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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 11-21\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/radically-political-new-plays-from-writers-of-color/\" target=\"_blank\" rel=\"noopener\">Marin’s Alter Theater brings two plays by two brilliant young playwrights of color to A.C.T.’s Costume Shop\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 18: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/the-friendliest-black-artist-in-america-comes-to-stanford/\" target=\"_blank\" rel=\"noopener\">William Pope.L ‘s business card says he’s the “friendliest black artist in America,” but he’s also among the most provocative\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 12:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/10/politics-and-dance-music-from-la-gente-and-soltron/\" target=\"_blank\" rel=\"noopener\">La Gente’s mix of cumbia, salsa, reggae and hip hop is intoxicating\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 14\u003c/strong>:\u003ca href=\"https://www.livingjazz.org/mlktribute/\" target=\"_blank\" rel=\"noopener\"> ‘In the Name of Love,’ a tribute to Martin Luther King, returns to the Scottish Rite Temple in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 18\u003c/strong>: \u003ca href=\"http://www.citylights.com/book/?GCOI=87286100167860&fa=events\" target=\"_blank\" rel=\"noopener\">Daniel Ellsberg talks about his new book \u003cem>Confessions of a Nuclear War Planner \u003c/em>at the Mechanics Institute Library\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13818818\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818818\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-800x461.jpg\" alt=\"Do List co-hosts A-lan Holt and Cy Musiker\" width=\"800\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-800x461.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1020x587.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1920x1105.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-1180x679.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-960x553.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-240x138.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-375x216.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507-520x299.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Image-uploaded-from-iOS-1-e1515621156507.jpg 2001w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Do List co-hosts A-lan Holt and Cy Musiker. \u003ccite>(Photo: Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\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>\u003cspan style=\"font-weight: 400\">Marvel’s \u003cem>Black Panther\u003c/em> hits theaters Feb. 15, and the original comic book is experiencing a renaissance in popularity. But it’s historically been slim pickings for African American comic book fans looking for representation in those colorful panels.\u003c/span>\u003c/p>\n\u003cp>Which makes the 4th annual Black Comix Arts Festival, running Jan. 13-15, a much-needed intervention in the often racially homogeneous world of science fiction, comics and fantasy. The lineup looks dazzling, including science fiction author \u003ca href=\"http://nnedi.com/\" target=\"_blank\" rel=\"noopener\">Nnedi Okorafor\u003c/a>, tapped to write the new Black Panther series \u003cem>Long Live the King. \u003c/em>Also speaking is John Jennings, one of the illustrators, and Tony Medina, the writer, for \u003ca href=\"https://www.leeandlow.com/books/i-am-alfonso-jones\" target=\"_blank\" rel=\"noopener\">\u003cem>I Am Alfonso Jones\u003c/em>\u003c/a>\u003ci>,\u003c/i> a terrific graphic novel from Lee and Low about the Black Lives Matter movement. And look for one of my favorite Bay Area illustrators, Ajuan Mance, a Mills professor who has posted a series of online portraits called \u003ca href=\"http://8-rock.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>One Thousand and One Black Men\u003c/em>\u003c/a>. If you like cosplay, this seems a good time to try out that Luke Cage, Falcon, or Black Panther costume. Details for the Black Comix Arts Festival are \u003ca href=\"http://sfmlkday.org/bcafcon/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.ted.com/talks/nnedi_okorafor_sci_fi_stories_that_imagine_a_future_africa\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>In a year filled with paradoxes, this might be one of the saddest: 2017 has been a great year for women in TV. But current circumstances sometimes make it difficult to celebrate.\u003c/p>\n\u003cp>That’s because we’re in the early stages of a reckoning over sexual harassment in Hollywood that is reshaping the industry in ways that are painful, necessary and tough to predict.\u003c/p>\n\u003cp>Still, I was calling 2017 an important year for women in the industry \u003ca href=\"http://www.wbur.org/hereandnow/2017/02/17/2017-women-on-screen\">last February\u003c/a>, long before the #MeToo movement would wake up the showbiz world about sexual harassment and assault. Back then, I could see amazing projects coming down the line for female performers, producers and writers; I knew we were in for some stupendous programming.\u003c/p>\n\u003cp>Let’s start with my favorite TV show of the year, Hulu’s \u003cem>The Handmaid’s Tale\u003c/em>. Like the best speculative fiction, it takes a topic from contemporary life — the struggle of women to survive male dominance in American society — and uses a fantastical concept to blow it up into a ferociously compelling adventure: life in a dystopian, near-future world where a theocratic government has seized control of the U.S. and is forcing some women to serve as unwilling breeders for their leaders.\u003c/p>\n\u003cp>This is how you make questions about women’s control over their bodies and the effects of patriarchy in politics feel real. Turning mostly middle-class, mostly white women into slaves in a fictional world that looks much like our own, only adds to the impact. \u003cem>The Handmaid’s Tale\u003c/em> showcases a wide array of \u003ca href=\"https://www.youtube.com/watch?v=SUDAXt_GAPA\">amazing performances\u003c/a> from talented women, including quality TV queen Elisabeth Moss.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The rest of \u003ca href=\"https://www.npr.org/sections/monkeysee/2017/12/14/569893288/nprs-favorite-tv-shows-of-2017\">my best TV in 2017 list\u003c/a> is studded with series that not only offer meaty roles for a wide variety of women, but are often created by, produced by or written by women. This year, 2017, was a moment when women had a seriously active role in shaping shows in the “quality TV” space.\u003c/p>\n\u003cp>Pamela Adlon co-created, co-wrote, co-executive produced and starred in a second, stellar season of \u003cem>Better Things\u003c/em>, her FX dramedy on a struggling single mom\u003cem>. \u003c/em>(Here’s hoping the series will survive the removal of her close, longtime collaborator, Louis C.K.).\u003c/p>\n\u003cp>Reese Witherspoon and Nicole Kidman executive produced\u003cem> Big Little Lies,\u003c/em>HBO’s compelling look at five moms caught in a swirl of murder and domestic violence.\u003c/p>\n\u003cp>Lena Waithe co-wrote “Thanksgiving,” my favorite episode in \u003cem>Master of None\u003c/em>‘s breathtakingly good second season. It shows her character \u003ca href=\"https://www.youtube.com/watch?v=5mhDpAFnDaM\">coming out to her mom\u003c/a> (Angela Bassett) and aunt (Kym Whitley) in a string of successive holiday dinners that mimicked her own coming out story. Sometimes, the banter between Whitley and Bassett was so authentic, I thought I was looking at my own mom and aunt. And when “Thanksgiving” won an Emmy, Waithe made history as the first black woman to win that award for comedy writing.\u003c/p>\n\u003cp>And the list goes on: Maggie Gyllenhaal as co-star and producer on HBO’s \u003cem>The Deuce\u003c/em>; Sonequa Martin-Green in \u003cem>Star Trek: Discovery\u003c/em> on CBS All Access; Susan Sarandon and Jessica Lange as Bette Davis and Joan Crawford on FX’s \u003cem>Feud: Bette and Joan\u003c/em>;Merritt Wever and Michelle Dockery on Netflix’s classic western re-invention \u003cem>Godless; \u003c/em>Rachel Brosnahan’s Golden Globe-nominated turn in Amazon’s\u003cem> The Marvelous Mrs. Maisel\u003c/em>.\u003c/p>\n\u003cp>New talent also broke through, including Logan Browning as Samantha White on Netflix’s version of \u003cem>Dear White People\u003c/em> and DeWanda Wise as Nola Darling in Spike Lee’s TV version of \u003cem>She’s Gotta Have It\u003c/em>. Robin Thede, former head writer on \u003cem>The Nightly Show with Larry Wilmore\u003c/em>, shook up late night with \u003cem>The Rundown with Robin Thede — \u003c/em>a show on BET that Slate magazine \u003ca href=\"http://www.slate.com/blogs/browbeat/2017/11/16/the_rundown_with_robin_thede_reviewed_video.html\">dubbed “Black Twitter personified.”\u003c/a>\u003c/p>\n\u003cp>I’ve always advocated for giving marginalized people more agency and power in the artistic world; you get better and more authentic art. You get work that actually reflects more of the culture. It makes TV in 2017 feel light years removed from the days when the white males of \u003cem>The Sopranos\u003c/em>, \u003cem>Mad Men\u003c/em> and \u003cem>Breaking Bad\u003c/em> ruled the land and quality roles for women often amounted to well-written girlfriends or wives.\u003c/p>\n\u003cp>Even the growing roster of powerful men in media who have lost their careers because of sexual harassment allegations feels linked to a greater agency for women, who are speaking up about such situations — and believed — more often. One of the best TV critics in the business, \u003cem>Variety\u003c/em>‘s Maureen Ryan, was a stellar example.\u003c/p>\n\u003cp>Ryan wrote \u003ca href=\"http://variety.com/2017/tv/columns/harvey-weinstein-sexual-assault-me-too-television-hollywood-1202591406/\">a poignant story\u003c/a> revealing she was sexually assaulted by a TV executive in 2014. Later, she reported two exposés of sexual harassment allegations against powerful producers: \u003cem>NCIS: New Orleans\u003c/em> showrunner \u003ca href=\"http://variety.com/2017/tv/news/brad-kern-cbs-showrunner-ncis-new-orleans-cbs-harassment-1202641474/\">Brad Kern\u003c/a> and \u003ca href=\"http://variety.com/2017/tv/news/warner-bros-sexual-harassment-andrew-kreisberg-1202612522/\">Andrew Kreisberg\u003c/a>, executive producer of The CW’s superhero shows \u003cem>Supergirl\u003c/em>, \u003cem>Arrow\u003c/em>, \u003cem>The Flash\u003c/em> and \u003cem>DC’s Legends of Tomorrow\u003c/em>.\u003c/p>\n\u003cp>I’m hoping such incidents have taught the industry a few lessons. First, that tolerating bullies and toxic people because they are successful can have serious consequences. Second, that there is a long-term cost to supporting a system that marginalizes and exploits some people in favor of others. How many talented journalists or performers have left the field because of toxic encounters with people like Harvey Weinstein, Louis C.K. or Roger Ailes? How many great movies or TV shows didn’t get made? (We faced similar questions at NPR when our senior vice president of news, Mike Oreskes, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/01/561363158/nprs-head-of-news-resigns-following-harassment-allegations\">resigned earlier this year\u003c/a> amid allegations of sexual harassment.)\u003c/p>\n\u003cp>Equality isn’t just about being fair; it’s about making sure the most talented people can contribute, regardless of who they are. It’s simple math: TV and media gets better when the most talented people — regardless of race, ethnicity or gender — can contribute.\u003c/p>\n\u003cp>The statistics tell us there’s still a long way to go. \u003ca href=\"http://womenintvfilm.sdsu.edu/wp-content/uploads/2017/09/2016-17_Boxed_In_Report.pdf\">The most recent report on gender diversity in prime time TV\u003c/a> from San Diego State University found for the 2016-17 TV season, male characters still dominated speaking characters (58 percent), major characters (58 percent) and major behind-the-scenes jobs like creators and executive producers (72 percent).\u003c/p>\n\u003cp>It may feel, amid the torrent of sexual harassment allegations, as if the wheels are coming off the media world. But that’s only because we have lived for so long with an industry dominated by men and the male gaze. Transitioning to a new time, when different sensibilities shape news, scripted programs and high-profile showbiz projects, will be an uncomfortable, fitful process.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Still, if the reward waiting for us is more of the kind of work we’ve seen in 2017, I say bring it on. I can’t imagine how stellar my list of the year’s best TV shows will be at the end of 2018, if women and people of color have even more say in what gets made and celebrated.\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=2017+Has+Been+A+Great+Year+For+Women+In+TV&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a year filled with paradoxes, this might be one of the saddest: 2017 has been a great year for women in TV. But current circumstances sometimes make it difficult to celebrate.\u003c/p>\n\u003cp>That’s because we’re in the early stages of a reckoning over sexual harassment in Hollywood that is reshaping the industry in ways that are painful, necessary and tough to predict.\u003c/p>\n\u003cp>Still, I was calling 2017 an important year for women in the industry \u003ca href=\"http://www.wbur.org/hereandnow/2017/02/17/2017-women-on-screen\">last February\u003c/a>, long before the #MeToo movement would wake up the showbiz world about sexual harassment and assault. Back then, I could see amazing projects coming down the line for female performers, producers and writers; I knew we were in for some stupendous programming.\u003c/p>\n\u003cp>Let’s start with my favorite TV show of the year, Hulu’s \u003cem>The Handmaid’s Tale\u003c/em>. Like the best speculative fiction, it takes a topic from contemporary life — the struggle of women to survive male dominance in American society — and uses a fantastical concept to blow it up into a ferociously compelling adventure: life in a dystopian, near-future world where a theocratic government has seized control of the U.S. and is forcing some women to serve as unwilling breeders for their leaders.\u003c/p>\n\u003cp>This is how you make questions about women’s control over their bodies and the effects of patriarchy in politics feel real. Turning mostly middle-class, mostly white women into slaves in a fictional world that looks much like our own, only adds to the impact. \u003cem>The Handmaid’s Tale\u003c/em> showcases a wide array of \u003ca href=\"https://www.youtube.com/watch?v=SUDAXt_GAPA\">amazing performances\u003c/a> from talented women, including quality TV queen Elisabeth Moss.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The rest of \u003ca href=\"https://www.npr.org/sections/monkeysee/2017/12/14/569893288/nprs-favorite-tv-shows-of-2017\">my best TV in 2017 list\u003c/a> is studded with series that not only offer meaty roles for a wide variety of women, but are often created by, produced by or written by women. This year, 2017, was a moment when women had a seriously active role in shaping shows in the “quality TV” space.\u003c/p>\n\u003cp>Pamela Adlon co-created, co-wrote, co-executive produced and starred in a second, stellar season of \u003cem>Better Things\u003c/em>, her FX dramedy on a struggling single mom\u003cem>. \u003c/em>(Here’s hoping the series will survive the removal of her close, longtime collaborator, Louis C.K.).\u003c/p>\n\u003cp>Reese Witherspoon and Nicole Kidman executive produced\u003cem> Big Little Lies,\u003c/em>HBO’s compelling look at five moms caught in a swirl of murder and domestic violence.\u003c/p>\n\u003cp>Lena Waithe co-wrote “Thanksgiving,” my favorite episode in \u003cem>Master of None\u003c/em>‘s breathtakingly good second season. It shows her character \u003ca href=\"https://www.youtube.com/watch?v=5mhDpAFnDaM\">coming out to her mom\u003c/a> (Angela Bassett) and aunt (Kym Whitley) in a string of successive holiday dinners that mimicked her own coming out story. Sometimes, the banter between Whitley and Bassett was so authentic, I thought I was looking at my own mom and aunt. And when “Thanksgiving” won an Emmy, Waithe made history as the first black woman to win that award for comedy writing.\u003c/p>\n\u003cp>And the list goes on: Maggie Gyllenhaal as co-star and producer on HBO’s \u003cem>The Deuce\u003c/em>; Sonequa Martin-Green in \u003cem>Star Trek: Discovery\u003c/em> on CBS All Access; Susan Sarandon and Jessica Lange as Bette Davis and Joan Crawford on FX’s \u003cem>Feud: Bette and Joan\u003c/em>;Merritt Wever and Michelle Dockery on Netflix’s classic western re-invention \u003cem>Godless; \u003c/em>Rachel Brosnahan’s Golden Globe-nominated turn in Amazon’s\u003cem> The Marvelous Mrs. Maisel\u003c/em>.\u003c/p>\n\u003cp>New talent also broke through, including Logan Browning as Samantha White on Netflix’s version of \u003cem>Dear White People\u003c/em> and DeWanda Wise as Nola Darling in Spike Lee’s TV version of \u003cem>She’s Gotta Have It\u003c/em>. Robin Thede, former head writer on \u003cem>The Nightly Show with Larry Wilmore\u003c/em>, shook up late night with \u003cem>The Rundown with Robin Thede — \u003c/em>a show on BET that Slate magazine \u003ca href=\"http://www.slate.com/blogs/browbeat/2017/11/16/the_rundown_with_robin_thede_reviewed_video.html\">dubbed “Black Twitter personified.”\u003c/a>\u003c/p>\n\u003cp>I’ve always advocated for giving marginalized people more agency and power in the artistic world; you get better and more authentic art. You get work that actually reflects more of the culture. It makes TV in 2017 feel light years removed from the days when the white males of \u003cem>The Sopranos\u003c/em>, \u003cem>Mad Men\u003c/em> and \u003cem>Breaking Bad\u003c/em> ruled the land and quality roles for women often amounted to well-written girlfriends or wives.\u003c/p>\n\u003cp>Even the growing roster of powerful men in media who have lost their careers because of sexual harassment allegations feels linked to a greater agency for women, who are speaking up about such situations — and believed — more often. One of the best TV critics in the business, \u003cem>Variety\u003c/em>‘s Maureen Ryan, was a stellar example.\u003c/p>\n\u003cp>Ryan wrote \u003ca href=\"http://variety.com/2017/tv/columns/harvey-weinstein-sexual-assault-me-too-television-hollywood-1202591406/\">a poignant story\u003c/a> revealing she was sexually assaulted by a TV executive in 2014. Later, she reported two exposés of sexual harassment allegations against powerful producers: \u003cem>NCIS: New Orleans\u003c/em> showrunner \u003ca href=\"http://variety.com/2017/tv/news/brad-kern-cbs-showrunner-ncis-new-orleans-cbs-harassment-1202641474/\">Brad Kern\u003c/a> and \u003ca href=\"http://variety.com/2017/tv/news/warner-bros-sexual-harassment-andrew-kreisberg-1202612522/\">Andrew Kreisberg\u003c/a>, executive producer of The CW’s superhero shows \u003cem>Supergirl\u003c/em>, \u003cem>Arrow\u003c/em>, \u003cem>The Flash\u003c/em> and \u003cem>DC’s Legends of Tomorrow\u003c/em>.\u003c/p>\n\u003cp>I’m hoping such incidents have taught the industry a few lessons. First, that tolerating bullies and toxic people because they are successful can have serious consequences. Second, that there is a long-term cost to supporting a system that marginalizes and exploits some people in favor of others. How many talented journalists or performers have left the field because of toxic encounters with people like Harvey Weinstein, Louis C.K. or Roger Ailes? How many great movies or TV shows didn’t get made? (We faced similar questions at NPR when our senior vice president of news, Mike Oreskes, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/01/561363158/nprs-head-of-news-resigns-following-harassment-allegations\">resigned earlier this year\u003c/a> amid allegations of sexual harassment.)\u003c/p>\n\u003cp>Equality isn’t just about being fair; it’s about making sure the most talented people can contribute, regardless of who they are. It’s simple math: TV and media gets better when the most talented people — regardless of race, ethnicity or gender — can contribute.\u003c/p>\n\u003cp>The statistics tell us there’s still a long way to go. \u003ca href=\"http://womenintvfilm.sdsu.edu/wp-content/uploads/2017/09/2016-17_Boxed_In_Report.pdf\">The most recent report on gender diversity in prime time TV\u003c/a> from San Diego State University found for the 2016-17 TV season, male characters still dominated speaking characters (58 percent), major characters (58 percent) and major behind-the-scenes jobs like creators and executive producers (72 percent).\u003c/p>\n\u003cp>It may feel, amid the torrent of sexual harassment allegations, as if the wheels are coming off the media world. But that’s only because we have lived for so long with an industry dominated by men and the male gaze. Transitioning to a new time, when different sensibilities shape news, scripted programs and high-profile showbiz projects, will be an uncomfortable, fitful process.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still, if the reward waiting for us is more of the kind of work we’ve seen in 2017, I say bring it on. I can’t imagine how stellar my list of the year’s best TV shows will be at the end of 2018, if women and people of color have even more say in what gets made and celebrated.\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=2017+Has+Been+A+Great+Year+For+Women+In+TV&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "on-the-air-cy-rachael-gabe-and-sarahs-do-list-picks-for-dec-22-2017",
"title": "On the Air: Cy, Rachael, Gabe and Sarah's Do List Picks for Dec. 22, 2017",
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"headTitle": "On the Air: Cy, Rachael, Gabe and Sarah’s Do List Picks for Dec. 22, 2017 | KQED",
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"content": "\u003cp>We called in the reinforcements this week — my KQED Arts colleagues Rachael Myrow, Sarah Hotchkiss and Gabe Meline join me for a special 2018 preview to talk about the upcoming concerts and exhibitions we’re most excited about in the new year. Tickets to these shows might make good presents for your loved ones. (Say it with me, people: \u003ca href=\"https://www.theatlantic.com/business/archive/2014/10/buy-experiences/381132/\" target=\"_blank\" rel=\"noopener\">experiences, not things\u003c/a>.)\u003c/p>\n\u003cp>We’ll be taking the next week off, but we sincerely wish you a Happy Hanukkah, Merry Christmas, Happy Kwanzaa, and Happy New Year from all of us at KQED Arts.\u003c/p>\n\u003cp>\u003cstrong>Jan. 11–28\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/lush-large-scale-polaroids-in-the-presidio/\" target=\"_blank\" rel=\"noopener\">Large-scale Polaroids tell the story of Afro-Cuban ancestry on the Presidio\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 11–Feb. 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/marga-gomez-pays-tribute-to-her-showman-dad-with-latin-standards/\" target=\"_blank\" rel=\"noopener\">Marga Gomez explores what it means to be the driven adult child of a blustery Cuban showman\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 27–May 27:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/desiged-with-california-dreams-in-mind/\" target=\"_blank\" rel=\"noopener\">A show about socially conscious California design comes to SFMOMA\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Feb. 1–24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/life-could-be-very-strange-and-very-hard-and-very-cruel/\" target=\"_blank\" rel=\"noopener\">The Pacific Film Archive celebrates the films of Ingmar Bergman on his centennial\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 10 and 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/gaelynn-leas-grand-ideas-from-a-small-violin/\" target=\"_blank\" rel=\"noopener\">A tiny woman with a big heart makes haunting melodies\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 13:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/new-rules-for-hopefully-a-new-world/\" target=\"_blank\" rel=\"noopener\">A rising pop star from England doles out her new rules\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 24:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/superchunk-points-the-right-way-to-enter-2018/\" target=\"_blank\" rel=\"noopener\">Superchunk returns with music challenging the political status quo\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>March 8:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/dee-dee-bridgewater-brings-classic-soul-from-memphis-to-montalvo/\" target=\"_blank\" rel=\"noopener\">Jazz icon Dee Dee Bridgewater gets funky with music from Memphis\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>March 24–Aug. 12:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/oakland-museum-gives-hip-hop-the-respect-its-earned/\" target=\"_blank\" rel=\"noopener\">The Oakland Museum of California tells the story of hip-hop through a Bay Area lens\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13818012\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818012\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/CyRadio12.22-800x600.jpg\" alt=\"(L–R): Sarah Hotchkiss, Rachael Myrow, Cy Musiker and Gabe Meline.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R): Sarah Hotchkiss, Rachael Myrow, Cy Musiker and Gabe Meline.\u003c/figcaption>\u003c/figure>\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, 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"excerpt": "The Do List looks to the shows we're most excited about in 2018, including an Ingmar Bergman retrospective, a series on California design, a hip-hop exhibit and more.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We called in the reinforcements this week — my KQED Arts colleagues Rachael Myrow, Sarah Hotchkiss and Gabe Meline join me for a special 2018 preview to talk about the upcoming concerts and exhibitions we’re most excited about in the new year. Tickets to these shows might make good presents for your loved ones. (Say it with me, people: \u003ca href=\"https://www.theatlantic.com/business/archive/2014/10/buy-experiences/381132/\" target=\"_blank\" rel=\"noopener\">experiences, not things\u003c/a>.)\u003c/p>\n\u003cp>We’ll be taking the next week off, but we sincerely wish you a Happy Hanukkah, Merry Christmas, Happy Kwanzaa, and Happy New Year from all of us at KQED Arts.\u003c/p>\n\u003cp>\u003cstrong>Jan. 11–28\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/lush-large-scale-polaroids-in-the-presidio/\" target=\"_blank\" rel=\"noopener\">Large-scale Polaroids tell the story of Afro-Cuban ancestry on the Presidio\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 11–Feb. 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/marga-gomez-pays-tribute-to-her-showman-dad-with-latin-standards/\" target=\"_blank\" rel=\"noopener\">Marga Gomez explores what it means to be the driven adult child of a blustery Cuban showman\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 27–May 27:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/desiged-with-california-dreams-in-mind/\" target=\"_blank\" rel=\"noopener\">A show about socially conscious California design comes to SFMOMA\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 1–24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/life-could-be-very-strange-and-very-hard-and-very-cruel/\" target=\"_blank\" rel=\"noopener\">The Pacific Film Archive celebrates the films of Ingmar Bergman on his centennial\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 10 and 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/gaelynn-leas-grand-ideas-from-a-small-violin/\" target=\"_blank\" rel=\"noopener\">A tiny woman with a big heart makes haunting melodies\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 13:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/new-rules-for-hopefully-a-new-world/\" target=\"_blank\" rel=\"noopener\">A rising pop star from England doles out her new rules\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 24:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/superchunk-points-the-right-way-to-enter-2018/\" target=\"_blank\" rel=\"noopener\">Superchunk returns with music challenging the political status quo\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>March 8:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/dee-dee-bridgewater-brings-classic-soul-from-memphis-to-montalvo/\" target=\"_blank\" rel=\"noopener\">Jazz icon Dee Dee Bridgewater gets funky with music from Memphis\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>March 24–Aug. 12:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/oakland-museum-gives-hip-hop-the-respect-its-earned/\" target=\"_blank\" rel=\"noopener\">The Oakland Museum of California tells the story of hip-hop through a Bay Area lens\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13818012\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818012\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/CyRadio12.22-800x600.jpg\" alt=\"(L–R): Sarah Hotchkiss, Rachael Myrow, Cy Musiker and Gabe Meline.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R): Sarah Hotchkiss, Rachael Myrow, Cy Musiker and Gabe Meline.\u003c/figcaption>\u003c/figure>\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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"title": "Oakland Museum Gives Hip-Hop the Respect it's Earned",
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"content": "\u003cp>We’re looking ahead this week on The Do List to a few exhibitions we’re excited about in 2018, among them \u003cem>Respect: Hip-Hop Style and Wisdom\u003c/em>, opening in March at the Oakland Museum of California (OMCA). \u003cem>Respect\u003c/em> is part of a trend at the Oakland Museum and other institutions to take serious looks at pop culture. (OMCA presented a show about sneakers recently.)\u003c/p>\n\u003cp>“Hip-hop is misunderstood,” OMCA Senior Curator René de Guzman says, “that it’s all about gangsterism and misogyny. There are elements of that, just as there are negative elements in any cultural form or social group. The other misunderstanding is that hip-hop is simply a music genre, but it extends beyond that to include not only other art forms but principles, values and communities.”\u003c/p>\n\u003cfigure id=\"attachment_13817929\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817929\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-800x692.jpg\" alt=\"Young Boys. 1981. East Flatbush an image from OMCA's upcoming show about hip hop\" width=\"800\" height=\"692\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-800x692.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-768x665.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-1020x883.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-1920x1661.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-1180x1021.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-960x831.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-240x208.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-375x324.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-520x450.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Young Boys. 1981, East Flatbush. Image from OMCA’s upcoming show about hip-hop. \u003ccite>(Photo: Jamel Shabazz/OMCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So the exhibit, de Guzman says, will dig deep into hip-hop’s message of authenticity and political activism, with input from Bay Area icons like Oakland rapper and scholar Mystic and the Hip-Hop Chess Federation’s Adisa Banjoko.\u003c/p>\n\u003cp>My colleague Gabe Meline notes that the show promises to cover the music “beyond big business.” So he’s keen to see how the exhibition covers hustling pioneers like Heiroglyphics and Too Short, who sold tapes out of their trunks in Oakland to build their empires. \u003ca href=\"http://museumca.org/exhibit/respect-hip-hop-style-wisdom\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CkrdiABTcaI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’re looking ahead this week on The Do List to a few exhibitions we’re excited about in 2018, among them \u003cem>Respect: Hip-Hop Style and Wisdom\u003c/em>, opening in March at the Oakland Museum of California (OMCA). \u003cem>Respect\u003c/em> is part of a trend at the Oakland Museum and other institutions to take serious looks at pop culture. (OMCA presented a show about sneakers recently.)\u003c/p>\n\u003cp>“Hip-hop is misunderstood,” OMCA Senior Curator René de Guzman says, “that it’s all about gangsterism and misogyny. There are elements of that, just as there are negative elements in any cultural form or social group. The other misunderstanding is that hip-hop is simply a music genre, but it extends beyond that to include not only other art forms but principles, values and communities.”\u003c/p>\n\u003cfigure id=\"attachment_13817929\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817929\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-800x692.jpg\" alt=\"Young Boys. 1981. East Flatbush an image from OMCA's upcoming show about hip hop\" width=\"800\" height=\"692\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-800x692.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-768x665.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-1020x883.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-1920x1661.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-1180x1021.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-960x831.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-240x208.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-375x324.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-520x450.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Young Boys. 1981, East Flatbush. Image from OMCA’s upcoming show about hip-hop. \u003ccite>(Photo: Jamel Shabazz/OMCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So the exhibit, de Guzman says, will dig deep into hip-hop’s message of authenticity and political activism, with input from Bay Area icons like Oakland rapper and scholar Mystic and the Hip-Hop Chess Federation’s Adisa Banjoko.\u003c/p>\n\u003cp>My colleague Gabe Meline notes that the show promises to cover the music “beyond big business.” So he’s keen to see how the exhibition covers hustling pioneers like Heiroglyphics and Too Short, who sold tapes out of their trunks in Oakland to build their empires. \u003ca href=\"http://museumca.org/exhibit/respect-hip-hop-style-wisdom\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/CkrdiABTcaI'\n title='//www.youtube.com/embed/CkrdiABTcaI'\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": "\u003cp>Arts administrator and SF State Lecturer Tomás Riley returns as co-host on a show featuring fairy tale miracles, a bluegrass band, and the Mexican American Elvis doing a Christmas show. Miracles happen here. Click through the links below for details.\u003c/p>\n\u003cp>\u003cstrong>Dec 16-23 :\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/13/this-cinderella-misplaces-a-melody-not-a-glass-slipper/\" rel=\"noopener\" target=\"_blank\">The miracle of San Jose Opera’s new \u003cem>Cinderella\u003c/em>? The composer is just 12 years old\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 22-24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/12/13/a-black-girl-positive-cinderella/\" rel=\"noopener\" target=\"_blank\">The African American Shakespeare Company puts on a black-girl-positive version of \u003cem>Cinderella\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec 28-31:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/13/aint-nothin-but-a-good-time/\" rel=\"noopener\" target=\"_blank\">The band the Brothers Comatose makes rowdy California bluegrass fun\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 16 and Jan. 20:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/13/an-american-procession-marching-toward-confrontation/\" rel=\"noopener\" target=\"_blank\">Artists Sandow Birk and Elyse Pignolet’s giant woodblock print is a procession of American heroes from the political right and left\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Dec 20 and 21:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/13/feliz-navidad-from-the-mexican-elvis/\" rel=\"noopener\" target=\"_blank\">El Vez’s Elvis impersonation goes beyond camp to explore the Mexican-American roots of rock ‘n’ roll\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 20, 30 and Jan 10: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/12/14/san-francisco-punk-history-on-film/\" rel=\"noopener\" target=\"_blank\">Revisiting the early days of punk in films from the San Francisco Public Library\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 30:\u003c/strong> \u003ca href=\"http://www.teatrovision.org/departera\" target=\"_blank\" rel=\"noopener\">Teatro Visión stages a reading of a new play by poet and actor Evelina Fernández\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dec. 14-17: \u003c/strong>\u003ca href=\"https://philharmonia.org/2017-2018-season/joseph-and-his-brethren/\" target=\"_blank\" rel=\"noopener\">The Philharmonia Baroque Orchestra presents an alternative to the \u003cem>Messiah\u003c/em> for the holidays: Handel’s \u003cem>Joseph and His Brethren\u003c/em>\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Arts administrator and SF State Lecturer Tomás Riley returns as co-host on a show featuring fairy tale miracles, a bluegrass band, and the Mexican American Elvis doing a Christmas show. Miracles happen here. Click through the links below for details.\u003c/p>\n\u003cp>\u003cstrong>Dec 16-23 :\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/13/this-cinderella-misplaces-a-melody-not-a-glass-slipper/\" rel=\"noopener\" target=\"_blank\">The miracle of San Jose Opera’s new \u003cem>Cinderella\u003c/em>? The composer is just 12 years old\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 22-24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/12/13/a-black-girl-positive-cinderella/\" rel=\"noopener\" target=\"_blank\">The African American Shakespeare Company puts on a black-girl-positive version of \u003cem>Cinderella\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec 28-31:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/13/aint-nothin-but-a-good-time/\" rel=\"noopener\" target=\"_blank\">The band the Brothers Comatose makes rowdy California bluegrass fun\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 16 and Jan. 20:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/13/an-american-procession-marching-toward-confrontation/\" rel=\"noopener\" target=\"_blank\">Artists Sandow Birk and Elyse Pignolet’s giant woodblock print is a procession of American heroes from the political right and left\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dec 20 and 21:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/13/feliz-navidad-from-the-mexican-elvis/\" rel=\"noopener\" target=\"_blank\">El Vez’s Elvis impersonation goes beyond camp to explore the Mexican-American roots of rock ‘n’ roll\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 20, 30 and Jan 10: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/12/14/san-francisco-punk-history-on-film/\" rel=\"noopener\" target=\"_blank\">Revisiting the early days of punk in films from the San Francisco Public Library\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 30:\u003c/strong> \u003ca href=\"http://www.teatrovision.org/departera\" target=\"_blank\" rel=\"noopener\">Teatro Visión stages a reading of a new play by poet and actor Evelina Fernández\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dec. 14-17: \u003c/strong>\u003ca href=\"https://philharmonia.org/2017-2018-season/joseph-and-his-brethren/\" target=\"_blank\" rel=\"noopener\">The Philharmonia Baroque Orchestra presents an alternative to the \u003cem>Messiah\u003c/em> for the holidays: Handel’s \u003cem>Joseph and His Brethren\u003c/em>\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Burning Man Asks Nevada Officials for Permission to Grow to 100,000",
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"content": "\u003cp>The San Francisco-based organization that runs Burning Man \u003ca href=\"https://journal.burningman.org/2017/11/black-rock-city/leaving-no-trace/burning-man-and-blm-begin-10-year-environmental-impact-statement-public-meetings-start-in-december/\" target=\"_blank\" rel=\"noopener\">has asked Nevada officials\u003c/a> to let the annual arts festival grow to 100,000 people. That’s up from the more than 79,000 people at the event last year.\u003c/p>\n\u003cp>“The playa is our home, and we want to ensure our ability to continue gathering there together each year,” the company stated in a post on its website.\u003c/p>\n\u003cp>Among other things, Burning Man says it’s lobbying for a change in the way visitors are reported. “In the past, BLM and Burning Man have counted staff, volunteers, and public health and safety personnel separately from the rest of the population. For example, in 2017 our allowable cap for participants was 70,000. The actual peak was 69,493. But the total number of people on site including staff, volunteers and public health and safety personnel was 79,379. In future years, the population cap will combine everyone except government personnel and Black Rock City infrastructure providers (think Porta Potties and water trucks).”\u003c/p>\n\u003cp>Burning Man began in 1986 in the San Francisco Bay Area with a few dozen attendees, growing year over year before \u003ca href=\"https://burningman.org/timeline/#!/1990\" target=\"_blank\" rel=\"noopener\">moving to the Black Rock Desert\u003c/a> in 1990. The event has since grown exponentially as it became popular with coastal Californians, including celebrities from Silicon Valley and Hollywood.\u003c/p>\n\u003cp>Now Nevada Bureau of Land Management officials are drafting new permit conditions to govern the event for the next decade, starting in 2019. Details of the current proposal before BLM can be viewed \u003ca href=\"https://eplanning.blm.gov/epl-front-office/projects/nepa/93518/125234/152681/Proposed_Action_Executive_Summary.pdf\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The BLM expects to issue a rough draft of new conditions for Burning Man in December 2018, after which it will take public comment. The agency plans to consider a final draft in February 2019.\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/RDnews/2017/12/MyrowBurningMan.mp3\" Image=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/sunflowers1000-800x535.jpg\" Title=\"Burning Man Could Expand to 100,000\" program=\"KQED News\"]\u003c/p>\n\u003cp>\u003cstrong>Reactions to the proposal\u003c/strong>\u003c/p>\n\u003cp>According to the \u003ca href=\"http://www.rgj.com/story/life/arts/burning-man/2017/12/07/burning-man-wants-permission-grow-100-000-people-2019/929053001/\" target=\"_blank\" rel=\"noopener\">Reno Gazette Journal\u003c/a>, locals who testified at recent public comment meetings worried about even more traffic and trash, as well as the need to provide more law enforcement personnel.\u003c/p>\n\u003cp>As for the partygoers, many of whom come from California, reactions are mixed. On Facebook, where the\u003ca href=\"https://www.facebook.com/groups/burntheman/\" target=\"_blank\" rel=\"noopener\"> Burning Man\u003c/a> group has more than 93,000 members, some complain tickets are already too hard to get. Others say the more, the merrier.\u003c/p>\n\u003cp>\u003cb>\u003c/b>\u003cspan class=\"\">Annette Monteleone,\u003c/span> an interior designer from Southern California, commented, “\u003cspan class=\"UFICommentBody\">Porta Potties already outnumber art installations.\u003cspan class=\"_47e3 _5mfr\" title=\"frown emoticon\">\u003cspan class=\"_7oe\">“\u003c/span>\u003c/span>\u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"\">Victoria Rose Evanoff, a landscape designer in the East Bay, replied to that, “\u003c/span>\u003cspan class=\"UFICommentBody\">There is always more art than you can see in a week anyway.”\u003c/span>\u003c/p>\n\u003cp>Salman Hasan, an environmental specialist in London, commented, “If we can figure out traffic issues then sure, why not? Whether there are 50k, 70k or 100k people shouldn’t make a difference to each individual’s experience. You will still only meet a very small number of those people.”\u003c/p>\n\u003cp>That said, Hasan added, “At least half the extra tickets should be allocated through DGS though to ensure the contributor to tourist ratio doesn’t get more skewed.” DGS is short for “Directed Group Sale,” intended to help established collaborative groups like theme camps get access to tickets for their team members.\u003c/p>\n\u003cp>Tickets to Burning Man sell for up to $1,200 these days, and the event has sold out every year since 2011.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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": "With the possibility of 21,000 extra attendees on the playa, officials and neighbors weigh their options.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Francisco-based organization that runs Burning Man \u003ca href=\"https://journal.burningman.org/2017/11/black-rock-city/leaving-no-trace/burning-man-and-blm-begin-10-year-environmental-impact-statement-public-meetings-start-in-december/\" target=\"_blank\" rel=\"noopener\">has asked Nevada officials\u003c/a> to let the annual arts festival grow to 100,000 people. That’s up from the more than 79,000 people at the event last year.\u003c/p>\n\u003cp>“The playa is our home, and we want to ensure our ability to continue gathering there together each year,” the company stated in a post on its website.\u003c/p>\n\u003cp>Among other things, Burning Man says it’s lobbying for a change in the way visitors are reported. “In the past, BLM and Burning Man have counted staff, volunteers, and public health and safety personnel separately from the rest of the population. For example, in 2017 our allowable cap for participants was 70,000. The actual peak was 69,493. But the total number of people on site including staff, volunteers and public health and safety personnel was 79,379. In future years, the population cap will combine everyone except government personnel and Black Rock City infrastructure providers (think Porta Potties and water trucks).”\u003c/p>\n\u003cp>Burning Man began in 1986 in the San Francisco Bay Area with a few dozen attendees, growing year over year before \u003ca href=\"https://burningman.org/timeline/#!/1990\" target=\"_blank\" rel=\"noopener\">moving to the Black Rock Desert\u003c/a> in 1990. The event has since grown exponentially as it became popular with coastal Californians, including celebrities from Silicon Valley and Hollywood.\u003c/p>\n\u003cp>Now Nevada Bureau of Land Management officials are drafting new permit conditions to govern the event for the next decade, starting in 2019. Details of the current proposal before BLM can be viewed \u003ca href=\"https://eplanning.blm.gov/epl-front-office/projects/nepa/93518/125234/152681/Proposed_Action_Executive_Summary.pdf\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The BLM expects to issue a rough draft of new conditions for Burning Man in December 2018, after which it will take public comment. The agency plans to consider a final draft in February 2019.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Reactions to the proposal\u003c/strong>\u003c/p>\n\u003cp>According to the \u003ca href=\"http://www.rgj.com/story/life/arts/burning-man/2017/12/07/burning-man-wants-permission-grow-100-000-people-2019/929053001/\" target=\"_blank\" rel=\"noopener\">Reno Gazette Journal\u003c/a>, locals who testified at recent public comment meetings worried about even more traffic and trash, as well as the need to provide more law enforcement personnel.\u003c/p>\n\u003cp>As for the partygoers, many of whom come from California, reactions are mixed. On Facebook, where the\u003ca href=\"https://www.facebook.com/groups/burntheman/\" target=\"_blank\" rel=\"noopener\"> Burning Man\u003c/a> group has more than 93,000 members, some complain tickets are already too hard to get. Others say the more, the merrier.\u003c/p>\n\u003cp>\u003cb>\u003c/b>\u003cspan class=\"\">Annette Monteleone,\u003c/span> an interior designer from Southern California, commented, “\u003cspan class=\"UFICommentBody\">Porta Potties already outnumber art installations.\u003cspan class=\"_47e3 _5mfr\" title=\"frown emoticon\">\u003cspan class=\"_7oe\">“\u003c/span>\u003c/span>\u003c/span>\u003c/p>\n\u003cp>\u003cspan class=\"\">Victoria Rose Evanoff, a landscape designer in the East Bay, replied to that, “\u003c/span>\u003cspan class=\"UFICommentBody\">There is always more art than you can see in a week anyway.”\u003c/span>\u003c/p>\n\u003cp>Salman Hasan, an environmental specialist in London, commented, “If we can figure out traffic issues then sure, why not? Whether there are 50k, 70k or 100k people shouldn’t make a difference to each individual’s experience. You will still only meet a very small number of those people.”\u003c/p>\n\u003cp>That said, Hasan added, “At least half the extra tickets should be allocated through DGS though to ensure the contributor to tourist ratio doesn’t get more skewed.” DGS is short for “Directed Group Sale,” intended to help established collaborative groups like theme camps get access to tickets for their team members.\u003c/p>\n\u003cp>Tickets to Burning Man sell for up to $1,200 these days, and the event has sold out every year since 2011.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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>SF Weekly theater critic \u003ca href=\"https://ww2.kqed.org/arts/author/jedalatpour/\" target=\"_blank\" rel=\"noopener\">Jeffrey Edalatpour\u003c/a> is back on the show this week to talk about holiday and counter-holiday plays around the Bay Area. Plus three world premieres from the choreographers Garrett and Moulton, a fire fundraiser at the Schulz Museum, and great indie folk-rock from the Barr Brothers.\u003c/p>\n\u003cp>\u003cstrong>Cont. through Dec. 17:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/bright-star-is-a-holiday-play-full-of-bluegrass-cheer/\" target=\"_blank\" rel=\"noopener\">\u003cem>Bright Star\u003c/em> is a post-war fairy tale set in the South, with a lovely score and a breakout performance by Carmen Cusack\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Cont. through Dec. 17\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/celebrating-female-joy-in-a-play-from-lauren-gunderson/\" target=\"_blank\" rel=\"noopener\">Playwright Lauren Gunderson spins a tale of romance for the brainy in \u003cem>Miss Bennett: Christmas at Pemberley.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Cont. through Jan 14: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/a-deal-with-the-devil-in-black-rider-what-could-possibly-go-wrong/\" target=\"_blank\" rel=\"noopener\">Making a deal with the devil in \u003cem>The Black Rider\u003c/em>; what could possibly go wrong?\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Cont. through Jan. 14:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/a-timeless-watch-against-fascism/\" target=\"_blank\" rel=\"noopener\">\u003cem>Watch on the Rhine\u003c/em> is a timely play about the dangers of not intervening in the fight against fascism.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Dec. 14-16:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/clockwork-dances-revealing-our-human-flaws/\" target=\"_blank\" rel=\"noopener\">Garrett + Moulton make dances that are like Rubik’s Cubes, colorful movement puzzles that snap into perfection.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Dec. 8-10:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/a-jazz-singer-for-all-times/\" target=\"_blank\" rel=\"noopener\">Gregory Porter may look goofy, but his singing is serious and sublime.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Dec. 9\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/a-fire-relief-fundraiser-in-comic-strips/\" target=\"_blank\" rel=\"noopener\">The Schulz Museum in Santa Rosa hosts a fundraiser for fire relief with some of the Bay Area’s top graphic artists.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dec. 13:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/the-barr-brothers-are-the-pride-of-providence/\" target=\"_blank\" rel=\"noopener\">The Barr Brothers, the pride of Providence R.I, offer a fresh take on indie folk-rock\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13816822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816822\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-800x451.jpg\" alt=\"KQED's Cy Musiker and Jeffrey Edalatpour host the Do List for Dec. 8, 2017\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KQED’s Cy Musiker and Jeffrey Edalatpour host the Do List for Dec. 8, 2017 \u003ccite>(Photo: Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>SF Weekly theater critic \u003ca href=\"https://ww2.kqed.org/arts/author/jedalatpour/\" target=\"_blank\" rel=\"noopener\">Jeffrey Edalatpour\u003c/a> is back on the show this week to talk about holiday and counter-holiday plays around the Bay Area. Plus three world premieres from the choreographers Garrett and Moulton, a fire fundraiser at the Schulz Museum, and great indie folk-rock from the Barr Brothers.\u003c/p>\n\u003cp>\u003cstrong>Cont. through Dec. 17:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/bright-star-is-a-holiday-play-full-of-bluegrass-cheer/\" target=\"_blank\" rel=\"noopener\">\u003cem>Bright Star\u003c/em> is a post-war fairy tale set in the South, with a lovely score and a breakout performance by Carmen Cusack\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Cont. through Dec. 17\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/celebrating-female-joy-in-a-play-from-lauren-gunderson/\" target=\"_blank\" rel=\"noopener\">Playwright Lauren Gunderson spins a tale of romance for the brainy in \u003cem>Miss Bennett: Christmas at Pemberley.\u003c/em>\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Cont. through Jan 14: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/a-deal-with-the-devil-in-black-rider-what-could-possibly-go-wrong/\" target=\"_blank\" rel=\"noopener\">Making a deal with the devil in \u003cem>The Black Rider\u003c/em>; what could possibly go wrong?\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Cont. through Jan. 14:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/a-timeless-watch-against-fascism/\" target=\"_blank\" rel=\"noopener\">\u003cem>Watch on the Rhine\u003c/em> is a timely play about the dangers of not intervening in the fight against fascism.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dec. 14-16:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/clockwork-dances-revealing-our-human-flaws/\" target=\"_blank\" rel=\"noopener\">Garrett + Moulton make dances that are like Rubik’s Cubes, colorful movement puzzles that snap into perfection.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Dec. 8-10:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/a-jazz-singer-for-all-times/\" target=\"_blank\" rel=\"noopener\">Gregory Porter may look goofy, but his singing is serious and sublime.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Dec. 9\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/a-fire-relief-fundraiser-in-comic-strips/\" target=\"_blank\" rel=\"noopener\">The Schulz Museum in Santa Rosa hosts a fundraiser for fire relief with some of the Bay Area’s top graphic artists.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dec. 13:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/06/the-barr-brothers-are-the-pride-of-providence/\" target=\"_blank\" rel=\"noopener\">The Barr Brothers, the pride of Providence R.I, offer a fresh take on indie folk-rock\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13816822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816822\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-800x451.jpg\" alt=\"KQED's Cy Musiker and Jeffrey Edalatpour host the Do List for Dec. 8, 2017\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/KQEDs-Cy-Musiker-and-Jeffrey-Edalatpour-host-the-Do-List-for-Dec.-8-2017-e1512581953817-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KQED’s Cy Musiker and Jeffrey Edalatpour host the Do List for Dec. 8, 2017 \u003ccite>(Photo: Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It made the \u003ca href=\"http://starwars.wikia.com/wiki/Kessel_Run/Legends\" target=\"_blank\" rel=\"noopener\">Kessel Run\u003c/a> in less than 12 parsecs. But a new buildable version of Han Solo’s famous Millennium Falcon is currently stalled.\u003c/p>\n\u003cp>Those hoping to snag one of Lego’s new \u003cem>Star Wars\u003c/em> sets for the 2017 holidays will likely be disappointed. It’s currently sold out online. After a September release only to its VIP list, the company promises it’s working as fast as it can to “make more sets available and keep our LEGO builders happy.” At a cool $799.99 and more than 7,500 pieces, it’s the expensive, easy-to-lose gift that keeps on giving.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=1&v=hGoQ44SfV-c\u003c/p>\n\u003cp>The ship is big. Once constructed, it’s longer than the width of a grown man’s shoulders — at least the shoulders of Lego employee Hans, pictured in \u003ca href=\"https://www.youtube.com/watch?v=KHc5F9XiP1U\" target=\"_blank\" rel=\"noopener\">this video explanation\u003c/a>. Cashing in on the nostalgia surrounding not only the \u003cem>Star Wars\u003c/em> franchise, but also its own toy brand, this is the 10th anniversary edition of Lego’s first Falcon set, according to the video.\u003c/p>\n\u003cp>https://twitter.com/mrjalco/status/932608894563770369?ref_src=twsrc%5Etfw&ref_url=https%3A%2F%2Fwww.npr.org%2Fsections%2Fthetwo-way%2F2017%2F11%2F24%2F566370961%2Fwhats-800-and-already-sold-out-this-lego-star-wars-ship\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lego Falcon owners have taken to fan blogs and Twitter to show off their constructions.\u003c/p>\n\u003cp>And, as is to be expected, the video offerings attached to #FalconBuild are numerous and sometimes painstaking productions. Options include multiple “un-boxing” ceremonies, a \u003ca href=\"https://www.youtube.com/watch?v=W4dZY3T8c2M&t=11s\" target=\"_blank\" rel=\"noopener\">seven-episode series\u003c/a> of real-time builds generally lasting about two hours, and high-quality time-lapse versions.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GeLbhxJxUHU\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The “lucky” ones who claimed one during the first sale leave this Two-Way blogger with one thought: You’re building that thing? \u003ca href=\"https://www.youtube.com/watch?v=lXrBZnOIw7Q\">You’re braver\u003c/a> than I thought. \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=What%27s+%24800+And+Already+Sold+Out%3F+This+Lego+Star+Wars+Ship&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It made the \u003ca href=\"http://starwars.wikia.com/wiki/Kessel_Run/Legends\" target=\"_blank\" rel=\"noopener\">Kessel Run\u003c/a> in less than 12 parsecs. But a new buildable version of Han Solo’s famous Millennium Falcon is currently stalled.\u003c/p>\n\u003cp>Those hoping to snag one of Lego’s new \u003cem>Star Wars\u003c/em> sets for the 2017 holidays will likely be disappointed. It’s currently sold out online. After a September release only to its VIP list, the company promises it’s working as fast as it can to “make more sets available and keep our LEGO builders happy.” At a cool $799.99 and more than 7,500 pieces, it’s the expensive, easy-to-lose gift that keeps on giving.\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/hGoQ44SfV-c'\n title='//www.youtube.com/embed/hGoQ44SfV-c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The ship is big. Once constructed, it’s longer than the width of a grown man’s shoulders — at least the shoulders of Lego employee Hans, pictured in \u003ca href=\"https://www.youtube.com/watch?v=KHc5F9XiP1U\" target=\"_blank\" rel=\"noopener\">this video explanation\u003c/a>. Cashing in on the nostalgia surrounding not only the \u003cem>Star Wars\u003c/em> franchise, but also its own toy brand, this is the 10th anniversary edition of Lego’s first Falcon set, according to the video.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lego Falcon owners have taken to fan blogs and Twitter to show off their constructions.\u003c/p>\n\u003cp>And, as is to be expected, the video offerings attached to #FalconBuild are numerous and sometimes painstaking productions. Options include multiple “un-boxing” ceremonies, a \u003ca href=\"https://www.youtube.com/watch?v=W4dZY3T8c2M&t=11s\" target=\"_blank\" rel=\"noopener\">seven-episode series\u003c/a> of real-time builds generally lasting about two hours, and high-quality time-lapse versions.\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/GeLbhxJxUHU'\n title='//www.youtube.com/embed/GeLbhxJxUHU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>The “lucky” ones who claimed one during the first sale leave this Two-Way blogger with one thought: You’re building that thing? \u003ca href=\"https://www.youtube.com/watch?v=lXrBZnOIw7Q\">You’re braver\u003c/a> than I thought. \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=What%27s+%24800+And+Already+Sold+Out%3F+This+Lego+Star+Wars+Ship&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Teens suffered the same traumas as their parents during the North Bay Fires. They too lost their homes, their possessions, the places they love the most, even if they hated life in a small town. Olivia O’Brien, the 17-year-old songstress, can relate. O’Brien lives in Los Angeles now, but she grew up in Napa, and she doesn’t have many fond memories of the city. She says she was bullied by other kids, but she was still heartbroken when she heard about the fire.\u003c/p>\n\u003cp>“The one thing I really loved was the scenery, the vineyards the hills,” she told me by phone after a recording session. “If I was feeling sad, I could just take a drive up into the hills, up on Partrick Road, and it would just always make me feel better. So when I heard about the fire, the most devastating thing for me was all that beautiful stuff had burned down.”\u003c/p>\n\u003cp>Gundlach Bundschu Winery President Jeff Bundschu has booked O’Brien for an all ages fire benefit concert at the winery’s Redwood Barn. The little 200-seat music hall should fill up fast.\u003ca href=\"http://www.gunbun.com/event/olivia-obrien-north-bay-fire-relief-benefit-concert/\" target=\"_blank\" rel=\"noopener\"> Details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Th0btDcWHqQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Teens suffered the same traumas as their parents during the North Bay Fires. They too lost their homes, their possessions, the places they love the most, even if they hated life in a small town. Olivia O’Brien, the 17-year-old songstress, can relate. O’Brien lives in Los Angeles now, but she grew up in Napa, and she doesn’t have many fond memories of the city. She says she was bullied by other kids, but she was still heartbroken when she heard about the fire.\u003c/p>\n\u003cp>“The one thing I really loved was the scenery, the vineyards the hills,” she told me by phone after a recording session. “If I was feeling sad, I could just take a drive up into the hills, up on Partrick Road, and it would just always make me feel better. So when I heard about the fire, the most devastating thing for me was all that beautiful stuff had burned down.”\u003c/p>\n\u003cp>Gundlach Bundschu Winery President Jeff Bundschu has booked O’Brien for an all ages fire benefit concert at the winery’s Redwood Barn. The little 200-seat music hall should fill up fast.\u003ca href=\"http://www.gunbun.com/event/olivia-obrien-north-bay-fire-relief-benefit-concert/\" target=\"_blank\" rel=\"noopener\"> Details here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Th0btDcWHqQ'\n title='//www.youtube.com/embed/Th0btDcWHqQ'\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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"title": "David Cassidy, Singer and 1970s TV Heartthrob, Dies at 67",
"headTitle": "David Cassidy, Singer and 1970s TV Heartthrob, Dies at 67 | KQED",
"content": "\u003cp>One of the biggest music and television stars of the 1970s has died: David Cassidy, who played the adolescent, aspiring musician on the TV show “The Patridge Family” and who became a teen-dream pop idol in his own right, was 67 years old.\u003c/p>\n\u003cp>Cassidy revealed to \u003ca href=\"http://people.com/celebrity/david-cassidy-dementia\" target=\"_blank\" rel=\"noopener\">\u003cem>People\u003c/em> Magazine\u003c/a> in February 2017 that he had been diagnosed with dementia and would stop performing. He also shared that both his grandfather and mother had suffered from dementia before him.\u003c/p>\n\u003cp>Cassidy was \u003ca href=\"http://www.cnn.com/2017/02/21/health/david-cassidy-dementia/index.html\" target=\"_blank\" rel=\"noopener\">reported\u003c/a> to be in critical condition on Nov. 19 with organ failure, and was hospitalized in the Fort Lauderdale, Fla. area. He died Tuesday night of liver failure.\u003c/p>\n\u003cp>David Cassidy was born in 1950 in New York City to two performers, singer and actor Jack Cassidy and actress Evelyn Ward; his parents later divorced, and in 1956 his father wed another actress, Shirley Jones. Cassidy spent a large chunk of his childhood in suburban West Orange, N.J., being raised by his maternal grandparents, but eventually decided to follow in his parents’ professional footsteps.\u003c/p>\n\u003cp>Still a teenager, he ping-ponged between Los Angeles and New York before signing a contract with his father and Jones’ manager. He went to California for a screen test in 1969; the camera loved Cassidy’s glowing, preternaturally boyish good looks, and in short order he had booked episodes of several high-profile TV series, including \u003cem>Bonanza \u003c/em>and \u003cem>Marcus Welby, M.D.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Within a year of his screen test, he had been signed to his life-changing role as the oldest child in a family of five aspiring pop singers and their musically gifted mother — played by Shirley Jones, Cassidy’s real-life stepmother. By the time he was 20, Cassidy was one of the world’s most recognizable television and music stars, even though he had never sung publicly until he became Keith Partridge.\u003c/p>\n\u003cp>(The original idea was that all of the child actors would lip-sync the Partridge Family’s musical numbers; shortly after the show went into production, the dusky-voiced Cassidy convinced the show’s producers that he could hold his own vocally alongside Jones, who had already starred in film versions of musicals, including \u003cem>Oklahoma\u003c/em>, \u003cem>Carousel \u003c/em>and \u003cem>The Music Man\u003c/em>.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wJYSu2OVCGM\u003c/p>\n\u003cp>Within two months of the debut of \u003cem>The Partridge Family\u003c/em> on ABC in September 1970, Cassidy had a \u003ca href=\"http://www.billboard.com/music/the-partridge-family\" target=\"_blank\" rel=\"noopener\">No. 1\u003c/a> hit on the Billboard Hot 100 chart — “I Think I Love You” — billed as “The Partridge Family Starring Shirley Jones Featuring David Cassidy.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NvgzNEPhYQA\u003c/p>\n\u003cp>During an era when the Big Three broadcast networks still had a monolithic hold on pop culture, Cassidy’s picture was suddenly everywhere — not just on the fronts of magazines and record albums, but on lunch boxes, posters, cereal boxes and toys. He sold out concert venues across the globe, from New York’s Madison Square Garden to stadiums in London and Melbourne.\u003c/p>\n\u003cp>By 1972, Cassidy already was aching to shed his bubble-gum persona. Like legions of teenage stars before and after him, he played up his sex appeal to underscore his adulthood; in a \u003ca href=\"http://www.rollingstone.com/music/features/naked-lunch-box-19720511\" target=\"_blank\" rel=\"noopener\">cover story\u003c/a> for \u003cem>Rolling Stone — \u003c/em>with a portrait shot by Annie Leibowitz cropped \u003ca href=\"http://sunsetgun.tumblr.com/post/91670184665/david-cassidy-by-annie-leibovitz-i-think-this-is\" target=\"_blank\" rel=\"noopener\">just below\u003c/a> the top of his pubic hair — he talked about his drug use: “Not smack,” he explained, “but grass and speed and psychedelics.”\u003c/p>\n\u003cp>\u003cem>The Partridge Family\u003c/em> was cancelled in 1974; Cassidy had some success as a solo musical act after that, but he felt as if he couldn’t escape being Keith Partridge.\u003c/p>\n\u003cp>“They’re merchandising your name and your face and your likeness,” he told NPR in 1981. “And I felt kind of robbed of my identity.”\u003c/p>\n\u003cp>Cassidy left acting for about three years while he tried to figure out what to do next. By the 1980s, he had started to appear in musical theater, both on Broadway and in London’s West End.\u003c/p>\n\u003cp>But in his personal life, he eventually seemed to spin out entirely. In the 2010s, he had a string of arrests on drunk-driving charges in \u003ca href=\"https://www.cbsnews.com/news/david-cassidy-arrested-partridge-family-star-accused-of-drunk-driving-in-fla/\" target=\"_blank\" rel=\"noopener\">Florida\u003c/a>, \u003ca href=\"http://www.syracuse.com/entertainment/index.ssf/2015/05/david_cassidy_sentenced_upstate_new_york_dwi_case.html\" target=\"_blank\" rel=\"noopener\">New York\u003c/a> and \u003ca href=\"http://losangeles.cbslocal.com/2014/01/11/chp-david-cassidy-arrested-for-drunk-driving-near-lax/\" target=\"_blank\" rel=\"noopener\">California\u003c/a>. In 2014 he told CNN, “I am \u003ca href=\"http://www.cnn.com/2014/03/26/showbiz/celebrity-news-gossip/david-cassidy-piers-morgan-interview/index.html\" target=\"_blank\" rel=\"noopener\">most definitely\u003c/a> an alcoholic.” The following year, he declared bankruptcy and was charged with a \u003ca href=\"http://www.latimes.com/entertainment/gossip/la-et-mg-david-cassidy-charged-hit-and-run-foreclosure-auction-20151002-story.html\" target=\"_blank\" rel=\"noopener\">hit-and-run\u003c/a> in Fort Lauderdale.\u003c/p>\n\u003cp>David Cassidy is survived by two children, Beau and Katie Cassidy; his ex-wife, Sue Shifrin-Cassidy; his half-brothers Shaun, Patrick and Ryan Cassidy; his stepmother, Shirley Jones; and several nieces and nephews. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zIy1rOb8EYU\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=David+Cassidy%2C+Singer+And+1970s+TV+Heartthrob%2C+Dies+At+67&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the biggest music and television stars of the 1970s has died: David Cassidy, who played the adolescent, aspiring musician on the TV show “The Patridge Family” and who became a teen-dream pop idol in his own right, was 67 years old.\u003c/p>\n\u003cp>Cassidy revealed to \u003ca href=\"http://people.com/celebrity/david-cassidy-dementia\" target=\"_blank\" rel=\"noopener\">\u003cem>People\u003c/em> Magazine\u003c/a> in February 2017 that he had been diagnosed with dementia and would stop performing. He also shared that both his grandfather and mother had suffered from dementia before him.\u003c/p>\n\u003cp>Cassidy was \u003ca href=\"http://www.cnn.com/2017/02/21/health/david-cassidy-dementia/index.html\" target=\"_blank\" rel=\"noopener\">reported\u003c/a> to be in critical condition on Nov. 19 with organ failure, and was hospitalized in the Fort Lauderdale, Fla. area. He died Tuesday night of liver failure.\u003c/p>\n\u003cp>David Cassidy was born in 1950 in New York City to two performers, singer and actor Jack Cassidy and actress Evelyn Ward; his parents later divorced, and in 1956 his father wed another actress, Shirley Jones. Cassidy spent a large chunk of his childhood in suburban West Orange, N.J., being raised by his maternal grandparents, but eventually decided to follow in his parents’ professional footsteps.\u003c/p>\n\u003cp>Still a teenager, he ping-ponged between Los Angeles and New York before signing a contract with his father and Jones’ manager. He went to California for a screen test in 1969; the camera loved Cassidy’s glowing, preternaturally boyish good looks, and in short order he had booked episodes of several high-profile TV series, including \u003cem>Bonanza \u003c/em>and \u003cem>Marcus Welby, M.D.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Within a year of his screen test, he had been signed to his life-changing role as the oldest child in a family of five aspiring pop singers and their musically gifted mother — played by Shirley Jones, Cassidy’s real-life stepmother. By the time he was 20, Cassidy was one of the world’s most recognizable television and music stars, even though he had never sung publicly until he became Keith Partridge.\u003c/p>\n\u003cp>(The original idea was that all of the child actors would lip-sync the Partridge Family’s musical numbers; shortly after the show went into production, the dusky-voiced Cassidy convinced the show’s producers that he could hold his own vocally alongside Jones, who had already starred in film versions of musicals, including \u003cem>Oklahoma\u003c/em>, \u003cem>Carousel \u003c/em>and \u003cem>The Music Man\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/wJYSu2OVCGM'\n title='//www.youtube.com/embed/wJYSu2OVCGM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Within two months of the debut of \u003cem>The Partridge Family\u003c/em> on ABC in September 1970, Cassidy had a \u003ca href=\"http://www.billboard.com/music/the-partridge-family\" target=\"_blank\" rel=\"noopener\">No. 1\u003c/a> hit on the Billboard Hot 100 chart — “I Think I Love You” — billed as “The Partridge Family Starring Shirley Jones Featuring David Cassidy.”\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/NvgzNEPhYQA'\n title='//www.youtube.com/embed/NvgzNEPhYQA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>During an era when the Big Three broadcast networks still had a monolithic hold on pop culture, Cassidy’s picture was suddenly everywhere — not just on the fronts of magazines and record albums, but on lunch boxes, posters, cereal boxes and toys. He sold out concert venues across the globe, from New York’s Madison Square Garden to stadiums in London and Melbourne.\u003c/p>\n\u003cp>By 1972, Cassidy already was aching to shed his bubble-gum persona. Like legions of teenage stars before and after him, he played up his sex appeal to underscore his adulthood; in a \u003ca href=\"http://www.rollingstone.com/music/features/naked-lunch-box-19720511\" target=\"_blank\" rel=\"noopener\">cover story\u003c/a> for \u003cem>Rolling Stone — \u003c/em>with a portrait shot by Annie Leibowitz cropped \u003ca href=\"http://sunsetgun.tumblr.com/post/91670184665/david-cassidy-by-annie-leibovitz-i-think-this-is\" target=\"_blank\" rel=\"noopener\">just below\u003c/a> the top of his pubic hair — he talked about his drug use: “Not smack,” he explained, “but grass and speed and psychedelics.”\u003c/p>\n\u003cp>\u003cem>The Partridge Family\u003c/em> was cancelled in 1974; Cassidy had some success as a solo musical act after that, but he felt as if he couldn’t escape being Keith Partridge.\u003c/p>\n\u003cp>“They’re merchandising your name and your face and your likeness,” he told NPR in 1981. “And I felt kind of robbed of my identity.”\u003c/p>\n\u003cp>Cassidy left acting for about three years while he tried to figure out what to do next. By the 1980s, he had started to appear in musical theater, both on Broadway and in London’s West End.\u003c/p>\n\u003cp>But in his personal life, he eventually seemed to spin out entirely. In the 2010s, he had a string of arrests on drunk-driving charges in \u003ca href=\"https://www.cbsnews.com/news/david-cassidy-arrested-partridge-family-star-accused-of-drunk-driving-in-fla/\" target=\"_blank\" rel=\"noopener\">Florida\u003c/a>, \u003ca href=\"http://www.syracuse.com/entertainment/index.ssf/2015/05/david_cassidy_sentenced_upstate_new_york_dwi_case.html\" target=\"_blank\" rel=\"noopener\">New York\u003c/a> and \u003ca href=\"http://losangeles.cbslocal.com/2014/01/11/chp-david-cassidy-arrested-for-drunk-driving-near-lax/\" target=\"_blank\" rel=\"noopener\">California\u003c/a>. In 2014 he told CNN, “I am \u003ca href=\"http://www.cnn.com/2014/03/26/showbiz/celebrity-news-gossip/david-cassidy-piers-morgan-interview/index.html\" target=\"_blank\" rel=\"noopener\">most definitely\u003c/a> an alcoholic.” The following year, he declared bankruptcy and was charged with a \u003ca href=\"http://www.latimes.com/entertainment/gossip/la-et-mg-david-cassidy-charged-hit-and-run-foreclosure-auction-20151002-story.html\" target=\"_blank\" rel=\"noopener\">hit-and-run\u003c/a> in Fort Lauderdale.\u003c/p>\n\u003cp>David Cassidy is survived by two children, Beau and Katie Cassidy; his ex-wife, Sue Shifrin-Cassidy; his half-brothers Shaun, Patrick and Ryan Cassidy; his stepmother, Shirley Jones; and several nieces and nephews. \u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zIy1rOb8EYU'\n title='//www.youtube.com/embed/zIy1rOb8EYU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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=David+Cassidy%2C+Singer+And+1970s+TV+Heartthrob%2C+Dies+At+67&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "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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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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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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"perspectives": {
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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},
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},
"pri-the-world": {
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"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": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"link": "/radio/program/reveal",
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