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"title": "Can You Copyright Your Dumb Joke? And How Can You Prove It's Yours?",
"headTitle": "Can You Copyright Your Dumb Joke? And How Can You Prove It’s Yours? | KQED",
"content": "\u003cp>“Joke theft” sounds funny.\u003c/p>\n\u003cp>Unless you’re a comedy writer and you see a late-night TV host telling a joke you wrote. Five times.\u003c/p>\n\u003cp>That’s what the writer Alex Kaseberg says happened to him in late 2014 and early 2015, a charge disputed by Conan O’Brien and his lawyers.\u003c/p>\n\u003cp>Kaseberg is a comedy writer who has written over a thousand jokes used by Jay Leno over the last 20 years, according to \u003ca href=\"https://www.documentcloud.org/documents/3720894-Conan-Order-512.html\" target=\"_blank\" rel=\"noopener\">court documents\u003c/a>. On his blog, Kaseberg regularly writes \u003ca href=\"http://thordoggie.blogspot.com/2017/05/the-bad-fallkuuune-rides-again-for-only.html\" target=\"_blank\" rel=\"noopener\">posts with a dozen or more jokes\u003c/a> — topical humor styled in two-beat form used by late-night hosts in their monologues.\u003c/p>\n\u003cp>At the heart of the lawsuit are five not-amazing jokes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Dec. 2, 2014, Kaseberg posted this to his blog: “The University of Alabama-Birmingham is shutting down its football program. To which the Oakland Raiders said; ‘Wait, so you can do that?'”\u003c/p>\n\u003cp>In his monologue on \u003cem>Conan\u003c/em> the following day, O’Brien said, “Big news in sports. University of Alabama-Birmingham has decided to discontinue its football team. Yeah. When they heard the news, New York Jets fans said, ‘Wait can you do that? It’s something you can do?’ ”\u003c/p>\n\u003cp>A month later, in January 2015, a similar thing happened. Kaseberg posted a joke about passengers on a Delta flight fighting over the armrest; a few hours later, O’Brien delivered a very similar joke on his show. Kaseberg tweeted a couple days later at Mike Sweeney, the head writer for \u003cem>Conan\u003c/em>, saying he was “95% sure” that he had a joke from his blog used on the show: “I’m not upset, [but] would like the opportunity to contribute jokes.”\u003c/p>\n\u003cp>The next month, Kaseberg saw O’Brien deliver two jokes very similar to ones he had posted on his site.\u003c/p>\n\u003cp>Kaseberg then said he reached Sweeney on the phone, where they had what Kaseberg \u003ca href=\"http://thordoggie.blogspot.com/2015/02/0-0-1-24-108-little-bit-bad-productions.html\" target=\"_blank\" rel=\"noopener\">called\u003c/a> an “agonizing” conversation, in which Sweeney “angrily and loudly denied those were my jokes. He was furious that I was accusing them of stealing jokes, but most of all he was incensed that I would suggest his writers would have anything to do with my pathetic blog and [its] author, me, a no-name failure.”\u003c/p>\n\u003cp>In June 2015, Kaseberg and O’Brien made very similar jokes about Caitlyn Jenner; a month later, Kaseberg filed a lawsuit against O’Brien, his writers, executive producer, production company, TBS and Time Warner.\u003c/p>\n\u003cp>Which brings us to last week, when a U.S. District Judge Janis L. Sammartino \u003ca href=\"https://www.nytimes.com/2017/05/15/arts/television/conan-obrien-joke-theft-allegations.html?_r=0\" target=\"_blank\" rel=\"noopener\">ruled\u003c/a> that the case will head to court. And that means close scrutiny of late-night monologues — which aren’t really designed for close scrutiny.\u003c/p>\n\u003cp>\u003cstrong>How many ways can you write a joke?\u003c/strong>\u003c/p>\n\u003cp>Kaseberg’s case is an interesting one: not only because the judge evaluated the originality of a “shrinkage” joke about the Washington Monument, but because lawsuits of its kind are rare.\u003c/p>\n\u003cp>“The most surprising thing to me about this lawsuit is that it was filed in the first place,” says \u003ca href=\"http://law.case.edu/Our-School/Faculty-Staff/Meet-Our-Faculty/Faculty-Detail/id/1032\" target=\"_blank\" rel=\"noopener\">Aaron Perzanowski\u003c/a>, a professor on intellectual property law at Case Western Reserve University. “When you’re talking about accusations of infringement dealing with fairly low-dollar-value creative work, we don’t see a lot of litigation.”\u003c/p>\n\u003cp>Judge Sammartino threw out the jokes about UAB football and the Delta flight (finding in the latter case that one of O’Brien’s writers had already pitched a similar joke before the one on the blog appeared). That left Kaseberg with the Tom Brady Joke, the Washington Monument Joke, and the Jenner Joke, as the judge labels them.\u003c/p>\n\u003cp>The jokes written by Kaseberg and O’Brien’s staff, the judge ruled, are “sufficiently objectively virtually identical” in those three instances. To win, Kaseberg’s lawyers will need to show that the defendants “willfully infringed Plaintiff’s copyrights.”\u003c/p>\n\u003cp>So how much copyright protection do jokes get?\u003c/p>\n\u003cp>In this case, the judge ruled that the jokes get a “thin” protection. That’s because, the judge writes, the copyrighted work (Kaseberg’s jokes) “is composed largely of ‘unprotectable’ elements. … [S]imilarities derived from the use of common ideas cannot be protected; otherwise, the first to come up with an idea will corner the market.”\u003c/p>\n\u003cp>Let’s take a look at the Jenner Joke.\u003c/p>\n\u003cp>This was Kaseberg’s: “Three towns, two in Texas, one in Tennessee, have streets named after Bruce Jenner and now they have to consider changing them to Caitlyn. And one will have to change from a Cul-De-Sac to a Cul-De-Sackless.”\u003c/p>\n\u003cp>And O’Brien’s: “Some cities that have streets named after Bruce Jenner are trying to change the streets’ names to Caitlyn Jenner. If you live on Bruce Jenner cul-de-sac it will now be cul-de-no-sack.”\u003c/p>\n\u003cp>Very similar? Yes. Kind of a groaner? Also yes.\u003c/p>\n\u003cp>But just because two things are similar doesn’t mean that one is a copy of the other.\u003c/p>\n\u003cp>“If you put a copy of the day’s newspaper in a room with 100 different comedy writers, you’re going to see lots of the same jokes where lots of people are circling the same formulation and often the same punchline independently,” says Perzanowski, the law professor. “That doesn’t mean they’re copying from each other. But people do have a tendency, when they see those similarities, to attribute that to copying rather than independent creation.”\u003c/p>\n\u003cp>“There’s a finite number of formulations of that Caitlyn Jenner cul-de-sac joke,” he adds. “You can tell it three or four different ways but they’re not very different from each other.\u003c/p>\n\u003cp>\u003cstrong>Is a lawsuit the best way to resolve joke theft?\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>In its way, this line from the judge’s opinion is much funnier than any of the jokes Conan delivered: “the common threads between all of the jokes are merely the ideas that (1) the Washington Monument looks like a phallus and (2) the Monument may therefore respond to cold weather by shrinking.”\u003c/p>\n\u003cp>But the cognitive dissonance of a district court judge writing in legalese about this dumb joke evinces a not-dumb point: Maybe judges aren’t the best judges of humor, or courts the best place to resolve ethics of comedy.\u003c/p>\n\u003cp>In 2008, law professors Dotan Oliar and Christopher Sprigman \u003ca href=\"http://www.law.virginia.edu/pdf/faculty/hein/sprigman/94va_l_rev1787_2008.pdf\" target=\"_blank\" rel=\"noopener\">published a paper\u003c/a> that explored the norms comics had established to protect their intellectual property: their jokes.\u003c/p>\n\u003cp>In stand-up comedy, they write, “social norms substitute for intellectual property law. These norms track copyright law at times: for example, the major norm at work is one against publicly performing another stand-up’s joke or bit. More often than not, however, the norms deviate from copyright law’s defaults: for example, whereas copyright protects expression but not ideas, comedians’ norms protect expression as well as ideas.”\u003c/p>\n\u003cp>And those norms aren’t “merely hortatory,” they write. “They are enforced with sanctions that start with simple badmouthing and may escalate from refusals to work with an offending comedian up to threats of, and even actual, physical violence.”\u003c/p>\n\u003cp>But even that system doesn’t keep everyone in line. Many extremely successful comedians are \u003ca href=\"http://mentalfloss.com/article/24305/not-so-funny-look-6-comedians-accused-plagiarism\" target=\"_blank\" rel=\"noopener\">regularly accused of stealing jokes\u003c/a>. Bob Hope \u003ca href=\"http://www.tcm.com/this-month/article/345437%7C0/Always-Leave-Them-Laughing.html\">used to joke\u003c/a> that Milton Berle “never heard a joke he didn’t steal.” And according to \u003ca href=\"https://web.archive.org/web/20070217031356/http:/www.radaronline.com/from-the-magazine/2007/02/take_the_funny_and_run_1.php\" target=\"_blank\" rel=\"noopener\">a 2007 story\u003c/a> in \u003cem>Radar\u003c/em>, comics at the Hollywood Improv in the ’80s would use a light to signal the presence of Robin Williams, “comedy’s most notorious joke rustler”; the comics would wrap up their sets quickly fearing that Williams would make off with their material.\u003c/p>\n\u003cp>Even if the informal system doesn’t nab every thief, it does offer one distinct advantage: a jury of one’s peers.\u003c/p>\n\u003cp>“In the particular instance of standup comedy, courts do not have a great wealth of prior case law or precedent to draw on,” says Perzanowski.\u003c/p>\n\u003cp>“That’s one reason that I think these informal systems tend to have an advantage over the formal judicial process,” he says. “Because no one is in a better position to understand what makes a joke funny, what makes a joke original, what makes a joke commonplace, than a group of comedy writers themselves.”\u003c/p>\n\u003cp>And O’Brien isn’t laughing about being called a joke-stealer. “Accusing a comedian of stealing a joke is the worst thing you can accuse them of, in my opinion, short of murder,” he said in a deposition. “I think it’s absolutely terrible.”\u003c/p>\n\u003cp>“I take it really seriously,” \u003ca href=\"http://www.hollywoodreporter.com/thr-esq/conan-obrien-demands-halt-lawsuit-accusing-him-stealing-five-jokes-972357\" target=\"_blank\" rel=\"noopener\">he said\u003c/a>. “So the notion of stealing someone else’s comedy makes me physically ill.”\u003c/p>\n\u003cp>\u003cem>Kaseberg v. Conaco\u003c/em> may be in court because it doesn’t spring from the world of standup comedy, but from the deeper pockets of television comedy. Kaseberg isn’t suing some small-time comic; he’s suing TBS and Time Warner.\u003c/p>\n\u003cp>And that brings us to this question:\u003c/p>\n\u003cp>\u003cstrong>Can you really copyright a dumb joke?\u003c/strong>\u003c/p>\n\u003cp>“The question really focuses on originality, and there is no freestanding barrier to copyright extending to a joke on any topic … so long as that joke meets the fairly minimal requirements for originality,” says Perzanowski. “That means it has to demonstrate some low level of creativity and importantly that it not be copied from some other source.”\u003c/p>\n\u003cp>“Copyright will give you protection for this specific arrangement of words,” he says, but not for a whole subject matter.\u003c/p>\n\u003cp>When it comes to topical comedy, he says, the question is whether one can separate an idea (which can’t be copyrighted) from its expression (which can).\u003c/p>\n\u003cp>Judge Sammartino agrees. “[T]here is little doubt that the jokes at issue merit copyright protection,” she writes, citing the relevant case law, “noting originality requires only independent creation of a work that ‘possess[es] some creative spark, “no matter how crude, humble or obvious” it might be.'”\u003c/p>\n\u003cp>However, she adds, the jokes here “are similarly constrained by their subject matter and the conventions of the two-line, setup-and-delivery paradigm.”\u003c/p>\n\u003cp>The result is that for O’Brien’s jokes to infringe on Kaseberg’s copyright, they must be “virtually identical,” one step below verbatim.\u003c/p>\n\u003cp>\u003ca href=\"http://www.cbsnews.com/news/conan-obrien-heading-to-trial-over-joke-theft/\" target=\"_blank\" rel=\"noopener\">CBS reports\u003c/a> that unless there’s an out-of-court settlement, the case will go to trial in August. The case may indeed hinge on questions like how many ways there are to make a cul-de-sac joke. Because, as Sammarino notes, a joke’s originality is constrained by its format.\u003c/p>\n\u003cp>“Each joke begins with a factual sentence and then immediately concludes with another sentence providing humorous commentary on the preceding facts,” she writes. “Facts, of course, are not protected by copyright.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Those us who tell dumb jokes may hope that the case doesn’t go to court. After all, many of us are kept in line just by being told our jokes aren’t that funny — no copyright protection needed. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Can+You+Copyright+Your+Dumb+Joke%3F+And+How+Can+You+Prove+It%27s+Yours%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "\"Joke theft\" sounds funny, but that claim is at the heart of a lawsuit lodged against Conan O'Brien. The case brings thorny questions of humor to the courtroom, a place not always known for jokes.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Joke theft” sounds funny.\u003c/p>\n\u003cp>Unless you’re a comedy writer and you see a late-night TV host telling a joke you wrote. Five times.\u003c/p>\n\u003cp>That’s what the writer Alex Kaseberg says happened to him in late 2014 and early 2015, a charge disputed by Conan O’Brien and his lawyers.\u003c/p>\n\u003cp>Kaseberg is a comedy writer who has written over a thousand jokes used by Jay Leno over the last 20 years, according to \u003ca href=\"https://www.documentcloud.org/documents/3720894-Conan-Order-512.html\" target=\"_blank\" rel=\"noopener\">court documents\u003c/a>. On his blog, Kaseberg regularly writes \u003ca href=\"http://thordoggie.blogspot.com/2017/05/the-bad-fallkuuune-rides-again-for-only.html\" target=\"_blank\" rel=\"noopener\">posts with a dozen or more jokes\u003c/a> — topical humor styled in two-beat form used by late-night hosts in their monologues.\u003c/p>\n\u003cp>At the heart of the lawsuit are five not-amazing jokes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Dec. 2, 2014, Kaseberg posted this to his blog: “The University of Alabama-Birmingham is shutting down its football program. To which the Oakland Raiders said; ‘Wait, so you can do that?'”\u003c/p>\n\u003cp>In his monologue on \u003cem>Conan\u003c/em> the following day, O’Brien said, “Big news in sports. University of Alabama-Birmingham has decided to discontinue its football team. Yeah. When they heard the news, New York Jets fans said, ‘Wait can you do that? It’s something you can do?’ ”\u003c/p>\n\u003cp>A month later, in January 2015, a similar thing happened. Kaseberg posted a joke about passengers on a Delta flight fighting over the armrest; a few hours later, O’Brien delivered a very similar joke on his show. Kaseberg tweeted a couple days later at Mike Sweeney, the head writer for \u003cem>Conan\u003c/em>, saying he was “95% sure” that he had a joke from his blog used on the show: “I’m not upset, [but] would like the opportunity to contribute jokes.”\u003c/p>\n\u003cp>The next month, Kaseberg saw O’Brien deliver two jokes very similar to ones he had posted on his site.\u003c/p>\n\u003cp>Kaseberg then said he reached Sweeney on the phone, where they had what Kaseberg \u003ca href=\"http://thordoggie.blogspot.com/2015/02/0-0-1-24-108-little-bit-bad-productions.html\" target=\"_blank\" rel=\"noopener\">called\u003c/a> an “agonizing” conversation, in which Sweeney “angrily and loudly denied those were my jokes. He was furious that I was accusing them of stealing jokes, but most of all he was incensed that I would suggest his writers would have anything to do with my pathetic blog and [its] author, me, a no-name failure.”\u003c/p>\n\u003cp>In June 2015, Kaseberg and O’Brien made very similar jokes about Caitlyn Jenner; a month later, Kaseberg filed a lawsuit against O’Brien, his writers, executive producer, production company, TBS and Time Warner.\u003c/p>\n\u003cp>Which brings us to last week, when a U.S. District Judge Janis L. Sammartino \u003ca href=\"https://www.nytimes.com/2017/05/15/arts/television/conan-obrien-joke-theft-allegations.html?_r=0\" target=\"_blank\" rel=\"noopener\">ruled\u003c/a> that the case will head to court. And that means close scrutiny of late-night monologues — which aren’t really designed for close scrutiny.\u003c/p>\n\u003cp>\u003cstrong>How many ways can you write a joke?\u003c/strong>\u003c/p>\n\u003cp>Kaseberg’s case is an interesting one: not only because the judge evaluated the originality of a “shrinkage” joke about the Washington Monument, but because lawsuits of its kind are rare.\u003c/p>\n\u003cp>“The most surprising thing to me about this lawsuit is that it was filed in the first place,” says \u003ca href=\"http://law.case.edu/Our-School/Faculty-Staff/Meet-Our-Faculty/Faculty-Detail/id/1032\" target=\"_blank\" rel=\"noopener\">Aaron Perzanowski\u003c/a>, a professor on intellectual property law at Case Western Reserve University. “When you’re talking about accusations of infringement dealing with fairly low-dollar-value creative work, we don’t see a lot of litigation.”\u003c/p>\n\u003cp>Judge Sammartino threw out the jokes about UAB football and the Delta flight (finding in the latter case that one of O’Brien’s writers had already pitched a similar joke before the one on the blog appeared). That left Kaseberg with the Tom Brady Joke, the Washington Monument Joke, and the Jenner Joke, as the judge labels them.\u003c/p>\n\u003cp>The jokes written by Kaseberg and O’Brien’s staff, the judge ruled, are “sufficiently objectively virtually identical” in those three instances. To win, Kaseberg’s lawyers will need to show that the defendants “willfully infringed Plaintiff’s copyrights.”\u003c/p>\n\u003cp>So how much copyright protection do jokes get?\u003c/p>\n\u003cp>In this case, the judge ruled that the jokes get a “thin” protection. That’s because, the judge writes, the copyrighted work (Kaseberg’s jokes) “is composed largely of ‘unprotectable’ elements. … [S]imilarities derived from the use of common ideas cannot be protected; otherwise, the first to come up with an idea will corner the market.”\u003c/p>\n\u003cp>Let’s take a look at the Jenner Joke.\u003c/p>\n\u003cp>This was Kaseberg’s: “Three towns, two in Texas, one in Tennessee, have streets named after Bruce Jenner and now they have to consider changing them to Caitlyn. And one will have to change from a Cul-De-Sac to a Cul-De-Sackless.”\u003c/p>\n\u003cp>And O’Brien’s: “Some cities that have streets named after Bruce Jenner are trying to change the streets’ names to Caitlyn Jenner. If you live on Bruce Jenner cul-de-sac it will now be cul-de-no-sack.”\u003c/p>\n\u003cp>Very similar? Yes. Kind of a groaner? Also yes.\u003c/p>\n\u003cp>But just because two things are similar doesn’t mean that one is a copy of the other.\u003c/p>\n\u003cp>“If you put a copy of the day’s newspaper in a room with 100 different comedy writers, you’re going to see lots of the same jokes where lots of people are circling the same formulation and often the same punchline independently,” says Perzanowski, the law professor. “That doesn’t mean they’re copying from each other. But people do have a tendency, when they see those similarities, to attribute that to copying rather than independent creation.”\u003c/p>\n\u003cp>“There’s a finite number of formulations of that Caitlyn Jenner cul-de-sac joke,” he adds. “You can tell it three or four different ways but they’re not very different from each other.\u003c/p>\n\u003cp>\u003cstrong>Is a lawsuit the best way to resolve joke theft?\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>In its way, this line from the judge’s opinion is much funnier than any of the jokes Conan delivered: “the common threads between all of the jokes are merely the ideas that (1) the Washington Monument looks like a phallus and (2) the Monument may therefore respond to cold weather by shrinking.”\u003c/p>\n\u003cp>But the cognitive dissonance of a district court judge writing in legalese about this dumb joke evinces a not-dumb point: Maybe judges aren’t the best judges of humor, or courts the best place to resolve ethics of comedy.\u003c/p>\n\u003cp>In 2008, law professors Dotan Oliar and Christopher Sprigman \u003ca href=\"http://www.law.virginia.edu/pdf/faculty/hein/sprigman/94va_l_rev1787_2008.pdf\" target=\"_blank\" rel=\"noopener\">published a paper\u003c/a> that explored the norms comics had established to protect their intellectual property: their jokes.\u003c/p>\n\u003cp>In stand-up comedy, they write, “social norms substitute for intellectual property law. These norms track copyright law at times: for example, the major norm at work is one against publicly performing another stand-up’s joke or bit. More often than not, however, the norms deviate from copyright law’s defaults: for example, whereas copyright protects expression but not ideas, comedians’ norms protect expression as well as ideas.”\u003c/p>\n\u003cp>And those norms aren’t “merely hortatory,” they write. “They are enforced with sanctions that start with simple badmouthing and may escalate from refusals to work with an offending comedian up to threats of, and even actual, physical violence.”\u003c/p>\n\u003cp>But even that system doesn’t keep everyone in line. Many extremely successful comedians are \u003ca href=\"http://mentalfloss.com/article/24305/not-so-funny-look-6-comedians-accused-plagiarism\" target=\"_blank\" rel=\"noopener\">regularly accused of stealing jokes\u003c/a>. Bob Hope \u003ca href=\"http://www.tcm.com/this-month/article/345437%7C0/Always-Leave-Them-Laughing.html\">used to joke\u003c/a> that Milton Berle “never heard a joke he didn’t steal.” And according to \u003ca href=\"https://web.archive.org/web/20070217031356/http:/www.radaronline.com/from-the-magazine/2007/02/take_the_funny_and_run_1.php\" target=\"_blank\" rel=\"noopener\">a 2007 story\u003c/a> in \u003cem>Radar\u003c/em>, comics at the Hollywood Improv in the ’80s would use a light to signal the presence of Robin Williams, “comedy’s most notorious joke rustler”; the comics would wrap up their sets quickly fearing that Williams would make off with their material.\u003c/p>\n\u003cp>Even if the informal system doesn’t nab every thief, it does offer one distinct advantage: a jury of one’s peers.\u003c/p>\n\u003cp>“In the particular instance of standup comedy, courts do not have a great wealth of prior case law or precedent to draw on,” says Perzanowski.\u003c/p>\n\u003cp>“That’s one reason that I think these informal systems tend to have an advantage over the formal judicial process,” he says. “Because no one is in a better position to understand what makes a joke funny, what makes a joke original, what makes a joke commonplace, than a group of comedy writers themselves.”\u003c/p>\n\u003cp>And O’Brien isn’t laughing about being called a joke-stealer. “Accusing a comedian of stealing a joke is the worst thing you can accuse them of, in my opinion, short of murder,” he said in a deposition. “I think it’s absolutely terrible.”\u003c/p>\n\u003cp>“I take it really seriously,” \u003ca href=\"http://www.hollywoodreporter.com/thr-esq/conan-obrien-demands-halt-lawsuit-accusing-him-stealing-five-jokes-972357\" target=\"_blank\" rel=\"noopener\">he said\u003c/a>. “So the notion of stealing someone else’s comedy makes me physically ill.”\u003c/p>\n\u003cp>\u003cem>Kaseberg v. Conaco\u003c/em> may be in court because it doesn’t spring from the world of standup comedy, but from the deeper pockets of television comedy. Kaseberg isn’t suing some small-time comic; he’s suing TBS and Time Warner.\u003c/p>\n\u003cp>And that brings us to this question:\u003c/p>\n\u003cp>\u003cstrong>Can you really copyright a dumb joke?\u003c/strong>\u003c/p>\n\u003cp>“The question really focuses on originality, and there is no freestanding barrier to copyright extending to a joke on any topic … so long as that joke meets the fairly minimal requirements for originality,” says Perzanowski. “That means it has to demonstrate some low level of creativity and importantly that it not be copied from some other source.”\u003c/p>\n\u003cp>“Copyright will give you protection for this specific arrangement of words,” he says, but not for a whole subject matter.\u003c/p>\n\u003cp>When it comes to topical comedy, he says, the question is whether one can separate an idea (which can’t be copyrighted) from its expression (which can).\u003c/p>\n\u003cp>Judge Sammartino agrees. “[T]here is little doubt that the jokes at issue merit copyright protection,” she writes, citing the relevant case law, “noting originality requires only independent creation of a work that ‘possess[es] some creative spark, “no matter how crude, humble or obvious” it might be.'”\u003c/p>\n\u003cp>However, she adds, the jokes here “are similarly constrained by their subject matter and the conventions of the two-line, setup-and-delivery paradigm.”\u003c/p>\n\u003cp>The result is that for O’Brien’s jokes to infringe on Kaseberg’s copyright, they must be “virtually identical,” one step below verbatim.\u003c/p>\n\u003cp>\u003ca href=\"http://www.cbsnews.com/news/conan-obrien-heading-to-trial-over-joke-theft/\" target=\"_blank\" rel=\"noopener\">CBS reports\u003c/a> that unless there’s an out-of-court settlement, the case will go to trial in August. The case may indeed hinge on questions like how many ways there are to make a cul-de-sac joke. Because, as Sammarino notes, a joke’s originality is constrained by its format.\u003c/p>\n\u003cp>“Each joke begins with a factual sentence and then immediately concludes with another sentence providing humorous commentary on the preceding facts,” she writes. “Facts, of course, are not protected by copyright.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Those us who tell dumb jokes may hope that the case doesn’t go to court. After all, many of us are kept in line just by being told our jokes aren’t that funny — no copyright protection needed. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Can+You+Copyright+Your+Dumb+Joke%3F+And+How+Can+You+Prove+It%27s+Yours%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Protesters Give Trump Golf Course Near L.A. a New Look",
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"content": "\u003cp>Some 200 protesters gathered at President Trump’s golf course near Los Angeles and spread out in the grass to form the word “RESIST!”\u003c/p>\n\u003cp>A group calling itself “Indivisible San Pedro” organized the demonstration Saturday at a public park nestled within Trump National Golf Course in Rancho Palos Verdes.\u003c/p>\n\u003cp>Peter Warren, a retired journalist and volunteer with the group, said Indivisible San Pedro is calling for a special prosecutor to investigate the Trump campaign and Russia’s interference in the 2016 elections. They’re also urging Trump to release his tax returns.\u003c/p>\n\u003cp>“This is not a candidate running for president; this is the president of the United States,” said Warren. “He needs to [release his tax returns].”\u003c/p>\n\u003cp>It took 15 minutes to form the 30-foot-tall letters, after which the group sang “God Bless America.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Warren says it would have been too hard to spell out “release your taxes,” so they opted for “resist” instead.\u003c/p>\n\u003cp>He says golf course officials and sheriff’s deputies watched from the clubhouse but didn’t intervene. Warren says the group held their demonstration in the public access area of the golf course.\u003c/p>\n\u003cp>Warren says this was one of the group’s bigger actions, calling it a “family event.” Kids as young as 1½ participated.\u003c/p>\n\u003cp>As for organizing strategy, Warren says Indivisible San Pedro aims to push people to call their direct representatives on Capitol Hill.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Don’t call Paul Ryan. Don’t call Mitch McConnell,” said Warren. “You have to talk to your members of Congress and tell them: ‘Here’s what I want.’ “\u003c/p>\n\n",
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"excerpt": "This is probably one message not endorsed by the new president.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some 200 protesters gathered at President Trump’s golf course near Los Angeles and spread out in the grass to form the word “RESIST!”\u003c/p>\n\u003cp>A group calling itself “Indivisible San Pedro” organized the demonstration Saturday at a public park nestled within Trump National Golf Course in Rancho Palos Verdes.\u003c/p>\n\u003cp>Peter Warren, a retired journalist and volunteer with the group, said Indivisible San Pedro is calling for a special prosecutor to investigate the Trump campaign and Russia’s interference in the 2016 elections. They’re also urging Trump to release his tax returns.\u003c/p>\n\u003cp>“This is not a candidate running for president; this is the president of the United States,” said Warren. “He needs to [release his tax returns].”\u003c/p>\n\u003cp>It took 15 minutes to form the 30-foot-tall letters, after which the group sang “God Bless America.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Warren says it would have been too hard to spell out “release your taxes,” so they opted for “resist” instead.\u003c/p>\n\u003cp>He says golf course officials and sheriff’s deputies watched from the clubhouse but didn’t intervene. Warren says the group held their demonstration in the public access area of the golf course.\u003c/p>\n\u003cp>Warren says this was one of the group’s bigger actions, calling it a “family event.” Kids as young as 1½ participated.\u003c/p>\n\u003cp>As for organizing strategy, Warren says Indivisible San Pedro aims to push people to call their direct representatives on Capitol Hill.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Don’t call Paul Ryan. Don’t call Mitch McConnell,” said Warren. “You have to talk to your members of Congress and tell them: ‘Here’s what I want.’ “\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "standing-rock-the-hot-talk-at-this-years-stanford-powwow",
"title": "Standing Rock the Hot Talk at this Year's Stanford Powwow",
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"content": "\u003cp>For nearly 50 years, the annual \u003ca href=\"http://powwow.stanford.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Stanford Powwow\u003c/a> has drawn tens of thousands of Native Americans from all over the continent to the university. It’s the largest student-run powwow in the country and one of the largest cultural gatherings of Native American peoples on the west coast, according to the \u003ca href=\"http://stanford.edu/group/saio/\" target=\"_blank\" rel=\"noopener noreferrer\">Stanford American Indian Organization\u003c/a> and the \u003ca href=\"http://powwow.stanford.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Stanford Powwow Planning Committee\u003c/a>, which organizes the event.\u003c/p>\n\u003cp>People of all tribal backgrounds, as well as curious and admiring onlookers, come to dance, pray, eat, and reconnect with friends. This year, they also came to talk politics: Stanford Powwow organizers established a theme for the event — “Water is Life” — with a nod to the people who protested the Dakota Access Pipeline at Standing Rock.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=Rf_feMN9FgE&w=560&h=315]\u003c/p>\n\u003cp>On Sunday, the organizers awarded special honors to these “Water Protectors,” who got to take their own turn around the circle at Stanford’s Eucalyptus Grove as an appreciative crowd applauded.\u003c/p>\n\u003cp>“Just because things didn’t turn out how we wanted to, you know, up in the \u003ca href=\"https://mail.kqed.org/owa/redir.aspx?C=4dYFs07Lc_8kAG_Uov0_eRGA3CyM83Ps5JnxRwWJW1g2MEQlJpvUCA..&URL=https%3a%2f%2fwww.instagram.com%2fexplore%2ftags%2fdakotas%2f\">Dakotas\u003c/a>, doesn’t mean that it’s over,” said Emma Robbins, a \u003ca href=\"https://mail.kqed.org/owa/redir.aspx?C=Y05s-4VstPw3EKC-wtz7eDu6IPn1m4iFmCHBOux1k0w2MEQlJpvUCA..&URL=https%3a%2f%2fwww.instagram.com%2fexplore%2ftags%2fnavajo%2f\">Navajo\u003c/a> tribe member from Los Angeles. “The fight is everywhere.” At the powwow, she wore a T-shirt she screen printed herself with the slogan “Standing Rock is Everywhere.”\u003c/p>\n\u003cfigure id=\"attachment_13235756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13235756\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/RS25343_Photo-May-13-2-06-00-PM-qut-800x1067.jpg\" alt='Emma Robbins is a Navajo tribe member from Los Angeles. \"This new, vibrant, indigenous-led movement - that was probably one of the most important things that came out of Standing Rock,\" she says.' width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25343_Photo-May-13-2-06-00-PM-qut-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25343_Photo-May-13-2-06-00-PM-qut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25343_Photo-May-13-2-06-00-PM-qut-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25343_Photo-May-13-2-06-00-PM-qut-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25343_Photo-May-13-2-06-00-PM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25343_Photo-May-13-2-06-00-PM-qut-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25343_Photo-May-13-2-06-00-PM-qut-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25343_Photo-May-13-2-06-00-PM-qut-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25343_Photo-May-13-2-06-00-PM-qut-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25343_Photo-May-13-2-06-00-PM-qut-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emma Robbins is a Navajo tribe member from Los Angeles. “This new, vibrant, indigenous-led movement – that was probably one of the most important things that came out of Standing Rock,” she says. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Robbins said people still don’t yet know where the fight is going next. “It’s taking a couple of months, and maybe even years, to digest what happened, and how to move forward,” Robbins said. “You know, obviously, with the new administration, things aren’t as easy, so it’s sort of going back to the drawing board and figuring that out.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Robbins attended the powwow as a representative of \u003ca href=\"http://digdeep.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Dig Deep\u003c/a>, a non-profit that is fighting for clean drinking water as a human right.\u003c/p>\n\u003cp>Dan Nanamkin of the Nez Pearce and Colville tribes from Washington State is engaged in the same struggle. \u003cstrong>“\u003c/strong>It’s everybody’s fight, because we all depend on clean drinking water to sustain our life,” Nanamkin said.\u003c/p>\n\u003cfigure id=\"attachment_13236330\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13236330 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Video-May-14-1-06-34-PM-800x450.jpg\" alt=\"There's Dan Nanamkin, center, dancing with the water protectors of Standing Rock at the 46th Annual Stanford Powwow this year.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Video-May-14-1-06-34-PM-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Video-May-14-1-06-34-PM-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Video-May-14-1-06-34-PM-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Video-May-14-1-06-34-PM-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Video-May-14-1-06-34-PM-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Video-May-14-1-06-34-PM-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Video-May-14-1-06-34-PM-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Video-May-14-1-06-34-PM-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Video-May-14-1-06-34-PM-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Video-May-14-1-06-34-PM.jpg 1918w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">There’s Dan Nanamkin, center, dancing with the water protectors of Standing Rock at the 46th Annual Stanford Powwow this year. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.google.com/search?site=&tbm=isch&source=hp&biw=1366&bih=589&q=dan+nanamkin+&oq=dan+nanamkin+&gs_l=img.3...880.3605.0.3950.3.3.0.0.0.0.118.234.0j2.2.0....0...1.1.64.img..1.0.0.0.ZCfVVrHhLRU#imgrc=CL8OEXlVRIw6dM:\" target=\"_blank\" rel=\"noopener noreferrer\">Photographs\u003c/a> in the media of Nanamkin standing in full tribal regalia in front of police officers in riot gear were some of the most iconic from the months of protest at Standing Rock.\u003c/p>\n\u003cp>Although the protests didn’t prevent the pipeline from going ahead, Nanamkin said they galvanized Native Americans to continue the fight. “Standing Rock has only started,” Nanamkin said. “That fire, you know, it’s spread throughout the country and it’s woken a lot of us up!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "After the Dakota Access Pipeline protests, Native American activists gathering at the Stanford Powwow talked about what's next.",
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"description": "After the Dakota Access Pipeline protests, Native American activists gathering at the Stanford Powwow talked about what's next.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For nearly 50 years, the annual \u003ca href=\"http://powwow.stanford.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Stanford Powwow\u003c/a> has drawn tens of thousands of Native Americans from all over the continent to the university. It’s the largest student-run powwow in the country and one of the largest cultural gatherings of Native American peoples on the west coast, according to the \u003ca href=\"http://stanford.edu/group/saio/\" target=\"_blank\" rel=\"noopener noreferrer\">Stanford American Indian Organization\u003c/a> and the \u003ca href=\"http://powwow.stanford.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Stanford Powwow Planning Committee\u003c/a>, which organizes the event.\u003c/p>\n\u003cp>People of all tribal backgrounds, as well as curious and admiring onlookers, come to dance, pray, eat, and reconnect with friends. This year, they also came to talk politics: Stanford Powwow organizers established a theme for the event — “Water is Life” — with a nod to the people who protested the Dakota Access Pipeline at Standing Rock.\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/Rf_feMN9FgE'\n title='//www.youtube.com/embed/Rf_feMN9FgE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>On Sunday, the organizers awarded special honors to these “Water Protectors,” who got to take their own turn around the circle at Stanford’s Eucalyptus Grove as an appreciative crowd applauded.\u003c/p>\n\u003cp>“Just because things didn’t turn out how we wanted to, you know, up in the \u003ca href=\"https://mail.kqed.org/owa/redir.aspx?C=4dYFs07Lc_8kAG_Uov0_eRGA3CyM83Ps5JnxRwWJW1g2MEQlJpvUCA..&URL=https%3a%2f%2fwww.instagram.com%2fexplore%2ftags%2fdakotas%2f\">Dakotas\u003c/a>, doesn’t mean that it’s over,” said Emma Robbins, a \u003ca href=\"https://mail.kqed.org/owa/redir.aspx?C=Y05s-4VstPw3EKC-wtz7eDu6IPn1m4iFmCHBOux1k0w2MEQlJpvUCA..&URL=https%3a%2f%2fwww.instagram.com%2fexplore%2ftags%2fnavajo%2f\">Navajo\u003c/a> tribe member from Los Angeles. “The fight is everywhere.” At the powwow, she wore a T-shirt she screen printed herself with the slogan “Standing Rock is Everywhere.”\u003c/p>\n\u003cfigure id=\"attachment_13235756\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13235756\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/RS25343_Photo-May-13-2-06-00-PM-qut-800x1067.jpg\" alt='Emma Robbins is a Navajo tribe member from Los Angeles. \"This new, vibrant, indigenous-led movement - that was probably one of the most important things that came out of Standing Rock,\" she says.' width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25343_Photo-May-13-2-06-00-PM-qut-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25343_Photo-May-13-2-06-00-PM-qut-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25343_Photo-May-13-2-06-00-PM-qut-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25343_Photo-May-13-2-06-00-PM-qut-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25343_Photo-May-13-2-06-00-PM-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25343_Photo-May-13-2-06-00-PM-qut-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25343_Photo-May-13-2-06-00-PM-qut-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25343_Photo-May-13-2-06-00-PM-qut-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25343_Photo-May-13-2-06-00-PM-qut-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25343_Photo-May-13-2-06-00-PM-qut-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emma Robbins is a Navajo tribe member from Los Angeles. “This new, vibrant, indigenous-led movement – that was probably one of the most important things that came out of Standing Rock,” she says. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Robbins said people still don’t yet know where the fight is going next. “It’s taking a couple of months, and maybe even years, to digest what happened, and how to move forward,” Robbins said. “You know, obviously, with the new administration, things aren’t as easy, so it’s sort of going back to the drawing board and figuring that out.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Robbins attended the powwow as a representative of \u003ca href=\"http://digdeep.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Dig Deep\u003c/a>, a non-profit that is fighting for clean drinking water as a human right.\u003c/p>\n\u003cp>Dan Nanamkin of the Nez Pearce and Colville tribes from Washington State is engaged in the same struggle. \u003cstrong>“\u003c/strong>It’s everybody’s fight, because we all depend on clean drinking water to sustain our life,” Nanamkin said.\u003c/p>\n\u003cfigure id=\"attachment_13236330\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13236330 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Video-May-14-1-06-34-PM-800x450.jpg\" alt=\"There's Dan Nanamkin, center, dancing with the water protectors of Standing Rock at the 46th Annual Stanford Powwow this year.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Video-May-14-1-06-34-PM-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Video-May-14-1-06-34-PM-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Video-May-14-1-06-34-PM-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Video-May-14-1-06-34-PM-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Video-May-14-1-06-34-PM-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Video-May-14-1-06-34-PM-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Video-May-14-1-06-34-PM-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Video-May-14-1-06-34-PM-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Video-May-14-1-06-34-PM-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Video-May-14-1-06-34-PM.jpg 1918w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">There’s Dan Nanamkin, center, dancing with the water protectors of Standing Rock at the 46th Annual Stanford Powwow this year. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.google.com/search?site=&tbm=isch&source=hp&biw=1366&bih=589&q=dan+nanamkin+&oq=dan+nanamkin+&gs_l=img.3...880.3605.0.3950.3.3.0.0.0.0.118.234.0j2.2.0....0...1.1.64.img..1.0.0.0.ZCfVVrHhLRU#imgrc=CL8OEXlVRIw6dM:\" target=\"_blank\" rel=\"noopener noreferrer\">Photographs\u003c/a> in the media of Nanamkin standing in full tribal regalia in front of police officers in riot gear were some of the most iconic from the months of protest at Standing Rock.\u003c/p>\n\u003cp>Although the protests didn’t prevent the pipeline from going ahead, Nanamkin said they galvanized Native Americans to continue the fight. “Standing Rock has only started,” Nanamkin said. “That fire, you know, it’s spread throughout the country and it’s woken a lot of us up!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Powers Boothe, a character actor who worked on television and in the movies, died Sunday in Los Angeles.\u003c/p>\n\u003cp>A representative tells news agencies that Boothe died of natural causes at his home. He was 68.\u003c/p>\n\u003cp>According to The \u003ca href=\"http://www.hollywoodreporter.com/news/powers-boothe-dead-agents-shield-sin-city-actor-was-68-1003667\">Hollywood Reporter\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Boothe gained a reputation for playing villains with memorable roles in the action film\u003cem> Sudden Death\u003c/em> (1995), Bill Paxton’s \u003cem>Frailty\u003c/em> (2001) and the nefarious Senator Roark in \u003cem>Sin City\u003c/em> (2005). Perhaps his most famous villain role was Cy Tolliver, the ruthless saloon owner on HBO’s \u003cem>Deadwood. \u003c/em>\u003c/p>\n\u003cp>“More recently, Boothe took on the role of Gideon Malick as part of the Marvel Cinematic Universe, debuting the role in 2012’s \u003cem>The Avengers\u003c/em> and reprising it on ABC’s\u003cem> Agents of S.H.I.E.L.D.\u003c/em>\u003c/p>\n\u003cp>“He portrayed Alexander Haig in \u003cem>Nixon \u003c/em>(1995) and a sheriff in another Oliver Stone film, \u003cem>U Turn (\u003c/em>1997), and was unforgettable as the wicked gunman Curly Bill Brocius in \u003cem>Tombstone \u003c/em>(1993).\u003c/p>\n\u003cp>“He also played Connie Britton’s father, the industrialist and former mayor Lamar Wyatt, on \u003cem>Nashville\u003c/em> and portrayed Noah Daniels, the vice president and then the U.S. president, on \u003cem>24.”\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>In 1980, Boothe gained national attention playing cult leader Jim Jones in the CBS-TV movie \u003cem>Guyana Tragedy: The Story of Jim Jones\u003c/em>.\u003c/p>\n\u003cp>He won an Emmy Award for that performance — beating out veteran actors Henry Fonda and Jason Robards.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Actor Beau Bridges \u003ca href=\"https://twitter.com/MrBeauBridges/status/863871266914054144\" target=\"_blank\" rel=\"noopener\">tweeted the news of Boothe’s death\u003c/a> and called him “a dear friend, great actor, devoted father & husband.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Powers+Boothe%2C+Who+Appeared+In+%27Deadwood%27+And+%27Sin+City%2C%27+Dies+At+68&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Powers Boothe, a character actor who worked on television and in the movies, died Sunday in Los Angeles.\u003c/p>\n\u003cp>A representative tells news agencies that Boothe died of natural causes at his home. He was 68.\u003c/p>\n\u003cp>According to The \u003ca href=\"http://www.hollywoodreporter.com/news/powers-boothe-dead-agents-shield-sin-city-actor-was-68-1003667\">Hollywood Reporter\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Boothe gained a reputation for playing villains with memorable roles in the action film\u003cem> Sudden Death\u003c/em> (1995), Bill Paxton’s \u003cem>Frailty\u003c/em> (2001) and the nefarious Senator Roark in \u003cem>Sin City\u003c/em> (2005). Perhaps his most famous villain role was Cy Tolliver, the ruthless saloon owner on HBO’s \u003cem>Deadwood. \u003c/em>\u003c/p>\n\u003cp>“More recently, Boothe took on the role of Gideon Malick as part of the Marvel Cinematic Universe, debuting the role in 2012’s \u003cem>The Avengers\u003c/em> and reprising it on ABC’s\u003cem> Agents of S.H.I.E.L.D.\u003c/em>\u003c/p>\n\u003cp>“He portrayed Alexander Haig in \u003cem>Nixon \u003c/em>(1995) and a sheriff in another Oliver Stone film, \u003cem>U Turn (\u003c/em>1997), and was unforgettable as the wicked gunman Curly Bill Brocius in \u003cem>Tombstone \u003c/em>(1993).\u003c/p>\n\u003cp>“He also played Connie Britton’s father, the industrialist and former mayor Lamar Wyatt, on \u003cem>Nashville\u003c/em> and portrayed Noah Daniels, the vice president and then the U.S. president, on \u003cem>24.”\u003c/em>\u003c/p>\n\u003c/blockquote>\n\u003cp>In 1980, Boothe gained national attention playing cult leader Jim Jones in the CBS-TV movie \u003cem>Guyana Tragedy: The Story of Jim Jones\u003c/em>.\u003c/p>\n\u003cp>He won an Emmy Award for that performance — beating out veteran actors Henry Fonda and Jason Robards.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Chicano art never really went out of style in California; it was born during the political foment of the 1960s and ’70s, and it’s bubbled along since then for decades. Now there’s a new wave of the genre, one that’s taken on a fiercer political edge since November.\u003c/p>\n\u003cp>In LA, for example, there’s a group show opening called “\u003ca href=\"https://www.facebook.com/events/748067212035880/\" target=\"_blank\" rel=\"noopener noreferrer\">Art As Resistance: Paintings in Protest to a Trump Presidency\u003c/a>.” It’s the brainchild of Eric Almanza, a figurative painter and high school art teacher. Almanza’s contribution to the show is the latest in a series of oil paintings he’s produced depicting the border wall with Mexico. It shows the wall on fire and graffitied with the words “f – – – your wall” next to a curious symbol: a circular dream catcher with a triangle in the center that looks a bit like the “\u003ca href=\"http://zelda.wikia.com/wiki/Triforce\" target=\"_blank\" rel=\"noopener noreferrer\">Triforce\u003c/a>” from the Japanese video game series \u003cem>Legend of Zelda\u003c/em>. “Because every great resistance needs some kind of logo,” Almanza says. He calls the painting \u003ca href=\"https://www.facebook.com/photo.php?fbid=1121686684603636&set=a.133265930112388.21540.100002869441629&type=3&theater\" target=\"_blank\" rel=\"noopener noreferrer\">With This Fire, a Rebellion Will Rise\u003c/a>.\u003c/p>\n\u003cp>Almanza is one of a growing number of Chicano artists responding to Trump administration efforts to peel back civil rights enforcement and crack down on illegal immigration, with a heavy emphasis on Latino immigration. “About four years ago, I started working on this narrative of this post-apocalyptic, 21st century society,” Almanza says. “I always imagined it would take place 50 years from now, but it almost seems like time has fast-forwarded.”\u003c/p>\n\u003cp>Chicano art has tackled political topics from the beginning, starting with the grape boycott of the 1960s and ’70s and the Vietnam War. “It is an art that was made alongside of a movement for civil rights,” says Judith Baca, a visual artist and Chicano studies professor at UCLA. “So some of the most powerful images came about … farm-working conditions in the Central Valley in California; artworks that spoke about inner-city struggle with the police; artworks that articulated stories and histories that had been forgotten and not spoken about, or taught in the schools.”\u003c/p>\n\u003cfigure id=\"attachment_13235761\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13235761\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-800x1236.jpg\" width=\"800\" height=\"1236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-800x1236.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-768x1187.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-1020x1576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-1920x2967.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-1180x1824.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-960x1484.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-240x371.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-375x580.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-520x804.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Melanie Cervantes’ organization, Dignidad Rebelde, designs protest posters with messages like “Divest from prisons!” and “Domestic workers deserve rights and respect!” \u003ccite>(Courtesy of Melanie Cervantes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That art came in the form of oil paintings and sculpture, but also music, theater and agitprop posters for use at protest marches — posters that are also enjoying a renaissance of sorts. At any number of protests around the world, you’ll see people carrying posters designed or distributed by \u003ca href=\"http://dignidadrebelde.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Dignidad Rebelde\u003c/a>, the Oakland graphic arts collective Melanie Cervantes runs with her partner. “We have to have it everywhere,” Cervantes says, “and we need more people doing it, because that is its power.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dignidad Rebelde follows in a long line of Chicano graphic art collectives that also teach people how to do it themselves. When Cervantes gets invited to teach screen printing workshops at universities and community centers around the country, she makes a point of mixing in Chicano history and art history with her discussion of technique.\u003c/p>\n\u003cp>“Sometimes it’s just connecting the dots a little bit better for folks to see that our struggles have many fronts,” she says.\u003c/p>\n\u003cp>For Judith Baca, Almanza and Cervantes’ work marks a welcome return to the political roots of Chicano art after decades of trying to win recognition from art critics and museums.\u003c/p>\n\u003cp>“Chicano is about resistance and affirmation of a culture,” she says. “And I think it’s giving many young artists purpose again and a kind of focus for their work.”\u003c/p>\n\u003cp>Old and new Chicano artwork is being shown at museums and galleries across California this year, but the biggest exhibition of all will be “\u003ca href=\"http://www.getty.edu/pacificstandardtime/\" target=\"_blank\" rel=\"noopener noreferrer\">Pacific Standard Time: LA/LA\u003c/a>,” a massive, multi-institution blowout organized by the Getty.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Chicano art never really went out of style in California; it was born during the political foment of the 1960s and ’70s, and it’s bubbled along since then for decades. Now there’s a new wave of the genre, one that’s taken on a fiercer political edge since November.\u003c/p>\n\u003cp>In LA, for example, there’s a group show opening called “\u003ca href=\"https://www.facebook.com/events/748067212035880/\" target=\"_blank\" rel=\"noopener noreferrer\">Art As Resistance: Paintings in Protest to a Trump Presidency\u003c/a>.” It’s the brainchild of Eric Almanza, a figurative painter and high school art teacher. Almanza’s contribution to the show is the latest in a series of oil paintings he’s produced depicting the border wall with Mexico. It shows the wall on fire and graffitied with the words “f – – – your wall” next to a curious symbol: a circular dream catcher with a triangle in the center that looks a bit like the “\u003ca href=\"http://zelda.wikia.com/wiki/Triforce\" target=\"_blank\" rel=\"noopener noreferrer\">Triforce\u003c/a>” from the Japanese video game series \u003cem>Legend of Zelda\u003c/em>. “Because every great resistance needs some kind of logo,” Almanza says. He calls the painting \u003ca href=\"https://www.facebook.com/photo.php?fbid=1121686684603636&set=a.133265930112388.21540.100002869441629&type=3&theater\" target=\"_blank\" rel=\"noopener noreferrer\">With This Fire, a Rebellion Will Rise\u003c/a>.\u003c/p>\n\u003cp>Almanza is one of a growing number of Chicano artists responding to Trump administration efforts to peel back civil rights enforcement and crack down on illegal immigration, with a heavy emphasis on Latino immigration. “About four years ago, I started working on this narrative of this post-apocalyptic, 21st century society,” Almanza says. “I always imagined it would take place 50 years from now, but it almost seems like time has fast-forwarded.”\u003c/p>\n\u003cp>Chicano art has tackled political topics from the beginning, starting with the grape boycott of the 1960s and ’70s and the Vietnam War. “It is an art that was made alongside of a movement for civil rights,” says Judith Baca, a visual artist and Chicano studies professor at UCLA. “So some of the most powerful images came about … farm-working conditions in the Central Valley in California; artworks that spoke about inner-city struggle with the police; artworks that articulated stories and histories that had been forgotten and not spoken about, or taught in the schools.”\u003c/p>\n\u003cfigure id=\"attachment_13235761\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13235761\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-800x1236.jpg\" width=\"800\" height=\"1236\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-800x1236.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-768x1187.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-1020x1576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-1920x2967.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-1180x1824.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-960x1484.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-240x371.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-375x580.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/enlace-poster-2-11x17_o_enl-4b1e1ceaaadbd2987ca544be945880def0c4a48c-520x804.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Melanie Cervantes’ organization, Dignidad Rebelde, designs protest posters with messages like “Divest from prisons!” and “Domestic workers deserve rights and respect!” \u003ccite>(Courtesy of Melanie Cervantes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That art came in the form of oil paintings and sculpture, but also music, theater and agitprop posters for use at protest marches — posters that are also enjoying a renaissance of sorts. 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"content": "\u003cp>\u003cem>A Midsummer Night’s Dream. Marat/Sade. The Mahabharata.\u003c/em>\u003c/p>\n\u003cp>The 92-year-old, British-born, Paris-based theater director Peter Brook didn’t write any of those works, but his stagings of them are often talked about as defining moments in 20th century theater.\u003c/p>\n\u003cp>\u003cem>The Mahabharata\u003c/em> was a nine-hour event, not including the rest breaks. It brought to life an ancient Sanskrit epic poem with nearly two dozen performers from 16 different countries. Once it opened at 1985 in a quarry outside Avignon, France, avant garde theater buffs across the world made it a point to experience it.\u003c/p>\n\u003cp>Brook’s latest creation is \u003cem>Battlefield\u003c/em>, a 70-minute return to one part of \u003cem>The Mahabharata\u003c/em>, currently showing at the \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener noreferrer\">American Conservatory Theater\u003c/a>‘s Geary Stage in San Francisco.\u003c/p>\n\u003cp>KQED News host Brian Watt interviewed Brook. Listen to the extended audio segment, here:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[audio src=\"http://www.kqed.org/.stream/anon/radio//2017/05/PeterBrookwithBrianWattextendedforWEBWithIntro.mp3\" title=\"Peter Brook interview\" program=\"Morning Edition\" image=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/with-Peter-Brook-e1494608647926.jpg\"]\u003c/p>\n\n",
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"content": "\u003cp>\u003cstrong>KQED’s Cy Musiker and Suzie Racho share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>This is one of those weeks where it’s so hard to choose our picks, with an excess of terrific shows. The New Century Chamber Orchestra is finishing its 25th season, and saying goodbye to its music director and lead violinist Nadja Salerno-Sonnenberg, who leaves to teach full-time. Details \u003ca href=\"http://ncco.org/concert-tickets/2016-2017-season/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. Word for Word, which has had a string of terrific shows, is working its stories-into-plays-magic with \u003cem>Smut\u003c/em> by Alan Bennett (\u003cem>History Boys\u003c/em>). Details \u003ca href=\"http://www.zspace.org/aboutwordforword/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. And the Yerba Buena Center for the Arts welcomes back MacArthur “Genius” choreographer Kyle Abraham for the world premiere of the YBCA-commissioned \u003cem>Dearest Home. \u003c/em>Details \u003ca href=\"https://www.ybca.org/whats-on/dearest-home?gclid=CM2B1OmY5tMCFQ5EfgodIgEKUg\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>\u003cem>.\u003c/em> On to the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CULSrvkzBfc\u003c/p>\n\u003cp>\u003cstrong>May 15\u003c/strong>: \u003ca href=\"https://www.martystuart.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Marty Stuart \u003c/a>is a great example of how country musicians keep pushing the limits of tradition. With his kick-ass band, the Fabulous Superlatives, Stuart has made an album of country-western psychedelia, with songs about the desert, cowboys, little green pills and little green men (no kidding). There are tips of the stylistic hat to Johnny Cash (Stuart once played in his band), the Bakersfield sound, and even the Grateful Dead. The album was produced by Mike Campbell, who often works with Tom Petty and the Heartbreakers, and partly recorded at Capitol Records, where Glen Campbell made “Wichita Lineman” and the Beach Boys recorded \u003cem>Pet Sounds. \u003c/em>The show at the Freight and Salvage May 15 is sold out, so get there early for standing room. Details \u003ca href=\"http://thefreight.org/marty-stuart-0\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003cem> \u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TpSpnPAQc6A\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>May 12-13\u003c/strong>: \u003ca href=\"http://seandorseydance.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sean Dorsey \u003c/a>is a transgender choreographer and dancer with an all-male ensemble, so he has men partnering and lifting men, and they move beautifully. His \u003ca href=\"http://www.sfgate.com/performance/article/Sean-Dorsey-s-Missing-Generation-a-powerful-6265816.php\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Missing Generation\u003c/em>\u003c/a> from a few years ago\u003ci> (\u003c/i>about the AIDS epidemic) was a revelation. Now he’s created a series of new short dances he’s calling \u003cem>Boys Bite Back \u003c/em>aimed at President Trump, full of what he says is anger, sass and “a lot of humor.” The program is a preview of a major new piece scheduled for next spring called \u003cem>Boys in Trouble\u003c/em>. Boys \u003cem>will\u003c/em> be boys. Details for the show running May 12-13 at Z Space are \u003ca href=\"http://www.zspace.org/sean-dorsey-2017\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13201631\" class=\"wp-caption aligncenter\" style=\"max-width: 349px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13201631\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Stockhausens-Stimmung-e1494454292688.jpg\" alt=\"A page from an edition of Stockhausen's 'Stimmung'\" width=\"349\" height=\"256\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stockhausens-Stimmung-e1494454292688.jpg 349w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stockhausens-Stimmung-e1494454292688-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stockhausens-Stimmung-e1494454292688-240x176.jpg 240w\" sizes=\"(max-width: 349px) 100vw, 349px\">\u003cfigcaption class=\"wp-caption-text\">A page from an edition of Stockhausen’s ‘Stimmung.’ \u003ccite>(Photo: Courtesy of VOSV)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 13 and 21\u003c/strong>: \u003ca href=\"http://www.karlheinzstockhausen.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Karlheinz Stockhausen \u003c/a>influenced the Beatles (\u003ca href=\"https://www.theguardian.com/music/2015/dec/26/beatles-revolution-9-stockhausen-hymnen-avant-garde-pop\" target=\"_blank\" rel=\"noopener noreferrer\">“Revolution 9”\u003c/a>), and wrote some of the most eccentric electronic music of the 20th century, focusing on the way space and amplification shapes sound. His 1968 piece \u003ca href=\"https://www.youtube.com/watch?v=3hPkJW95jsw\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Stimmung, \u003c/em>\u003c/a>for six voices and microphones, may be his most alluring and meditative work. The lyrics (in German) are drawn from the days of the week, the names of gods, and erotic poetry that Stockhausen wrote to his wife. The choristers sing more than one pitch at a time, creating weird phase shifts and oscillations. Give \u003ca href=\"http://www.voices-sv.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Voices of Silicon Valley (VOSV)\u003c/a> full credit for giving this piece its first performance in the Bay Area since 1974. They’ve received permission to boost the number of singers, and VOSV is working with Stanford’s Center for Computer Research in Music and Acoustics on these shows, so the sound should be both meticulous and mesmerizing. Also on the bill is a performance of the very lively Congolese Mass \u003cem>Missa Luba\u003c/em>, famous for its use in the \u003ca href=\"https://www.youtube.com/watch?v=EvaeADC4-E8\" target=\"_blank\" rel=\"noopener noreferrer\">Malcolm McDowell film \u003c/a>\u003cem>If… \u003c/em>Details for the two performances of \u003cem>Stimmung\u003c/em> in San Francisco (at St. Elizabeth Catholic Church) and Mountain View (at Tateuchi Hall) in Mountain View are \u003ca href=\"http://www.voices-sv.org/\" target=\"_blank\" rel=\"noopener noreferrer\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13207536\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13207536\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Cast-of-Monsoon-Wedding-2-e1494527933759-800x496.jpg\" alt=\"Cast of Monsoon Wedding, a world premiere musical at Berkeley Repertory Theater\" width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cast-of-Monsoon-Wedding-2-e1494527933759-800x496.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cast-of-Monsoon-Wedding-2-e1494527933759-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cast-of-Monsoon-Wedding-2-e1494527933759-768x476.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cast-of-Monsoon-Wedding-2-e1494527933759-1020x632.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cast-of-Monsoon-Wedding-2-e1494527933759-1920x1190.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cast-of-Monsoon-Wedding-2-e1494527933759-1180x732.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cast-of-Monsoon-Wedding-2-e1494527933759-960x595.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cast-of-Monsoon-Wedding-2-e1494527933759-240x149.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cast-of-Monsoon-Wedding-2-e1494527933759-375x233.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cast-of-Monsoon-Wedding-2-e1494527933759-520x322.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cast of Monsoon Wedding, a world premiere musical at Berkeley Repertory Theater. \u003ccite>(Photo: Kevin Berne/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 5-June 25:\u003c/strong> Director Mira Nair is remaking her 2002 \u003ca href=\"https://www.youtube.com/watch?v=eaP-UrmS6Ww\" target=\"_blank\" rel=\"noopener noreferrer\">movie \u003c/a>\u003ca href=\"https://www.youtube.com/watch?v=eaP-UrmS6Ww\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Monsoon Wedding\u003c/em>\u003c/a> into a musical, opening this week at Berkeley Repertory Theater. The film, about an arranged marriage in India, touches on class and race, holding onto tradition in a changing world, and family. I talked to Nair in Berkeley this week, and she said the stage musical also gets a new subplot about the \u003ca href=\"http://kashmirreader.com/2017/05/02/ideological-regression-india/\" target=\"_blank\" rel=\"noopener noreferrer\">violent divisions between Hindus and Muslims in India\u003c/a>, a timely subject for American audiences. “It [the strife in India] has come in a real tide of people building walls between each other, whether it is religion or it’s white versus black, and that insularity and that xenophobia that comes with this new era in America. So it was a chance to weave in that love is love. Really love has always been broken by borders, but love will triumph.” Berkeley Rep has become an important place to try out musicals headed for New York (\u003cem>Amelie\u003c/em>, and \u003cem>American Idiot\u003c/em>). Expect the same for this international effort. I can’t wait. Details \u003ca href=\"https://www.berkeleyrep.org/season/1617/10662.asp\" target=\"_blank\" rel=\"noopener noreferrer\">here.\u003c/a> And click on the audio above to hear more of my interview with Nair.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=T6X8Qf6fe-4\u003c/p>\n\u003cp>\u003cstrong>May 17 and 23:\u003c/strong> \u003cem>L.A. Takedown\u003c/em> was a made-for-TV movie by director Michael Mann, and it’s also a terrific L.A. band. You may note the bandleader Aaron Olson didn’t bother with lyrics for the song in the video above, and that’s because he’s all about great rhythm sections and guitar solos. The sound has been described as “\u003cem>Baywatch\u003c/em> Krautrock.” L.A. Takedown’s first album was one song for 40-plus minutes. This new album (and the touring septet) works in a tighter format, but those guitar solos are just brilliant. Details for the show by L.A. Takedown (with former Bay Area bandleader Bart Davenport opening) at Oakland’s Starline Social Club are \u003ca href=\"http://www.ticketfly.com/event/1446325-l-takedown-oakland/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. And for their show at San Francisco’s Swedish American Hall, look \u003ca href=\"http://www.ticketfly.com/event/1446318-l-takedown-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KEe7nYTw_Ik\u003c/p>\n\u003cp>\u003cstrong>May 12 and 13:\u003c/strong> \u003ca href=\"http://www.mazjobrani.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Maz Jobrani\u003c/a> is a regular on \u003cem>Wait Wait… Don’t Tell Me! \u003c/em>and on \u003ca href=\"http://www.cbs.com/shows/superior-donuts/\" target=\"_blank\" rel=\"noopener noreferrer\">Superior Donuts\u003c/a>, is a TED talker, and very funny, even when he’s joking about the way America treats immigrants and Muslim-Americans like him. He should feel right at home here in the Bay Area liberal bubble. Details for his Cobb’s Comedy Club show are \u003ca href=\"http://www.cobbscomedy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here.\u003c/a>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>KQED’s Cy Musiker and Suzie Racho share their picks for great events around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>This is one of those weeks where it’s so hard to choose our picks, with an excess of terrific shows. The New Century Chamber Orchestra is finishing its 25th season, and saying goodbye to its music director and lead violinist Nadja Salerno-Sonnenberg, who leaves to teach full-time. Details \u003ca href=\"http://ncco.org/concert-tickets/2016-2017-season/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. Word for Word, which has had a string of terrific shows, is working its stories-into-plays-magic with \u003cem>Smut\u003c/em> by Alan Bennett (\u003cem>History Boys\u003c/em>). Details \u003ca href=\"http://www.zspace.org/aboutwordforword/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. And the Yerba Buena Center for the Arts welcomes back MacArthur “Genius” choreographer Kyle Abraham for the world premiere of the YBCA-commissioned \u003cem>Dearest Home. \u003c/em>Details \u003ca href=\"https://www.ybca.org/whats-on/dearest-home?gclid=CM2B1OmY5tMCFQ5EfgodIgEKUg\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>\u003cem>.\u003c/em> On to the show.\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/CULSrvkzBfc'\n title='//www.youtube.com/embed/CULSrvkzBfc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>May 15\u003c/strong>: \u003ca href=\"https://www.martystuart.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Marty Stuart \u003c/a>is a great example of how country musicians keep pushing the limits of tradition. With his kick-ass band, the Fabulous Superlatives, Stuart has made an album of country-western psychedelia, with songs about the desert, cowboys, little green pills and little green men (no kidding). There are tips of the stylistic hat to Johnny Cash (Stuart once played in his band), the Bakersfield sound, and even the Grateful Dead. The album was produced by Mike Campbell, who often works with Tom Petty and the Heartbreakers, and partly recorded at Capitol Records, where Glen Campbell made “Wichita Lineman” and the Beach Boys recorded \u003cem>Pet Sounds. \u003c/em>The show at the Freight and Salvage May 15 is sold out, so get there early for standing room. Details \u003ca href=\"http://thefreight.org/marty-stuart-0\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003cem> \u003c/em>\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/TpSpnPAQc6A'\n title='//www.youtube.com/embed/TpSpnPAQc6A'\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>May 12-13\u003c/strong>: \u003ca href=\"http://seandorseydance.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Sean Dorsey \u003c/a>is a transgender choreographer and dancer with an all-male ensemble, so he has men partnering and lifting men, and they move beautifully. His \u003ca href=\"http://www.sfgate.com/performance/article/Sean-Dorsey-s-Missing-Generation-a-powerful-6265816.php\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Missing Generation\u003c/em>\u003c/a> from a few years ago\u003ci> (\u003c/i>about the AIDS epidemic) was a revelation. Now he’s created a series of new short dances he’s calling \u003cem>Boys Bite Back \u003c/em>aimed at President Trump, full of what he says is anger, sass and “a lot of humor.” The program is a preview of a major new piece scheduled for next spring called \u003cem>Boys in Trouble\u003c/em>. Boys \u003cem>will\u003c/em> be boys. Details for the show running May 12-13 at Z Space are \u003ca href=\"http://www.zspace.org/sean-dorsey-2017\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13201631\" class=\"wp-caption aligncenter\" style=\"max-width: 349px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13201631\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Stockhausens-Stimmung-e1494454292688.jpg\" alt=\"A page from an edition of Stockhausen's 'Stimmung'\" width=\"349\" height=\"256\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stockhausens-Stimmung-e1494454292688.jpg 349w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stockhausens-Stimmung-e1494454292688-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Stockhausens-Stimmung-e1494454292688-240x176.jpg 240w\" sizes=\"(max-width: 349px) 100vw, 349px\">\u003cfigcaption class=\"wp-caption-text\">A page from an edition of Stockhausen’s ‘Stimmung.’ \u003ccite>(Photo: Courtesy of VOSV)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 13 and 21\u003c/strong>: \u003ca href=\"http://www.karlheinzstockhausen.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Karlheinz Stockhausen \u003c/a>influenced the Beatles (\u003ca href=\"https://www.theguardian.com/music/2015/dec/26/beatles-revolution-9-stockhausen-hymnen-avant-garde-pop\" target=\"_blank\" rel=\"noopener noreferrer\">“Revolution 9”\u003c/a>), and wrote some of the most eccentric electronic music of the 20th century, focusing on the way space and amplification shapes sound. His 1968 piece \u003ca href=\"https://www.youtube.com/watch?v=3hPkJW95jsw\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Stimmung, \u003c/em>\u003c/a>for six voices and microphones, may be his most alluring and meditative work. The lyrics (in German) are drawn from the days of the week, the names of gods, and erotic poetry that Stockhausen wrote to his wife. The choristers sing more than one pitch at a time, creating weird phase shifts and oscillations. Give \u003ca href=\"http://www.voices-sv.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Voices of Silicon Valley (VOSV)\u003c/a> full credit for giving this piece its first performance in the Bay Area since 1974. They’ve received permission to boost the number of singers, and VOSV is working with Stanford’s Center for Computer Research in Music and Acoustics on these shows, so the sound should be both meticulous and mesmerizing. Also on the bill is a performance of the very lively Congolese Mass \u003cem>Missa Luba\u003c/em>, famous for its use in the \u003ca href=\"https://www.youtube.com/watch?v=EvaeADC4-E8\" target=\"_blank\" rel=\"noopener noreferrer\">Malcolm McDowell film \u003c/a>\u003cem>If… \u003c/em>Details for the two performances of \u003cem>Stimmung\u003c/em> in San Francisco (at St. Elizabeth Catholic Church) and Mountain View (at Tateuchi Hall) in Mountain View are \u003ca href=\"http://www.voices-sv.org/\" target=\"_blank\" rel=\"noopener noreferrer\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13207536\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13207536\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Cast-of-Monsoon-Wedding-2-e1494527933759-800x496.jpg\" alt=\"Cast of Monsoon Wedding, a world premiere musical at Berkeley Repertory Theater\" width=\"800\" height=\"496\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cast-of-Monsoon-Wedding-2-e1494527933759-800x496.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cast-of-Monsoon-Wedding-2-e1494527933759-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cast-of-Monsoon-Wedding-2-e1494527933759-768x476.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cast-of-Monsoon-Wedding-2-e1494527933759-1020x632.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cast-of-Monsoon-Wedding-2-e1494527933759-1920x1190.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cast-of-Monsoon-Wedding-2-e1494527933759-1180x732.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cast-of-Monsoon-Wedding-2-e1494527933759-960x595.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cast-of-Monsoon-Wedding-2-e1494527933759-240x149.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cast-of-Monsoon-Wedding-2-e1494527933759-375x233.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Cast-of-Monsoon-Wedding-2-e1494527933759-520x322.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cast of Monsoon Wedding, a world premiere musical at Berkeley Repertory Theater. \u003ccite>(Photo: Kevin Berne/Berkeley Rep)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>May 5-June 25:\u003c/strong> Director Mira Nair is remaking her 2002 \u003ca href=\"https://www.youtube.com/watch?v=eaP-UrmS6Ww\" target=\"_blank\" rel=\"noopener noreferrer\">movie \u003c/a>\u003ca href=\"https://www.youtube.com/watch?v=eaP-UrmS6Ww\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Monsoon Wedding\u003c/em>\u003c/a> into a musical, opening this week at Berkeley Repertory Theater. The film, about an arranged marriage in India, touches on class and race, holding onto tradition in a changing world, and family. I talked to Nair in Berkeley this week, and she said the stage musical also gets a new subplot about the \u003ca href=\"http://kashmirreader.com/2017/05/02/ideological-regression-india/\" target=\"_blank\" rel=\"noopener noreferrer\">violent divisions between Hindus and Muslims in India\u003c/a>, a timely subject for American audiences. “It [the strife in India] has come in a real tide of people building walls between each other, whether it is religion or it’s white versus black, and that insularity and that xenophobia that comes with this new era in America. So it was a chance to weave in that love is love. Really love has always been broken by borders, but love will triumph.” Berkeley Rep has become an important place to try out musicals headed for New York (\u003cem>Amelie\u003c/em>, and \u003cem>American Idiot\u003c/em>). Expect the same for this international effort. I can’t wait. Details \u003ca href=\"https://www.berkeleyrep.org/season/1617/10662.asp\" target=\"_blank\" rel=\"noopener noreferrer\">here.\u003c/a> And click on the audio above to hear more of my interview with Nair.\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/T6X8Qf6fe-4'\n title='//www.youtube.com/embed/T6X8Qf6fe-4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>May 17 and 23:\u003c/strong> \u003cem>L.A. Takedown\u003c/em> was a made-for-TV movie by director Michael Mann, and it’s also a terrific L.A. band. You may note the bandleader Aaron Olson didn’t bother with lyrics for the song in the video above, and that’s because he’s all about great rhythm sections and guitar solos. The sound has been described as “\u003cem>Baywatch\u003c/em> Krautrock.” L.A. Takedown’s first album was one song for 40-plus minutes. This new album (and the touring septet) works in a tighter format, but those guitar solos are just brilliant. Details for the show by L.A. Takedown (with former Bay Area bandleader Bart Davenport opening) at Oakland’s Starline Social Club are \u003ca href=\"http://www.ticketfly.com/event/1446325-l-takedown-oakland/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. And for their show at San Francisco’s Swedish American Hall, look \u003ca href=\"http://www.ticketfly.com/event/1446318-l-takedown-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">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/KEe7nYTw_Ik'\n title='//www.youtube.com/embed/KEe7nYTw_Ik'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>May 12 and 13:\u003c/strong> \u003ca href=\"http://www.mazjobrani.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Maz Jobrani\u003c/a> is a regular on \u003cem>Wait Wait… Don’t Tell Me! \u003c/em>and on \u003ca href=\"http://www.cbs.com/shows/superior-donuts/\" target=\"_blank\" rel=\"noopener noreferrer\">Superior Donuts\u003c/a>, is a TED talker, and very funny, even when he’s joking about the way America treats immigrants and Muslim-Americans like him. He should feel right at home here in the Bay Area liberal bubble. Details for his Cobb’s Comedy Club show are \u003ca href=\"http://www.cobbscomedy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "theatreworks-founder-robert-kelley-retires-after-50-years",
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"content": "\u003cp>Robert Kelley, the founding artistic director of \u003ca href=\"http://www.TheatreWorks.org\" target=\"_blank\" rel=\"noopener noreferrer\">TheatreWorks Silicon Valley\u003c/a>, a professional performing arts organization specializing in new works for the musical theater stage, has announced he will retire at the end of the company’s 50th season, in 2020.\u003c/p>\n\u003cp>“I’ve been here for a long time,” Kelley says. “The half-century mark is a really great time to change over, and a great time to bring in some new leadership for the company.”\u003c/p>\n\u003cp>Kelley, 70, is one of the longest tenured artistic directors of a professional regional theater organization in the United States.\u003c/p>\n\u003cfigure id=\"attachment_13207858\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13207858 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Popcorn_1970-800x450.jpg\" alt=\"Popcorn, an anti-war musical which premiered in July 1970, was the very first production of TheatreWorks Silicon Valley.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Popcorn_1970-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Popcorn_1970-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Popcorn_1970-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Popcorn_1970-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Popcorn_1970-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Popcorn_1970-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Popcorn_1970-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Popcorn_1970-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Popcorn_1970-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Popcorn_1970-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Popcorn, an anti-war musical which premiered in July 1970, was the very first production of TheatreWorks Silicon Valley. \u003ccite>(Photo: Courtesy of TheatreWorks Silicon Valley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the behest of the city of Palo Alto, Kelley launched the company as an experimental youth troupe in 1970, a couple of years after he graduated from Stanford. Today, TheatreWorks is one of the largest theater companies in the Bay Area, together with American Conservatory Theater (ACT) and Berkeley Repertory Theatre. With an $8.5 million annual budget, the non-profit organization presents five productions each season in Mountain View and three in Palo Alto.\u003c/p>\n\u003cp>“I still very much love making theater,” Kelley says. “I hope I’ll continue with the company in lots of different ways — as a director, as a cheerleader, and in any way that our new leadership wants to use me.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>TheatreWorks’ board will begin a national search for Kelley’s successor this year, with the intention of having a new artistic director in place as his final season begins.\u003c/p>\n\u003cp>Over the years, TheatreWorks has become a launchpad for national hits\u003cem>. \u003c/em>One of the most significant is \u003cem>Memphis\u003c/em>, which went from its start at TheatreWorks in 2002 to a three-year run on Broadway, a 19-month national tour, and an extended run in London’s West End. Loosely based on the life of one of the first white DJs to play black music in the 1950s, \u003cem>Memphis\u003c/em> won four Tonys in 2010, including one for Best Musical.\u003c/p>\n\u003cfigure id=\"attachment_13206784\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13206784\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/RS25338_David-Bryan-Robert-Kelley_Memphis-Broadway-Opening_TheatreWorks-Silicon-Valley-qut-800x450.jpg\" alt='TheatreWorks Silicon Valley Founding Artistic Director Robert Kelley with the composer of \"Memphis\" and Bon Jovi keyboardist David Bryan at the Broadway opening night, October 19, 2009.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25338_David-Bryan-Robert-Kelley_Memphis-Broadway-Opening_TheatreWorks-Silicon-Valley-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25338_David-Bryan-Robert-Kelley_Memphis-Broadway-Opening_TheatreWorks-Silicon-Valley-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25338_David-Bryan-Robert-Kelley_Memphis-Broadway-Opening_TheatreWorks-Silicon-Valley-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25338_David-Bryan-Robert-Kelley_Memphis-Broadway-Opening_TheatreWorks-Silicon-Valley-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25338_David-Bryan-Robert-Kelley_Memphis-Broadway-Opening_TheatreWorks-Silicon-Valley-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25338_David-Bryan-Robert-Kelley_Memphis-Broadway-Opening_TheatreWorks-Silicon-Valley-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25338_David-Bryan-Robert-Kelley_Memphis-Broadway-Opening_TheatreWorks-Silicon-Valley-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25338_David-Bryan-Robert-Kelley_Memphis-Broadway-Opening_TheatreWorks-Silicon-Valley-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25338_David-Bryan-Robert-Kelley_Memphis-Broadway-Opening_TheatreWorks-Silicon-Valley-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25338_David-Bryan-Robert-Kelley_Memphis-Broadway-Opening_TheatreWorks-Silicon-Valley-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">TheatreWorks Silicon Valley Founding Artistic Director Robert Kelley with the composer of “Memphis” and Bon Jovi keyboardist David Bryan at the Broadway opening night, October 19, 2009. \u003ccite>(Photo: Courtesy of TheatreWorks Silicon Valley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kelley also cast dozens of young actors who went on to major careers on Broadway and in Hollywood. These include Jessica Chastain (\u003cem>Zero Dark Thirty, The Martian, The Help\u003c/em>), James Monroe Iglehart (\u003cem>Aladdin, Hamilton\u003c/em>), Daveed Diggs (\u003cem>Hamilton\u003c/em>), Colman Domingo (\u003cem>The Scottsboro Boys, Selma\u003c/em>), Željko Ivanek (\u003cem>Damages, \u003c/em>\u003cem>Madam Secretary)\u003c/em>, and Francis Jue (\u003cem>Yellow Face, \u003c/em>\u003cem>Madam Secretary).\u003c/em>\u003c/p>\n\u003cp>“I love working with other artists and collaborating with people from all over the country,” Kelley says. “We’ve really found that a lot of people who’ve come here are eager to come back.” Iglehart and Jue are among those who’ve returned to TheatreWorks over the years.\u003c/p>\n\u003cp>With its New Works Festival and Writers’ Retreat, TheatreWorks has also helped foster some major writing talents, including Wendy Wasserstein, Marsha Norman, Joe DiPietro and Beth Henley.\u003c/p>\n\u003cfigure id=\"attachment_13207859\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13207859\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/RS25337_Robert-Kelley5_TheatreWorks-Silicon-Valley-2-1-800x451.jpg\" alt=\"As artistic director of TheatreWorks, Robert Kelley has programmed a diverse roster of original dramas and musicals. Brad Erickson, head of the Theatre Bay Area, says Kelley's programming draws in audiences, "but also stretches them."\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25337_Robert-Kelley5_TheatreWorks-Silicon-Valley-2-1-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25337_Robert-Kelley5_TheatreWorks-Silicon-Valley-2-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25337_Robert-Kelley5_TheatreWorks-Silicon-Valley-2-1-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25337_Robert-Kelley5_TheatreWorks-Silicon-Valley-2-1-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25337_Robert-Kelley5_TheatreWorks-Silicon-Valley-2-1-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25337_Robert-Kelley5_TheatreWorks-Silicon-Valley-2-1-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25337_Robert-Kelley5_TheatreWorks-Silicon-Valley-2-1-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25337_Robert-Kelley5_TheatreWorks-Silicon-Valley-2-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25337_Robert-Kelley5_TheatreWorks-Silicon-Valley-2-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25337_Robert-Kelley5_TheatreWorks-Silicon-Valley-2-1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">As artistic director of TheatreWorks, Robert Kelley has programmed a diverse roster of original dramas and musicals. Brad Erickson, head of the Theatre Bay Area, says Kelley’s programming draws in audiences, “but also stretches them.” \u003ccite>(Photo: Courtesy of TheatreWorks Silicon Valley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was so passionate and committed to the community from the get-go,” says Carey Perloff, who is stepping down from her role as longtime artistic director of ACT at the end of next season. “It’s an audience with such an appetite for adventure. So that tells you who’s here, and how hungry they are. I think the leadership has led the audience, and the audience has led the leadership.”\u003c/p>\n\u003cp>Kelley has directed more than 170 productions for TheatreWorks during his tenure, and won the San Francisco Bay Area Critics Circle Award for Outstanding Direction nine times\u003cem>. \u003c/em>\u003c/p>\n\u003cp>“His story is the quintessential Silicon Valley origin story,” says Brad Erickson, head of \u003ca href=\"http://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Theatre Bay Area\u003c/a>, a regional performing arts service organization. “It’s the theater version of creating Hewlett-Packard in a garage. He came out of Stanford. He starts this small company. He sticks with it, and some years later, it’s now not only one of the leading companies in the Bay Area, but one of the leading companies in the country, doing world-class work and affecting the whole American canon.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "The longtime leader of one of the region's biggest theater companies announced he will step down at the end of the company’s 50th season, in 2020.",
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"title": "TheatreWorks Founder Robert Kelley to Retire After 50 Years | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Robert Kelley, the founding artistic director of \u003ca href=\"http://www.TheatreWorks.org\" target=\"_blank\" rel=\"noopener noreferrer\">TheatreWorks Silicon Valley\u003c/a>, a professional performing arts organization specializing in new works for the musical theater stage, has announced he will retire at the end of the company’s 50th season, in 2020.\u003c/p>\n\u003cp>“I’ve been here for a long time,” Kelley says. “The half-century mark is a really great time to change over, and a great time to bring in some new leadership for the company.”\u003c/p>\n\u003cp>Kelley, 70, is one of the longest tenured artistic directors of a professional regional theater organization in the United States.\u003c/p>\n\u003cfigure id=\"attachment_13207858\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13207858 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Popcorn_1970-800x450.jpg\" alt=\"Popcorn, an anti-war musical which premiered in July 1970, was the very first production of TheatreWorks Silicon Valley.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Popcorn_1970-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Popcorn_1970-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Popcorn_1970-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Popcorn_1970-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Popcorn_1970-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Popcorn_1970-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Popcorn_1970-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Popcorn_1970-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Popcorn_1970-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Popcorn_1970-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Popcorn, an anti-war musical which premiered in July 1970, was the very first production of TheatreWorks Silicon Valley. \u003ccite>(Photo: Courtesy of TheatreWorks Silicon Valley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the behest of the city of Palo Alto, Kelley launched the company as an experimental youth troupe in 1970, a couple of years after he graduated from Stanford. Today, TheatreWorks is one of the largest theater companies in the Bay Area, together with American Conservatory Theater (ACT) and Berkeley Repertory Theatre. With an $8.5 million annual budget, the non-profit organization presents five productions each season in Mountain View and three in Palo Alto.\u003c/p>\n\u003cp>“I still very much love making theater,” Kelley says. “I hope I’ll continue with the company in lots of different ways — as a director, as a cheerleader, and in any way that our new leadership wants to use me.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>TheatreWorks’ board will begin a national search for Kelley’s successor this year, with the intention of having a new artistic director in place as his final season begins.\u003c/p>\n\u003cp>Over the years, TheatreWorks has become a launchpad for national hits\u003cem>. \u003c/em>One of the most significant is \u003cem>Memphis\u003c/em>, which went from its start at TheatreWorks in 2002 to a three-year run on Broadway, a 19-month national tour, and an extended run in London’s West End. Loosely based on the life of one of the first white DJs to play black music in the 1950s, \u003cem>Memphis\u003c/em> won four Tonys in 2010, including one for Best Musical.\u003c/p>\n\u003cfigure id=\"attachment_13206784\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13206784\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/RS25338_David-Bryan-Robert-Kelley_Memphis-Broadway-Opening_TheatreWorks-Silicon-Valley-qut-800x450.jpg\" alt='TheatreWorks Silicon Valley Founding Artistic Director Robert Kelley with the composer of \"Memphis\" and Bon Jovi keyboardist David Bryan at the Broadway opening night, October 19, 2009.' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25338_David-Bryan-Robert-Kelley_Memphis-Broadway-Opening_TheatreWorks-Silicon-Valley-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25338_David-Bryan-Robert-Kelley_Memphis-Broadway-Opening_TheatreWorks-Silicon-Valley-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25338_David-Bryan-Robert-Kelley_Memphis-Broadway-Opening_TheatreWorks-Silicon-Valley-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25338_David-Bryan-Robert-Kelley_Memphis-Broadway-Opening_TheatreWorks-Silicon-Valley-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25338_David-Bryan-Robert-Kelley_Memphis-Broadway-Opening_TheatreWorks-Silicon-Valley-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25338_David-Bryan-Robert-Kelley_Memphis-Broadway-Opening_TheatreWorks-Silicon-Valley-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25338_David-Bryan-Robert-Kelley_Memphis-Broadway-Opening_TheatreWorks-Silicon-Valley-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25338_David-Bryan-Robert-Kelley_Memphis-Broadway-Opening_TheatreWorks-Silicon-Valley-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25338_David-Bryan-Robert-Kelley_Memphis-Broadway-Opening_TheatreWorks-Silicon-Valley-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25338_David-Bryan-Robert-Kelley_Memphis-Broadway-Opening_TheatreWorks-Silicon-Valley-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">TheatreWorks Silicon Valley Founding Artistic Director Robert Kelley with the composer of “Memphis” and Bon Jovi keyboardist David Bryan at the Broadway opening night, October 19, 2009. \u003ccite>(Photo: Courtesy of TheatreWorks Silicon Valley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kelley also cast dozens of young actors who went on to major careers on Broadway and in Hollywood. These include Jessica Chastain (\u003cem>Zero Dark Thirty, The Martian, The Help\u003c/em>), James Monroe Iglehart (\u003cem>Aladdin, Hamilton\u003c/em>), Daveed Diggs (\u003cem>Hamilton\u003c/em>), Colman Domingo (\u003cem>The Scottsboro Boys, Selma\u003c/em>), Željko Ivanek (\u003cem>Damages, \u003c/em>\u003cem>Madam Secretary)\u003c/em>, and Francis Jue (\u003cem>Yellow Face, \u003c/em>\u003cem>Madam Secretary).\u003c/em>\u003c/p>\n\u003cp>“I love working with other artists and collaborating with people from all over the country,” Kelley says. “We’ve really found that a lot of people who’ve come here are eager to come back.” Iglehart and Jue are among those who’ve returned to TheatreWorks over the years.\u003c/p>\n\u003cp>With its New Works Festival and Writers’ Retreat, TheatreWorks has also helped foster some major writing talents, including Wendy Wasserstein, Marsha Norman, Joe DiPietro and Beth Henley.\u003c/p>\n\u003cfigure id=\"attachment_13207859\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13207859\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/RS25337_Robert-Kelley5_TheatreWorks-Silicon-Valley-2-1-800x451.jpg\" alt=\"As artistic director of TheatreWorks, Robert Kelley has programmed a diverse roster of original dramas and musicals. Brad Erickson, head of the Theatre Bay Area, says Kelley's programming draws in audiences, "but also stretches them."\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25337_Robert-Kelley5_TheatreWorks-Silicon-Valley-2-1-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25337_Robert-Kelley5_TheatreWorks-Silicon-Valley-2-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25337_Robert-Kelley5_TheatreWorks-Silicon-Valley-2-1-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25337_Robert-Kelley5_TheatreWorks-Silicon-Valley-2-1-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25337_Robert-Kelley5_TheatreWorks-Silicon-Valley-2-1-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25337_Robert-Kelley5_TheatreWorks-Silicon-Valley-2-1-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25337_Robert-Kelley5_TheatreWorks-Silicon-Valley-2-1-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25337_Robert-Kelley5_TheatreWorks-Silicon-Valley-2-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25337_Robert-Kelley5_TheatreWorks-Silicon-Valley-2-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25337_Robert-Kelley5_TheatreWorks-Silicon-Valley-2-1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">As artistic director of TheatreWorks, Robert Kelley has programmed a diverse roster of original dramas and musicals. Brad Erickson, head of the Theatre Bay Area, says Kelley’s programming draws in audiences, “but also stretches them.” \u003ccite>(Photo: Courtesy of TheatreWorks Silicon Valley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He was so passionate and committed to the community from the get-go,” says Carey Perloff, who is stepping down from her role as longtime artistic director of ACT at the end of next season. “It’s an audience with such an appetite for adventure. So that tells you who’s here, and how hungry they are. I think the leadership has led the audience, and the audience has led the leadership.”\u003c/p>\n\u003cp>Kelley has directed more than 170 productions for TheatreWorks during his tenure, and won the San Francisco Bay Area Critics Circle Award for Outstanding Direction nine times\u003cem>. \u003c/em>\u003c/p>\n\u003cp>“His story is the quintessential Silicon Valley origin story,” says Brad Erickson, head of \u003ca href=\"http://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Theatre Bay Area\u003c/a>, a regional performing arts service organization. “It’s the theater version of creating Hewlett-Packard in a garage. He came out of Stanford. He starts this small company. He sticks with it, and some years later, it’s now not only one of the leading companies in the Bay Area, but one of the leading companies in the country, doing world-class work and affecting the whole American canon.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Hisao Magario was a Japanese businessman who lived in the Bay Area, on and off, from 1907 to 1926. From the 1920s until his death in Japan in 1960, Magario kept meticulously detailed diaries, filling 40 journals with his personal experience of the 20th century.\u003c/p>\n\u003cp>These precious journals now reside in Stanford’s \u003ca href=\"https://library.stanford.edu/eal\" target=\"_blank\" rel=\"noopener noreferrer\">East Asia Library\u003c/a>, thanks to a donation from Magario’s descendants in Japan. The donation includes all of Magario’s journals, as well as journals from his wife, and family photos.\u003c/p>\n\u003cp>“These are the building blocks from which history is written,” says Stanford American History Professor \u003ca href=\"https://history.stanford.edu/people/gordon-h-chang\" target=\"_blank\" rel=\"noopener noreferrer\">Gordon Chang\u003c/a>. “We don’t have many rich sources to tell us about the life of everyday people. To have 40 years of diaries is amazing.”\u003c/p>\n\u003cp>Magario’s diaries tell of a young man keen to avoid military service in Japan. An immigrant to the United States who started off washing dishes, Magario eventually launched a thriving, trans-Pacific retail chain selling hot imports, like silk and fireworks.\u003c/p>\n\u003cp>He might have spent the rest of his life in the Bay Area had it not been for growing anti-Japanese sentiment in California ahead of World War II. Magario returned to Japan. But his wife’s family stayed on to manage the business, until they were forced to liquidate and relocate to an internment camp in Utah.\u003c/p>\n\u003ch3>Following in her great-grandfather’s footsteps\u003c/h3>\n\u003cp>“He came from a respected family,” says Magario’s great-granddaughter, \u003ca href=\"http://home.dtm.ciw.edu/users/mnakajima/\" target=\"_blank\" rel=\"noopener noreferrer\">Miki Nakajima\u003c/a>, whose own personal journey would bring the story of her family to Stanford’s archives. “In the U.S., he built his own life.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2010, Nakajima left Tokyo to study at the California Institute of Technology in Pasadena. That’s when she started hunting for her long-lost American relatives, a search that would reveal a family torn apart by the conflict between the United States and Japan.\u003c/p>\n\u003cfigure id=\"attachment_13200200\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13200200\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/RS25321_MagarioFamily-qut-800x882.jpg\" alt=\"Diaries kept by Hisao Magario, second from right, and his wife, Fusai Magario, right, are now in the collection of Stanford’s East Asia Library.\" width=\"800\" height=\"882\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25321_MagarioFamily-qut-800x882.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25321_MagarioFamily-qut-160x176.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25321_MagarioFamily-qut-768x846.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25321_MagarioFamily-qut-1020x1124.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25321_MagarioFamily-qut-1180x1301.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25321_MagarioFamily-qut-960x1058.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25321_MagarioFamily-qut-240x265.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25321_MagarioFamily-qut-375x413.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25321_MagarioFamily-qut-520x573.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25321_MagarioFamily-qut.jpg 1830w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diaries kept by Hisao Magario, second from right, and his wife, Fusai Magario, right, are now in the collection of Stanford’s East Asia Library. \u003ccite>(Photo: Courtesy of Tsuneo Nakajima)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The toddler in the above photo is Nakajima’s grandmother, Nobuko Magario. “I knew that my grandmother was born in Oakland, but I didn’t know that much about it, other than that she had two passports,” Nakajima says.\u003c/p>\n\u003cp>She started with a Google search of an old address in the Los Angeles area and kept digging. Eventually, she found Magario’s grandnephew, Steven Yoda.\u003c/p>\n\u003ch3>The American link\u003c/h3>\n\u003cp>Yoda was born and raised in Southern California. His family relocated there from the Bay Area, and Yoda says the two families lost touch after the U.S. government interned Japanese-Americans in prison camps during World War II.\u003c/p>\n\u003cp>“I would hear little snippets about the family history,” Yoda says. “My father was born in San Francisco in 1938. There were multiple shops, started and bankrolled by this mysterious ‘Uncle H.’ Everyone in my family was thankful for him.”\u003c/p>\n\u003cp>Now a postdoctoral fellow at the \u003ca href=\"https://dtm.carnegiescience.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Carnegie Institution for Science\u003c/a>, Nakajima told Yoda about the diaries around the time her grandmother was losing her memory, and with it, her ability to explain Magario’s diaries as well as those of his wife, Fusai. “We didn’t know what to do,” Nakajima says.\u003c/p>\n\u003cfigure id=\"attachment_13201620\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13201620\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/IMG_0582.jpg\" alt=\"Hisao Magario (on the left) at one of the stores he once owned in the Bay Area.\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/IMG_0582.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/IMG_0582-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/IMG_0582-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/IMG_0582-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/IMG_0582-520x293.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Hisao Magario (left) at one of the stores he once owned in the Bay Area. \u003ccite>(Photo: Courtesy of Steven Yoda)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yoda, who wrote his undergraduate honors thesis at Stanford about the Japanese internment, suggested the family donate the materials to his alma mater. “I wish I knew enough Japanese to mine it myself, but I’ll have to leave it to the scholars,” Yoda says. “Many Japanese-Americans have lost the story of how their families got here. I feel very lucky that one of my ancestors left behind a written record.”\u003c/p>\n\u003cp>Fortunately for Stanford, Yoda contacted his former thesis advisor, Gordon Chang.\u003c/p>\n\u003cp>Chang urges Americans of every background to reassess the family memorabilia gathering dust in their basements and attics. Too many people toss out what historians consider potential treasure troves. “Pass it along to others who will be able to use it in a wonderful way,” Chang says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp class=\"media-caption\">\u003cem>The Magario diaries are available for public view at Stanford’s East Asia Library, as well as online through \u003ca href=\"https://searchworks.stanford.edu/view/11856079\" target=\"_blank\" rel=\"noopener noreferrer\">Stanford Libraries’ catalog SearchWorks\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hisao Magario was a Japanese businessman who lived in the Bay Area, on and off, from 1907 to 1926. From the 1920s until his death in Japan in 1960, Magario kept meticulously detailed diaries, filling 40 journals with his personal experience of the 20th century.\u003c/p>\n\u003cp>These precious journals now reside in Stanford’s \u003ca href=\"https://library.stanford.edu/eal\" target=\"_blank\" rel=\"noopener noreferrer\">East Asia Library\u003c/a>, thanks to a donation from Magario’s descendants in Japan. The donation includes all of Magario’s journals, as well as journals from his wife, and family photos.\u003c/p>\n\u003cp>“These are the building blocks from which history is written,” says Stanford American History Professor \u003ca href=\"https://history.stanford.edu/people/gordon-h-chang\" target=\"_blank\" rel=\"noopener noreferrer\">Gordon Chang\u003c/a>. “We don’t have many rich sources to tell us about the life of everyday people. To have 40 years of diaries is amazing.”\u003c/p>\n\u003cp>Magario’s diaries tell of a young man keen to avoid military service in Japan. An immigrant to the United States who started off washing dishes, Magario eventually launched a thriving, trans-Pacific retail chain selling hot imports, like silk and fireworks.\u003c/p>\n\u003cp>He might have spent the rest of his life in the Bay Area had it not been for growing anti-Japanese sentiment in California ahead of World War II. Magario returned to Japan. But his wife’s family stayed on to manage the business, until they were forced to liquidate and relocate to an internment camp in Utah.\u003c/p>\n\u003ch3>Following in her great-grandfather’s footsteps\u003c/h3>\n\u003cp>“He came from a respected family,” says Magario’s great-granddaughter, \u003ca href=\"http://home.dtm.ciw.edu/users/mnakajima/\" target=\"_blank\" rel=\"noopener noreferrer\">Miki Nakajima\u003c/a>, whose own personal journey would bring the story of her family to Stanford’s archives. “In the U.S., he built his own life.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2010, Nakajima left Tokyo to study at the California Institute of Technology in Pasadena. That’s when she started hunting for her long-lost American relatives, a search that would reveal a family torn apart by the conflict between the United States and Japan.\u003c/p>\n\u003cfigure id=\"attachment_13200200\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13200200\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/RS25321_MagarioFamily-qut-800x882.jpg\" alt=\"Diaries kept by Hisao Magario, second from right, and his wife, Fusai Magario, right, are now in the collection of Stanford’s East Asia Library.\" width=\"800\" height=\"882\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25321_MagarioFamily-qut-800x882.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25321_MagarioFamily-qut-160x176.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25321_MagarioFamily-qut-768x846.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25321_MagarioFamily-qut-1020x1124.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25321_MagarioFamily-qut-1180x1301.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25321_MagarioFamily-qut-960x1058.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25321_MagarioFamily-qut-240x265.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25321_MagarioFamily-qut-375x413.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25321_MagarioFamily-qut-520x573.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/RS25321_MagarioFamily-qut.jpg 1830w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diaries kept by Hisao Magario, second from right, and his wife, Fusai Magario, right, are now in the collection of Stanford’s East Asia Library. \u003ccite>(Photo: Courtesy of Tsuneo Nakajima)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The toddler in the above photo is Nakajima’s grandmother, Nobuko Magario. “I knew that my grandmother was born in Oakland, but I didn’t know that much about it, other than that she had two passports,” Nakajima says.\u003c/p>\n\u003cp>She started with a Google search of an old address in the Los Angeles area and kept digging. Eventually, she found Magario’s grandnephew, Steven Yoda.\u003c/p>\n\u003ch3>The American link\u003c/h3>\n\u003cp>Yoda was born and raised in Southern California. His family relocated there from the Bay Area, and Yoda says the two families lost touch after the U.S. government interned Japanese-Americans in prison camps during World War II.\u003c/p>\n\u003cp>“I would hear little snippets about the family history,” Yoda says. “My father was born in San Francisco in 1938. There were multiple shops, started and bankrolled by this mysterious ‘Uncle H.’ Everyone in my family was thankful for him.”\u003c/p>\n\u003cp>Now a postdoctoral fellow at the \u003ca href=\"https://dtm.carnegiescience.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Carnegie Institution for Science\u003c/a>, Nakajima told Yoda about the diaries around the time her grandmother was losing her memory, and with it, her ability to explain Magario’s diaries as well as those of his wife, Fusai. “We didn’t know what to do,” Nakajima says.\u003c/p>\n\u003cfigure id=\"attachment_13201620\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13201620\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/IMG_0582.jpg\" alt=\"Hisao Magario (on the left) at one of the stores he once owned in the Bay Area.\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/IMG_0582.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/IMG_0582-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/IMG_0582-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/IMG_0582-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/IMG_0582-520x293.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Hisao Magario (left) at one of the stores he once owned in the Bay Area. \u003ccite>(Photo: Courtesy of Steven Yoda)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yoda, who wrote his undergraduate honors thesis at Stanford about the Japanese internment, suggested the family donate the materials to his alma mater. “I wish I knew enough Japanese to mine it myself, but I’ll have to leave it to the scholars,” Yoda says. “Many Japanese-Americans have lost the story of how their families got here. I feel very lucky that one of my ancestors left behind a written record.”\u003c/p>\n\u003cp>Fortunately for Stanford, Yoda contacted his former thesis advisor, Gordon Chang.\u003c/p>\n\u003cp>Chang urges Americans of every background to reassess the family memorabilia gathering dust in their basements and attics. Too many people toss out what historians consider potential treasure troves. “Pass it along to others who will be able to use it in a wonderful way,” Chang says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp class=\"media-caption\">\u003cem>The Magario diaries are available for public view at Stanford’s East Asia Library, as well as online through \u003ca href=\"https://searchworks.stanford.edu/view/11856079\" target=\"_blank\" rel=\"noopener noreferrer\">Stanford Libraries’ catalog SearchWorks\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Michael Parks, a prolific character actor who found early fame in 1960s countercultural roles and later became a favorite of directors including Quentin Tarantino and Kevin Smith, has died. He was 77.\u003c/p>\n\u003cp>He died on Tuesday in Los Angeles, his agent, Jane Schulman, said on Wednesday. No cause of death was announced.\u003c/p>\n\u003cp>In a career that spanned six decades, Parks acted in more than 100 films and TV shows. Many of his early starring roles were in anti-establishment ’60s-era films such as \u003cem>Wild Seed\u003c/em>, \u003cem>The Happening\u003c/em>, with Anthony Quinn, and \u003cem>Bus Riley’s Back in Town\u003c/em>, alongside Ann-Margret.\u003c/p>\n\u003cp>Parks also starred as a disillusioned, motorcycle-riding newsman in the 1969 series \u003cem>Then Came Bronson\u003c/em>. For the series, Parks, who recorded a number of albums throughout his career, sang the popular closing theme song, “Long Lonesome Highway.”\u003c/p>\n\u003cp>He played the Canadian drug runner Jean Renault on David Lynch’s \u003cem>Twin Peaks\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Parks found perhaps his most famous parts in the 1990s thanks to the interest of Tarantino, Smith and Robert Rodriguez, the often connected independent filmmakers. Each turned to Parks again and again for meaty supporting roles. Tarantino cast him in multiple roles in both parts of \u003cem>Kill Bill\u003c/em> and his \u003cem>Death Proof\u003c/em> half of 2007’s \u003cem>Grindhouse\u003c/em>.\u003c/p>\n\u003cp>Sometimes, the characters followed Parks from filmmaker to filmmaker. He played Texas Ranger Earl McGraw in Rodriguez’s \u003cem>From Dusk Till Dawn\u003c/em>, a role he reprised in \u003cem>Kill Bill\u003c/em> and \u003cem>Grindhouse\u003c/em>. His actor son, James Parks, often joined him, playing McGraw’s son Edgar.\u003c/p>\n\u003cp>Smith gave Parks the largest roles of the trio, including his 2014 film \u003cem>Tusk\u003c/em>, which paired him with Johnny Depp, and 2011’s \u003cem>Red State\u003c/em>, as a preacher. Smith on Wednesday called him “my cinematic muse.”\u003c/p>\n\u003cp>“Michael was, and will likely forever remain, the best actor I’ve ever known,” Smith wrote on Instagram. “I wrote both \u003cem>Red State\u003c/em> and \u003cem>Tusk\u003c/em> for Parks, I loved his acting so much. He was hands-down the most incredible thespian I ever had the pleasure to watch perform. And Parks brought out the absolute best in me every time he got near my set.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Parks was briefly married while 16 years old to Louise Johnson, with whom he had a daughter. He is survived by his wife, Oriana Parks, whom he married in 1997, and his son.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Michael Parks, a prolific character actor who found early fame in 1960s countercultural roles and later became a favorite of directors including Quentin Tarantino and Kevin Smith, has died. He was 77.\u003c/p>\n\u003cp>He died on Tuesday in Los Angeles, his agent, Jane Schulman, said on Wednesday. No cause of death was announced.\u003c/p>\n\u003cp>In a career that spanned six decades, Parks acted in more than 100 films and TV shows. Many of his early starring roles were in anti-establishment ’60s-era films such as \u003cem>Wild Seed\u003c/em>, \u003cem>The Happening\u003c/em>, with Anthony Quinn, and \u003cem>Bus Riley’s Back in Town\u003c/em>, alongside Ann-Margret.\u003c/p>\n\u003cp>Parks also starred as a disillusioned, motorcycle-riding newsman in the 1969 series \u003cem>Then Came Bronson\u003c/em>. For the series, Parks, who recorded a number of albums throughout his career, sang the popular closing theme song, “Long Lonesome Highway.”\u003c/p>\n\u003cp>He played the Canadian drug runner Jean Renault on David Lynch’s \u003cem>Twin Peaks\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Parks found perhaps his most famous parts in the 1990s thanks to the interest of Tarantino, Smith and Robert Rodriguez, the often connected independent filmmakers. Each turned to Parks again and again for meaty supporting roles. Tarantino cast him in multiple roles in both parts of \u003cem>Kill Bill\u003c/em> and his \u003cem>Death Proof\u003c/em> half of 2007’s \u003cem>Grindhouse\u003c/em>.\u003c/p>\n\u003cp>Sometimes, the characters followed Parks from filmmaker to filmmaker. He played Texas Ranger Earl McGraw in Rodriguez’s \u003cem>From Dusk Till Dawn\u003c/em>, a role he reprised in \u003cem>Kill Bill\u003c/em> and \u003cem>Grindhouse\u003c/em>. His actor son, James Parks, often joined him, playing McGraw’s son Edgar.\u003c/p>\n\u003cp>Smith gave Parks the largest roles of the trio, including his 2014 film \u003cem>Tusk\u003c/em>, which paired him with Johnny Depp, and 2011’s \u003cem>Red State\u003c/em>, as a preacher. Smith on Wednesday called him “my cinematic muse.”\u003c/p>\n\u003cp>“Michael was, and will likely forever remain, the best actor I’ve ever known,” Smith wrote on Instagram. “I wrote both \u003cem>Red State\u003c/em> and \u003cem>Tusk\u003c/em> for Parks, I loved his acting so much. He was hands-down the most incredible thespian I ever had the pleasure to watch perform. And Parks brought out the absolute best in me every time he got near my set.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Parks was briefly married while 16 years old to Louise Johnson, with whom he had a daughter. He is survived by his wife, Oriana Parks, whom he married in 1997, and his son.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "German Publishers' Lawsuit Against Google Threatens to Backfire",
"headTitle": "German Publishers’ Lawsuit Against Google Threatens to Backfire | KQED",
"content": "\u003cp>This was not exactly the decision VG Media had hoped for.\u003c/p>\n\u003cp>The collective of German publishers had sued Google, arguing that the tech giant has infringed on copyright protections by offering snippets of the publishers’ articles in search results. Those snippets, according to VG Media, hurt the publishers’ bottom line by sating potential readers’ curiosity and violated a 2013 German law that requires compensation for those snippets of text.\u003c/p>\n\u003cp>Yet on Tuesday a Berlin court raised some concerns with the law itself often known in English as the Ancillary Copyright for Press Publishers. The judge questioned whether Germany had properly notified the European Commission — the executive arm of the European Union — before enacting the regulation, suspending the case until the Court of Justice of the European Union could weigh in on whether the law is even valid.\u003c/p>\n\u003cp>The issue hinges on \u003ca href=\"http://ec.europa.eu/growth/tools-databases/tris/en/about-the-20151535/the-notification-procedure-in-brief1/\">an EU directive\u003c/a> that requires member countries such as Germany to alert the organization about “any draft technical regulation prior to its adoption.”\u003c/p>\n\u003cp>Handelsblatt Global, a German business publication, \u003ca href=\"https://global.handelsblatt.com/companies-markets/berlin-court-may-upend-german-copyright-law-700581\">explains why\u003c/a> Germany decided not to notify the EU about the draft of this law:\u003c/p>\n\u003cblockquote>\n\u003cp>“While typically a formality, notification reviews of national laws by Brussels can take up to two years or more. In 2013, Germany did not submit the copyright law for notification, citing a Justice Ministry argument that the law’s scope was so limited, it didn’t fall under the E.U.’s notification requirement.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The court proved skeptical about this reasoning, though its ruling did note that the publishers complaint is at least partially justified — without offering further explanation on this point.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At any rate, Google applauded the decision, saying that it demonstrated the failings of the law.\u003c/p>\n\u003cp>“Today’s decision in Berlin highlights that there are still many contradictions and unanswered questions in the law of ancillary copyright for publishers,” Google said in a statement \u003ca href=\"http://www.pcworld.com/article/3195443/internet/google-case-raises-doubts-about-german-news-copyright-law.html\">quoted by PCWorld\u003c/a>.\u003c/p>\n\u003cp>“We’ve said many times that we don’t want to fight legal battles with publishers,” the statement continues. “We’d much rather work with them to drive traffic to their websites and apps, promote their brands, and support online journalism — and that’s what we’ll continue to do.”\u003c/p>\n\u003cp>Nieman Lab \u003ca href=\"http://www.niemanlab.org/2014/12/the-fight-to-get-google-to-pay-for-news-continues-in-europe/\">reported in 2014\u003c/a> that the law has had something of a rocky life in practice:\u003c/p>\n\u003cblockquote>\n\u003cp>“The law went into effect last August and, while some details still need to be ironed out in court, the controversial heart of it — whether search engines will pay money to publishers — has an uncertain future. Google has refused to pay fees to publish snippets from news sites, and instead \u003ca href=\"http://www.zdnet.com/google-news-now-opt-in-in-germany-as-copyright-law-gets-an-overhaul-7000017193/\">asked German publishers last year to opt in if they want to be included in Google News search results\u003c/a>, waiving their right to cash in on the use of their content according to the new law. To avoid paying the collection agency, VG Media, which represents \u003ca href=\"http://www.vg-media.de/die-gesellschaft.html\">the publishers that chose not to opt in\u003c/a>, Google stopped showing snippets from their news articles on Oct. 23 [2014]. Shortly after that, the publishers in VG Media gave Google a license to restore snippets to their search results — for free. Berlin-based \u003ca href=\"http://www.axelspringer.de/en/index.html\">Axel Springer\u003c/a>, one of Europe’s largest publishers, \u003ca href=\"http://www.axelspringer.de/en/presse/Axel-Springer-concludes-its-data-documentation-Major-losses-resulting-from-downgraded-search-notices-on-Google_22070687.html\">announced on Nov. 5 [2014] that it had caved to Google’s pressure\u003c/a> after traffic to its websites from Google dropped by 40 percent and from Google News by 80 percent when snippets were left out of search results.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>If the law should be invalidated, a prospect that now looms over the case as it heads to the European court, the decision would not only represent a blow to the publishers who brought the case in the first place. It might also raise doubts about a \u003ca href=\"http://ec.europa.eu/transparency/regdoc/rep/1/2016/EN/1-2016-593-EN-F1-1.PDF\">proposed EU-wide directive\u003c/a> that has some similar stipulations to the German copyright rule. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=German+Publishers%27+Lawsuit+Against+Google+Threatens+To+Backfire&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This was not exactly the decision VG Media had hoped for.\u003c/p>\n\u003cp>The collective of German publishers had sued Google, arguing that the tech giant has infringed on copyright protections by offering snippets of the publishers’ articles in search results. Those snippets, according to VG Media, hurt the publishers’ bottom line by sating potential readers’ curiosity and violated a 2013 German law that requires compensation for those snippets of text.\u003c/p>\n\u003cp>Yet on Tuesday a Berlin court raised some concerns with the law itself often known in English as the Ancillary Copyright for Press Publishers. The judge questioned whether Germany had properly notified the European Commission — the executive arm of the European Union — before enacting the regulation, suspending the case until the Court of Justice of the European Union could weigh in on whether the law is even valid.\u003c/p>\n\u003cp>The issue hinges on \u003ca href=\"http://ec.europa.eu/growth/tools-databases/tris/en/about-the-20151535/the-notification-procedure-in-brief1/\">an EU directive\u003c/a> that requires member countries such as Germany to alert the organization about “any draft technical regulation prior to its adoption.”\u003c/p>\n\u003cp>Handelsblatt Global, a German business publication, \u003ca href=\"https://global.handelsblatt.com/companies-markets/berlin-court-may-upend-german-copyright-law-700581\">explains why\u003c/a> Germany decided not to notify the EU about the draft of this law:\u003c/p>\n\u003cblockquote>\n\u003cp>“While typically a formality, notification reviews of national laws by Brussels can take up to two years or more. In 2013, Germany did not submit the copyright law for notification, citing a Justice Ministry argument that the law’s scope was so limited, it didn’t fall under the E.U.’s notification requirement.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The court proved skeptical about this reasoning, though its ruling did note that the publishers complaint is at least partially justified — without offering further explanation on this point.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At any rate, Google applauded the decision, saying that it demonstrated the failings of the law.\u003c/p>\n\u003cp>“Today’s decision in Berlin highlights that there are still many contradictions and unanswered questions in the law of ancillary copyright for publishers,” Google said in a statement \u003ca href=\"http://www.pcworld.com/article/3195443/internet/google-case-raises-doubts-about-german-news-copyright-law.html\">quoted by PCWorld\u003c/a>.\u003c/p>\n\u003cp>“We’ve said many times that we don’t want to fight legal battles with publishers,” the statement continues. “We’d much rather work with them to drive traffic to their websites and apps, promote their brands, and support online journalism — and that’s what we’ll continue to do.”\u003c/p>\n\u003cp>Nieman Lab \u003ca href=\"http://www.niemanlab.org/2014/12/the-fight-to-get-google-to-pay-for-news-continues-in-europe/\">reported in 2014\u003c/a> that the law has had something of a rocky life in practice:\u003c/p>\n\u003cblockquote>\n\u003cp>“The law went into effect last August and, while some details still need to be ironed out in court, the controversial heart of it — whether search engines will pay money to publishers — has an uncertain future. Google has refused to pay fees to publish snippets from news sites, and instead \u003ca href=\"http://www.zdnet.com/google-news-now-opt-in-in-germany-as-copyright-law-gets-an-overhaul-7000017193/\">asked German publishers last year to opt in if they want to be included in Google News search results\u003c/a>, waiving their right to cash in on the use of their content according to the new law. To avoid paying the collection agency, VG Media, which represents \u003ca href=\"http://www.vg-media.de/die-gesellschaft.html\">the publishers that chose not to opt in\u003c/a>, Google stopped showing snippets from their news articles on Oct. 23 [2014]. Shortly after that, the publishers in VG Media gave Google a license to restore snippets to their search results — for free. Berlin-based \u003ca href=\"http://www.axelspringer.de/en/index.html\">Axel Springer\u003c/a>, one of Europe’s largest publishers, \u003ca href=\"http://www.axelspringer.de/en/presse/Axel-Springer-concludes-its-data-documentation-Major-losses-resulting-from-downgraded-search-notices-on-Google_22070687.html\">announced on Nov. 5 [2014] that it had caved to Google’s pressure\u003c/a> after traffic to its websites from Google dropped by 40 percent and from Google News by 80 percent when snippets were left out of search results.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>If the law should be invalidated, a prospect that now looms over the case as it heads to the European court, the decision would not only represent a blow to the publishers who brought the case in the first place. It might also raise doubts about a \u003ca href=\"http://ec.europa.eu/transparency/regdoc/rep/1/2016/EN/1-2016-593-EN-F1-1.PDF\">proposed EU-wide directive\u003c/a> that has some similar stipulations to the German copyright rule. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=German+Publishers%27+Lawsuit+Against+Google+Threatens+To+Backfire&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "92-Year-Old Theatrical Rebel Peter Brook Rages with 'Battlefield'",
"headTitle": "92-Year-Old Theatrical Rebel Peter Brook Rages with ‘Battlefield’ | KQED",
"content": "\u003cp>Director Peter Brook’s \u003cem>Battlefield\u003c/em> is filled with all the magic, strangeness, bad thinking, revelatory moments, and daring you might expect from a 92-year old theatrical rebel and avant-garde showman who has seen the world change over and over again. Adapted from Jean-Claude Carriere’s retelling of the ancient Indian epic \u003cem>The Mahabharata\u003c/em>, the show is full of brilliance and a few false steps, and that’s what makes it a joyful, fascinating piece of theater.\u003c/p>\n\u003cp>We begin in the aftermath of battle, and rival leaders of a civil war of impossible scope — the victorious Yudishtira (Jared McNeil) and his uncle, the conquered Dritarashtra (Sean O’Callaghan) — survey the destruction before them: “Seven hundred million and two hundred and sixty-seven soldiers have died,” Dritarashtra says\u003cb>, \u003c/b>as if precision were a balm for disaster.\u003c/p>\n\u003cfigure id=\"attachment_13187474\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13187474 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Battlefield-5-e1494280707356-800x472.jpg\" alt=\"Everything is a mystery to Yudishtira (Jared McNeil), far left, as he contemplates one of the many strange events that occur in his life in 'Battlefield' directed by Peter Brook and Marie-Hélène Estienne.\" width=\"800\" height=\"472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-5-e1494280707356-800x472.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-5-e1494280707356-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-5-e1494280707356-768x453.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-5-e1494280707356-1020x602.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-5-e1494280707356-1920x1133.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-5-e1494280707356-1180x696.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-5-e1494280707356-960x566.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-5-e1494280707356-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-5-e1494280707356-375x221.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-5-e1494280707356-520x307.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Everything is a mystery to Yudishtira (Jared McNeil), far left, as he contemplates one of the many strange events that occur in his life in ‘Battlefield’ directed by Peter Brook and Marie-Hélène Estienne. \u003ccite>(Photo: Caroline Moreau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The power of these scenes of realization and regret isn’t so much the ridiculous level of tragedy before these men, but rather their affectless demeanor. Neither seems capable of enacting the emotions that they so obviously feel. The world they knew before the war is gone, and with it the individuals they once were.\u003c/p>\n\u003cp>Faced with the carnage of his own making, Yudishtira wants nothing more than to escape and reject the identity of king he so viciously fought for. And so from that moment on, we follow his journey in an attempt to understand not who he is, but what he may become.\u003c/p>\n\u003cp>Here is a man who was violently tied to the world and the self, and we now have the privilege of watching him become something else, a different kind of consciousness. It’s a strange and unsettling experience and a feat of daring that Brook and his co-director Marie-Hélène Estienne don’t quite maintain through the rich but uneven 70 minutes.\u003c/p>\n\u003cfigure id=\"attachment_13187478\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13187478\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Battlefield-3-e1494281611830-800x450.jpg\" alt=\"(Sitting L to R) Yudishtra (Jared McNeil), Dritarashtra (Sean O'Callaghan), Bishma (Ery Nzaramba) listen to Kunti (Carole Karemera) tell a story in 'Battlefield' directed by Peter Brook and Marie-Hélène.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-3-e1494281611830-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-3-e1494281611830-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-3-e1494281611830-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-3-e1494281611830-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-3-e1494281611830-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-3-e1494281611830-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-3-e1494281611830-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-3-e1494281611830-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-3-e1494281611830-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-3-e1494281611830-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Sitting L to R) Yudishtra (Jared McNeil), Dritarashtra (Sean O’Callaghan), Bishma (Ery Nzaramba) listen to Kunti (Carole Karemera) tell a story in ‘Battlefield’ directed by Peter Brook and Marie-Hélène Estienne. \u003ccite>(Photo: Pascal Victor)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is the rare theater work that is at its best when it fails to directly engage the audience, and one of the central pleasures of \u003cem>Battlefield\u003c/em> is how casually the astounding cast plays these opening scenes. The narrative bristles with an excess of melodrama that Brook and Estienne keep at a distance — the carnage of war, a brother found and lost, a mother with secrets, a villain of stunning kindness, and Gods with no answers but to accept what fate brings. We can contemplate what has happened to these people, but we cannot pretend to feel as they do.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>The Mahabharata\u003c/em>’s odd sense of chronology and the directors’ handling of it also contributes in a unsettling way to our sense of estrangement. Huge jumps in time simply happen: “Fifteen years had passed when one day Yudishtira discovered that his uncle was fasting and sleeping on the ground.” It’s a pedestrian line off-handedly delivered by Ery Nzaramba as the shapeshifting narrator, yet the effect is mind-altering. And the actors make it more so by doing nothing to signal that they’ve aged decades in a moment — they’re playing to the soul rather than the outward body.\u003c/p>\n\u003cfigure id=\"attachment_13187482\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13187482\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Battlefield-10-e1494281903318-800x449.jpg\" alt=\"\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-10-e1494281903318-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-10-e1494281903318-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-10-e1494281903318-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-10-e1494281903318-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-10-e1494281903318-1920x1078.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-10-e1494281903318-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-10-e1494281903318-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-10-e1494281903318-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-10-e1494281903318-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-10-e1494281903318-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yudishtira (Jared McNeill) keeps on changing from moment to moment in ‘Battlefield’ directed by Peter Brook and Marie-Hélène Estienne. \u003ccite>(Photo: Caroline Moreau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You feel these temporal shifts with a shock of recognition; large chunks of our lives just don’t matter and we are left essentially unchanged. All of Yudishtira’s fine peacetime leadership slips by in a sentence or two. It is only events that undo the fabric of the everyday that are worth noting.\u003c/p>\n\u003cp>Where the production loses momentum is when it turns conventionally dramatic, especially in a series of cute and cloying scenes where the cast acts out a series of parables related by Youdishtira’s dying grandfather, Bishma, to his grandson. In a piece that attempts to shear away excess — the set is a rectangle of endless black — this interlude upsets the radical sense of detachment that courses through most of the evening.\u003c/p>\n\u003cp>Yet Brook and Estienne manage to change the nature of the dramatic in \u003cem>Battlefield\u003c/em>. We don’t feel the build up to action and its cathartic release; instead, something happens and we are suddenly confronted with a new world, and, even more shockingly, new selves.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Battlefield’ runs through Sunday, May 25 at the Geary Theater in San Francisco. For tickets and information \u003ca href=\"http://act-sf.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Director Peter Brook’s \u003cem>Battlefield\u003c/em> is filled with all the magic, strangeness, bad thinking, revelatory moments, and daring you might expect from a 92-year old theatrical rebel and avant-garde showman who has seen the world change over and over again. Adapted from Jean-Claude Carriere’s retelling of the ancient Indian epic \u003cem>The Mahabharata\u003c/em>, the show is full of brilliance and a few false steps, and that’s what makes it a joyful, fascinating piece of theater.\u003c/p>\n\u003cp>We begin in the aftermath of battle, and rival leaders of a civil war of impossible scope — the victorious Yudishtira (Jared McNeil) and his uncle, the conquered Dritarashtra (Sean O’Callaghan) — survey the destruction before them: “Seven hundred million and two hundred and sixty-seven soldiers have died,” Dritarashtra says\u003cb>, \u003c/b>as if precision were a balm for disaster.\u003c/p>\n\u003cfigure id=\"attachment_13187474\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13187474 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Battlefield-5-e1494280707356-800x472.jpg\" alt=\"Everything is a mystery to Yudishtira (Jared McNeil), far left, as he contemplates one of the many strange events that occur in his life in 'Battlefield' directed by Peter Brook and Marie-Hélène Estienne.\" width=\"800\" height=\"472\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-5-e1494280707356-800x472.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-5-e1494280707356-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-5-e1494280707356-768x453.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-5-e1494280707356-1020x602.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-5-e1494280707356-1920x1133.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-5-e1494280707356-1180x696.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-5-e1494280707356-960x566.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-5-e1494280707356-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-5-e1494280707356-375x221.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-5-e1494280707356-520x307.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Everything is a mystery to Yudishtira (Jared McNeil), far left, as he contemplates one of the many strange events that occur in his life in ‘Battlefield’ directed by Peter Brook and Marie-Hélène Estienne. \u003ccite>(Photo: Caroline Moreau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The power of these scenes of realization and regret isn’t so much the ridiculous level of tragedy before these men, but rather their affectless demeanor. Neither seems capable of enacting the emotions that they so obviously feel. The world they knew before the war is gone, and with it the individuals they once were.\u003c/p>\n\u003cp>Faced with the carnage of his own making, Yudishtira wants nothing more than to escape and reject the identity of king he so viciously fought for. And so from that moment on, we follow his journey in an attempt to understand not who he is, but what he may become.\u003c/p>\n\u003cp>Here is a man who was violently tied to the world and the self, and we now have the privilege of watching him become something else, a different kind of consciousness. It’s a strange and unsettling experience and a feat of daring that Brook and his co-director Marie-Hélène Estienne don’t quite maintain through the rich but uneven 70 minutes.\u003c/p>\n\u003cfigure id=\"attachment_13187478\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13187478\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Battlefield-3-e1494281611830-800x450.jpg\" alt=\"(Sitting L to R) Yudishtra (Jared McNeil), Dritarashtra (Sean O'Callaghan), Bishma (Ery Nzaramba) listen to Kunti (Carole Karemera) tell a story in 'Battlefield' directed by Peter Brook and Marie-Hélène.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-3-e1494281611830-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-3-e1494281611830-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-3-e1494281611830-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-3-e1494281611830-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-3-e1494281611830-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-3-e1494281611830-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-3-e1494281611830-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-3-e1494281611830-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-3-e1494281611830-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-3-e1494281611830-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Sitting L to R) Yudishtra (Jared McNeil), Dritarashtra (Sean O’Callaghan), Bishma (Ery Nzaramba) listen to Kunti (Carole Karemera) tell a story in ‘Battlefield’ directed by Peter Brook and Marie-Hélène Estienne. \u003ccite>(Photo: Pascal Victor)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is the rare theater work that is at its best when it fails to directly engage the audience, and one of the central pleasures of \u003cem>Battlefield\u003c/em> is how casually the astounding cast plays these opening scenes. The narrative bristles with an excess of melodrama that Brook and Estienne keep at a distance — the carnage of war, a brother found and lost, a mother with secrets, a villain of stunning kindness, and Gods with no answers but to accept what fate brings. We can contemplate what has happened to these people, but we cannot pretend to feel as they do.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Mahabharata\u003c/em>’s odd sense of chronology and the directors’ handling of it also contributes in a unsettling way to our sense of estrangement. Huge jumps in time simply happen: “Fifteen years had passed when one day Yudishtira discovered that his uncle was fasting and sleeping on the ground.” It’s a pedestrian line off-handedly delivered by Ery Nzaramba as the shapeshifting narrator, yet the effect is mind-altering. And the actors make it more so by doing nothing to signal that they’ve aged decades in a moment — they’re playing to the soul rather than the outward body.\u003c/p>\n\u003cfigure id=\"attachment_13187482\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13187482\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Battlefield-10-e1494281903318-800x449.jpg\" alt=\"\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-10-e1494281903318-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-10-e1494281903318-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-10-e1494281903318-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-10-e1494281903318-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-10-e1494281903318-1920x1078.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-10-e1494281903318-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-10-e1494281903318-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-10-e1494281903318-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-10-e1494281903318-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Battlefield-10-e1494281903318-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yudishtira (Jared McNeill) keeps on changing from moment to moment in ‘Battlefield’ directed by Peter Brook and Marie-Hélène Estienne. \u003ccite>(Photo: Caroline Moreau)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You feel these temporal shifts with a shock of recognition; large chunks of our lives just don’t matter and we are left essentially unchanged. All of Yudishtira’s fine peacetime leadership slips by in a sentence or two. It is only events that undo the fabric of the everyday that are worth noting.\u003c/p>\n\u003cp>Where the production loses momentum is when it turns conventionally dramatic, especially in a series of cute and cloying scenes where the cast acts out a series of parables related by Youdishtira’s dying grandfather, Bishma, to his grandson. In a piece that attempts to shear away excess — the set is a rectangle of endless black — this interlude upsets the radical sense of detachment that courses through most of the evening.\u003c/p>\n\u003cp>Yet Brook and Estienne manage to change the nature of the dramatic in \u003cem>Battlefield\u003c/em>. We don’t feel the build up to action and its cathartic release; instead, something happens and we are suddenly confronted with a new world, and, even more shockingly, new selves.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Battlefield’ runs through Sunday, May 25 at the Geary Theater in San Francisco. For tickets and information \u003ca href=\"http://act-sf.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
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