfully normal looking dancers romp in this evening length performance of \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/L%27Allegro,_il_Penseroso_ed_il_Moderato\" target=\"_blank\" rel=\"noopener\">L’Allegro, il Penseroso ed il Moderato,\u003c/a> \u003c/em>an oratorio from Handel, with the poetry of John Milton. It’s colorful, witty, and grand, and the music is played by the Bay Area’s Philharmonia Baroque Orchestra and Chorus. You can’t wrong. Details \u003ca href=\"https://calperformances.org/performances/2015-16/dance/mark-morris-dance-group-philharmonia-baroque-orchestra-lallegro.php?gclid=CPeb7MKct8sCFUKUfgodkTULtw&gclsrc=aw.ds\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11395176\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11395176\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Tokyo-fish-Story-800x450.jpg\" alt=\"Tokyo Fish Story\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tokyo-fish-Story-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tokyo-fish-Story-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tokyo-fish-Story-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tokyo-fish-Story-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tokyo-fish-Story-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Tokyo-fish-Story.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tokyo Fish Story\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now – April 3:\u003c/strong> Food is so popular these days on Bay Area stages. The warm and funny \u003ca href=\"http://www.berkeleyrep.org/season/1516/9312.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>Aubergine \u003c/em> runs through March 27th at Berkeley Rep\u003c/a>, and Theatreworks is debuting \u003cem>Tokyo Fish Story\u003c/em>, by \u003ca href=\"http://ma-yitheatre.org/labbies/kimber-lee/\" target=\"_blank\" rel=\"noopener\">Kimber Lee\u003c/a>, a young playwright whose work we haven’t seen in the Bay Area yet. This is about a sushi master and the apprentice who wants to shake things up a bit. Details \u003ca href=\"http://www.theatreworks.org/shows/1516-season/tokyo-fish-story\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11395059\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11395059\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Rockages-Eric-Fanali-800x600.jpg\" alt=\"Rockage's Eric Fanali on the right with two other video game lovers\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Rockages-Eric-Fanali-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Rockages-Eric-Fanali-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Rockages-Eric-Fanali-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Rockages-Eric-Fanali-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Rockages-Eric-Fanali.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Rockages-Eric-Fanali-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rockage’s Eric Fanali on the right with two other video game lovers \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>March 11-13:\u003c/strong> \u003ca href=\"http://rockagesj.tumblr.com/lineup\" target=\"_blank\" rel=\"noopener\">Rockage\u003c/a> is a perfect festival for Silicon Valley, a part of the world that is so eager for the future, it sometimes fails to honor its nerdy past. Eric Fanali’s little festival offers unlimited retro video game arcade play and indy rock at five venues in San Jose’s SOFA district. Geek out to San Jose’s \u003ca href=\"http://www.supersoulbros.com/\" target=\"_blank\" rel=\"noopener\">Super Soul Bros\u003c/a>, Bit Brigade, \u003ca href=\"https://sweetpeaches.bandcamp.com/releases\" target=\"_blank\" rel=\"noopener\">Sweet Peaches\u003c/a> and other bands, and let your fingers fly on the blaster buttons. Details \u003ca href=\"http://rockagesj.tumblr.com/lineup\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>Not enough? David and I have some shoutouts:\u003c/p>\n\u003cp>\u003cstrong>Now through March 20:\u003c/strong> \u003ca href=\"http://caamfest.com/2016/\" target=\"_blank\" rel=\"noopener\">CAAM fest\u003c/a> — the Center For Asian American Media’s annual film and music event continues in San Francisco and Oakland. The festival features lots of small and worthy films- just one highlight the Oscar nominated \u003cem>Sanjay’s Super Team\u003c/em> from Pixar’s Sanjay Patel.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 13: \u003c/strong> The \u003ca href=\"http://www.steinwaysociety.com/\" target=\"_blank\" rel=\"noopener\">Steinway Society-The Bay \u003c/a>\u003ca href=\"http://www.steinwaysociety.com/concerts/haochen-zhang/\" target=\"_blank\" rel=\"noopener\">Area\u003c/a> presents Haochen Zhang, gold medalist in the 2009 Van Cliburn Competition. He was the first Chinese and the youngest pianist ever to win the Gold Medal. Details \u003ca href=\"http://www.steinwaysociety.com/concerts/haochen-zhang/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>Mick Gardner’s passion for playing the drums started about five years ago. The San Francisco County Corrections worker was leaving a meeting in Berkeley when he heard some music coming from one of the rooms in the building.\u003c/p>\n\u003cp>“I went inside the room,” Gardner, 62, says. “I heard people playing drums in all different variations. Everybody was sweating. The conductor gave me one of the instruments and I said to myself, ‘this is where I want to be’”.\u003c/p>\n\u003cp>\u003cem>Listen to Gardner explain why he finds Brazilian drumming so compelling.\u003c/em>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/248946884″ 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\u003cp>Gardner plays a form of pop-infused Brazilian samba-reggae music called “axé,” which became popular in the 1990s. The music involves the complex rhythmic interplay of different percussion instruments.\u003c/p>\n\u003caside class=\"callout alignright\">\u003cstrong>pARTicipate with us! \u003c/strong>We need your help to make this project bloom. If you have an artistic hobby that you’re passionate about, or know about an artist or organization involved in community art-making, we want to hear from you in any or all of the following ways:\n\u003cul>\n\u003cli>Share an image or video of you (and your friends) participating in your activity\u003c/li>\n\u003cli>Tell us the story of how you got involved in your practice, what it is you do and why it means so much to you\u003c/li>\n\u003cli>Send us information about arts organizations or individual coaches who are helping to bring creativity to your community\u003c/li>\n\u003c/ul>\n\u003cp>\u003cspan style=\"font-weight: 400\">You can reach us in the following ways:\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Email: \u003c/span>\u003ca href=\"mailto:cveltman@kqed.org\">\u003cspan style=\"font-weight: 400\">cveltman@kqed.org\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">Twitter: @KQEDarts and #KQEDparticipate\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Facebook: KQED Arts\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Instagram: @KQEDofficial and #KQEDparticipate\u003c/span>\u003c/p>\n\u003c/aside>\n\u003cp>Gardner’s instrument is the “surdo”–a large bass drum that’s popular in axé and samba-reggae music. He says drumming helps him leave his busy work day behind after he leaves the office.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even though he has been playing surdo for several years, Gardner still sees himself as a beginner. “I’m not a musician” he says. “I’m not a dancer and there’s choreography that you have to adhere to.”\u003c/p>\n\u003cp>Gardner finds it challenging to keep the beat and dance at the same time, “Those two are my major obstacles,” he says. “On a scale of one to ten I’m probably a six, but I’m getting better.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Intrigued and want to find out more about how to play the Brazilian percussion? Learn three basic techniques from local drum expert Marcos Odara and explore different studios around the Bay Area where you can learn this art form \u003ca href=\"http://ww2.kqed.org/arts/2016/03/08/learn-3-easy-brazilian-drum-beats-from-a-pro/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11372758\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11372758 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/IMG_0003-e1456883513451-1180x994.jpg\" alt='Sometimes your hands get bloody says Odara, \"But you need to play.\"' width=\"640\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0003-e1456883513451-1180x994.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0003-e1456883513451-400x337.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0003-e1456883513451-712x600.jpg 712w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0003-e1456883513451-768x647.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0003-e1456883513451-960x809.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0003-e1456883513451.jpg 1781w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Marcos Odara teaches drumming in the East Bay. \u003ccite>(Adizah Eghan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>Marcos Odara has been playing the conga drums for 39 years and teaching for the last 20. Odara hails from Salvador da Bahia, Brazil and now calls\u003cstrong> \u003c/strong>Oakland home. The drum master teaches Brazilian drumming in Oakland and Berkeley.\u003c/p>\n\u003cp>Brazilian percussion involves hands, sticks and all kinds of drums. “We have atabaque, agogo, pandeiro, repinique, surdo, cu\u003cem>í\u003c/em>ca,” Odara says, naming a few tools of his trade.\u003c/p>\n\u003cp>Watch Odara break down three basic drum techniques and then show how they weave together to make beautiful rhythmic patterns:\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=LJ2oklZbG70&w=560&h=315]\u003c/p>\n\u003caside class=\"callout alignright\">\u003cstrong>pARTicipate with us! \u003c/strong>We need your help to make this project bloom. If you have an artistic hobby that you’re passionate about, or know about an artist or organization involved in community art-making, we want to hear from you in any or all of the following ways:\n\u003cul>\n\u003cli>Share an image or video of you (and your friends) participating in your activity\u003c/li>\n\u003cli>Tell us the story of how you got involved in your practice, what it is you do and why it means so much to you\u003c/li>\n\u003cli>Send us information about arts organizations or individual coaches who are helping to bring creativity to your community\u003c/li>\n\u003c/ul>\n\u003cp>\u003cspan style=\"font-weight: 400\">You can reach us in the following ways:\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Email: \u003c/span>\u003ca href=\"mailto:cveltman@kqed.org\">\u003cspan style=\"font-weight: 400\">cveltman@kqed.org\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">Twitter: @KQEDarts and #KQEDparticipate\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Facebook: KQED Arts\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Instagram: @KQEDofficial and #KQEDparticipate\u003c/span>\u003c/p>\n\u003c/aside>\n\u003cp>Here’s a recap of the three basic techniques of Brazilian drumming, according to Odara:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11372759 alignright\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/IMG_0015-400x300.jpg\" alt=\"IMG_0015\" width=\"140\" height=\"105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0015-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0015-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0015-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0015-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0015-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0015-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0015.jpg 2048w\" sizes=\"(max-width: 140px) 100vw, 140px\">\u003cstrong>Bass\u003cbr>\n\u003c/strong>Super common and important to master. With a flat hand, hold your fingers together and strike the center of the drum with your palm. As soon as your hand hits the skin of the drum, let it bounce so the sound can escape.\u003c/p>\n\u003cp>\u003cstrong>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11377749 alignright\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/File_000-5-400x300.jpeg\" alt=\"File_000 (5)\" width=\"137\" height=\"103\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-5-400x300.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-5-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-5-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-5-1180x885.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-5-1920x1440.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-5-960x720.jpeg 960w\" sizes=\"(max-width: 137px) 100vw, 137px\">Tone\u003cbr>\n\u003c/strong>Tone is all about the fingers. Cup your hands like you are holding a golfball and press the fingers together. Then, strike the rim of the drum with your finger pads.\u003c/p>\n\u003cp>\u003cstrong>S\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-11372760\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/IMG_0023-400x300.jpg\" alt=\"IMG_0023\" width=\"141\" height=\"106\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0023-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0023-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0023-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0023-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0023-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0023-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0023.jpg 2048w\" sizes=\"(max-width: 141px) 100vw, 141px\">lap\u003cbr>\n\u003c/strong>This technique looks easy but is challenging to master. Hit the edge of the drum with a flat medium-open hand.\u003c/p>\n\u003cp>\u003cstrong>\u003cbr>\nWant to learn? Here’s where you can find Brazilian-style music and dance classes.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.batalasanfrancisco.com/\">Batalá \u003c/a>\u003ca href=\"http://www.batalasanfrancisco.com/\" target=\"_blank\" rel=\"noopener\"> San Francisco\u003c/a>, Oakland/San Francisco\u003cbr>\n\u003c/strong>\u003cspan style=\"font-weight: 400\">Axé/\u003c/span>\u003cspan style=\"font-weight: 400\">Samba-Reggae drumming group that’s open to all levels of drummers. Performances all over the Bay Area with practices in Oakland. Newbies can become members after four weeks.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.brasarte.com/\" target=\"_blank\" rel=\"noopener\">BrasArte\u003c/a>, Berkeley\u003cbr>\n\u003c/strong>With a goal to preserve Brazil’s vibrant music and dance in the Bay Area, BrasArte offers dance classes including samba, folklore, and West African dance and drum.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://sambaxedance.com/\" target=\"_blank\" rel=\"noopener\">SambaAxe\u003c/a> , San Francisco\u003cbr>\n\u003c/strong>Primarily teaches various levels of samba at ODC Rhythm and Motion dance program in the Mission District. SambaAxe also offers a samba percussion workshop.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.musicishealing.com\" target=\"_blank\" rel=\"noopener\">Samba Mundial, \u003c/a>Mountain View\u003cbr>\n\u003c/strong>Offers a variety of drum and dance classes as a way to promote cross-cultural exchange and through music and dance. Dedicated to community participation.\u003c/p>\n\u003cfigure id=\"attachment_11377644\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11377644 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/File_000-4-800x600.jpeg\" alt=\"Mick Gardner got turned on to playing samba-reggae music when he was passing by a roomful of drummers one day and one of them thrust an instrument in his hands. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-4-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-4-400x300.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-4-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-4-1180x885.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-4-1920x1440.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-4-960x720.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mick Gardner, 62, plays the surdo as a release from his job. (Photo: Adizah Eghan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Listen \u003ca href=\"http://ww2.kqed.org/arts/2016/03/08/san-francisco-county-corrections-worker-drums-to-let-off-steam/\" target=\"_blank\" rel=\"noopener\">here \u003c/a>to the story of Mick Gardner, a San Francisco County corrections worker who became entranced with Brazilian drumming and now considers the art form a major passion.\u003c/strong> \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment wp-att-11316580 noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>Marcos Odara has been playing the conga drums for 39 years and teaching for the last 20. Odara hails from Salvador da Bahia, Brazil and now calls\u003cstrong> \u003c/strong>Oakland home. The drum master teaches Brazilian drumming in Oakland and Berkeley.\u003c/p>\n\u003cp>Brazilian percussion involves hands, sticks and all kinds of drums. “We have atabaque, agogo, pandeiro, repinique, surdo, cu\u003cem>í\u003c/em>ca,” Odara says, naming a few tools of his trade.\u003c/p>\n\u003cp>Watch Odara break down three basic drum techniques and then show how they weave together to make beautiful rhythmic patterns:\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/LJ2oklZbG70'\n title='//www.youtube.com/embed/LJ2oklZbG70'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003caside class=\"callout alignright\">\u003cstrong>pARTicipate with us! \u003c/strong>We need your help to make this project bloom. If you have an artistic hobby that you’re passionate about, or know about an artist or organization involved in community art-making, we want to hear from you in any or all of the following ways:\n\u003cul>\n\u003cli>Share an image or video of you (and your friends) participating in your activity\u003c/li>\n\u003cli>Tell us the story of how you got involved in your practice, what it is you do and why it means so much to you\u003c/li>\n\u003cli>Send us information about arts organizations or individual coaches who are helping to bring creativity to your community\u003c/li>\n\u003c/ul>\n\u003cp>\u003cspan style=\"font-weight: 400\">You can reach us in the following ways:\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Email: \u003c/span>\u003ca href=\"mailto:cveltman@kqed.org\">\u003cspan style=\"font-weight: 400\">cveltman@kqed.org\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">Twitter: @KQEDarts and #KQEDparticipate\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Facebook: KQED Arts\u003c/span>\u003cspan style=\"font-weight: 400\">\u003cbr>\n\u003c/span>\u003cspan style=\"font-weight: 400\">Instagram: @KQEDofficial and #KQEDparticipate\u003c/span>\u003c/p>\n\u003c/aside>\n\u003cp>Here’s a recap of the three basic techniques of Brazilian drumming, according to Odara:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11372759 alignright\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/IMG_0015-400x300.jpg\" alt=\"IMG_0015\" width=\"140\" height=\"105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0015-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0015-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0015-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0015-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0015-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0015-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0015.jpg 2048w\" sizes=\"(max-width: 140px) 100vw, 140px\">\u003cstrong>Bass\u003cbr>\n\u003c/strong>Super common and important to master. With a flat hand, hold your fingers together and strike the center of the drum with your palm. As soon as your hand hits the skin of the drum, let it bounce so the sound can escape.\u003c/p>\n\u003cp>\u003cstrong>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11377749 alignright\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/File_000-5-400x300.jpeg\" alt=\"File_000 (5)\" width=\"137\" height=\"103\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-5-400x300.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-5-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-5-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-5-1180x885.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-5-1920x1440.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-5-960x720.jpeg 960w\" sizes=\"(max-width: 137px) 100vw, 137px\">Tone\u003cbr>\n\u003c/strong>Tone is all about the fingers. Cup your hands like you are holding a golfball and press the fingers together. Then, strike the rim of the drum with your finger pads.\u003c/p>\n\u003cp>\u003cstrong>S\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright wp-image-11372760\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/IMG_0023-400x300.jpg\" alt=\"IMG_0023\" width=\"141\" height=\"106\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0023-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0023-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0023-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0023-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0023-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0023-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_0023.jpg 2048w\" sizes=\"(max-width: 141px) 100vw, 141px\">lap\u003cbr>\n\u003c/strong>This technique looks easy but is challenging to master. Hit the edge of the drum with a flat medium-open hand.\u003c/p>\n\u003cp>\u003cstrong>\u003cbr>\nWant to learn? Here’s where you can find Brazilian-style music and dance classes.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.batalasanfrancisco.com/\">Batalá \u003c/a>\u003ca href=\"http://www.batalasanfrancisco.com/\" target=\"_blank\" rel=\"noopener\"> San Francisco\u003c/a>, Oakland/San Francisco\u003cbr>\n\u003c/strong>\u003cspan style=\"font-weight: 400\">Axé/\u003c/span>\u003cspan style=\"font-weight: 400\">Samba-Reggae drumming group that’s open to all levels of drummers. Performances all over the Bay Area with practices in Oakland. Newbies can become members after four weeks.\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.brasarte.com/\" target=\"_blank\" rel=\"noopener\">BrasArte\u003c/a>, Berkeley\u003cbr>\n\u003c/strong>With a goal to preserve Brazil’s vibrant music and dance in the Bay Area, BrasArte offers dance classes including samba, folklore, and West African dance and drum.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://sambaxedance.com/\" target=\"_blank\" rel=\"noopener\">SambaAxe\u003c/a> , San Francisco\u003cbr>\n\u003c/strong>Primarily teaches various levels of samba at ODC Rhythm and Motion dance program in the Mission District. SambaAxe also offers a samba percussion workshop.\u003c/p>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.musicishealing.com\" target=\"_blank\" rel=\"noopener\">Samba Mundial, \u003c/a>Mountain View\u003cbr>\n\u003c/strong>Offers a variety of drum and dance classes as a way to promote cross-cultural exchange and through music and dance. Dedicated to community participation.\u003c/p>\n\u003cfigure id=\"attachment_11377644\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11377644 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/File_000-4-800x600.jpeg\" alt=\"Mick Gardner got turned on to playing samba-reggae music when he was passing by a roomful of drummers one day and one of them thrust an instrument in his hands. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-4-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-4-400x300.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-4-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-4-1180x885.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-4-1920x1440.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/File_000-4-960x720.jpeg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mick Gardner, 62, plays the surdo as a release from his job. (Photo: Adizah Eghan/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Listen \u003ca href=\"http://ww2.kqed.org/arts/2016/03/08/san-francisco-county-corrections-worker-drums-to-let-off-steam/\" target=\"_blank\" rel=\"noopener\">here \u003c/a>to the story of Mick Gardner, a San Francisco County corrections worker who became entranced with Brazilian drumming and now considers the art form a major passion.\u003c/strong> \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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