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"content": "\u003cfigure id=\"attachment_13886841\" class=\"wp-caption alignnone\" style=\"max-width: 740px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886841\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/image0-1.jpg\" alt=\"Regina Evans posing for a photo on International Blvd. in Oakland.\" width=\"740\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/image0-1.jpg 740w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/image0-1-160x208.jpg 160w\" sizes=\"(max-width: 740px) 100vw, 740px\">\u003cfigcaption class=\"wp-caption-text\">Regina Evans posing for a photo on International Blvd. in Oakland. \u003ccite>(Matthew Evearitt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://twitter.com/echojustice\" target=\"_blank\" rel=\"noopener noreferrer\">Regina Y. Evans\u003c/a> works with a team of folks to assemble altars on Oakland’s International Boulevard, a hub for adult sex workers as well as the sex trafficking of minors.\u003c/p>\n\u003cp>Regina says the goal of the work is to be present for the girls—or “Beloveds,” as she calls them.\u003c/p>\n\u003cp>The altars are decorated with art, flowers, letters and fabrics, and since the start of the pandemic, she’s been adding hand sanitizer, condoms and PPE. Regina says her team builds these altars as an offering, and that she doesn’t directly approach the Beloveds. Instead, she allows the altars to be an opening for interactions.\u003c/p>\n\u003cp>For Regina, spirituality, social commentary and artistry all weave together in her mission to abolish the sex trafficking of minors.\u003c/p>\n\u003cp>You can see this in all her work: She’s the founder of the vintage boutique, Regina’s Door, which also serves as a safe haven for at-risk youth and survivors of human trafficking. And in addition to designing costumes for stage shows, she writes and performs her own plays, which are informed by her work in the streets of Oakland.\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cfigure id=\"attachment_13886860\" class=\"wp-caption alignnone\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886860\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/image0.jpg\" alt=\"Building altars for the Beloved.\" width=\"720\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/image0.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/image0-160x213.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Building altars for the Beloved. \u003ccite>(Teresa Sutowski-Massimo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC7908706129\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Regina Evans.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>PEN: After \u003ca href=\"https://www.mercurynews.com/2019/08/09/review-you-will-squirm-through-52-letters-in-oakland-and-thats-good/\">52 Letters\u003c/a>, one of your more recent plays… you mentioned that one of the attendees of the play said it was “A bit much.” What was your response to them?\u003c/em>\u003c/p>\n\u003cp>REGINA: It was a gentleman. When I got off stage and I went out to greet the audience, he said, “It’s almost too much.”\u003c/p>\n\u003cp>And my response to it was, well, you just got an hour of an idea of a young kid who’s being traffic 24/7. You just got a glimpse of it. So give thanks. Give thanks for her pain. Give thanks for her tears. That you get to be a witness just by sitting on the other side of a fourth wall.\u003c/p>\n\u003cp>It’s an interesting thing when you talk about trafficking because people often don’t get it. It’s almost like talking about past day slavery. People are like, yeah it was terrible, it was was really bad, but do we really think about it? Do you think about the day-to-day? Do you think about how your fingers felt picking the cotton? What about the cracks in the feet? We say that it’s bad, it’s inhumane, but we’re not thinking about the day today, the minute of what a child is having to endure. That’s what makes words and plays so powerful because you can bring that to the person. And so they can then feel it.\u003c/p>\n\u003cp>\u003cem>PEN: It’s all in the details, and that’s what you see eye to eye with the human experience, and I totally recognize that as a storyteller. There’s so much power in details. How do you go about observing and bringing in these details? Where do you pull that from?\u003c/em>\u003c/p>\n\u003cp>REGINA: You know, I use a lot of my own story, the feel of my own story, the feel of what it felt like when I was healing. I asked as a couple of other people if I could use bits of their story. And then spirit. So I mix it all together. It’s not something that I’m writing or talking about that I don’t know what that intensity or what the pain of it actually feels like.\u003c/p>\n\u003cp>Any survivors of an injustice holds a particular and intimate knowledge of that injustice. Just because we’ve been so close to it. We know how it moves. We know how it smells. We know the wink of the eye or how the eyes move. We know all of those little things. That’s why survivors are important for any social justice movement because we know the intimacies of it.\u003c/p>\n\u003cfigure id=\"attachment_13886862\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886862\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/IMG_9551-800x534.jpg\" alt='\"You Are LIGHT\" and \"I AM divinely CREATED\" written in chalk on the sidewalk. ' width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_9551-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_9551-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_9551-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_9551.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“You Are LIGHT” and “I AM divinely CREATED” written in chalk on the sidewalk. \u003ccite>(Graig Brooks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>PEN: Social justice as well as journalism: You want to get to the primary source. You want to get to the people who have experienced it. What does your abolition work look like right now in 2020?\u003c/em>\u003c/p>\n\u003cp>REGINA: My work is historical and now, at the same time, because this is not a revisit, this is a continuation. The black female womb has been commodified since we hit these shores. Where has it stopped? There’s a quote from Frederick Douglass and he says something like, ‘Slavery has called itself many names and it will again call itself by many names.’\u003c/p>\n\u003cp>And you and I and all of us had better wake up and listen, so that we can see how this snake is going to rear its head again. And so here we are calling it a different name.\u003c/p>\n\u003cp>\u003cem>PEN: I went to the taco spot, shout out to Taco Sinaloa on 22nd and East 14th. They were just about to close the taco spot, it’s like late night. And I was just amazed at the amount of people out there working. What’s going on on East 14th right now?\u003c/em>\u003c/p>\n\u003cp>REGINA: Woo! East 14th right now is lit. When the pandemic hit, like I thought I wouldn’t see as many beloveds out, and that was not the case. It’s just wild, not only the amount of young beloved, but the feel, the atmosphere. [sigh] And… you know, I never carry condoms with me… But the amount of young beloved who are like, do you have condoms? And I was, oh shoot. Yeah, I need to have condoms for them. \u003ca href=\"https://www.shademovement.org/founder\">Saraí Mazariegos from SHADE\u003c/a>, she started bringing condoms and stuff and now we put condoms on the altars.\u003c/p>\n\u003cp>\u003cem>PEN: Paint the picture for me. What do these altars look like?\u003c/em>\u003c/p>\n\u003cp>REGINA: You know, I put candy and stuff in there and make them really pretty. I always use a lot of fabric. I write them letters, and put them in there, and then I put up these signs that say, ‘You are beloved, you are beautiful. signed the queendom.’ I do that all up and down the track. I’ve been building altars on the track for a very, very long time. It was a thing that I could do without, you know, approaching the beloved. And as I was building them I’d be like, ‘I love you. I see you. You’re not forgotten. You’re not alone.’\u003c/p>\n\u003cfigure id=\"attachment_13886861\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886861\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/IMG_9539-800x534.jpg\" alt=\"A pandemic altar for the Beloved with water bottles, flowers, condoms, and PPE.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_9539-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_9539-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_9539-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_9539.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A pandemic altar for Regina’s Beloved with water bottles, flowers, condoms, and PPE. \u003ccite>(Graig Brooks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then when the pandemic hit, I had a dream. and in the dream I saw the track. It was like a garden. And I woke up and I was like, oh, shoot, we’re gonna build a garden on the track. And I called in all my friends and people came in strong.\u003c/p>\n\u003cp>So what they look like are lots of plants. Leafy plants and we also use succulents. And we also embed the altars with PPE, masks, hand sanitizers. People leave food and water. The main purpose is just to leave beauty and love.\u003c/p>\n\u003cp>\u003cem>PEN: You speak of, you know, visions come into dreams. You talk about this is the work you’ve been called to do. You’re answering the call. What is the end goal?\u003c/em>\u003c/p>\n\u003cp>REGINA: So the end goal is no trafficking. [sigh] I asked this question at the end of my play. When I do 52 Letters, I say, what would you do if you knew a child was being trafficked? And I let people think about it. And then I say, What would you do if your child was being trafficked? We don’t see that these children are our children, so trying to make the connection that these are all of our children.\u003c/p>\n\u003cp>You know, I don’t understand how we don’t view them through the lens of our own heart. Or the eyes of our own souls. They deserve to be cradled. And they deserve to be held by us with all that we are.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13886841\" class=\"wp-caption alignnone\" style=\"max-width: 740px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886841\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/image0-1.jpg\" alt=\"Regina Evans posing for a photo on International Blvd. in Oakland.\" width=\"740\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/image0-1.jpg 740w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/image0-1-160x208.jpg 160w\" sizes=\"(max-width: 740px) 100vw, 740px\">\u003cfigcaption class=\"wp-caption-text\">Regina Evans posing for a photo on International Blvd. in Oakland. \u003ccite>(Matthew Evearitt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://twitter.com/echojustice\" target=\"_blank\" rel=\"noopener noreferrer\">Regina Y. Evans\u003c/a> works with a team of folks to assemble altars on Oakland’s International Boulevard, a hub for adult sex workers as well as the sex trafficking of minors.\u003c/p>\n\u003cp>Regina says the goal of the work is to be present for the girls—or “Beloveds,” as she calls them.\u003c/p>\n\u003cp>The altars are decorated with art, flowers, letters and fabrics, and since the start of the pandemic, she’s been adding hand sanitizer, condoms and PPE. Regina says her team builds these altars as an offering, and that she doesn’t directly approach the Beloveds. Instead, she allows the altars to be an opening for interactions.\u003c/p>\n\u003cp>For Regina, spirituality, social commentary and artistry all weave together in her mission to abolish the sex trafficking of minors.\u003c/p>\n\u003cp>You can see this in all her work: She’s the founder of the vintage boutique, Regina’s Door, which also serves as a safe haven for at-risk youth and survivors of human trafficking. And in addition to designing costumes for stage shows, she writes and performs her own plays, which are informed by her work in the streets of Oakland.\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cfigure id=\"attachment_13886860\" class=\"wp-caption alignnone\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886860\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/image0.jpg\" alt=\"Building altars for the Beloved.\" width=\"720\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/image0.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/image0-160x213.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Building altars for the Beloved. \u003ccite>(Teresa Sutowski-Massimo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC7908706129\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Regina Evans.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>PEN: After \u003ca href=\"https://www.mercurynews.com/2019/08/09/review-you-will-squirm-through-52-letters-in-oakland-and-thats-good/\">52 Letters\u003c/a>, one of your more recent plays… you mentioned that one of the attendees of the play said it was “A bit much.” What was your response to them?\u003c/em>\u003c/p>\n\u003cp>REGINA: It was a gentleman. When I got off stage and I went out to greet the audience, he said, “It’s almost too much.”\u003c/p>\n\u003cp>And my response to it was, well, you just got an hour of an idea of a young kid who’s being traffic 24/7. You just got a glimpse of it. So give thanks. Give thanks for her pain. Give thanks for her tears. That you get to be a witness just by sitting on the other side of a fourth wall.\u003c/p>\n\u003cp>It’s an interesting thing when you talk about trafficking because people often don’t get it. It’s almost like talking about past day slavery. People are like, yeah it was terrible, it was was really bad, but do we really think about it? Do you think about the day-to-day? Do you think about how your fingers felt picking the cotton? What about the cracks in the feet? We say that it’s bad, it’s inhumane, but we’re not thinking about the day today, the minute of what a child is having to endure. That’s what makes words and plays so powerful because you can bring that to the person. And so they can then feel it.\u003c/p>\n\u003cp>\u003cem>PEN: It’s all in the details, and that’s what you see eye to eye with the human experience, and I totally recognize that as a storyteller. There’s so much power in details. How do you go about observing and bringing in these details? Where do you pull that from?\u003c/em>\u003c/p>\n\u003cp>REGINA: You know, I use a lot of my own story, the feel of my own story, the feel of what it felt like when I was healing. I asked as a couple of other people if I could use bits of their story. And then spirit. So I mix it all together. It’s not something that I’m writing or talking about that I don’t know what that intensity or what the pain of it actually feels like.\u003c/p>\n\u003cp>Any survivors of an injustice holds a particular and intimate knowledge of that injustice. Just because we’ve been so close to it. We know how it moves. We know how it smells. We know the wink of the eye or how the eyes move. We know all of those little things. That’s why survivors are important for any social justice movement because we know the intimacies of it.\u003c/p>\n\u003cfigure id=\"attachment_13886862\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886862\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/IMG_9551-800x534.jpg\" alt='\"You Are LIGHT\" and \"I AM divinely CREATED\" written in chalk on the sidewalk. ' width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_9551-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_9551-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_9551-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_9551.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“You Are LIGHT” and “I AM divinely CREATED” written in chalk on the sidewalk. \u003ccite>(Graig Brooks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>PEN: Social justice as well as journalism: You want to get to the primary source. You want to get to the people who have experienced it. What does your abolition work look like right now in 2020?\u003c/em>\u003c/p>\n\u003cp>REGINA: My work is historical and now, at the same time, because this is not a revisit, this is a continuation. The black female womb has been commodified since we hit these shores. Where has it stopped? There’s a quote from Frederick Douglass and he says something like, ‘Slavery has called itself many names and it will again call itself by many names.’\u003c/p>\n\u003cp>And you and I and all of us had better wake up and listen, so that we can see how this snake is going to rear its head again. And so here we are calling it a different name.\u003c/p>\n\u003cp>\u003cem>PEN: I went to the taco spot, shout out to Taco Sinaloa on 22nd and East 14th. They were just about to close the taco spot, it’s like late night. And I was just amazed at the amount of people out there working. What’s going on on East 14th right now?\u003c/em>\u003c/p>\n\u003cp>REGINA: Woo! East 14th right now is lit. When the pandemic hit, like I thought I wouldn’t see as many beloveds out, and that was not the case. It’s just wild, not only the amount of young beloved, but the feel, the atmosphere. [sigh] And… you know, I never carry condoms with me… But the amount of young beloved who are like, do you have condoms? And I was, oh shoot. Yeah, I need to have condoms for them. \u003ca href=\"https://www.shademovement.org/founder\">Saraí Mazariegos from SHADE\u003c/a>, she started bringing condoms and stuff and now we put condoms on the altars.\u003c/p>\n\u003cp>\u003cem>PEN: Paint the picture for me. What do these altars look like?\u003c/em>\u003c/p>\n\u003cp>REGINA: You know, I put candy and stuff in there and make them really pretty. I always use a lot of fabric. I write them letters, and put them in there, and then I put up these signs that say, ‘You are beloved, you are beautiful. signed the queendom.’ I do that all up and down the track. I’ve been building altars on the track for a very, very long time. It was a thing that I could do without, you know, approaching the beloved. And as I was building them I’d be like, ‘I love you. I see you. You’re not forgotten. You’re not alone.’\u003c/p>\n\u003cfigure id=\"attachment_13886861\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886861\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/IMG_9539-800x534.jpg\" alt=\"A pandemic altar for the Beloved with water bottles, flowers, condoms, and PPE.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_9539-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_9539-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_9539-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_9539.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A pandemic altar for Regina’s Beloved with water bottles, flowers, condoms, and PPE. \u003ccite>(Graig Brooks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then when the pandemic hit, I had a dream. and in the dream I saw the track. It was like a garden. And I woke up and I was like, oh, shoot, we’re gonna build a garden on the track. And I called in all my friends and people came in strong.\u003c/p>\n\u003cp>So what they look like are lots of plants. Leafy plants and we also use succulents. And we also embed the altars with PPE, masks, hand sanitizers. People leave food and water. The main purpose is just to leave beauty and love.\u003c/p>\n\u003cp>\u003cem>PEN: You speak of, you know, visions come into dreams. You talk about this is the work you’ve been called to do. You’re answering the call. What is the end goal?\u003c/em>\u003c/p>\n\u003cp>REGINA: So the end goal is no trafficking. [sigh] I asked this question at the end of my play. When I do 52 Letters, I say, what would you do if you knew a child was being trafficked? And I let people think about it. And then I say, What would you do if your child was being trafficked? We don’t see that these children are our children, so trying to make the connection that these are all of our children.\u003c/p>\n\u003cp>You know, I don’t understand how we don’t view them through the lens of our own heart. Or the eyes of our own souls. They deserve to be cradled. And they deserve to be held by us with all that we are.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Sir Patrick Stewart has been calming me down for six months now. Throughout shelter in place, every time there’s a new piece of apocalyptic news; every time my chest starts feeling tight or my heart starts racing; every time I feel on the verge of a meltdown, the fix is the same. I scramble over to Sir Patrick’s Instagram page and listen to him reading the sonnets of Shakespeare.\u003c/p>\n\u003cp>He has been doing this every single day for six months now. And he knew from the get-go how people like me would be using them. As he said back in March, “A sonnet a day keeps the doctor away.”\u003c/p>\n\u003cp>https://www.instagram.com/p/B-DeQAGh4eS/\u003c/p>\n\u003cp>I’m not going to lie—I don’t always understand the content of all of the sonnets. And sometimes I don’t even try to. It doesn’t really matter, truth be told. Because the sound of Sir Patrick’s calm, beautifully enunciated voice is always soothing. His relaxed demeanor and peaceful facial expressions are somehow infectious. And even when he misses a beat, his delivery is a delight.\u003c/p>\n\u003cp>https://www.instagram.com/p/B-x9eryBJw7/\u003c/p>\n\u003cp>Watching him has become a form of meditation. But this week, Sir Patrick upped the stakes and brought his foster dog into the mix. (I will be scrolling back to this one for weeks to come.)\u003c/p>\n\u003cp>https://www.instagram.com/p/CE0QRU7jzu2/\u003c/p>\n\u003cp>And this morning when I woke up in San Francisco to a bleak, dark sky and red horizon, and immediately started to feel the walls closing in, I went straight to yesterday’s sonnet to calm down. (One made all the better by one commenter noting, “I don’t know what’s more rich and buttery, your voice or that leather chair.”)\u003c/p>\n\u003cp>https://www.instagram.com/p/CE5Rx-ahFSt/\u003c/p>\n\u003cp>It was impossible to foresee at the beginning of 2020 just how badly I would one day need Sir Patrick Stewart reading bite-sized Shakespeare on social media. But I do. And maybe you do too. It has proven to be one of the only consistently pleasant features in an otherwise anxiety-inducing year.\u003c/p>\n",
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"content": "\u003cp>Although Madhuri Shekar’s \u003cem>In Love and Warcraft\u003c/em> debuted in 2013, it feels custom-written for this moment in time. As it delves into the nuances of living a significant part of one’s life online, \u003cem>In Love and Warcraft\u003c/em> gives its Generation Z characters a shot at love, while reveling in their individual goofy streaks and neuroses. Directed by Peter J. Kuo, and starring six American Conservatory Theater (ACT) Conservatory students, this candid ode to college romance wears a Zoom container comfortably—as if it were meant to be performed that way all along.\u003c/p>\n\u003cp>\u003cem>In Love and Warcraft\u003c/em> was originally slated to be performed in the Spring at ACT’s Costume Shop, so the actors \u003cem>did\u003c/em> have the luxury of having already rehearsed together in real life, helping them in transition to all-digital platforms with natural ease. There’s real chemistry between protagonist Evie (Cassandra Hunter) and the object of her tentative desire, Raul (Hernán Angulo)—and plenty of mutual fondness and easy camaraderie among the rest of the ensemble as well.\u003c/p>\n\u003cp>An avid player of a multi-player fantasy game that Shekar calls “Warcraft Universe,” Evie’s side hustle is writing love letters for her classmates. She’s a modern-day Cyrano, whose specialties include Facebook posts, text messages, and heartfelt emails. But Evie’s own love life is suspect. Her teammate Ryan (James Mercer)—an amiable nerd with an affinity for Red Vines—is supposedly her boyfriend, but all of their “dates” take place online. Meanwhile, her sex-positive roommate Kitty (Evangeline Edwards) urges her to break it off and explore the exciting possibilities of physical romance. The opportunity to do so presents itself almost immediately in the form of Raul, a former client of Evie’s, who’s fallen for the loving words she’d written to his now-ex.\u003c/p>\n\u003cp>If the scenario is a little contrived, what’s completely genuine is the relatable awkwardness of Evie’s inexpert foray into the unknown. With Kitty urging her on from the sidelines, Evie screws her courage to the sticking point—until she gets stuck. Uncertain of her own desires, she discovers that the reliable language of love that she’s deployed faithfully on behalf of others is not enough to express the complexities of her own feelings. Meanwhile, a smitten Raul soon discovers that he must also navigate aspects of their relationship that are new to him as well.\u003c/p>\n\u003cfigure id=\"attachment_13885921\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885921\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/InLoveAndWwarcraft_Still2_courtesyofACT-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWwarcraft_Still2_courtesyofACT-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWwarcraft_Still2_courtesyofACT-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWwarcraft_Still2_courtesyofACT-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWwarcraft_Still2_courtesyofACT.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cassandra Hunter as Evie and Hernán Angulo as Raul in Madhuri Shekar’s ‘In Love and Warcraft.’ \u003ccite>(courtesy of A.C.T.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Evie, Hunter is a delight to watch. Her every gesture and nose wrinkle speaks volumes of dork-ish. Her excitement on the Warcraft battlefield is matched by her real expertise in the game. That she thinks of romance in game terms makes her valuable as a go-between. But, as she discovers for herself, keeping a scorecard in personal relationships is a recipe for misadventure.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As Raul, Angulo embodies a lovable ungainliness. Even when he stumbles (and stumble he does) he never crosses the line into the unforgivable. As a co-conspirator, and occasional co-transgressor, Evangeline Edwards brings a vibrant touch to her role, luminous eyes beaming out from her screen in every scene she’s in. If you’ve been wondering about the viability of digital platforms as stages for live performance, being mesmerized by all of the subtleties of expression in each character’s face makes a good case for it.\u003c/p>\n\u003cp>Over the past few years, the rich world of gamers has emerged as one ripe for exploring through the medium of theater, including the current affairs-parsing \u003ca href=\"https://www.kqed.org/arts/13825717/non-player-character-puts-gamergate-on-the-theater-stage\">\u003cem>Non-Player Character\u003c/em> at San Francisco Playhouse\u003c/a>, and the virtual reality romp \u003ca href=\"https://www.kqed.org/arts/13871091/5-plays-for-the-holidays-that-arent-a-christmas-carol\">\u003cem>An Invitation Out\u003c/em> with Quantum Dragon Theatre\u003c/a>. A major challenge for those plays was staging their game scenes \u003cem>without \u003c/em>screens, mostly relying on extravagant costumes and occasional video enhancement to give their game worlds a computerized feel. For \u003cem>In Love and Warcraft\u003c/em>, the challenge is inverted.\u003c/p>\n\u003cp>When the characters inhabit their game world, the audience experiences the computer graphic gameplay onscreen, as opposed to the cast dressed up as their avatars. The bigger challenge these actors face is how to stage their non-game action from their respective screens so it appears that they’re sharing the same space. By actively manipulating the angles and timing of their devices, they’re able to face each other and interact relatively naturally, their evident rapport helping to blur the borders of their Zoom rooms. Through allusion and some clever choreography, even first kisses and gynecological exams are made plausible.\u003c/p>\n\u003cfigure id=\"attachment_13885922\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885922\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/InLoveAndWarcraft_Still3_courtesyofACT-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWarcraft_Still3_courtesyofACT-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWarcraft_Still3_courtesyofACT-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWarcraft_Still3_courtesyofACT-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWarcraft_Still3_courtesyofACT.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Madhuri Shekar’s ‘In Love and Warcraft,’ with James Mercer as Ryan, Cassandra Hunter as Evie, and Evangeline Edwards as Kitty. \u003ccite>(courtesy of A.C.T.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rather than relying overmuch on virtual backgrounds, which can make actors’ limbs disappear at random moments, these performers have instead decorated the walls of their homes with cafe signs and medical posters. And if occasionally their couch cushions don’t line up perfectly from screen to screen, suspending disbelief in order to fully embrace the world of the play is what theater audiences do best. It just so happens that this world is one that infiltrates our personal space instead of the other way around. In a sense, it creates a \u003cem>more\u003c/em> intimate experience for the audience than a conventionally staged performance.\u003c/p>\n\u003cp>Another way in which this digital production embraces its unique format is as a co-production with Juneau, Alaska’s Perseverance Theatre. Sharing costs and creative team, ACT and Perseverance demonstrate the potential of collaborating over a distance, opening up a whole realm of possibilities for future partnerships with almost any theater company from around the world.\u003c/p>\n\u003cp>All in all, this sweetly sincere investigation of analog human connection in a digital age is worth experiencing, whatever the platform.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full 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>\u003c/p>\n\u003cp>\u003cem>‘In Love and Warcraft’ runs live through Sept. 12, and on demand through Sept. 25. Tickets and \u003ca href=\"https://secure.act-sf.org/overview/loveandwarcraft\">more details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Although Madhuri Shekar’s \u003cem>In Love and Warcraft\u003c/em> debuted in 2013, it feels custom-written for this moment in time. As it delves into the nuances of living a significant part of one’s life online, \u003cem>In Love and Warcraft\u003c/em> gives its Generation Z characters a shot at love, while reveling in their individual goofy streaks and neuroses. Directed by Peter J. Kuo, and starring six American Conservatory Theater (ACT) Conservatory students, this candid ode to college romance wears a Zoom container comfortably—as if it were meant to be performed that way all along.\u003c/p>\n\u003cp>\u003cem>In Love and Warcraft\u003c/em> was originally slated to be performed in the Spring at ACT’s Costume Shop, so the actors \u003cem>did\u003c/em> have the luxury of having already rehearsed together in real life, helping them in transition to all-digital platforms with natural ease. There’s real chemistry between protagonist Evie (Cassandra Hunter) and the object of her tentative desire, Raul (Hernán Angulo)—and plenty of mutual fondness and easy camaraderie among the rest of the ensemble as well.\u003c/p>\n\u003cp>An avid player of a multi-player fantasy game that Shekar calls “Warcraft Universe,” Evie’s side hustle is writing love letters for her classmates. She’s a modern-day Cyrano, whose specialties include Facebook posts, text messages, and heartfelt emails. But Evie’s own love life is suspect. Her teammate Ryan (James Mercer)—an amiable nerd with an affinity for Red Vines—is supposedly her boyfriend, but all of their “dates” take place online. Meanwhile, her sex-positive roommate Kitty (Evangeline Edwards) urges her to break it off and explore the exciting possibilities of physical romance. The opportunity to do so presents itself almost immediately in the form of Raul, a former client of Evie’s, who’s fallen for the loving words she’d written to his now-ex.\u003c/p>\n\u003cp>If the scenario is a little contrived, what’s completely genuine is the relatable awkwardness of Evie’s inexpert foray into the unknown. With Kitty urging her on from the sidelines, Evie screws her courage to the sticking point—until she gets stuck. Uncertain of her own desires, she discovers that the reliable language of love that she’s deployed faithfully on behalf of others is not enough to express the complexities of her own feelings. Meanwhile, a smitten Raul soon discovers that he must also navigate aspects of their relationship that are new to him as well.\u003c/p>\n\u003cfigure id=\"attachment_13885921\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885921\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/InLoveAndWwarcraft_Still2_courtesyofACT-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWwarcraft_Still2_courtesyofACT-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWwarcraft_Still2_courtesyofACT-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWwarcraft_Still2_courtesyofACT-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWwarcraft_Still2_courtesyofACT.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cassandra Hunter as Evie and Hernán Angulo as Raul in Madhuri Shekar’s ‘In Love and Warcraft.’ \u003ccite>(courtesy of A.C.T.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Evie, Hunter is a delight to watch. Her every gesture and nose wrinkle speaks volumes of dork-ish. Her excitement on the Warcraft battlefield is matched by her real expertise in the game. That she thinks of romance in game terms makes her valuable as a go-between. But, as she discovers for herself, keeping a scorecard in personal relationships is a recipe for misadventure.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As Raul, Angulo embodies a lovable ungainliness. Even when he stumbles (and stumble he does) he never crosses the line into the unforgivable. As a co-conspirator, and occasional co-transgressor, Evangeline Edwards brings a vibrant touch to her role, luminous eyes beaming out from her screen in every scene she’s in. If you’ve been wondering about the viability of digital platforms as stages for live performance, being mesmerized by all of the subtleties of expression in each character’s face makes a good case for it.\u003c/p>\n\u003cp>Over the past few years, the rich world of gamers has emerged as one ripe for exploring through the medium of theater, including the current affairs-parsing \u003ca href=\"https://www.kqed.org/arts/13825717/non-player-character-puts-gamergate-on-the-theater-stage\">\u003cem>Non-Player Character\u003c/em> at San Francisco Playhouse\u003c/a>, and the virtual reality romp \u003ca href=\"https://www.kqed.org/arts/13871091/5-plays-for-the-holidays-that-arent-a-christmas-carol\">\u003cem>An Invitation Out\u003c/em> with Quantum Dragon Theatre\u003c/a>. A major challenge for those plays was staging their game scenes \u003cem>without \u003c/em>screens, mostly relying on extravagant costumes and occasional video enhancement to give their game worlds a computerized feel. For \u003cem>In Love and Warcraft\u003c/em>, the challenge is inverted.\u003c/p>\n\u003cp>When the characters inhabit their game world, the audience experiences the computer graphic gameplay onscreen, as opposed to the cast dressed up as their avatars. The bigger challenge these actors face is how to stage their non-game action from their respective screens so it appears that they’re sharing the same space. By actively manipulating the angles and timing of their devices, they’re able to face each other and interact relatively naturally, their evident rapport helping to blur the borders of their Zoom rooms. Through allusion and some clever choreography, even first kisses and gynecological exams are made plausible.\u003c/p>\n\u003cfigure id=\"attachment_13885922\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885922\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/InLoveAndWarcraft_Still3_courtesyofACT-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWarcraft_Still3_courtesyofACT-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWarcraft_Still3_courtesyofACT-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWarcraft_Still3_courtesyofACT-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/InLoveAndWarcraft_Still3_courtesyofACT.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Madhuri Shekar’s ‘In Love and Warcraft,’ with James Mercer as Ryan, Cassandra Hunter as Evie, and Evangeline Edwards as Kitty. \u003ccite>(courtesy of A.C.T.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rather than relying overmuch on virtual backgrounds, which can make actors’ limbs disappear at random moments, these performers have instead decorated the walls of their homes with cafe signs and medical posters. And if occasionally their couch cushions don’t line up perfectly from screen to screen, suspending disbelief in order to fully embrace the world of the play is what theater audiences do best. It just so happens that this world is one that infiltrates our personal space instead of the other way around. In a sense, it creates a \u003cem>more\u003c/em> intimate experience for the audience than a conventionally staged performance.\u003c/p>\n\u003cp>Another way in which this digital production embraces its unique format is as a co-production with Juneau, Alaska’s Perseverance Theatre. Sharing costs and creative team, ACT and Perseverance demonstrate the potential of collaborating over a distance, opening up a whole realm of possibilities for future partnerships with almost any theater company from around the world.\u003c/p>\n\u003cp>All in all, this sweetly sincere investigation of analog human connection in a digital age is worth experiencing, whatever the platform.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full 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>\u003c/p>\n\u003cp>\u003cem>‘In Love and Warcraft’ runs live through Sept. 12, and on demand through Sept. 25. Tickets and \u003ca href=\"https://secure.act-sf.org/overview/loveandwarcraft\">more details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "too-weird-to-live-too-rare-to-die-a-tribute-to-michael-mikl-em-mcelligott",
"title": "Too Weird to Live, Too Rare to Die: A Tribute to Michael 'Mikl-em' McElligott",
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"headTitle": "Too Weird to Live, Too Rare to Die: A Tribute to Michael ‘Mikl-em’ McElligott | KQED",
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"content": "\u003cp>\u003cem>‘While many artists are conveniently and centrally located in museums and in art books on coffee tables, the Tentacle Sessions is dedicated to the assertion that a close encounter with a living artist also holds value.’—1999 promo for the Tentacle Sessions\u003c/em>\u003c/p>\n\u003cp>In April 1999, the Laughing Squid Tentacle Sessions kicked off their third event at the Blue Bar in North Beach, featuring co-founding producer Michael McElligott, a.k.a. Mikl-em. Billed as a “poet, playwright, actor, performance scientist, webpage, fashion challenge, conversationalist, and people person,” Mikl-em presented on a disparate array of personal obsessions—beat poets, fringe theatre, and obscure Scottish cinema.\u003c/p>\n\u003cp>As a person with wide-ranging passions, a staggering intellect, and an insatiable zest for life, Mikl-em was a linchpin of Bay Area counterculture for close to three decades, from Laughing Squid to the Cacophony Society; the San Francisco Fringe Festival to Popcorn Anti-Theater; Burning Man to the Saint Stupid’s Day Parade. His ability to land in the middle of whatever was happening (and frequently producing it as well) made him the perfect subject for the Tentacle Sessions—a long-running series dedicated to celebrating the great \u003cem>living \u003c/em>artists of our time.\u003c/p>\n\u003cp>Twenty-one years later—on Sunday, August 30, 2020, at the age of 50—this giant of the Bay Area’s storied underground arts scene passed away after a protracted battle with brain cancer. He leaves an incalculable void matched only by the enormity of his legacy.\u003c/p>\n\u003cfigure id=\"attachment_13885572\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885572\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Miklem_photocredit_RustyBlazenhoff_kqed-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Miklem_photocredit_RustyBlazenhoff_kqed-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Miklem_photocredit_RustyBlazenhoff_kqed-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Miklem_photocredit_RustyBlazenhoff_kqed-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Miklem_photocredit_RustyBlazenhoff_kqed.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mikl-em ‘protesting’ the book launch of ‘Tales of the San Francisco Cacophony Society,’ by John Law, Carrie Galbraith, and Kevin Evans. \u003ccite>(Rusty Blazenhoff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a multi-talented, multi-hyphenate, Mikl-em never stayed in any one particular lane. Freaky art happenings, poetry readings, comedy nights, theater performances, and cocktail hours were all prime Mikl-em territory. In recent years, he was the producer and host for the Long Now’s conversation series, the Executive Producer of Speechless LIVE at Public Works, the mastermind and writer’s-room wrangler behind Exquisite Corpse Theatre, a beloved DJ at Radio Valencia, a co-founder of the Anglerfish events page, and the secret identity of @bobkaufman on Twitter. Even as late as March, he was performing and producing at the Mission District’s Secret Alley, and was waitlisted for a spot in September’s San Francisco Fringe Festival.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“His creative and organizational knack for performance found a good home in the playa-dusted underground,” former Tentacle Session co-producer, D.S. Black recalls.\u003c/p>\n\u003cp>“We were about to have a pretty serious conversation about history, politics, and punk rock,” author Annalee Newitz recalls about their last talk together at the Interval. “And he somehow persuaded me to dance before we got started…totally egging me on. That was the kind of guy he was—switching between cerebral stuff and just rocking out.”\u003c/p>\n\u003cfigure id=\"attachment_13885569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885569\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Miklem_withChickenJohn_DanNovy_Porn_e_oke_1999_kqed-800x530.jpeg\" alt=\"\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Miklem_withChickenJohn_DanNovy_Porn_e_oke_1999_kqed-800x530.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Miklem_withChickenJohn_DanNovy_Porn_e_oke_1999_kqed-1020x675.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Miklem_withChickenJohn_DanNovy_Porn_e_oke_1999_kqed-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Miklem_withChickenJohn_DanNovy_Porn_e_oke_1999_kqed-768x508.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Miklem_withChickenJohn_DanNovy_Porn_e_oke_1999_kqed.jpeg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mikl-em performing at Porn-e-oke with Dan Novy in 1999, as Chicken John DJs. \u003ccite>(courtesy of Dan Novy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A connoisseur of both the highly esoteric and the gleefully irreverent, no scene was too far out or too lowbrow for Mikl-em to not find something to love. He was so ubiquitous that I can’t recall if the first time I saw him was in the company of the fabulously anarchic nEO-sURREALISTs, or with the equally avant-garde Banana Bag & Bodice—but it soon became apparent that no stage was too large \u003cem>or\u003c/em> too small to pique his creative interest. One of the great highlights of my own collaborations with Mikl-em was presenting him on a living room mini-tour, in a ribald Drag adaption called \u003cem>Fabulous Expectations\u003c/em>, by Gaea Denker. Pushing at and expanding the definition of “theater” was a life-long obsession for Mikl-em. And no alleyway, art gallery, warehouse, or dive bar was exempt from his brand of rigorous artistic exploration, and zealous pursuit of the absurd.\u003c/p>\n\u003cp>“We had a natural chemistry that kicked into extreme high gear when we were on stage together,” remembers Dan Novy, a.k.a. nEO-sURREALIST aGENT #1, who also claims responsibility for Mikl’s “first nude appearance,” in the San Francisco Fringe Festival. “Who were we to say no?”\u003c/p>\n\u003cfigure id=\"attachment_13885571\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13885571 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/DaveKew_Miklem_CameronEng_fabulousexpectations_photocredit_KatrinaJames_kqed-800x605.jpeg\" alt=\"Dave McKew, Mikl-em, and Cameron Eng in Gaea Denker's 'Fabulous Expectations,' (performing in Dot Janson's living room), in 2015.\" width=\"800\" height=\"605\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DaveKew_Miklem_CameronEng_fabulousexpectations_photocredit_KatrinaJames_kqed-800x605.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DaveKew_Miklem_CameronEng_fabulousexpectations_photocredit_KatrinaJames_kqed-1020x771.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DaveKew_Miklem_CameronEng_fabulousexpectations_photocredit_KatrinaJames_kqed-160x121.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DaveKew_Miklem_CameronEng_fabulousexpectations_photocredit_KatrinaJames_kqed-768x581.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DaveKew_Miklem_CameronEng_fabulousexpectations_photocredit_KatrinaJames_kqed.jpeg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dave McKew, Mikl-em, and Cameron Eng in Gaea Denker’s ‘Fabulous Expectations,’ (performing in Dot Janson’s living room), in 2015. \u003ccite>(Katrina James)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[pullquote align='right' citation='Bob Kaufman']The Poet nailed to the\u003cbr>\nbone of the world\u003cbr>\ncomes in through a door,\u003cbr>\nto live until\u003cbr>\nhe dies.[/pullquote]\u003c/p>\n\u003cp>Although he spent plenty of time in the spotlight, what impressed me most was Mikl-em’s quiet dedication to giving it over to others. He had a knack for pulling together seemingly improbable shows with a natural ease, making space for his many creative collaborators to flourish and thrive. As producers, both he and his generous-spirited life partner, Danielle Engelman, set an admirably high bar: leading with kindness to get the job done, placing their trust in the artists to bring their all, and letting the foundation of the event be the container out of which unexpected magic might flow.\u003c/p>\n\u003cp>“Behind the scenes, one could always see the sheer joy Mikl had for performance and community, beaming from ear to ear,” reminisces performing artist Edna Mira Raia.\u003c/p>\n\u003cp>One of my favorite things about Mikl-em was our mutual love of poetry, and when I cast readers for a Bikes to Books launch party in 2013, he immediately begged the role of Kenneth Rexroth. When the day came, he dressed himself in the shabby Bohemian chic and bushy mustache befitting his literary hero, and solemnly read some of his favorite selections from Rexroth’s prodigal body of work. More than his attire, what occurred to me then (and over the years since) was that if there were a “Rexroth” of \u003cem>our\u003c/em> scene, it might well be Mikl-em.\u003c/p>\n\u003cfigure id=\"attachment_13885566\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885566\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-800x600.jpeg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed.jpeg 1824w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mikl-em reading as Kenneth Rexroth for Bikes to Books, outside City Lights Books. \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What is certain is that Mikl-em was a singular breed, like the “Babel bird” character he developed for a playful birding event at Heron’s Head, in 2017. Dressed in a costume constructed by long-time collaborator Helena “Noona” Nolan, Mikl-em covered himself with letters and literature, a “babble” of poems and stream-of-consciousness stories as his birdsong. Apropos plumage for such a rare bird.\u003c/p>\n\u003cfigure id=\"attachment_13885568\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885568\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Miklem_BabelBird_photocredit_RhiannonCharisse_kqed-800x536.jpeg\" alt=\"\" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Miklem_BabelBird_photocredit_RhiannonCharisse_kqed-800x536.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Miklem_BabelBird_photocredit_RhiannonCharisse_kqed-1020x683.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Miklem_BabelBird_photocredit_RhiannonCharisse_kqed-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Miklem_BabelBird_photocredit_RhiannonCharisse_kqed-768x514.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Miklem_BabelBird_photocredit_RhiannonCharisse_kqed-1536x1028.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Miklem_BabelBird_photocredit_RhiannonCharisse_kqed-1920x1285.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Miklem_BabelBird_photocredit_RhiannonCharisse_kqed.jpeg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mikl-em as the “Babel bird” at Heron’s Head in 2017. \u003ccite>(Rhiannon Charisse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Mikl was a kinder, sweeter, and more wonderful weirdo than most anyone. His life was extraordinary—by his own design.” memorializes long-time Cacophonist, Rusty Blazenhoff.\u003c/p>\n\u003cp>For Sherilyn Connelly—former Bad Movie Night producer at the Dark Room Theater—a memory she holds dear is Mikl-em inviting her to see one of his personal favorite movies—\u003cem>Playtime\u003c/em>, by Jacques Tati. In the movie, as she describes, a high-class restaurant in Paris “descends into chaos” urged on by an American who “encourages them to drink, dance and be merry.” At which point, she recalls, Mikl-em turned to her with a smile and said, “I want to be \u003cem>that \u003c/em>guy when I grow up.”\u003c/p>\n\u003cp>For her, for myself, and for so many others, Mikl-em will always be \u003cem>that\u003c/em> guy.\u003c/p>\n\u003cfigure id=\"attachment_13885567\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885567\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Miklem_Hugo_DanielleEngelmann_photocredit_RyanWilkes_kqed-800x600.jpeg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Miklem_Hugo_DanielleEngelmann_photocredit_RyanWilkes_kqed-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Miklem_Hugo_DanielleEngelmann_photocredit_RyanWilkes_kqed-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Miklem_Hugo_DanielleEngelmann_photocredit_RyanWilkes_kqed-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Miklem_Hugo_DanielleEngelmann_photocredit_RyanWilkes_kqed.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mikl-em and Danielle Engelman with baby Hugo, the young son of their close friends, and the next generation. \u003ccite>(Ryan Wilkes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Many thanks to everyone who generously shared their memories and photos of Mikl-em, including Rusty Blazenhoff, Helena “Noona” Nolan, P Segal, Ty Mckenzie, D.S. Black, Edna Mira Raia, Sandwich Girl, Dan Novy, Sherilyn Connelly, Annalee Newitz, Attaboy, Ryan Wilkes, Rhiannon Charisse, and Katrina James. It truly takes the village to write about our Jester King.\u003c/em>\u003c/p>\n\n",
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"title": "Too Weird to Live, Too Rare to Die: A Tribute to Michael 'Mikl-em' McElligott | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>‘While many artists are conveniently and centrally located in museums and in art books on coffee tables, the Tentacle Sessions is dedicated to the assertion that a close encounter with a living artist also holds value.’—1999 promo for the Tentacle Sessions\u003c/em>\u003c/p>\n\u003cp>In April 1999, the Laughing Squid Tentacle Sessions kicked off their third event at the Blue Bar in North Beach, featuring co-founding producer Michael McElligott, a.k.a. Mikl-em. Billed as a “poet, playwright, actor, performance scientist, webpage, fashion challenge, conversationalist, and people person,” Mikl-em presented on a disparate array of personal obsessions—beat poets, fringe theatre, and obscure Scottish cinema.\u003c/p>\n\u003cp>As a person with wide-ranging passions, a staggering intellect, and an insatiable zest for life, Mikl-em was a linchpin of Bay Area counterculture for close to three decades, from Laughing Squid to the Cacophony Society; the San Francisco Fringe Festival to Popcorn Anti-Theater; Burning Man to the Saint Stupid’s Day Parade. His ability to land in the middle of whatever was happening (and frequently producing it as well) made him the perfect subject for the Tentacle Sessions—a long-running series dedicated to celebrating the great \u003cem>living \u003c/em>artists of our time.\u003c/p>\n\u003cp>Twenty-one years later—on Sunday, August 30, 2020, at the age of 50—this giant of the Bay Area’s storied underground arts scene passed away after a protracted battle with brain cancer. He leaves an incalculable void matched only by the enormity of his legacy.\u003c/p>\n\u003cfigure id=\"attachment_13885572\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885572\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Miklem_photocredit_RustyBlazenhoff_kqed-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Miklem_photocredit_RustyBlazenhoff_kqed-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Miklem_photocredit_RustyBlazenhoff_kqed-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Miklem_photocredit_RustyBlazenhoff_kqed-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Miklem_photocredit_RustyBlazenhoff_kqed.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mikl-em ‘protesting’ the book launch of ‘Tales of the San Francisco Cacophony Society,’ by John Law, Carrie Galbraith, and Kevin Evans. \u003ccite>(Rusty Blazenhoff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a multi-talented, multi-hyphenate, Mikl-em never stayed in any one particular lane. Freaky art happenings, poetry readings, comedy nights, theater performances, and cocktail hours were all prime Mikl-em territory. In recent years, he was the producer and host for the Long Now’s conversation series, the Executive Producer of Speechless LIVE at Public Works, the mastermind and writer’s-room wrangler behind Exquisite Corpse Theatre, a beloved DJ at Radio Valencia, a co-founder of the Anglerfish events page, and the secret identity of @bobkaufman on Twitter. Even as late as March, he was performing and producing at the Mission District’s Secret Alley, and was waitlisted for a spot in September’s San Francisco Fringe Festival.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“His creative and organizational knack for performance found a good home in the playa-dusted underground,” former Tentacle Session co-producer, D.S. Black recalls.\u003c/p>\n\u003cp>“We were about to have a pretty serious conversation about history, politics, and punk rock,” author Annalee Newitz recalls about their last talk together at the Interval. “And he somehow persuaded me to dance before we got started…totally egging me on. That was the kind of guy he was—switching between cerebral stuff and just rocking out.”\u003c/p>\n\u003cfigure id=\"attachment_13885569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885569\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Miklem_withChickenJohn_DanNovy_Porn_e_oke_1999_kqed-800x530.jpeg\" alt=\"\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Miklem_withChickenJohn_DanNovy_Porn_e_oke_1999_kqed-800x530.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Miklem_withChickenJohn_DanNovy_Porn_e_oke_1999_kqed-1020x675.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Miklem_withChickenJohn_DanNovy_Porn_e_oke_1999_kqed-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Miklem_withChickenJohn_DanNovy_Porn_e_oke_1999_kqed-768x508.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Miklem_withChickenJohn_DanNovy_Porn_e_oke_1999_kqed.jpeg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mikl-em performing at Porn-e-oke with Dan Novy in 1999, as Chicken John DJs. \u003ccite>(courtesy of Dan Novy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A connoisseur of both the highly esoteric and the gleefully irreverent, no scene was too far out or too lowbrow for Mikl-em to not find something to love. He was so ubiquitous that I can’t recall if the first time I saw him was in the company of the fabulously anarchic nEO-sURREALISTs, or with the equally avant-garde Banana Bag & Bodice—but it soon became apparent that no stage was too large \u003cem>or\u003c/em> too small to pique his creative interest. One of the great highlights of my own collaborations with Mikl-em was presenting him on a living room mini-tour, in a ribald Drag adaption called \u003cem>Fabulous Expectations\u003c/em>, by Gaea Denker. Pushing at and expanding the definition of “theater” was a life-long obsession for Mikl-em. And no alleyway, art gallery, warehouse, or dive bar was exempt from his brand of rigorous artistic exploration, and zealous pursuit of the absurd.\u003c/p>\n\u003cp>“We had a natural chemistry that kicked into extreme high gear when we were on stage together,” remembers Dan Novy, a.k.a. nEO-sURREALIST aGENT #1, who also claims responsibility for Mikl’s “first nude appearance,” in the San Francisco Fringe Festival. “Who were we to say no?”\u003c/p>\n\u003cfigure id=\"attachment_13885571\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13885571 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/DaveKew_Miklem_CameronEng_fabulousexpectations_photocredit_KatrinaJames_kqed-800x605.jpeg\" alt=\"Dave McKew, Mikl-em, and Cameron Eng in Gaea Denker's 'Fabulous Expectations,' (performing in Dot Janson's living room), in 2015.\" width=\"800\" height=\"605\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DaveKew_Miklem_CameronEng_fabulousexpectations_photocredit_KatrinaJames_kqed-800x605.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DaveKew_Miklem_CameronEng_fabulousexpectations_photocredit_KatrinaJames_kqed-1020x771.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DaveKew_Miklem_CameronEng_fabulousexpectations_photocredit_KatrinaJames_kqed-160x121.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DaveKew_Miklem_CameronEng_fabulousexpectations_photocredit_KatrinaJames_kqed-768x581.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/DaveKew_Miklem_CameronEng_fabulousexpectations_photocredit_KatrinaJames_kqed.jpeg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dave McKew, Mikl-em, and Cameron Eng in Gaea Denker’s ‘Fabulous Expectations,’ (performing in Dot Janson’s living room), in 2015. \u003ccite>(Katrina James)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Although he spent plenty of time in the spotlight, what impressed me most was Mikl-em’s quiet dedication to giving it over to others. He had a knack for pulling together seemingly improbable shows with a natural ease, making space for his many creative collaborators to flourish and thrive. As producers, both he and his generous-spirited life partner, Danielle Engelman, set an admirably high bar: leading with kindness to get the job done, placing their trust in the artists to bring their all, and letting the foundation of the event be the container out of which unexpected magic might flow.\u003c/p>\n\u003cp>“Behind the scenes, one could always see the sheer joy Mikl had for performance and community, beaming from ear to ear,” reminisces performing artist Edna Mira Raia.\u003c/p>\n\u003cp>One of my favorite things about Mikl-em was our mutual love of poetry, and when I cast readers for a Bikes to Books launch party in 2013, he immediately begged the role of Kenneth Rexroth. When the day came, he dressed himself in the shabby Bohemian chic and bushy mustache befitting his literary hero, and solemnly read some of his favorite selections from Rexroth’s prodigal body of work. More than his attire, what occurred to me then (and over the years since) was that if there were a “Rexroth” of \u003cem>our\u003c/em> scene, it might well be Mikl-em.\u003c/p>\n\u003cfigure id=\"attachment_13885566\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885566\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-800x600.jpeg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed.jpeg 1824w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mikl-em reading as Kenneth Rexroth for Bikes to Books, outside City Lights Books. \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What is certain is that Mikl-em was a singular breed, like the “Babel bird” character he developed for a playful birding event at Heron’s Head, in 2017. Dressed in a costume constructed by long-time collaborator Helena “Noona” Nolan, Mikl-em covered himself with letters and literature, a “babble” of poems and stream-of-consciousness stories as his birdsong. Apropos plumage for such a rare bird.\u003c/p>\n\u003cfigure id=\"attachment_13885568\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885568\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Miklem_BabelBird_photocredit_RhiannonCharisse_kqed-800x536.jpeg\" alt=\"\" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Miklem_BabelBird_photocredit_RhiannonCharisse_kqed-800x536.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Miklem_BabelBird_photocredit_RhiannonCharisse_kqed-1020x683.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Miklem_BabelBird_photocredit_RhiannonCharisse_kqed-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Miklem_BabelBird_photocredit_RhiannonCharisse_kqed-768x514.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Miklem_BabelBird_photocredit_RhiannonCharisse_kqed-1536x1028.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Miklem_BabelBird_photocredit_RhiannonCharisse_kqed-1920x1285.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Miklem_BabelBird_photocredit_RhiannonCharisse_kqed.jpeg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mikl-em as the “Babel bird” at Heron’s Head in 2017. \u003ccite>(Rhiannon Charisse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Mikl was a kinder, sweeter, and more wonderful weirdo than most anyone. His life was extraordinary—by his own design.” memorializes long-time Cacophonist, Rusty Blazenhoff.\u003c/p>\n\u003cp>For Sherilyn Connelly—former Bad Movie Night producer at the Dark Room Theater—a memory she holds dear is Mikl-em inviting her to see one of his personal favorite movies—\u003cem>Playtime\u003c/em>, by Jacques Tati. In the movie, as she describes, a high-class restaurant in Paris “descends into chaos” urged on by an American who “encourages them to drink, dance and be merry.” At which point, she recalls, Mikl-em turned to her with a smile and said, “I want to be \u003cem>that \u003c/em>guy when I grow up.”\u003c/p>\n\u003cp>For her, for myself, and for so many others, Mikl-em will always be \u003cem>that\u003c/em> guy.\u003c/p>\n\u003cfigure id=\"attachment_13885567\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13885567\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Miklem_Hugo_DanielleEngelmann_photocredit_RyanWilkes_kqed-800x600.jpeg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Miklem_Hugo_DanielleEngelmann_photocredit_RyanWilkes_kqed-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Miklem_Hugo_DanielleEngelmann_photocredit_RyanWilkes_kqed-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Miklem_Hugo_DanielleEngelmann_photocredit_RyanWilkes_kqed-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Miklem_Hugo_DanielleEngelmann_photocredit_RyanWilkes_kqed.jpeg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mikl-em and Danielle Engelman with baby Hugo, the young son of their close friends, and the next generation. \u003ccite>(Ryan Wilkes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Many thanks to everyone who generously shared their memories and photos of Mikl-em, including Rusty Blazenhoff, Helena “Noona” Nolan, P Segal, Ty Mckenzie, D.S. Black, Edna Mira Raia, Sandwich Girl, Dan Novy, Sherilyn Connelly, Annalee Newitz, Attaboy, Ryan Wilkes, Rhiannon Charisse, and Katrina James. It truly takes the village to write about our Jester King.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SF Announces $12.8 Million in Grants for Arts and Culture Organizations",
"headTitle": "SF Announces $12.8 Million in Grants for Arts and Culture Organizations | KQED",
"content": "\u003cp>San Francisco Mayor London Breed announced $12.8 million in grants to 227 arts and culture organizations throughout the city on Wednesday.\u003c/p>\n\u003cp>The funding comes from the city’s \u003ca href=\"https://sfgfta.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Grants for the Arts\u003c/a> (GFTA) program. Unlike the majority of arts grants, it is designed to cover day-to-day operating expenses.\u003c/p>\n\u003cp>Grantees range from small companies like AfroSolo, which received $10,000 in GFTA funding, to major institutions like the San Francisco Opera, with its $600,000 grant. (A full list of grantees \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/GFTA-FY21-Grants-Final-1.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">can be viewed here [PDF]\u003c/a>.)\u003c/p>\n\u003cp>Although the more substantial grants have been dispersed, as usual, to the largest and most entrenched organizations, these organizations are seeing slight losses in funding this year. The San Francisco Museum of Modern Art’s grant fell from $423,190 to $400,00 since 2019; the San Francisco Ballet’s from $428,890 to $400,000; and the San Francisco Opera’s from $680,000 to $600,000.\u003c/p>\n\u003cp>Conversely, many of the smaller, equity-focused community organizations are seeing an increase in 2020. Examples include the San Francisco Juneteenth Celebration, whose grant grew from $20,000 to $25,000; Project Level, up from $7,500 to $20,000; and the Transgender Film Festival, which was bumped up from $15,000 to $18,750.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And even though the total pot of money is down around $140,000 over last year, the available funds are being spread more widely, as there are seven more grantees this year. Those include the Clarion Alley Mural Project, Dancing Earth Creation, Art With Elders, the Festival of Latin American Contemporary Choreographers, Kultivate Labs, San Francisco Women Artists, and Youth Art Exchange.\u003c/p>\n\u003cp>City Administrator Naomi Kelly says these adjustments are strategic.\u003c/p>\n\u003cp>“We had a really deep dive into those organizations who tried to look at racial and ethnic equity lines in particular this year, such as the African-American community and the transgender community,” says Kelly. “We wanted to make sure that we are supporting those organizations that have been disproportionately impacted through COVID-19.”\u003c/p>\n\u003cp>At a time when so many cultural organizations have been forced to close their doors permanently or temporarily, or drastically reduce their operations owing to the coronavirus pandemic, such help from the city is a lifeline.\u003c/p>\n\u003cp>“It’s the only operating grant money that we receive,” says Suzanne Cervantes, founding executive director of \u003ca href=\"http://www.precitaeyes.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Precita Eyes Muralists\u003c/a>, a public art education nonprofit based in the Mission District. The company saw a slight increase in GFTA funding from $45,490 in 2019 to $46,350 this year. “So it makes a big difference,” adds Cervantes. “It helps pay for utilities and rent, as well as administrative costs like marketing and website management.”\u003c/p>\n\u003cp>GFTA funding, a portion of which comes from hotel tax revenues, has been in existence since 1961. But starting in the early 2000s, owing to financial issues, the city gradually reduced its arts budget, ultimately repealing the specific allocation altogether in 2013. In 2018, San Francisco residents \u003ca href=\"https://www.kqed.org/news/11704700/s-f-voters-say-yes-to-restoring-hotel-tax-funding-for-arts-and-culture\" target=\"_blank\" rel=\"noopener noreferrer\">approved a ballot measure, Proposition E\u003c/a>, to restore the funding. Since then, 1.5% of the base hotel tax — a 14% tax levied on hotel stays in the city — has been dedicated to supporting arts and culture programs in San Francisco.\u003c/p>\n\u003cp>But COVID-19 has left San Francisco’s hotel industry in tatters. According to \u003ca href=\"https://www.sftravel.com/article/san-francisco-travel-updating-tourism-projections-due-global-covid-19-pandemic\" target=\"_blank\" rel=\"noopener noreferrer\">figures released earlier this month by the San Francisco Travel Association\u003c/a>, which markets San Francisco nationally and globally as a tourism and convention destination, the number of visitors to the city are down more than 50% over last year, and their total spending has plummeted nearly 70%.\u003c/p>\n\u003cp>Arts and culture industry workers like Precita Eyes’ Cervantes are worried about what the shortfall might mean for funding in the coming years.\u003c/p>\n\u003cp>“After the 2008 recession, everyone got a cut and we were slowly able to get it back,” says Cervantes. “And now there’s a big question of if we’ll be going back to those harder times.”\u003c/p>\n\u003cp>But the shrinking of hotel tax dollars won’t completely decimate GFTA funding, at least in the near-to-medium-term, thanks to a safeguard written into Proposition E.\u003c/p>\n\u003cp>“In bad years for the hotel tax, as is the case now, we only drop by up to 10% over the previous year, and that would be the case even if hotel tax dollars dwindle to nothing,” says GFTA director Matthew Goudeau.\u003c/p>\n\u003cp>But Goudeau says the reverse is also true.\u003c/p>\n\u003cp>“In years when the hotel tax revenues are strong and growing, our budget can only grow by up to 10% over the previous year, even if, for example, the hotel tax were to grow by something like 25%.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Goudeau also says funding for each subsequent year uses the previous fiscal year as a baseline. So if the economy continues to suffer, GFTA arts funding will likely continue to fall — even if only by up to 10% each year.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco Mayor London Breed announced $12.8 million in grants to 227 arts and culture organizations throughout the city on Wednesday.\u003c/p>\n\u003cp>The funding comes from the city’s \u003ca href=\"https://sfgfta.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Grants for the Arts\u003c/a> (GFTA) program. Unlike the majority of arts grants, it is designed to cover day-to-day operating expenses.\u003c/p>\n\u003cp>Grantees range from small companies like AfroSolo, which received $10,000 in GFTA funding, to major institutions like the San Francisco Opera, with its $600,000 grant. (A full list of grantees \u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/GFTA-FY21-Grants-Final-1.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">can be viewed here [PDF]\u003c/a>.)\u003c/p>\n\u003cp>Although the more substantial grants have been dispersed, as usual, to the largest and most entrenched organizations, these organizations are seeing slight losses in funding this year. The San Francisco Museum of Modern Art’s grant fell from $423,190 to $400,00 since 2019; the San Francisco Ballet’s from $428,890 to $400,000; and the San Francisco Opera’s from $680,000 to $600,000.\u003c/p>\n\u003cp>Conversely, many of the smaller, equity-focused community organizations are seeing an increase in 2020. Examples include the San Francisco Juneteenth Celebration, whose grant grew from $20,000 to $25,000; Project Level, up from $7,500 to $20,000; and the Transgender Film Festival, which was bumped up from $15,000 to $18,750.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And even though the total pot of money is down around $140,000 over last year, the available funds are being spread more widely, as there are seven more grantees this year. Those include the Clarion Alley Mural Project, Dancing Earth Creation, Art With Elders, the Festival of Latin American Contemporary Choreographers, Kultivate Labs, San Francisco Women Artists, and Youth Art Exchange.\u003c/p>\n\u003cp>City Administrator Naomi Kelly says these adjustments are strategic.\u003c/p>\n\u003cp>“We had a really deep dive into those organizations who tried to look at racial and ethnic equity lines in particular this year, such as the African-American community and the transgender community,” says Kelly. “We wanted to make sure that we are supporting those organizations that have been disproportionately impacted through COVID-19.”\u003c/p>\n\u003cp>At a time when so many cultural organizations have been forced to close their doors permanently or temporarily, or drastically reduce their operations owing to the coronavirus pandemic, such help from the city is a lifeline.\u003c/p>\n\u003cp>“It’s the only operating grant money that we receive,” says Suzanne Cervantes, founding executive director of \u003ca href=\"http://www.precitaeyes.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Precita Eyes Muralists\u003c/a>, a public art education nonprofit based in the Mission District. The company saw a slight increase in GFTA funding from $45,490 in 2019 to $46,350 this year. “So it makes a big difference,” adds Cervantes. “It helps pay for utilities and rent, as well as administrative costs like marketing and website management.”\u003c/p>\n\u003cp>GFTA funding, a portion of which comes from hotel tax revenues, has been in existence since 1961. But starting in the early 2000s, owing to financial issues, the city gradually reduced its arts budget, ultimately repealing the specific allocation altogether in 2013. In 2018, San Francisco residents \u003ca href=\"https://www.kqed.org/news/11704700/s-f-voters-say-yes-to-restoring-hotel-tax-funding-for-arts-and-culture\" target=\"_blank\" rel=\"noopener noreferrer\">approved a ballot measure, Proposition E\u003c/a>, to restore the funding. Since then, 1.5% of the base hotel tax — a 14% tax levied on hotel stays in the city — has been dedicated to supporting arts and culture programs in San Francisco.\u003c/p>\n\u003cp>But COVID-19 has left San Francisco’s hotel industry in tatters. According to \u003ca href=\"https://www.sftravel.com/article/san-francisco-travel-updating-tourism-projections-due-global-covid-19-pandemic\" target=\"_blank\" rel=\"noopener noreferrer\">figures released earlier this month by the San Francisco Travel Association\u003c/a>, which markets San Francisco nationally and globally as a tourism and convention destination, the number of visitors to the city are down more than 50% over last year, and their total spending has plummeted nearly 70%.\u003c/p>\n\u003cp>Arts and culture industry workers like Precita Eyes’ Cervantes are worried about what the shortfall might mean for funding in the coming years.\u003c/p>\n\u003cp>“After the 2008 recession, everyone got a cut and we were slowly able to get it back,” says Cervantes. “And now there’s a big question of if we’ll be going back to those harder times.”\u003c/p>\n\u003cp>But the shrinking of hotel tax dollars won’t completely decimate GFTA funding, at least in the near-to-medium-term, thanks to a safeguard written into Proposition E.\u003c/p>\n\u003cp>“In bad years for the hotel tax, as is the case now, we only drop by up to 10% over the previous year, and that would be the case even if hotel tax dollars dwindle to nothing,” says GFTA director Matthew Goudeau.\u003c/p>\n\u003cp>But Goudeau says the reverse is also true.\u003c/p>\n\u003cp>“In years when the hotel tax revenues are strong and growing, our budget can only grow by up to 10% over the previous year, even if, for example, the hotel tax were to grow by something like 25%.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Goudeau also says funding for each subsequent year uses the previous fiscal year as a baseline. So if the economy continues to suffer, GFTA arts funding will likely continue to fall — even if only by up to 10% each year.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Actors Advocate for Full Contractural Pay After Pandemic Forces Play to Close",
"headTitle": "Actors Advocate for Full Contractural Pay After Pandemic Forces Play to Close | KQED",
"content": "\u003cp>When Santoya Fields thinks about the first time—and last time—she and her cast-mates performed \u003cem>School Girls; Or, the African Mean Girls Play\u003c/em> at Berkeley Repertory Theatre, on March 16, what sticks out is the profound lack of clarity surrounding the circumstances.\u003c/p>\n\u003cp>Called in on their normally scheduled day off to rehearse and then perform the full show, which was filmed by an unscheduled camera crew, the cast and crew were told in an all-hands meeting by Berkeley Rep’s managing director, Susie Medak, that the recording was being made to “honor” their work. Though their show would never open to a live audience—Berkeley’s shelter-in-place order took effect the next day—the recording of the performance would be made available to ticketholders for a two-week time period.\u003c/p>\n\u003cp>It was, managing director Susie Medak tells KQED, a way to honor obligations to their expectant audience as well.\u003c/p>\n\u003cp>The situation was not an isolated one; theaters nationwide this year suddenly went dark, and \u003ca href=\"https://www.kqed.org/arts/13879316/the-good-the-bad-and-the-glitchy-streaming-theater-during-shelter-in-place\">many of them\u003c/a> broadcast recorded versions of their closed shows. But similar to \u003ca href=\"https://www.nytimes.com/2002/05/22/theater/how-broadway-bounced-back-after-9-11-but-downtown-theater-lacked-the-right-ties.html\" target=\"_blank\" rel=\"noopener noreferrer\">New York City theaters after 9-11\u003c/a>, the story of \u003cem>School Girls; Or, the African Mean Girls Play\u003c/em> at Berkeley Rep provides a case study in the disputes that arise when a show is forced to close due to circumstances out of the theater’s control.\u003c/p>\n\u003cfigure id=\"attachment_13884431\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884431\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/SantoyaFields_headshot_credit_MalloreeHill-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/SantoyaFields_headshot_credit_MalloreeHill-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/SantoyaFields_headshot_credit_MalloreeHill-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/SantoyaFields_headshot_credit_MalloreeHill-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/SantoyaFields_headshot_credit_MalloreeHill.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Santoya Fields, actor in ‘School Girls; Or, the African Mean Girls Play’ at Berkeley Repertory Theatre. \u003ccite>(Mallore Hill)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Things Were Moving So Fast’\u003c/h2>\n\u003cp>During the meeting on March 16, Fields, the union deputy for the cast, asked for clarification on the actors’ compensation. Medak verbally promised everyone in the room two weeks’ pay. Fields recalls that when she then asked whether those two weeks constituted extra pay beyond the four weeks specified by their Actors’ Equity-negotiated contracts, her question was dismissed.\u003c/p>\n\u003cp>“We only have to pay you for three days,” she remembers Medak saying, invoking the Actors’ Equity “Act of God” clause. But as Fields and Idehenre contend, \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Force_majeure\" target=\"_blank\" rel=\"noopener noreferrer\">force majeure\u003c/a>\u003c/em> was rejected in other shows that closed around the country. Nonetheless, the cast was given just 45 minutes to prepare themselves for their first, and only, full performance, which would be filmed and then broadcast, in a hastily-negotiated arrangement between Berkeley Rep, A.C.T., and Actors’ Equity.\u003c/p>\n\u003cp>“We were still doing blocking,” Fields’ fellow cast-mate Omozé Idehenre recalls about that day. “We’re in tech, we’re under duress because we’re in the pandemic, so we have no time to process…or to figure things out.”\u003c/p>\n\u003cp>“In all of my years of running a theater, I’ve just never had to do anything quite like this,” Medak recalls about that day. “Things were moving so fast at that point.”\u003c/p>\n\u003cfigure id=\"attachment_13884429\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884429\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/OmozeIdehenre_credit_AndyRooney.jpg\" alt=\"\" width=\"600\" height=\"880\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/OmozeIdehenre_credit_AndyRooney.jpg 746w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/OmozeIdehenre_credit_AndyRooney-160x235.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Omozé Idehenre, actor in ‘School Girls; Or, the African Mean Girls Play’ at Berkeley Repertory Theatre. \u003ccite>(Andy Rooney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A New Contract, and a Breach of the Old One\u003c/h2>\n\u003cp>To add to Fields’ and Idehenre’s unease, they received an email two days later from Berkeley Rep that included a “rider” to their original contracts. This rider guaranteed payment through April 5. But the contract they had signed in February specified a four-week notice for termination, meaning they were eligible for four weeks’ worth of regular pay at termination. As they’d already been paid their contracted salary through March 22, being paid additionally through April 5 fell short of those four weeks.\u003c/p>\n\u003cp>Included with the new rider was a copy of an agreement between Berkeley Rep and Actors’ Equity, which specified that the theater would be allowed to record and broadcast a scheduled performance of \u003cem>School Girls\u003c/em>, as well as the already-closed \u003cem>Culture Clash (Still) in America\u003c/em>. The agreement itself seemed to have violated the previous contract in multiple ways—in the time of notice given to the actors before the recording, in the compensation due for the recording being made, and the fact that the show recorded was not a scheduled performance, but rather a previously unscheduled run-through of a show still in rehearsal.\u003c/p>\n\u003cp>According to union member Velina Brown—who pens \u003cem>The Business of Show Biz\u003c/em> column for \u003ca href=\"https://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Theatre Bay Area\u003c/a>—in order to film a show, for any purpose, a theater is contractually obligated to obtain the actors’ express permission. She also emphasizes that an actor must be notified 24 hours before a recording is made, instead of being told in a rushed meeting a couple of hours before the shoot.\u003c/p>\n\u003cp>Indeed, the so-titled streaming agreement with Actors’ Equity states that “best efforts” should be made to give “no less” than 24 hours. But, as Medak points out, “having a notice (issued the morning of March 16) from the governor that the building must be shut down” precluded Berkeley Rep’s ability to give that much notice. For them, filming had to happen Monday or never. And so they proceeded with the recording, and officially closed the show.\u003c/p>\n\u003cfigure id=\"attachment_13884432\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884432\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Berkeley_Rep_Medak_credit_Cheshire-IsaacsBerkeley-Repertory-Theatre-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Berkeley_Rep_Medak_credit_Cheshire-IsaacsBerkeley-Repertory-Theatre-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Berkeley_Rep_Medak_credit_Cheshire-IsaacsBerkeley-Repertory-Theatre-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Berkeley_Rep_Medak_credit_Cheshire-IsaacsBerkeley-Repertory-Theatre-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Berkeley_Rep_Medak_credit_Cheshire-IsaacsBerkeley-Repertory-Theatre.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Susie Medak, managing director for Berkeley Repertory Theatre. \u003ccite>(Cheshire Issacs/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘We Just Couldn’t Get Answers’\u003c/h2>\n\u003cp>But for Fields and Idehenre, questions lingered around what compensation they were owed, and they reached out to Actors’ Equity for answers. It’s since become clear to them that not only did Berkeley Rep fail to adhere to the terms of their original contracts, but that Actors’ Equity failed in their mandate to enforce them. Over the course of the past few months, Fields and Idehenre researched the particulars of those contracts and the events leading up to the recording being made, in multiple conversations with Berkeley Rep, Actors’ Equity, and experts such as Velina Brown. To date, they haven’t found the results satisfactory.\u003c/p>\n\u003cp>“We were really trying to understand how all this happened,” Fields relates. “We went in with all these questions and we just couldn’t get answers. The union [now] recognizes that things were not done properly, but they’re still not holding themselves accountable.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The whole purpose to being in the union is that there are agreements that have been collectively bargained, and the union is there to back up any member if those agreements are not being upheld or met,” Brown stresses. “When you as an actor are coming in, you are just signing on to this contract, and if there’s anything not right, you go to the union.”\u003c/p>\n\u003cp>By investigating the case on their own, Fields and Idehenre have opened themselves up to what Brown views as potential for backlash—the very thing union protection is supposed to prevent.\u003c/p>\n\u003cp>Beyond continuing to press the union for a more thorough examination of their experiences and contracts with Berkeley Rep, Fields and Idehenre want Actors’ Equity to provide a public statement of accountability and “very clear” guidance for moving forward in a pandemic-affected arena. “How will you regain the trust of your members and assure us that you are working for our interests?” Fields asks.\u003c/p>\n\u003cp>Through spokesperson Brandon Lorenz, Actors’ Equity commented that “we are in active conversations with the Equity-represented employees and Berkeley Rep to resolve outstanding issues from this production and ensure that everyone is appropriately compensated for their work.”\u003c/p>\n\u003cp>As of this writing, that resolution is still pending.\u003c/p>\n\u003cp>“I really think anyone who looks at this situation can just see how we as actors did not have power in that moment,” Fields points out. “I think that imbalance of power needs to be addressed… how people devalue actors. Even when they’re essential to what you need.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Santoya Fields thinks about the first time—and last time—she and her cast-mates performed \u003cem>School Girls; Or, the African Mean Girls Play\u003c/em> at Berkeley Repertory Theatre, on March 16, what sticks out is the profound lack of clarity surrounding the circumstances.\u003c/p>\n\u003cp>Called in on their normally scheduled day off to rehearse and then perform the full show, which was filmed by an unscheduled camera crew, the cast and crew were told in an all-hands meeting by Berkeley Rep’s managing director, Susie Medak, that the recording was being made to “honor” their work. Though their show would never open to a live audience—Berkeley’s shelter-in-place order took effect the next day—the recording of the performance would be made available to ticketholders for a two-week time period.\u003c/p>\n\u003cp>It was, managing director Susie Medak tells KQED, a way to honor obligations to their expectant audience as well.\u003c/p>\n\u003cp>The situation was not an isolated one; theaters nationwide this year suddenly went dark, and \u003ca href=\"https://www.kqed.org/arts/13879316/the-good-the-bad-and-the-glitchy-streaming-theater-during-shelter-in-place\">many of them\u003c/a> broadcast recorded versions of their closed shows. But similar to \u003ca href=\"https://www.nytimes.com/2002/05/22/theater/how-broadway-bounced-back-after-9-11-but-downtown-theater-lacked-the-right-ties.html\" target=\"_blank\" rel=\"noopener noreferrer\">New York City theaters after 9-11\u003c/a>, the story of \u003cem>School Girls; Or, the African Mean Girls Play\u003c/em> at Berkeley Rep provides a case study in the disputes that arise when a show is forced to close due to circumstances out of the theater’s control.\u003c/p>\n\u003cfigure id=\"attachment_13884431\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884431\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/SantoyaFields_headshot_credit_MalloreeHill-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/SantoyaFields_headshot_credit_MalloreeHill-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/SantoyaFields_headshot_credit_MalloreeHill-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/SantoyaFields_headshot_credit_MalloreeHill-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/SantoyaFields_headshot_credit_MalloreeHill.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Santoya Fields, actor in ‘School Girls; Or, the African Mean Girls Play’ at Berkeley Repertory Theatre. \u003ccite>(Mallore Hill)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Things Were Moving So Fast’\u003c/h2>\n\u003cp>During the meeting on March 16, Fields, the union deputy for the cast, asked for clarification on the actors’ compensation. Medak verbally promised everyone in the room two weeks’ pay. Fields recalls that when she then asked whether those two weeks constituted extra pay beyond the four weeks specified by their Actors’ Equity-negotiated contracts, her question was dismissed.\u003c/p>\n\u003cp>“We only have to pay you for three days,” she remembers Medak saying, invoking the Actors’ Equity “Act of God” clause. But as Fields and Idehenre contend, \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Force_majeure\" target=\"_blank\" rel=\"noopener noreferrer\">force majeure\u003c/a>\u003c/em> was rejected in other shows that closed around the country. Nonetheless, the cast was given just 45 minutes to prepare themselves for their first, and only, full performance, which would be filmed and then broadcast, in a hastily-negotiated arrangement between Berkeley Rep, A.C.T., and Actors’ Equity.\u003c/p>\n\u003cp>“We were still doing blocking,” Fields’ fellow cast-mate Omozé Idehenre recalls about that day. “We’re in tech, we’re under duress because we’re in the pandemic, so we have no time to process…or to figure things out.”\u003c/p>\n\u003cp>“In all of my years of running a theater, I’ve just never had to do anything quite like this,” Medak recalls about that day. “Things were moving so fast at that point.”\u003c/p>\n\u003cfigure id=\"attachment_13884429\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884429\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/OmozeIdehenre_credit_AndyRooney.jpg\" alt=\"\" width=\"600\" height=\"880\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/OmozeIdehenre_credit_AndyRooney.jpg 746w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/OmozeIdehenre_credit_AndyRooney-160x235.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Omozé Idehenre, actor in ‘School Girls; Or, the African Mean Girls Play’ at Berkeley Repertory Theatre. \u003ccite>(Andy Rooney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A New Contract, and a Breach of the Old One\u003c/h2>\n\u003cp>To add to Fields’ and Idehenre’s unease, they received an email two days later from Berkeley Rep that included a “rider” to their original contracts. This rider guaranteed payment through April 5. But the contract they had signed in February specified a four-week notice for termination, meaning they were eligible for four weeks’ worth of regular pay at termination. As they’d already been paid their contracted salary through March 22, being paid additionally through April 5 fell short of those four weeks.\u003c/p>\n\u003cp>Included with the new rider was a copy of an agreement between Berkeley Rep and Actors’ Equity, which specified that the theater would be allowed to record and broadcast a scheduled performance of \u003cem>School Girls\u003c/em>, as well as the already-closed \u003cem>Culture Clash (Still) in America\u003c/em>. The agreement itself seemed to have violated the previous contract in multiple ways—in the time of notice given to the actors before the recording, in the compensation due for the recording being made, and the fact that the show recorded was not a scheduled performance, but rather a previously unscheduled run-through of a show still in rehearsal.\u003c/p>\n\u003cp>According to union member Velina Brown—who pens \u003cem>The Business of Show Biz\u003c/em> column for \u003ca href=\"https://www.theatrebayarea.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Theatre Bay Area\u003c/a>—in order to film a show, for any purpose, a theater is contractually obligated to obtain the actors’ express permission. She also emphasizes that an actor must be notified 24 hours before a recording is made, instead of being told in a rushed meeting a couple of hours before the shoot.\u003c/p>\n\u003cp>Indeed, the so-titled streaming agreement with Actors’ Equity states that “best efforts” should be made to give “no less” than 24 hours. But, as Medak points out, “having a notice (issued the morning of March 16) from the governor that the building must be shut down” precluded Berkeley Rep’s ability to give that much notice. For them, filming had to happen Monday or never. And so they proceeded with the recording, and officially closed the show.\u003c/p>\n\u003cfigure id=\"attachment_13884432\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884432\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Berkeley_Rep_Medak_credit_Cheshire-IsaacsBerkeley-Repertory-Theatre-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Berkeley_Rep_Medak_credit_Cheshire-IsaacsBerkeley-Repertory-Theatre-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Berkeley_Rep_Medak_credit_Cheshire-IsaacsBerkeley-Repertory-Theatre-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Berkeley_Rep_Medak_credit_Cheshire-IsaacsBerkeley-Repertory-Theatre-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Berkeley_Rep_Medak_credit_Cheshire-IsaacsBerkeley-Repertory-Theatre.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Susie Medak, managing director for Berkeley Repertory Theatre. \u003ccite>(Cheshire Issacs/Berkeley Repertory Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘We Just Couldn’t Get Answers’\u003c/h2>\n\u003cp>But for Fields and Idehenre, questions lingered around what compensation they were owed, and they reached out to Actors’ Equity for answers. It’s since become clear to them that not only did Berkeley Rep fail to adhere to the terms of their original contracts, but that Actors’ Equity failed in their mandate to enforce them. Over the course of the past few months, Fields and Idehenre researched the particulars of those contracts and the events leading up to the recording being made, in multiple conversations with Berkeley Rep, Actors’ Equity, and experts such as Velina Brown. To date, they haven’t found the results satisfactory.\u003c/p>\n\u003cp>“We were really trying to understand how all this happened,” Fields relates. “We went in with all these questions and we just couldn’t get answers. The union [now] recognizes that things were not done properly, but they’re still not holding themselves accountable.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The whole purpose to being in the union is that there are agreements that have been collectively bargained, and the union is there to back up any member if those agreements are not being upheld or met,” Brown stresses. “When you as an actor are coming in, you are just signing on to this contract, and if there’s anything not right, you go to the union.”\u003c/p>\n\u003cp>By investigating the case on their own, Fields and Idehenre have opened themselves up to what Brown views as potential for backlash—the very thing union protection is supposed to prevent.\u003c/p>\n\u003cp>Beyond continuing to press the union for a more thorough examination of their experiences and contracts with Berkeley Rep, Fields and Idehenre want Actors’ Equity to provide a public statement of accountability and “very clear” guidance for moving forward in a pandemic-affected arena. “How will you regain the trust of your members and assure us that you are working for our interests?” Fields asks.\u003c/p>\n\u003cp>Through spokesperson Brandon Lorenz, Actors’ Equity commented that “we are in active conversations with the Equity-represented employees and Berkeley Rep to resolve outstanding issues from this production and ensure that everyone is appropriately compensated for their work.”\u003c/p>\n\u003cp>As of this writing, that resolution is still pending.\u003c/p>\n\u003cp>“I really think anyone who looks at this situation can just see how we as actors did not have power in that moment,” Fields points out. “I think that imbalance of power needs to be addressed… how people devalue actors. Even when they’re essential to what you need.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "in-the-mission-performers-marga-gomez-and-campo-santo-stay-resilient",
"title": "In the Mission, Performers Marga Gomez and Campo Santo Stay Resilient",
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"headTitle": "In the Mission, Performers Marga Gomez and Campo Santo Stay Resilient | KQED",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n challenging times, it’s tales of resilience that resonate most. And the tellers of those tales shine all the brighter, as inspiring beacons against the gloom.\u003c/p>\n\u003cp>In San Francisco, some of our most consistently resilient performers are those who built their reputations not in the “traditional” performance spaces downtown, but in their own neighborhoods, creating work by, for, and of the communities that inspired them and called them their own. One neighborhood that’s long been a bastion for these community-rooted artists is the Mission District, and two of its long-term survivors—Marga Gomez and Campo Santo—are not letting the pandemic slow them down.\u003c/p>\n\u003cp>One part comedian, one part solo performer, one part consummate host and all parts wholly original, Marga Gomez is resilience personified. Holding it down in a liminal space straddling the Castro and the Mission District since the early 1980s, her resume is a wild ride through some of San Francisco’s most memorable cultural highlights. From taking the stage at the first-ever Folsom Street Fair (then called “Megahood”) to working with the long-running San Francisco Mime Troupe, and then being pulled into the first incarnation of Latinx comedy supergroup Culture Clash by Rene Yanez, Gomez has continued to make her mark by always evolving her craft to fit the circumstances.\u003c/p>\n\u003cp>“A lot of my career has been accidents…opportunities…that I adapted to,” she admits with her signature, gap-toothed smile.\u003c/p>\n\u003cfigure id=\"attachment_13883622\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883622\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marga Gomez performs in her 12th solo show, ‘Latin Standards.’ \u003ccite>(Fabian Echevarria)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even being shut down on opening night for her 13th solo show—\u003cem>The Spanking Machine\u003c/em>, at Brava Theater Center—couldn’t dim Gomez’ creative spark. Within two weeks of the shutdown, Gomez had already launched the first of many virtual comedy shows, the format of which she’s tweaked with each subsequent edition. First there were midday comedy brunches, then afternoon “high tea,” a Cinco de Mayo bash, a birthday party doubling as a political fundraiser, and, most recently, 30-minute “queer quickies” with co-host, the fabulous Jesús U. BettaWork. And finally, at long last, live-streamed performances of \u003cem>The Spanking Machine\u003c/em>, running through July 25.\u003c/p>\n\u003cfigure id=\"attachment_13883623\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883623\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/MargaGomez_headshot_courtesyoftheartist-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_headshot_courtesyoftheartist-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_headshot_courtesyoftheartist-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_headshot_courtesyoftheartist-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_headshot_courtesyoftheartist.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marga Gomez and her signature smile. \u003ccite>(Courtesy of Marga Gomez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reminiscing about her truncated run at Brava, Gomez ruefully recalls wishing that she wouldn’t “have to perform on Friday the 13th,” a wish that came all too true with the shutdown. Now scheduled as part of Dixon Place’s long-running LQBTQ+ HOT! Festival, Gomez takes the virtual stage from home. Combining clips from her invited dress rehearsal at Brava with live performance, telling a story of a long-lost friend, and a dark secret from the past. Like her other solo shows, it’s intensely personal, often hilarious, and paints a vivid picture of Gomez’ particular experience: an out-gay, Latinx comic, living a life brimming with equal measures of serendipity and struggle. And though she longs to perform in public spaces again, for the moment, Gomez is glad to be able to innovate from home.\u003c/p>\n\u003cp>“These projects are keeping me sane! I’ll do the show, and if the camera freezes for a minute, guess what? This is a pleasure, this is a\u003cem> respite\u003c/em>,” she emphasizes. Resilience.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">F\u003c/span>ar from a solo act, the incomparable Campo Santo, a company prioritizing Bay Area-born voices and people of color, has created work as a tight-knit ensemble since 1996. More than a “writers” theater, Campo Santo has nonetheless cultivated a pantheon of great writers, from Luís Saguar to Luis Alfaro, Chinaka Hodge to Star Finch. More than an “actors” theater, Campo Santo has embraced the plurality of its community, and created opportunities for first-time performers and professionals alike. To be a member of Campo Santo might take years of exploring where you fit in, the ability to transform and grow in new directions. A journey embodied by ten-year veteran of the company A.M. Smiley, whose artistic evolution from production manager to featured playwright can be tied specifically to the support offered by the Campo Santo \u003cem>familia.\u003c/em>\u003c/p>\n\u003cp>While the company experiments with ways to create on digital platforms—promising more information on new shows soon—they’ve programmed a series of screenings of past shows for an enthusiastic online audience. At a recent showing of \u003cem>Ethos de Masquerade\u003c/em>—a work that combined powerful text mourning black lives lost to violence with the ceremonial power of a modern-day Masquerade dance ritual—the audience participation via chat was hundreds of messages long by the end of the show.\u003c/p>\n\u003cfigure id=\"attachment_13883624\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883624\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-800x446.jpg\" alt=\"\" width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-1020x568.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-1536x856.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-1920x1069.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ricky Saenz, Britney Frazier and Delina Patrice Brooks in ‘Superheroes,’ by Sean San Jose. \u003ccite>(Joan Osato)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even in a Zoom interview with several core members of the company, the chat box continued to light up throughout with affirmations, such as when resident playwright Star Finch spoke to the ongoing reckoning at many theater institutions in regards to distribution of power, and pervasive racial inequities encoded in policy and practice.\u003c/p>\n\u003cp>“BOOM!” wrote Margo Hall, followed immediately by a “say that shit!” from Sean San Jose, who also punctuated the interview with snaps and hand signals whenever someone landed a particularly powerful point.\u003c/p>\n\u003cp>What comes through most indelibly is each member’s passion for their artistic home, and their recognition of its significance in their own practice.\u003c/p>\n\u003cp>“A big shock for me…is when I started doing shows outside of Campo Santo and I didn’t know that actors could do shows that they didn’t love,” actor and DJ (as Wonway Posibul) Juan Amador interjected at one point.\u003c/p>\n\u003cp>“Campo Santo gave me foundation that I would never be able to get anywhere else,” reflected co-founder Margo Hall. “Everything I learned in Campo Santo fueled me to be able to be the best and be myself at these other theaters. I learned to be able to walk in the door with myself, 100% authentic.”\u003c/p>\n\u003cfigure id=\"attachment_13883625\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883625\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/CampoSanto_HOME_JasmineMilanWilliams_MichaelWayneTurnerIII_photocredit_Dwana-Stewart-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_HOME_JasmineMilanWilliams_MichaelWayneTurnerIII_photocredit_Dwana-Stewart-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_HOME_JasmineMilanWilliams_MichaelWayneTurnerIII_photocredit_Dwana-Stewart-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_HOME_JasmineMilanWilliams_MichaelWayneTurnerIII_photocredit_Dwana-Stewart-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_HOME_JasmineMilanWilliams_MichaelWayneTurnerIII_photocredit_Dwana-Stewart.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jasmine Milan Williams (foreground) and Michael Wayne Turner III in Star Finch’s ‘H.O.M.E.’ \u003ccite>(D'wana Stewart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still writing new chapters in their decades-long saga, Campo Santo has been long accustomed to making do with limited resources. For them, the shift from physical space to a digital one has been no more abrupt than their earlier shifts from Valencia Street to the Chronicle Building downtown to traveling, unrooted, from space to space. Times are hard and the current conditions are challenging, but when all is said and done, the fact that they have each other’s backs is a blessing and a boon. Resilience.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full 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>\u003cem>Marga Gomez’ \u003cem>The Spanking Machine\u003c/em> runs through July 25. \u003ca href=\"http://dixonplace.org/performances/spanking-machine-2020/\">Details here.\u003c/a> Campo Santo’s virtual throwback series and show announcements are \u003ca href=\"http://www.facebook.com/camposantosf/\">available here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n challenging times, it’s tales of resilience that resonate most. And the tellers of those tales shine all the brighter, as inspiring beacons against the gloom.\u003c/p>\n\u003cp>In San Francisco, some of our most consistently resilient performers are those who built their reputations not in the “traditional” performance spaces downtown, but in their own neighborhoods, creating work by, for, and of the communities that inspired them and called them their own. One neighborhood that’s long been a bastion for these community-rooted artists is the Mission District, and two of its long-term survivors—Marga Gomez and Campo Santo—are not letting the pandemic slow them down.\u003c/p>\n\u003cp>One part comedian, one part solo performer, one part consummate host and all parts wholly original, Marga Gomez is resilience personified. Holding it down in a liminal space straddling the Castro and the Mission District since the early 1980s, her resume is a wild ride through some of San Francisco’s most memorable cultural highlights. From taking the stage at the first-ever Folsom Street Fair (then called “Megahood”) to working with the long-running San Francisco Mime Troupe, and then being pulled into the first incarnation of Latinx comedy supergroup Culture Clash by Rene Yanez, Gomez has continued to make her mark by always evolving her craft to fit the circumstances.\u003c/p>\n\u003cp>“A lot of my career has been accidents…opportunities…that I adapted to,” she admits with her signature, gap-toothed smile.\u003c/p>\n\u003cfigure id=\"attachment_13883622\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883622\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_LatinStandards_PhotoCredit_Fabian_Echevarria.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marga Gomez performs in her 12th solo show, ‘Latin Standards.’ \u003ccite>(Fabian Echevarria)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even being shut down on opening night for her 13th solo show—\u003cem>The Spanking Machine\u003c/em>, at Brava Theater Center—couldn’t dim Gomez’ creative spark. Within two weeks of the shutdown, Gomez had already launched the first of many virtual comedy shows, the format of which she’s tweaked with each subsequent edition. First there were midday comedy brunches, then afternoon “high tea,” a Cinco de Mayo bash, a birthday party doubling as a political fundraiser, and, most recently, 30-minute “queer quickies” with co-host, the fabulous Jesús U. BettaWork. And finally, at long last, live-streamed performances of \u003cem>The Spanking Machine\u003c/em>, running through July 25.\u003c/p>\n\u003cfigure id=\"attachment_13883623\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883623\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/MargaGomez_headshot_courtesyoftheartist-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_headshot_courtesyoftheartist-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_headshot_courtesyoftheartist-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_headshot_courtesyoftheartist-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/MargaGomez_headshot_courtesyoftheartist.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marga Gomez and her signature smile. \u003ccite>(Courtesy of Marga Gomez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reminiscing about her truncated run at Brava, Gomez ruefully recalls wishing that she wouldn’t “have to perform on Friday the 13th,” a wish that came all too true with the shutdown. Now scheduled as part of Dixon Place’s long-running LQBTQ+ HOT! Festival, Gomez takes the virtual stage from home. Combining clips from her invited dress rehearsal at Brava with live performance, telling a story of a long-lost friend, and a dark secret from the past. Like her other solo shows, it’s intensely personal, often hilarious, and paints a vivid picture of Gomez’ particular experience: an out-gay, Latinx comic, living a life brimming with equal measures of serendipity and struggle. And though she longs to perform in public spaces again, for the moment, Gomez is glad to be able to innovate from home.\u003c/p>\n\u003cp>“These projects are keeping me sane! I’ll do the show, and if the camera freezes for a minute, guess what? This is a pleasure, this is a\u003cem> respite\u003c/em>,” she emphasizes. Resilience.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">F\u003c/span>ar from a solo act, the incomparable Campo Santo, a company prioritizing Bay Area-born voices and people of color, has created work as a tight-knit ensemble since 1996. More than a “writers” theater, Campo Santo has nonetheless cultivated a pantheon of great writers, from Luís Saguar to Luis Alfaro, Chinaka Hodge to Star Finch. More than an “actors” theater, Campo Santo has embraced the plurality of its community, and created opportunities for first-time performers and professionals alike. To be a member of Campo Santo might take years of exploring where you fit in, the ability to transform and grow in new directions. A journey embodied by ten-year veteran of the company A.M. Smiley, whose artistic evolution from production manager to featured playwright can be tied specifically to the support offered by the Campo Santo \u003cem>familia.\u003c/em>\u003c/p>\n\u003cp>While the company experiments with ways to create on digital platforms—promising more information on new shows soon—they’ve programmed a series of screenings of past shows for an enthusiastic online audience. At a recent showing of \u003cem>Ethos de Masquerade\u003c/em>—a work that combined powerful text mourning black lives lost to violence with the ceremonial power of a modern-day Masquerade dance ritual—the audience participation via chat was hundreds of messages long by the end of the show.\u003c/p>\n\u003cfigure id=\"attachment_13883624\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883624\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-800x446.jpg\" alt=\"\" width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-1020x568.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-1536x856.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato-1920x1069.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_superheroes_RickySaenz_Britney-Frazier_DelinaPatriceBrooks_photocredit_JoanOsato.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ricky Saenz, Britney Frazier and Delina Patrice Brooks in ‘Superheroes,’ by Sean San Jose. \u003ccite>(Joan Osato)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even in a Zoom interview with several core members of the company, the chat box continued to light up throughout with affirmations, such as when resident playwright Star Finch spoke to the ongoing reckoning at many theater institutions in regards to distribution of power, and pervasive racial inequities encoded in policy and practice.\u003c/p>\n\u003cp>“BOOM!” wrote Margo Hall, followed immediately by a “say that shit!” from Sean San Jose, who also punctuated the interview with snaps and hand signals whenever someone landed a particularly powerful point.\u003c/p>\n\u003cp>What comes through most indelibly is each member’s passion for their artistic home, and their recognition of its significance in their own practice.\u003c/p>\n\u003cp>“A big shock for me…is when I started doing shows outside of Campo Santo and I didn’t know that actors could do shows that they didn’t love,” actor and DJ (as Wonway Posibul) Juan Amador interjected at one point.\u003c/p>\n\u003cp>“Campo Santo gave me foundation that I would never be able to get anywhere else,” reflected co-founder Margo Hall. “Everything I learned in Campo Santo fueled me to be able to be the best and be myself at these other theaters. I learned to be able to walk in the door with myself, 100% authentic.”\u003c/p>\n\u003cfigure id=\"attachment_13883625\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883625\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/CampoSanto_HOME_JasmineMilanWilliams_MichaelWayneTurnerIII_photocredit_Dwana-Stewart-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_HOME_JasmineMilanWilliams_MichaelWayneTurnerIII_photocredit_Dwana-Stewart-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_HOME_JasmineMilanWilliams_MichaelWayneTurnerIII_photocredit_Dwana-Stewart-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_HOME_JasmineMilanWilliams_MichaelWayneTurnerIII_photocredit_Dwana-Stewart-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/CampoSanto_HOME_JasmineMilanWilliams_MichaelWayneTurnerIII_photocredit_Dwana-Stewart.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jasmine Milan Williams (foreground) and Michael Wayne Turner III in Star Finch’s ‘H.O.M.E.’ \u003ccite>(D'wana Stewart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still writing new chapters in their decades-long saga, Campo Santo has been long accustomed to making do with limited resources. For them, the shift from physical space to a digital one has been no more abrupt than their earlier shifts from Valencia Street to the Chronicle Building downtown to traveling, unrooted, from space to space. Times are hard and the current conditions are challenging, but when all is said and done, the fact that they have each other’s backs is a blessing and a boon. Resilience.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full 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>\u003cem>Marga Gomez’ \u003cem>The Spanking Machine\u003c/em> runs through July 25. \u003ca href=\"http://dixonplace.org/performances/spanking-machine-2020/\">Details here.\u003c/a> Campo Santo’s virtual throwback series and show announcements are \u003ca href=\"http://www.facebook.com/camposantosf/\">available here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>“I’m doing a flip off the boat,” said \u003ca href=\"https://www.instagram.com/jarrelmp/\" target=\"_blank\" rel=\"noopener noreferrer\">Jarrel Phillips\u003c/a>, breaking down last year’s performance at \u003cem>\u003ca href=\"https://remembering1619.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Remembering 1619\u003c/a>\u003c/em>, a play directed by Joanna Haigood of Zaccho Dance Theatre, which acknowledges the first shipment of enslaved Africans reaching Virginia 400 years ago.\u003c/p>\n\u003cp>“I’m one of the ones that decides, ‘I’m not having this, yo, I’m out,'” says Jarrel, summarizing his character in the play.\u003c/p>\n\u003cp>His onstage persona is much like Jarrel in real life: acrobatic, resilient and close to his roots. From the stage, Jarrel tells the story of Africans surviving in the Western hemisphere. In real life, Jarrel is part the story of how African Americans have survived on the West Coast of the United States.\u003c/p>\n\u003cp>His grandfather once ran a life insurance business in the heart of the Fillmore, on Fulton Street and Octavia Street; Jarrel and his family still use “the office,” as they call it, to this day.\u003c/p>\n\u003cfigure id=\"attachment_13883453\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883453\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Image-from-iOS-12-copy-800x1200.jpg\" alt=\"San Francisco's Jarrel Phillips, dancer, martial arts performer and photographer. \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-1020x1531.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy.jpg 1706w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco’s Jarrel Phillips, dancer, martial arts performer and photographer. \u003ccite>(Jarrel Phillips)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Between that office, a few different studios and community centers around the city, Jarrel finds places to practice his work. He’s a multitalented artist who has held \u003ca href=\"https://www.kqed.org/arts/13861969/the-importance-of-recreation-in-jarrel-phillips-how-we-play-exhibition\">photography exhibitions\u003c/a> at the San Francisco Public Library.\u003c/p>\n\u003cp>But our discussion focused on martial arts and modern dance and how he uses capoeira-based dance to tell the story of resilience in the African diaspora, while simultaneously living the latest chapter in the story.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC9031314306&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>A shorter version of this episode was first broadcast on August 28, 2019. Below is a lightly edited excerpt of my more recent conversation with Jarrel.\u003c/strong>\u003c/p>\n\u003cp>Jarrel: When Covid hit, I just decided I was going to sit down and sit still. Like, we’re always in this rush. And like Capoeira is always going to be there for me, I love capoeira, that’s not going anywhere. So one of my goals was to do a class for Black people. And I’ve been doing it only with my brother and his lady so far, because I want to set the tone, so when people come in there’s a family vibe. I have this idea of how do you respect someone else’s home if you don’t already respect your own? Right and you could tie that to local Black history, since you’re dealing with an art form that has to do with the African diaspora, Black diaspora, but maybe out in Brazil, which is Americas still, but also, to know your own, like exploring your own heritage a little bit.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I’m doing a flip off the boat,” said \u003ca href=\"https://www.instagram.com/jarrelmp/\" target=\"_blank\" rel=\"noopener noreferrer\">Jarrel Phillips\u003c/a>, breaking down last year’s performance at \u003cem>\u003ca href=\"https://remembering1619.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Remembering 1619\u003c/a>\u003c/em>, a play directed by Joanna Haigood of Zaccho Dance Theatre, which acknowledges the first shipment of enslaved Africans reaching Virginia 400 years ago.\u003c/p>\n\u003cp>“I’m one of the ones that decides, ‘I’m not having this, yo, I’m out,'” says Jarrel, summarizing his character in the play.\u003c/p>\n\u003cp>His onstage persona is much like Jarrel in real life: acrobatic, resilient and close to his roots. From the stage, Jarrel tells the story of Africans surviving in the Western hemisphere. In real life, Jarrel is part the story of how African Americans have survived on the West Coast of the United States.\u003c/p>\n\u003cp>His grandfather once ran a life insurance business in the heart of the Fillmore, on Fulton Street and Octavia Street; Jarrel and his family still use “the office,” as they call it, to this day.\u003c/p>\n\u003cfigure id=\"attachment_13883453\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13883453\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Image-from-iOS-12-copy-800x1200.jpg\" alt=\"San Francisco's Jarrel Phillips, dancer, martial arts performer and photographer. \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-1020x1531.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Image-from-iOS-12-copy.jpg 1706w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco’s Jarrel Phillips, dancer, martial arts performer and photographer. \u003ccite>(Jarrel Phillips)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Between that office, a few different studios and community centers around the city, Jarrel finds places to practice his work. He’s a multitalented artist who has held \u003ca href=\"https://www.kqed.org/arts/13861969/the-importance-of-recreation-in-jarrel-phillips-how-we-play-exhibition\">photography exhibitions\u003c/a> at the San Francisco Public Library.\u003c/p>\n\u003cp>But our discussion focused on martial arts and modern dance and how he uses capoeira-based dance to tell the story of resilience in the African diaspora, while simultaneously living the latest chapter in the story.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC9031314306&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>A shorter version of this episode was first broadcast on August 28, 2019. Below is a lightly edited excerpt of my more recent conversation with Jarrel.\u003c/strong>\u003c/p>\n\u003cp>Jarrel: When Covid hit, I just decided I was going to sit down and sit still. Like, we’re always in this rush. And like Capoeira is always going to be there for me, I love capoeira, that’s not going anywhere. So one of my goals was to do a class for Black people. And I’ve been doing it only with my brother and his lady so far, because I want to set the tone, so when people come in there’s a family vibe. I have this idea of how do you respect someone else’s home if you don’t already respect your own? Right and you could tie that to local Black history, since you’re dealing with an art form that has to do with the African diaspora, Black diaspora, but maybe out in Brazil, which is Americas still, but also, to know your own, like exploring your own heritage a little bit.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>For hundreds of Bay Area dwellers, July 4 is a day usually best spent in Dolores Park for the traditional opening performance of the “never ever silent” San Francisco Mime Troupe’s summer tour.\u003c/p>\n\u003cp>A tradition gleefully leaned into by the irreverent political theater company, the annual Mime Troupe show generally speaks to a specific topical issue across a wide thematic range, including for-profit schools, factory occupations, police violence and \u003ca href=\"https://www.kqed.org/arts/13860900/san-francisco-mime-troupe-celebrates-60-years-with-treasure-island\">land speculation and development\u003c/a>. Currently part of San Francisco’s LaborFest—which runs for the entire month of July—this worker-owned collective proudly wears its politics on its quirkily costumed sleeve.\u003c/p>\n\u003cp>This year, due to COVID-19 concerns, instead of gathering in the park, the Mime Troupe has changed their open-air musical theater approach to that of a more stay-at-home friendly format: a serialized radio drama. And though picnicking in my living room while listening in on the Fourth of July wasn’t quite the same as being surrounded by fellow Mime Troupe fans at the park, the knowledge that other folks were also tuning in online at the same time did give me a sense of solidarity.\u003c/p>\n\u003cfigure id=\"attachment_13882990\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/SFMimeTroupe_MichaelGeneSullivan_credit_LisaKeating-800x800.jpg\" alt=\"Michael Gene Sullivan penned and stars in 'Jade for Hire! The Mystery of the Missing Worker.'\" width=\"600\" height=\"600\" class=\"size-medium wp-image-13882990\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/SFMimeTroupe_MichaelGeneSullivan_credit_LisaKeating-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/SFMimeTroupe_MichaelGeneSullivan_credit_LisaKeating-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/SFMimeTroupe_MichaelGeneSullivan_credit_LisaKeating-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/SFMimeTroupe_MichaelGeneSullivan_credit_LisaKeating.jpg 1000w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Michael Gene Sullivan penned and stars in ‘Jade for Hire! The Mystery of the Missing Worker.’ \u003ccite>(Lisa Keating)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A brief half-hour long, the first episode of the Mime Troupe’s nine-week series is modeled after the hard-boiled detective noir. Written by and starring Michael Gene Sullivan, \u003cem>Jade, For Hire! The Mystery of the Missing Worker\u003c/em> sends the titular Jade on a search for a vanished tech worker, Derrick. Punctuated by droll, dystopian advertisements for surveillance systems and rest homes (written by Marie Cartier), \u003cem>Jade for Hire!\u003c/em> travels through a working-class milieu of bars, cabs, employment agencies, independent coffee shops, and whispers of unionization.\u003c/p>\n\u003cp>Voiced by Mime Troupe regulars, including the redoubtable Velina Brown as a crisp, no-nonsense case manager, Andre Amorotico as a nervous techie snitch, and former trouper Amos Glick as the interstitial announcer, \u003cem>The Mystery of the Missing Worker\u003c/em> culminates neatly with a twist that sets Jade up for future adventuring. As a spoof of serials past, it’s solid, quick-witted, and sets the bar high for subsequent episodes, which will satirize other radio-drama templates—namely adventure, horror, and science fiction.\u003c/p>\n\u003cfigure id=\"attachment_13882988\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882988\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/SFMT_MarieCartier_selfie-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/SFMT_MarieCartier_selfie-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/SFMT_MarieCartier_selfie-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/SFMT_MarieCartier_selfie-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/SFMT_MarieCartier_selfie-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/SFMT_MarieCartier_selfie.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Mime Troupe collective member Marie Cartier recording her vocals. \u003ccite>(Courtesy of San Francisco Mime Troupe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Interspersing their jocular dialogue with didactic thought-bubbles such as “if the people can’t make it with the current system, it’s not the people that have to change, it’s the system,” the Mime Troupe’s commitment to proselytizing to the workers makes their shows a perfect fit for LaborFest, now in its 27th year. Originally founded to run from July 5, the \u003ca href=\"http://beyondchron.org/bloody-thursday-1934-strike-shook-san-francisco-rocked-pacific-coast/\" rel=\"noopener noreferrer\" target=\"_blank\">anniversary\u003c/a> of “Bloody Thursday,” but now encompassing all of July, LaborFest has offered an eclectic lineup of panels, films, poetry readings, concerts and more interrogating the role of organized labor in the modern state since 1994.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This year’s array of educational discussion topics includes AB5, the so-called “gig worker” bill, public health, and the current status of the International Longshore and Warehouse Union—established after the 1934 West Coast Waterfront Strike, LaborFest’s \u003cem>raison d’etre\u003c/em>. For those more interested in artistic representation of labor politics and working-class struggle, LaborFest’s programming also includes plenty of presentations from poets, playwrights, and even visual artists—albeit mostly from virtual spaces.\u003c/p>\n\u003cp>One exception to the virtual programming: Shaping San Francisco’s in-person Labor History bicycle tour, which occurred on July 5. As keeping socially distanced on bicycles is easier than with most other congregate gatherings, this weekend’s sun-blessed tour was both an exploration of the past and a welcome nod to future possibility. Led by Chris Carlsson, instigator of crowdsourced history archive FoundSF, the Labor History tour is one of \u003ca href=\"http://www.shapingsf.org/tours.html\">Shaping San Francisco’s signature rides\u003c/a>. Wending its way through the Mission District to the waterfront, stopping at locations of labor monuments and moments, the four-hour tour gave participants a crash course in the role of unions and working-class rebellion in the building of San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13882986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13882986 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/chris-carlsson-labor-bike-tour-labor-temple-5-july-2020_credit_LisaRuthElliott-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/chris-carlsson-labor-bike-tour-labor-temple-5-july-2020_credit_LisaRuthElliott-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/chris-carlsson-labor-bike-tour-labor-temple-5-july-2020_credit_LisaRuthElliott-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/chris-carlsson-labor-bike-tour-labor-temple-5-july-2020_credit_LisaRuthElliott-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/chris-carlsson-labor-bike-tour-labor-temple-5-july-2020_credit_LisaRuthElliott.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A socially-distanced labor history bicycle tour with Shaping San Francisco. \u003ccite>(LisaRuth Elliott)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Straddling a line between “sightseeing” and “lecture series,” Shaping San Francisco’s primers of radical history are always informative, not least of all because they frequently attract other history buffs who contribute their own observations and findings to the conversation.\u003c/p>\n\u003cp>Broadly speaking, LaborFest’s multi-faceted examination of the Bay Area’s leftist legacies and leanings is a boon to the activity-starved. But more importantly, it offers a timely inquiry into class consciousness and worker solidarity during a moment where those concerns have risen to the forefront of national discourse.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/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>\u003c/p>\n\u003cp>\u003cem>LaborFest runs through July 31, 2020; \u003ca href=\"https://laborfest.net/\">details here\u003c/a>. Listen to San Francisco Mime Troupe radio shows (through Oct 24, 2020) \u003ca href=\"http://www.sfmt.org\">here\u003c/a>. Shaping San Francisco’s most popular walking tour—Beers, Dunes, and Trains—gets underway July 18, and their newest iteration, a boat cruise on the Bay, takes place July 24; \u003ca href=\"http://www.shapingsf.org/\" rel=\"noopener noreferrer\" target=\"_blank\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For hundreds of Bay Area dwellers, July 4 is a day usually best spent in Dolores Park for the traditional opening performance of the “never ever silent” San Francisco Mime Troupe’s summer tour.\u003c/p>\n\u003cp>A tradition gleefully leaned into by the irreverent political theater company, the annual Mime Troupe show generally speaks to a specific topical issue across a wide thematic range, including for-profit schools, factory occupations, police violence and \u003ca href=\"https://www.kqed.org/arts/13860900/san-francisco-mime-troupe-celebrates-60-years-with-treasure-island\">land speculation and development\u003c/a>. Currently part of San Francisco’s LaborFest—which runs for the entire month of July—this worker-owned collective proudly wears its politics on its quirkily costumed sleeve.\u003c/p>\n\u003cp>This year, due to COVID-19 concerns, instead of gathering in the park, the Mime Troupe has changed their open-air musical theater approach to that of a more stay-at-home friendly format: a serialized radio drama. And though picnicking in my living room while listening in on the Fourth of July wasn’t quite the same as being surrounded by fellow Mime Troupe fans at the park, the knowledge that other folks were also tuning in online at the same time did give me a sense of solidarity.\u003c/p>\n\u003cfigure id=\"attachment_13882990\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/SFMimeTroupe_MichaelGeneSullivan_credit_LisaKeating-800x800.jpg\" alt=\"Michael Gene Sullivan penned and stars in 'Jade for Hire! The Mystery of the Missing Worker.'\" width=\"600\" height=\"600\" class=\"size-medium wp-image-13882990\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/SFMimeTroupe_MichaelGeneSullivan_credit_LisaKeating-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/SFMimeTroupe_MichaelGeneSullivan_credit_LisaKeating-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/SFMimeTroupe_MichaelGeneSullivan_credit_LisaKeating-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/SFMimeTroupe_MichaelGeneSullivan_credit_LisaKeating.jpg 1000w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Michael Gene Sullivan penned and stars in ‘Jade for Hire! The Mystery of the Missing Worker.’ \u003ccite>(Lisa Keating)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A brief half-hour long, the first episode of the Mime Troupe’s nine-week series is modeled after the hard-boiled detective noir. Written by and starring Michael Gene Sullivan, \u003cem>Jade, For Hire! The Mystery of the Missing Worker\u003c/em> sends the titular Jade on a search for a vanished tech worker, Derrick. Punctuated by droll, dystopian advertisements for surveillance systems and rest homes (written by Marie Cartier), \u003cem>Jade for Hire!\u003c/em> travels through a working-class milieu of bars, cabs, employment agencies, independent coffee shops, and whispers of unionization.\u003c/p>\n\u003cp>Voiced by Mime Troupe regulars, including the redoubtable Velina Brown as a crisp, no-nonsense case manager, Andre Amorotico as a nervous techie snitch, and former trouper Amos Glick as the interstitial announcer, \u003cem>The Mystery of the Missing Worker\u003c/em> culminates neatly with a twist that sets Jade up for future adventuring. As a spoof of serials past, it’s solid, quick-witted, and sets the bar high for subsequent episodes, which will satirize other radio-drama templates—namely adventure, horror, and science fiction.\u003c/p>\n\u003cfigure id=\"attachment_13882988\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882988\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/SFMT_MarieCartier_selfie-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/SFMT_MarieCartier_selfie-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/SFMT_MarieCartier_selfie-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/SFMT_MarieCartier_selfie-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/SFMT_MarieCartier_selfie-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/SFMT_MarieCartier_selfie.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Francisco Mime Troupe collective member Marie Cartier recording her vocals. \u003ccite>(Courtesy of San Francisco Mime Troupe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Interspersing their jocular dialogue with didactic thought-bubbles such as “if the people can’t make it with the current system, it’s not the people that have to change, it’s the system,” the Mime Troupe’s commitment to proselytizing to the workers makes their shows a perfect fit for LaborFest, now in its 27th year. Originally founded to run from July 5, the \u003ca href=\"http://beyondchron.org/bloody-thursday-1934-strike-shook-san-francisco-rocked-pacific-coast/\" rel=\"noopener noreferrer\" target=\"_blank\">anniversary\u003c/a> of “Bloody Thursday,” but now encompassing all of July, LaborFest has offered an eclectic lineup of panels, films, poetry readings, concerts and more interrogating the role of organized labor in the modern state since 1994.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This year’s array of educational discussion topics includes AB5, the so-called “gig worker” bill, public health, and the current status of the International Longshore and Warehouse Union—established after the 1934 West Coast Waterfront Strike, LaborFest’s \u003cem>raison d’etre\u003c/em>. For those more interested in artistic representation of labor politics and working-class struggle, LaborFest’s programming also includes plenty of presentations from poets, playwrights, and even visual artists—albeit mostly from virtual spaces.\u003c/p>\n\u003cp>One exception to the virtual programming: Shaping San Francisco’s in-person Labor History bicycle tour, which occurred on July 5. As keeping socially distanced on bicycles is easier than with most other congregate gatherings, this weekend’s sun-blessed tour was both an exploration of the past and a welcome nod to future possibility. Led by Chris Carlsson, instigator of crowdsourced history archive FoundSF, the Labor History tour is one of \u003ca href=\"http://www.shapingsf.org/tours.html\">Shaping San Francisco’s signature rides\u003c/a>. Wending its way through the Mission District to the waterfront, stopping at locations of labor monuments and moments, the four-hour tour gave participants a crash course in the role of unions and working-class rebellion in the building of San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_13882986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13882986 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/chris-carlsson-labor-bike-tour-labor-temple-5-july-2020_credit_LisaRuthElliott-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/chris-carlsson-labor-bike-tour-labor-temple-5-july-2020_credit_LisaRuthElliott-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/chris-carlsson-labor-bike-tour-labor-temple-5-july-2020_credit_LisaRuthElliott-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/chris-carlsson-labor-bike-tour-labor-temple-5-july-2020_credit_LisaRuthElliott-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/chris-carlsson-labor-bike-tour-labor-temple-5-july-2020_credit_LisaRuthElliott.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A socially-distanced labor history bicycle tour with Shaping San Francisco. \u003ccite>(LisaRuth Elliott)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Straddling a line between “sightseeing” and “lecture series,” Shaping San Francisco’s primers of radical history are always informative, not least of all because they frequently attract other history buffs who contribute their own observations and findings to the conversation.\u003c/p>\n\u003cp>Broadly speaking, LaborFest’s multi-faceted examination of the Bay Area’s leftist legacies and leanings is a boon to the activity-starved. But more importantly, it offers a timely inquiry into class consciousness and worker solidarity during a moment where those concerns have risen to the forefront of national discourse.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/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>\u003c/p>\n\u003cp>\u003cem>LaborFest runs through July 31, 2020; \u003ca href=\"https://laborfest.net/\">details here\u003c/a>. Listen to San Francisco Mime Troupe radio shows (through Oct 24, 2020) \u003ca href=\"http://www.sfmt.org\">here\u003c/a>. Shaping San Francisco’s most popular walking tour—Beers, Dunes, and Trains—gets underway July 18, and their newest iteration, a boat cruise on the Bay, takes place July 24; \u003ca href=\"http://www.shapingsf.org/\" rel=\"noopener noreferrer\" target=\"_blank\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Hamilton' Comes Home, Just in Time For the Fourth of July",
"headTitle": "‘Hamilton’ Comes Home, Just in Time For the Fourth of July | KQED",
"content": "\u003cblockquote>\u003cp>We committed the unpardonable crime of being mavericks who were successful, and everybody hated us. It would’ve been fine if we’d been just hacks and made a lot of money, that’s okay. Or to be really original and starve, that’s okay. But it’s not okay to do both, and they didn’t forgive us.\u003c/p>\u003c/blockquote>\n\u003cp>That’s what Stephen Sondheim says in the 2016 documentary \u003cem>Best Worst Thing That Ever Could’ve Happened\u003c/em>. He’s speaking about the glee and meanness in the press and elsewhere over the commercial failure and quick closure of the 1981 musical \u003cem>Merrily We Roll Along\u003c/em>, which he created with producer and director Hal Prince after the successes they’d had with \u003cem>Follies \u003c/em>and especially \u003cem>Sweeney Todd\u003c/em>. Sondheim isn’t saying that’s why people didn’t like the show; he’s saying that’s why they took such pleasure in not liking it.\u003c/p>\n\u003cp>Talking about \u003cem>Hamilton \u003c/em>now can, if Sondheim is right, provoke a similar reaction. The film version of \u003cem>Hamilton\u003c/em> that arrives Friday on Disney+ is a film of the stage musical, assembled from three days of performances when the show was at its hottest, in June 2016, just before the original cast began to leave. \u003cem>Hamilton\u003c/em> was a juggernaut by then, and it’s a Disney movie now, but it was also “really original” and, let’s be honest: pretty high-risk.\u003c/p>\n\u003cp>It’s not just that it’s a race-bent hip-hop musical about the Founding Fathers. It’s almost entirely sung-through, meaning there’s little dialogue to flesh out the story. The company, outside the main characters, dresses in plain white and cream in what often looks like underwear. The staging plays with time, both by spinning it backward and forward and by stopping it entirely. And arguably its most humane, deeply felt performance is by Leslie Odom Jr. playing Aaron Burr, the man who kills the title character. And who reminds you in the opening number that that’s how this all ends: “I’m the damn fool that shot him.”\u003c/p>\n\u003cp>It’s easy to forget now how much people struggled with what to make of it. In a \u003ca href=\"https://www.youtube.com/watch?v=WNFf7nMIGnE\" target=\"_blank\" rel=\"noopener noreferrer\">now-famous clip from 2009\u003c/a>, filmed when Barack Obama had been president only a few months, 29-year-old Lin-Manuel Miranda appears at a White House event called “An Evening of Poetry, Music & the Spoken Word.” He announces, in front of an audience that is not terribly different from the big-ticket Broadway audience he’ll one day have to impress, that he’s working on a hip-hop concept album about Alexander Hamilton, and they laugh at him. Gently, appreciatively, but they laugh. Even by the end, though they give him a big ovation, they don’t seem entirely sure it’s not a joke.\u003c/p>\n\u003cp>Can you imagine what it must have been like to continue working on this for another \u003cem>five years\u003c/em>, having taken something you see as an epic American tragedy for a spin at the White House and having them laugh? And continuing, and persuading your collaborators to continue, in the conviction that this was your \u003cem>Sweeney Todd\u003c/em>, and not your \u003cem>Merrily We Roll Along\u003c/em>?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But here we are, 11 years later, and the film adaptation is a marvelous and welcome addition to the show’s legacy in spite of a few imperfections. Even for those who know the celebrated cast album backward and forward. Even for those who have seen it live. Even for those who have seen it live with this cast.\u003c/p>\n\u003cp>A few basics: This is not a full film adaptation such as the movie versions of \u003cem>Grease \u003c/em>or \u003cem>Rent \u003c/em>or whatever. It’s a high-quality recording of the stage production, like the ones they would show on PBS’ \u003cem>Great Performances \u003c/em>(where some of us thought this might end up when they announced they were filming the show back in 2016). It’s directed by Thomas Kail, who also directed the musical onstage, and for the most part, it does a good job of translating the show for a home audience.\u003c/p>\n\u003cp>One reason to watch the film is to better appreciate the acting. Close-ups of theater actors can be a little distracting because acting for theater is sometimes exaggerated for the benefit of an audience that’s far away. When you see it from a foot away, it can look a little much. (Miranda is probably the performer who’s most negatively affected by that problem in this film. Well, Miranda and Jonathan Groff, whose tendency to spit is legendary. You shall see.) Fortunately, in most cases, the opportunity to see the actors up close brings out nuance and performance choices that aren’t discernible on the cast album \u003cem>and \u003c/em>wouldn’t even be fully obvious live. Phillipa Soo, playing Eliza, brings great warmth to some scenes that could be hard to take given the long-suffering nature of the character, and you get more of that when you see it up close.\u003c/p>\n\u003cp>Another reason is that the staging has a tendency to bring out different elements—additional elements—of what a song represents in a scene. One example is “My Shot.” On the album, it’s a song where Hamilton is bonding with John Laurens (Anthony Ramos), Lafayette (Daveed Diggs) and Hercules Mulligan (Okieriete Odaodowan). But in the film, you can more easily see how it serves to introduce Hamilton’s magnetism; it’s not only his new friends who are persuaded; he’s pulling in a whole bar full of listeners while Aaron Burr (Odom) sits, disapproving, nearby.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DSCKfXpAGHc&feature=emb_logo\u003c/p>\n\u003cp>You also really have to see it to appreciate the quality of the very best performances in it, particularly the work of Odom and Diggs. Aaron Burr is a confounding, complicated character, and seeing Odom operate in different parts of the stage and in clearly different performance modes reminds you that just like Diggs is playing Jefferson and also Lafayette and Ramos is playing Laurens and also Hamilton’s son Philip, Odom is also really playing two roles. He’s playing Burr in the moment, as Hamilton’s contemporary. But he’s also playing an older, reflective Burr—the one who’s able to explain at the end the profound effects of his having shot Hamilton. This older Burr is an intimately involved narrator, almost like the Leading Player in \u003cem>Pippin \u003c/em>or the narrator in \u003cem>Into the Woods \u003c/em>(or, for the matter, the Emcee in \u003cem>Cabaret\u003c/em>), and his performance there swells to “The World Was Wide Enough,” which contains the duel and Hamilton’s death.\u003c/p>\n\u003cp>But Odom’s performance as that contemporary Burr centers on two of the show’s best songs: “Wait For It” and “The Room Where it Happens.”\u003c/p>\n\u003cp>In the first, he’s a study in stillness, in the projection of restrained, coiled-spring tension. It’s a song of both great energy and enormous discipline, and seeing him perform it gives a better idea of how he holds those performance notes in balance. In “The Room Where it Happens,” you see that energy overwhelm him. This is where he abandons his existing ideas of patience, and the physicality of the performance—this is really the first time he fully joins in a dance—brings home the moment of transformation in a way that the music certainly supports but doesn’t fully communicate. When you see the performance, it is jazz, it’s Cab Calloway, it’s ecstatic, it’s church. It’s thrilling, and he’s losing himself.\u003c/p>\n\u003cp>As for Diggs, a true fact might say more than any description I can muster: I couldn’t stop watching his entrance as Lafayette in the song “Guns and Ships.” I kept rewinding it. I’ve heard the cast album more times than I can count (my phone might know, but I’m afraid to ask), and I still was so blown away by the charismatic sonic boom of that Lafayette entrance that I replayed those 45 seconds or so probably 10 times before I moved on, and then 10 more times at the end of the movie, and then 10 more times since.\u003c/p>\n\u003cp>There is something about a perfect marriage of writing and performance—that’s not to say there haven’t been and won’t be lots and lots of good Lafayettes, but it’s pretty hard to hear anybody else sing \u003ca href=\"https://www.youtube.com/watch?v=uQEeTe6nPX4\" target=\"_blank\" rel=\"noopener noreferrer\">“Blow, Gabriel, Blow”\u003c/a> after you hear Ethel Merman do it, you know? The same could be said about Diggs’ little hopping dance when he first enters as Jefferson, in his gaudy and somehow perfect purple suit, flapping the tails while he dances to “What’d I Miss?” He is an electric, charismatic, athletic performer, and when you see the physical choices, you get closer to understanding the full weight of the work he did.\u003c/p>\n\u003cp>It’s also worth seeing the film, as an effort to document the live show, because the musical performances are a little less polished. A cast album is … well, it’s a cast album, meant to be listenable by the broadest possible audience without reference to the action. And because that’s the case, the live performances of the music tend to be a little more ragged—more raucous, to use a more positive adjective—while the ones on the album are neater. Specifically with hip-hop and rap, the cast album documents those elements with the most rigorous adherence to the beat, while in the live show, there’s a little bit more of a tendency for the performers to bend the vocal a bit more around the rhythms, sometimes a bit more ahead of the beat or behind it, which you also hear in the performance of “My Shot” credited to the Roots that plays over the end credits. [aside postid='arts_13882671']\u003c/p>\n\u003cp>The last thing I’d mention that comes into focus much better when you see how it’s staged is the creative use of the company. There’s a relatively small ensemble outside the main cast, and they have to represent armies and wedding guests, and they provide the chorus, and they are the dancers. The way they’re used is both sparing and imaginative, with limited but emphatic costuming changes transforming them between scenes. And similarly, it’s worth noticing how the members of the main cast linger on the catwalk above the stage, sometimes singing or speaking from there and sometimes simply observing, often augmenting the ensemble. It’s a clever and sometimes quite touching way to continue the theme, which begins in the double-casting, of connections between the people in a life, how they are in the background at one time and prominent at another.\u003c/p>\n\u003cp>I do think there are a couple of missteps: Rather than simply showing the unconventional staging of “Satisfied,” which is the most creatively staged number—alongside perhaps the duel in the finale—Kail seems to have tried to come up with a filming technique that would provide, via filming and editing, the disorienting effect that staging had. They should’ve just filmed it, with its tremendous performance by Renée Elise Goldsberry; you lose something here that’s special. I would say the same about the side-by-side two-chair staging of “Dear Theodosia,” in that I’d have messed with it a little less.\u003c/p>\n\u003cp>But these are small nitpicks. On the whole, absolutely, positively, there is new insight and new excitement here for people who already know that they love this show, and even for those who have stayed away from the album. \u003cem>Hamilton\u003c/em> is a piece whose status as art is constantly threatened by its status as a phenomenon and a status symbol; the cultural exhaustion has been, at times, very real and beyond understandable. This is a good reset, and a good chance to put a fresh eye on it. You will notice new things (there are a few clever stage tricks I don’t want to spoil), you will marvel at little wonders like the perfectly still way Groff holds his head when he sings, and you will likely not be bothered by a couple of f-bombs that are garbled to avoid an R rating. (Most aren’t. But the rules are strict, so a couple had to be.)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And if Sondheim is right, there will be plenty of people waiting for the next Lin-Manuel Miranda musical to go over like \u003cem>Merrily We Roll Along\u003c/em>. The film, I think, will not.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Hamilton%27+Comes+Home%2C+Just+In+Time+For+The+Fourth+Of+July&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cblockquote>\u003cp>We committed the unpardonable crime of being mavericks who were successful, and everybody hated us. It would’ve been fine if we’d been just hacks and made a lot of money, that’s okay. Or to be really original and starve, that’s okay. But it’s not okay to do both, and they didn’t forgive us.\u003c/p>\u003c/blockquote>\n\u003cp>That’s what Stephen Sondheim says in the 2016 documentary \u003cem>Best Worst Thing That Ever Could’ve Happened\u003c/em>. He’s speaking about the glee and meanness in the press and elsewhere over the commercial failure and quick closure of the 1981 musical \u003cem>Merrily We Roll Along\u003c/em>, which he created with producer and director Hal Prince after the successes they’d had with \u003cem>Follies \u003c/em>and especially \u003cem>Sweeney Todd\u003c/em>. Sondheim isn’t saying that’s why people didn’t like the show; he’s saying that’s why they took such pleasure in not liking it.\u003c/p>\n\u003cp>Talking about \u003cem>Hamilton \u003c/em>now can, if Sondheim is right, provoke a similar reaction. The film version of \u003cem>Hamilton\u003c/em> that arrives Friday on Disney+ is a film of the stage musical, assembled from three days of performances when the show was at its hottest, in June 2016, just before the original cast began to leave. \u003cem>Hamilton\u003c/em> was a juggernaut by then, and it’s a Disney movie now, but it was also “really original” and, let’s be honest: pretty high-risk.\u003c/p>\n\u003cp>It’s not just that it’s a race-bent hip-hop musical about the Founding Fathers. It’s almost entirely sung-through, meaning there’s little dialogue to flesh out the story. The company, outside the main characters, dresses in plain white and cream in what often looks like underwear. The staging plays with time, both by spinning it backward and forward and by stopping it entirely. And arguably its most humane, deeply felt performance is by Leslie Odom Jr. playing Aaron Burr, the man who kills the title character. And who reminds you in the opening number that that’s how this all ends: “I’m the damn fool that shot him.”\u003c/p>\n\u003cp>It’s easy to forget now how much people struggled with what to make of it. In a \u003ca href=\"https://www.youtube.com/watch?v=WNFf7nMIGnE\" target=\"_blank\" rel=\"noopener noreferrer\">now-famous clip from 2009\u003c/a>, filmed when Barack Obama had been president only a few months, 29-year-old Lin-Manuel Miranda appears at a White House event called “An Evening of Poetry, Music & the Spoken Word.” He announces, in front of an audience that is not terribly different from the big-ticket Broadway audience he’ll one day have to impress, that he’s working on a hip-hop concept album about Alexander Hamilton, and they laugh at him. Gently, appreciatively, but they laugh. Even by the end, though they give him a big ovation, they don’t seem entirely sure it’s not a joke.\u003c/p>\n\u003cp>Can you imagine what it must have been like to continue working on this for another \u003cem>five years\u003c/em>, having taken something you see as an epic American tragedy for a spin at the White House and having them laugh? And continuing, and persuading your collaborators to continue, in the conviction that this was your \u003cem>Sweeney Todd\u003c/em>, and not your \u003cem>Merrily We Roll Along\u003c/em>?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But here we are, 11 years later, and the film adaptation is a marvelous and welcome addition to the show’s legacy in spite of a few imperfections. Even for those who know the celebrated cast album backward and forward. Even for those who have seen it live. Even for those who have seen it live with this cast.\u003c/p>\n\u003cp>A few basics: This is not a full film adaptation such as the movie versions of \u003cem>Grease \u003c/em>or \u003cem>Rent \u003c/em>or whatever. It’s a high-quality recording of the stage production, like the ones they would show on PBS’ \u003cem>Great Performances \u003c/em>(where some of us thought this might end up when they announced they were filming the show back in 2016). It’s directed by Thomas Kail, who also directed the musical onstage, and for the most part, it does a good job of translating the show for a home audience.\u003c/p>\n\u003cp>One reason to watch the film is to better appreciate the acting. Close-ups of theater actors can be a little distracting because acting for theater is sometimes exaggerated for the benefit of an audience that’s far away. When you see it from a foot away, it can look a little much. (Miranda is probably the performer who’s most negatively affected by that problem in this film. Well, Miranda and Jonathan Groff, whose tendency to spit is legendary. You shall see.) Fortunately, in most cases, the opportunity to see the actors up close brings out nuance and performance choices that aren’t discernible on the cast album \u003cem>and \u003c/em>wouldn’t even be fully obvious live. Phillipa Soo, playing Eliza, brings great warmth to some scenes that could be hard to take given the long-suffering nature of the character, and you get more of that when you see it up close.\u003c/p>\n\u003cp>Another reason is that the staging has a tendency to bring out different elements—additional elements—of what a song represents in a scene. One example is “My Shot.” On the album, it’s a song where Hamilton is bonding with John Laurens (Anthony Ramos), Lafayette (Daveed Diggs) and Hercules Mulligan (Okieriete Odaodowan). But in the film, you can more easily see how it serves to introduce Hamilton’s magnetism; it’s not only his new friends who are persuaded; he’s pulling in a whole bar full of listeners while Aaron Burr (Odom) sits, disapproving, nearby.\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/DSCKfXpAGHc'\n title='//www.youtube.com/embed/DSCKfXpAGHc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>You also really have to see it to appreciate the quality of the very best performances in it, particularly the work of Odom and Diggs. Aaron Burr is a confounding, complicated character, and seeing Odom operate in different parts of the stage and in clearly different performance modes reminds you that just like Diggs is playing Jefferson and also Lafayette and Ramos is playing Laurens and also Hamilton’s son Philip, Odom is also really playing two roles. He’s playing Burr in the moment, as Hamilton’s contemporary. But he’s also playing an older, reflective Burr—the one who’s able to explain at the end the profound effects of his having shot Hamilton. This older Burr is an intimately involved narrator, almost like the Leading Player in \u003cem>Pippin \u003c/em>or the narrator in \u003cem>Into the Woods \u003c/em>(or, for the matter, the Emcee in \u003cem>Cabaret\u003c/em>), and his performance there swells to “The World Was Wide Enough,” which contains the duel and Hamilton’s death.\u003c/p>\n\u003cp>But Odom’s performance as that contemporary Burr centers on two of the show’s best songs: “Wait For It” and “The Room Where it Happens.”\u003c/p>\n\u003cp>In the first, he’s a study in stillness, in the projection of restrained, coiled-spring tension. It’s a song of both great energy and enormous discipline, and seeing him perform it gives a better idea of how he holds those performance notes in balance. In “The Room Where it Happens,” you see that energy overwhelm him. This is where he abandons his existing ideas of patience, and the physicality of the performance—this is really the first time he fully joins in a dance—brings home the moment of transformation in a way that the music certainly supports but doesn’t fully communicate. When you see the performance, it is jazz, it’s Cab Calloway, it’s ecstatic, it’s church. It’s thrilling, and he’s losing himself.\u003c/p>\n\u003cp>As for Diggs, a true fact might say more than any description I can muster: I couldn’t stop watching his entrance as Lafayette in the song “Guns and Ships.” I kept rewinding it. I’ve heard the cast album more times than I can count (my phone might know, but I’m afraid to ask), and I still was so blown away by the charismatic sonic boom of that Lafayette entrance that I replayed those 45 seconds or so probably 10 times before I moved on, and then 10 more times at the end of the movie, and then 10 more times since.\u003c/p>\n\u003cp>There is something about a perfect marriage of writing and performance—that’s not to say there haven’t been and won’t be lots and lots of good Lafayettes, but it’s pretty hard to hear anybody else sing \u003ca href=\"https://www.youtube.com/watch?v=uQEeTe6nPX4\" target=\"_blank\" rel=\"noopener noreferrer\">“Blow, Gabriel, Blow”\u003c/a> after you hear Ethel Merman do it, you know? The same could be said about Diggs’ little hopping dance when he first enters as Jefferson, in his gaudy and somehow perfect purple suit, flapping the tails while he dances to “What’d I Miss?” He is an electric, charismatic, athletic performer, and when you see the physical choices, you get closer to understanding the full weight of the work he did.\u003c/p>\n\u003cp>It’s also worth seeing the film, as an effort to document the live show, because the musical performances are a little less polished. A cast album is … well, it’s a cast album, meant to be listenable by the broadest possible audience without reference to the action. And because that’s the case, the live performances of the music tend to be a little more ragged—more raucous, to use a more positive adjective—while the ones on the album are neater. Specifically with hip-hop and rap, the cast album documents those elements with the most rigorous adherence to the beat, while in the live show, there’s a little bit more of a tendency for the performers to bend the vocal a bit more around the rhythms, sometimes a bit more ahead of the beat or behind it, which you also hear in the performance of “My Shot” credited to the Roots that plays over the end credits. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The last thing I’d mention that comes into focus much better when you see how it’s staged is the creative use of the company. There’s a relatively small ensemble outside the main cast, and they have to represent armies and wedding guests, and they provide the chorus, and they are the dancers. The way they’re used is both sparing and imaginative, with limited but emphatic costuming changes transforming them between scenes. And similarly, it’s worth noticing how the members of the main cast linger on the catwalk above the stage, sometimes singing or speaking from there and sometimes simply observing, often augmenting the ensemble. It’s a clever and sometimes quite touching way to continue the theme, which begins in the double-casting, of connections between the people in a life, how they are in the background at one time and prominent at another.\u003c/p>\n\u003cp>I do think there are a couple of missteps: Rather than simply showing the unconventional staging of “Satisfied,” which is the most creatively staged number—alongside perhaps the duel in the finale—Kail seems to have tried to come up with a filming technique that would provide, via filming and editing, the disorienting effect that staging had. They should’ve just filmed it, with its tremendous performance by Renée Elise Goldsberry; you lose something here that’s special. I would say the same about the side-by-side two-chair staging of “Dear Theodosia,” in that I’d have messed with it a little less.\u003c/p>\n\u003cp>But these are small nitpicks. On the whole, absolutely, positively, there is new insight and new excitement here for people who already know that they love this show, and even for those who have stayed away from the album. \u003cem>Hamilton\u003c/em> is a piece whose status as art is constantly threatened by its status as a phenomenon and a status symbol; the cultural exhaustion has been, at times, very real and beyond understandable. This is a good reset, and a good chance to put a fresh eye on it. You will notice new things (there are a few clever stage tricks I don’t want to spoil), you will marvel at little wonders like the perfectly still way Groff holds his head when he sings, and you will likely not be bothered by a couple of f-bombs that are garbled to avoid an R rating. (Most aren’t. But the rules are strict, so a couple had to be.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And if Sondheim is right, there will be plenty of people waiting for the next Lin-Manuel Miranda musical to go over like \u003cem>Merrily We Roll Along\u003c/em>. The film, I think, will not.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Hamilton%27+Comes+Home%2C+Just+In+Time+For+The+Fourth+Of+July&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'The Past Isn't Done With Us,' Says 'Hamilton' Creator Lin-Manuel Miranda",
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"content": "\u003cp>For \u003ca href=\"https://www.npr.org/artists/508048614/lin-manuel-miranda\" target=\"_blank\" rel=\"noopener noreferrer\">Lin-Manuel Miranda\u003c/a>, creator of the hip-hop musical \u003cem>Hamilton\u003c/em>, history always informs the present. “The past isn’t done with us. Ever, ever, ever,” he says.\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> tells the story of the nation’s founding fathers, including Treasury Secretary Alexander Hamilton. Miranda wrote the music and lyrics and starred in the original production, which debuted on Broadway in 2015. The production garnered 11 Tony Awards, a Pulitzer Prize for drama and a Grammy for its original cast recording.\u003c/p>\n\u003cp>Miranda’s been heartened to see the musical’s lyrics—including “I’m past patiently waiting” and “History has its eyes on you”—printed on signs at \u003ca href=\"https://www.npr.org/2020/06/06/871553038/largely-peaceful-anti-police-brutality-protests-continue-across-the-country\" target=\"_blank\" rel=\"noopener noreferrer\">Black Lives Matter protests \u003c/a>around the country.\u003c/p>\n\u003cp>“When you write a musical that brushes against sort of the origins of this country, it’s always going to be relevant,” he says. “The fights we had at the [country’s] origin are the fights we’re still having. … I’ve always said that slavery is the original sin of this country.”\u003c/p>\n\u003cp>A film of the original Broadway production of \u003cem>Hamilton,\u003c/em> taped in 2016\u003cem>, \u003c/em>will begin streaming on Disney+ on July 3. Miranda, who stars in the title role, calls the film a “a love letter and thank you” to the company.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s probably the best rehearsed movie cast of all time, because we’d been doing our roles for a year,” Miranda says. “It’s not a definitive production of a live\u003cem> Hamilton\u003c/em>, but it is a snapshot of what it felt like with that company at the end of June of 2016.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DSCKfXpAGHc\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the way \u003c/strong>\u003cstrong>\u003cem>Hamilton \u003c/em>\u003c/strong>\u003cstrong>fits into the country’s current conversation about systemic racism and the legacy of slavery \u003c/strong>\u003c/p>\n\u003cp>[Slavery] is in the third line of our show. It’s a system in which every character in our show is complicit in some way or another. And again, I think different things resonate differently. …\u003c/p>\n\u003cp>Hamilton—although he voiced anti-slavery beliefs—remained complicit in the system. And other than calling out Jefferson on his hypocrisy with regards to slavery in Act 2, doesn’t really say much else over the course of Act 2. And I think that’s actually pretty honest. … He didn’t really do much about it after that. None of them did. None of them did enough. And we say that, too, in the final moments of the song. So that hits differently now because we’re having a conversation, we’re having a real reckoning of how do you uproot an original sin?\u003c/p>\n\u003cp>\u003cstrong>On creating Broadway roles for people of color with \u003c/strong>\u003cem>\u003cstrong>Hamilton \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Listen, I’m a musical theater composer because I couldn’t be just a musical theater actor. If I’d settled for being a musical theater actor I’d be hopefully auditioning for a bus-and-truck [production] of \u003cem>West Side Story \u003c/em>somewhere. … The realization landed on me early, like there’s no life for you in musical theater because there are no parts. And \u003cem>In the Heights\u003c/em> [Miranda’s first Broadway production] really came out of a result of seeing [and] writing what I saw as missing in the musical theater canon for Latinos, and really as simple as: Can we not be holding knives in a gang in the ’50s? Because that exists. And like, what do we have to show for it nearly 50 years later?\u003c/p>\n\u003cp>And so every time I write a piece of theater, I’m trying to get us on the board. And that continued with \u003cem>Hamilton\u003c/em>, of, how can we write the parts that I didn’t see existing? Really, the only thing I saw that really gave me permission to write musicals was\u003cem> Rent\u003c/em>, which was an incredibly diverse cast. And I went from being a fan of musicals to writing musicals when I saw that show, because it was the thing that gave me permission. It was contemporary and it had Latino actors and Black actors, and it told me you’re allowed to write what you know into a show. No other musical had told me that. … It’s been gratifying to see how these shows\u003cem> Heights\u003c/em> and \u003cem>Hamilton\u003c/em> in particular, not only provide employment, but also provide like permission and amplification of a lot of other voices.\u003c/p>\n\u003cp>\u003cstrong>On this work being ongoing \u003c/strong>\u003c/p>\n\u003cp>I never bought into the illusion that the Obamas being in the White House ended racial issues in our country. Just the same way I used to get the question all the time in that first year of, “Now that \u003cem>Hamilton\u003c/em>‘s here, do you feel like Broadway will be more diverse?” And I was like, no, because shows take years to develop. And I know what’s in the pipeline and it’s not [diverse]. Next year is going to be even whiter than this year was. … I gird myself for the whiplash in both the country and the particular corner of the world that is theater.\u003c/p>\n\u003cp>\u003cstrong>On being a Puerto Rican kid\u003c/strong>\u003c/p>\n\u003cp>I went to a school with not a lot of other Latino kids. I think [there was] one other Puerto Rican kid in my grade. And so for me, it was this fantastic secret. And my parents were so proudly Puerto Rican and so pro-learning [our] heritage that I was proud that I got extra Three Kings Day on top of Christmas. …\u003c/p>\n\u003cp>I also would spend my summers on [Puerto Rico], this beautiful island where my grandparents both worked. My grandmother ran a travel agency and my grandfather was a bank manager. And I bounced between their businesses eating candy and left to my own devices, exploring town, and was sort of spoiled rotten in this incredible landscape. …\u003c/p>\n\u003cp>So it to me, it felt additive. But it also wasn’t something I brought to school much. And I think a lot of \u003cem>In the Heights \u003c/em>was me learning to bring all of myself in the room. I let most folks call me Lin. My parents and my wife call me Lin-Manuel, and a lot of what\u003cem> In the Heights \u003c/em>was about was bringing Lin-Manuel into the same room where Lin was writing musicals and sort of using all of myself to write.\u003c/p>\n\u003cp>\u003cstrong>On seeing his musical \u003c/strong>\u003cstrong>\u003cem>In the Heights\u003c/em>\u003c/strong>\u003cstrong> brought to the screen on a large scale—the film is scheduled for release in 2021\u003c/strong>\u003c/p>\n\u003cp>I have to give [director] Jon [M. Chu] a lot of credit, because he had a big vision for it and it was bigger than even my vision of it. I always sort of pictured it as this little indie musical and hopefully we could film it in our neighborhood, because I just don’t think any other neighborhood looks like [New York City’s] Washington Heights. Demographics aside, the hills and the bridge and the literal heights of it, I find it breathtaking every day. I breathe easier when I’m in it.\u003c/p>\n\u003cp>But Jon also was coming off the success of \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/08/15/638775885/in-crazy-rich-asians-jon-chu-directs-all-asian-cast\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Crazy Rich Asians\u003c/em>\u003c/a>. And what he learned on that was, we don’t get a lot of opportunities like this, so we have to swing big. And he really lobbied for a big movie that is also set in this neighborhood. And so filming last summer was one of those joyous experiences of my life because, again, I was writing songs about this neighborhood I loved to be performed on stage. But then to see those songs reinterpreted on the streets where I was writing them was breathtaking.\u003c/p>\n\u003cp>\u003cstrong> On not putting pressure on himself to be creatively productive during the pandemic \u003c/strong>\u003c/p>\n\u003cp>[I] feed so much on the energy of the city, and I miss that. One of my favorite writing spots is actually taking the train, because you kind of choose your level of engagement. I can sit in a corner of the A train. I can absorb the energy from the folks around me, whatever mariachi or break-dancing group might be happening, wherever folks are getting on and whatever lives are coming on and off the train. And I still have my headphones on and still be in my bubble and write. It’s like all of the energy of interaction without necessarily being drawn out of the writing trance. So I think I miss that the most. …\u003c/p>\n\u003cp>I’d love to be able to tell you that I am writing \u003cem>King Lear\u003c/em> or the sonnets now that the plagues have closed all the playhouses. I’m afraid I can’t, because I’m as worried about the world as anyone else. I think I wake up with stomachaches more often than I don’t, because I worry about what’s going on. I worry about my city reopening too soon and having a second spike. I worry about the protesters and hoping they’re okay. I worry about all the things everyone is worried about.\u003c/p>\n\u003cp>And I find that because I’m home, it is harder to … distance myself from those thoughts. … And I think that’s okay. Like, the world is being remade in a fundamentally different way because of this pandemic, and just because of where we are. And artists have to give themselves the latitude to acknowledge that. So give yourself a break if you’re not writing right now.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Past+Isn%27t+Done+With+Us%2C%27+Says+%27Hamilton%27+Creator+Lin-Manuel+Miranda+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For \u003ca href=\"https://www.npr.org/artists/508048614/lin-manuel-miranda\" target=\"_blank\" rel=\"noopener noreferrer\">Lin-Manuel Miranda\u003c/a>, creator of the hip-hop musical \u003cem>Hamilton\u003c/em>, history always informs the present. “The past isn’t done with us. Ever, ever, ever,” he says.\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> tells the story of the nation’s founding fathers, including Treasury Secretary Alexander Hamilton. Miranda wrote the music and lyrics and starred in the original production, which debuted on Broadway in 2015. The production garnered 11 Tony Awards, a Pulitzer Prize for drama and a Grammy for its original cast recording.\u003c/p>\n\u003cp>Miranda’s been heartened to see the musical’s lyrics—including “I’m past patiently waiting” and “History has its eyes on you”—printed on signs at \u003ca href=\"https://www.npr.org/2020/06/06/871553038/largely-peaceful-anti-police-brutality-protests-continue-across-the-country\" target=\"_blank\" rel=\"noopener noreferrer\">Black Lives Matter protests \u003c/a>around the country.\u003c/p>\n\u003cp>“When you write a musical that brushes against sort of the origins of this country, it’s always going to be relevant,” he says. “The fights we had at the [country’s] origin are the fights we’re still having. … I’ve always said that slavery is the original sin of this country.”\u003c/p>\n\u003cp>A film of the original Broadway production of \u003cem>Hamilton,\u003c/em> taped in 2016\u003cem>, \u003c/em>will begin streaming on Disney+ on July 3. Miranda, who stars in the title role, calls the film a “a love letter and thank you” to the company.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s probably the best rehearsed movie cast of all time, because we’d been doing our roles for a year,” Miranda says. “It’s not a definitive production of a live\u003cem> Hamilton\u003c/em>, but it is a snapshot of what it felt like with that company at the end of June of 2016.”\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/DSCKfXpAGHc'\n title='//www.youtube.com/embed/DSCKfXpAGHc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the way \u003c/strong>\u003cstrong>\u003cem>Hamilton \u003c/em>\u003c/strong>\u003cstrong>fits into the country’s current conversation about systemic racism and the legacy of slavery \u003c/strong>\u003c/p>\n\u003cp>[Slavery] is in the third line of our show. It’s a system in which every character in our show is complicit in some way or another. And again, I think different things resonate differently. …\u003c/p>\n\u003cp>Hamilton—although he voiced anti-slavery beliefs—remained complicit in the system. And other than calling out Jefferson on his hypocrisy with regards to slavery in Act 2, doesn’t really say much else over the course of Act 2. And I think that’s actually pretty honest. … He didn’t really do much about it after that. None of them did. None of them did enough. And we say that, too, in the final moments of the song. So that hits differently now because we’re having a conversation, we’re having a real reckoning of how do you uproot an original sin?\u003c/p>\n\u003cp>\u003cstrong>On creating Broadway roles for people of color with \u003c/strong>\u003cem>\u003cstrong>Hamilton \u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Listen, I’m a musical theater composer because I couldn’t be just a musical theater actor. If I’d settled for being a musical theater actor I’d be hopefully auditioning for a bus-and-truck [production] of \u003cem>West Side Story \u003c/em>somewhere. … The realization landed on me early, like there’s no life for you in musical theater because there are no parts. And \u003cem>In the Heights\u003c/em> [Miranda’s first Broadway production] really came out of a result of seeing [and] writing what I saw as missing in the musical theater canon for Latinos, and really as simple as: Can we not be holding knives in a gang in the ’50s? Because that exists. And like, what do we have to show for it nearly 50 years later?\u003c/p>\n\u003cp>And so every time I write a piece of theater, I’m trying to get us on the board. And that continued with \u003cem>Hamilton\u003c/em>, of, how can we write the parts that I didn’t see existing? Really, the only thing I saw that really gave me permission to write musicals was\u003cem> Rent\u003c/em>, which was an incredibly diverse cast. And I went from being a fan of musicals to writing musicals when I saw that show, because it was the thing that gave me permission. It was contemporary and it had Latino actors and Black actors, and it told me you’re allowed to write what you know into a show. No other musical had told me that. … It’s been gratifying to see how these shows\u003cem> Heights\u003c/em> and \u003cem>Hamilton\u003c/em> in particular, not only provide employment, but also provide like permission and amplification of a lot of other voices.\u003c/p>\n\u003cp>\u003cstrong>On this work being ongoing \u003c/strong>\u003c/p>\n\u003cp>I never bought into the illusion that the Obamas being in the White House ended racial issues in our country. Just the same way I used to get the question all the time in that first year of, “Now that \u003cem>Hamilton\u003c/em>‘s here, do you feel like Broadway will be more diverse?” And I was like, no, because shows take years to develop. And I know what’s in the pipeline and it’s not [diverse]. Next year is going to be even whiter than this year was. … I gird myself for the whiplash in both the country and the particular corner of the world that is theater.\u003c/p>\n\u003cp>\u003cstrong>On being a Puerto Rican kid\u003c/strong>\u003c/p>\n\u003cp>I went to a school with not a lot of other Latino kids. I think [there was] one other Puerto Rican kid in my grade. And so for me, it was this fantastic secret. And my parents were so proudly Puerto Rican and so pro-learning [our] heritage that I was proud that I got extra Three Kings Day on top of Christmas. …\u003c/p>\n\u003cp>I also would spend my summers on [Puerto Rico], this beautiful island where my grandparents both worked. My grandmother ran a travel agency and my grandfather was a bank manager. And I bounced between their businesses eating candy and left to my own devices, exploring town, and was sort of spoiled rotten in this incredible landscape. …\u003c/p>\n\u003cp>So it to me, it felt additive. But it also wasn’t something I brought to school much. And I think a lot of \u003cem>In the Heights \u003c/em>was me learning to bring all of myself in the room. I let most folks call me Lin. My parents and my wife call me Lin-Manuel, and a lot of what\u003cem> In the Heights \u003c/em>was about was bringing Lin-Manuel into the same room where Lin was writing musicals and sort of using all of myself to write.\u003c/p>\n\u003cp>\u003cstrong>On seeing his musical \u003c/strong>\u003cstrong>\u003cem>In the Heights\u003c/em>\u003c/strong>\u003cstrong> brought to the screen on a large scale—the film is scheduled for release in 2021\u003c/strong>\u003c/p>\n\u003cp>I have to give [director] Jon [M. Chu] a lot of credit, because he had a big vision for it and it was bigger than even my vision of it. I always sort of pictured it as this little indie musical and hopefully we could film it in our neighborhood, because I just don’t think any other neighborhood looks like [New York City’s] Washington Heights. Demographics aside, the hills and the bridge and the literal heights of it, I find it breathtaking every day. I breathe easier when I’m in it.\u003c/p>\n\u003cp>But Jon also was coming off the success of \u003ca href=\"https://www.npr.org/sections/codeswitch/2018/08/15/638775885/in-crazy-rich-asians-jon-chu-directs-all-asian-cast\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Crazy Rich Asians\u003c/em>\u003c/a>. And what he learned on that was, we don’t get a lot of opportunities like this, so we have to swing big. And he really lobbied for a big movie that is also set in this neighborhood. And so filming last summer was one of those joyous experiences of my life because, again, I was writing songs about this neighborhood I loved to be performed on stage. But then to see those songs reinterpreted on the streets where I was writing them was breathtaking.\u003c/p>\n\u003cp>\u003cstrong> On not putting pressure on himself to be creatively productive during the pandemic \u003c/strong>\u003c/p>\n\u003cp>[I] feed so much on the energy of the city, and I miss that. One of my favorite writing spots is actually taking the train, because you kind of choose your level of engagement. I can sit in a corner of the A train. I can absorb the energy from the folks around me, whatever mariachi or break-dancing group might be happening, wherever folks are getting on and whatever lives are coming on and off the train. And I still have my headphones on and still be in my bubble and write. It’s like all of the energy of interaction without necessarily being drawn out of the writing trance. So I think I miss that the most. …\u003c/p>\n\u003cp>I’d love to be able to tell you that I am writing \u003cem>King Lear\u003c/em> or the sonnets now that the plagues have closed all the playhouses. I’m afraid I can’t, because I’m as worried about the world as anyone else. I think I wake up with stomachaches more often than I don’t, because I worry about what’s going on. I worry about my city reopening too soon and having a second spike. I worry about the protesters and hoping they’re okay. I worry about all the things everyone is worried about.\u003c/p>\n\u003cp>And I find that because I’m home, it is harder to … distance myself from those thoughts. … And I think that’s okay. Like, the world is being remade in a fundamentally different way because of this pandemic, and just because of where we are. And artists have to give themselves the latitude to acknowledge that. So give yourself a break if you’re not writing right now.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Past+Isn%27t+Done+With+Us%2C%27+Says+%27Hamilton%27+Creator+Lin-Manuel+Miranda+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>“We stand on this ground as BIPOC theatremakers, multi-generational, at varied stages in our careers, but fiercely in love with the Theatre. Too much to continue it under abuse.” –We See You, White American Theater (open letter published June 8, 2020)\u003c/em>\u003c/p>\n\u003cp>As structural racial inequities continue to be brought to national attention, the BIPOC theater community has publicly joined the fray. On June 7, 2020 \u003ca href=\"https://www.weseeyouwat.com/\">an open letter to “white American theater” was published nationally\u003c/a> with over 300 signatories, calling out entrenched racism in the industry. Just one week prior, a Google document—entitled “Theaters Not Speaking Out”—gathered together the names of institutions who had not made visible their support of Black Lives Matter or the national protests demanding racial justice.\u003c/p>\n\u003cp>And locally, on June 9, another Google document—titled “Living Document of POC Experiences in Bay Area Theatre Co.”—was posted in a closed Bay Area theater Facebook group by local theater-maker Ely Sonny Orquiza.\u003c/p>\n\u003cp>The “living document” encouraged BIPOC Bay Area theater-makers to contribute their personal experiences of racist behaviors within the theater industry. Examples ranged in scope and severity, and as the document grew, so did its reach, eventually encompassing the entire region.\u003c/p>\n\u003cp>Not everyone with access to the document appreciated the openness of the forum, and over the next few days, attempts were made to shut the document down. At one point, all of the contents were deleted by an unknown individual.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After restoring the document to a previously archived version, Orquiza shut off editing access to everyone, but left the document up for viewing. Last updated on June 12, the document contains almost 600 testimonials; some as simple as a single sentence, and some many detailed paragraphs long.\u003c/p>\n\u003cp>Prior to creating the document, Orquiza had invited his Facebook followers to leave comments on two questions on his personal page: “As a POC artist, what m(i/a)cro-aggression and overt racism have you experienced in the theater?” and “As a White artist what have you observed and how have you participated or perpetuated these instances (un/knowingly)?” The magnitude of the response helped spark the idea for his “living document,” which could be added to with the additional cover of anonymity.\u003c/p>\n\u003cp>“There is a deep-seated anguish and pain that Black and brown artists in our region have kept and shut for so long due to lack of avenues to air grievances with full confidentiality, fear of reprimand and/or blacklist, and re-traumatizing and further the harm,” Orquiza writes in an email. He also notes that he fully expects to be reprimanded professionally as the originator of the document. Like many theater creatives, Orquiza’s resumé is multi-faceted, and as of our email exchange, only one of his employers, the Gritty City Repertory, had promised support.\u003c/p>\n\u003cfigure id=\"attachment_13882278\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882278\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/nickymartinez_DanielZafer-Joyce-800x1066.jpg\" alt=\"\" width=\"600\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/nickymartinez_DanielZafer-Joyce-800x1066.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/nickymartinez_DanielZafer-Joyce-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/nickymartinez_DanielZafer-Joyce-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/nickymartinez_DanielZafer-Joyce.jpg 1000w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Nicky Martinez of Theatre Bay Area found contributing to the living document ‘cathartic.’ \u003ccite>(Daniel Zafer-Joyce)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Nicky Martinez, an early contributor to the document, the opportunity to participate was cathartic. The programs and grants coordinator at Theatre Bay Area, San Francisco-born Martinez has not only experienced racial and gendered bias personally while working in Bay Area theater, but has witnessed it enacted institutionally on numerous occasions. The opportunity to engage with the document, both as a contributor and a witness has been revelatory.\u003c/p>\n\u003cp>“We’ve (BIPOC and trans folks) been silenced for so long, that it is finally time to pay attention to this,” Martinez says, “(and) to have people really understand that this has been going on a lot longer than they think.”\u003c/p>\n\u003cp>With Orquiza, and support from Theatre Bay Area, Martinez is helping to create a virtual “\u003ca href=\"https://www.theatrebayarea.org/events/EventDetails.aspx?id=1392774&group=\">healing space\u003c/a>” and forum, where the document can be discussed and action steps crafted for theaters and theater-makers moving forward, “holding them more accountable.” (Fellow document contributor Ashley Smiley—a Campo Santo member as well as theater and facilities manager for the Bayview Opera House—will help to moderate a breakout room of POC participants, while SK Kerastas will do the same for white allies.)\u003c/p>\n\u003cp>As of now, very few of the theaters named in the document have made a public statement on its contents. But on June 11, sketch comedy troupe Killing My Lobster issued a detailed public apology for harm caused and an action plan for moving forward, including enacting more equitable casting policies and two new hires to support their comedy writing courses. For artistic director Allison Page, to not speak publicly was “not an option.”\u003c/p>\n\u003cp>“After reading over the harrowing personal experiences in that document, I expected to see a lot of apologies,” she explains. “I’m stunned to not be seeing that. But you know who isn’t stunned? BIPOC theatre artists, who had no reason to believe that the industry which has taken advantage of their talents without recognizing their personhood for centuries would suddenly turn around entirely and take accountability for harmful actions.”\u003c/p>\n\u003cfigure id=\"attachment_13882277\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882277\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Dominique-Gelin-photo-by-Katy-Karns-800x964.jpg\" alt=\"\" width=\"600\" height=\"723\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Dominique-Gelin-photo-by-Katy-Karns-800x964.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Dominique-Gelin-photo-by-Katy-Karns-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Dominique-Gelin-photo-by-Katy-Karns-768x925.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Dominique-Gelin-photo-by-Katy-Karns.jpg 1000w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Dominique Gelin, one of Killing My Lobster’s new hires, will help to create better accountability and equity in the comedy classroom. \u003ccite>(Katy Karns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Having had time for reflection, Orquiza admits that he has reservations about some of the directions the document took while in editable state. He cites concerns with hearsay, personal vendettas, and malicious intent—none of which were outcomes he anticipated. For the moment, he is creating a new version of the document “aligning with the original intention,” and a website/community portal where stories will continue to be collected. Meanwhile, in Orange County, another “living document” has emerged—inspired by the Bay Area’s document—calling for “first hand accounts of experiences of racist behavior in Orange County theater.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When all is said and done, Orquiza is proud to have brought the issues detailed in the document to the forefront. “I am hopeful that this document will inspire a movement here in the Bay Area,” he affirms. “To create an active change and accountability, and to address the inequity within their organizations.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After restoring the document to a previously archived version, Orquiza shut off editing access to everyone, but left the document up for viewing. Last updated on June 12, the document contains almost 600 testimonials; some as simple as a single sentence, and some many detailed paragraphs long.\u003c/p>\n\u003cp>Prior to creating the document, Orquiza had invited his Facebook followers to leave comments on two questions on his personal page: “As a POC artist, what m(i/a)cro-aggression and overt racism have you experienced in the theater?” and “As a White artist what have you observed and how have you participated or perpetuated these instances (un/knowingly)?” The magnitude of the response helped spark the idea for his “living document,” which could be added to with the additional cover of anonymity.\u003c/p>\n\u003cp>“There is a deep-seated anguish and pain that Black and brown artists in our region have kept and shut for so long due to lack of avenues to air grievances with full confidentiality, fear of reprimand and/or blacklist, and re-traumatizing and further the harm,” Orquiza writes in an email. He also notes that he fully expects to be reprimanded professionally as the originator of the document. Like many theater creatives, Orquiza’s resumé is multi-faceted, and as of our email exchange, only one of his employers, the Gritty City Repertory, had promised support.\u003c/p>\n\u003cfigure id=\"attachment_13882278\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882278\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/nickymartinez_DanielZafer-Joyce-800x1066.jpg\" alt=\"\" width=\"600\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/nickymartinez_DanielZafer-Joyce-800x1066.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/nickymartinez_DanielZafer-Joyce-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/nickymartinez_DanielZafer-Joyce-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/nickymartinez_DanielZafer-Joyce.jpg 1000w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Nicky Martinez of Theatre Bay Area found contributing to the living document ‘cathartic.’ \u003ccite>(Daniel Zafer-Joyce)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Nicky Martinez, an early contributor to the document, the opportunity to participate was cathartic. The programs and grants coordinator at Theatre Bay Area, San Francisco-born Martinez has not only experienced racial and gendered bias personally while working in Bay Area theater, but has witnessed it enacted institutionally on numerous occasions. The opportunity to engage with the document, both as a contributor and a witness has been revelatory.\u003c/p>\n\u003cp>“We’ve (BIPOC and trans folks) been silenced for so long, that it is finally time to pay attention to this,” Martinez says, “(and) to have people really understand that this has been going on a lot longer than they think.”\u003c/p>\n\u003cp>With Orquiza, and support from Theatre Bay Area, Martinez is helping to create a virtual “\u003ca href=\"https://www.theatrebayarea.org/events/EventDetails.aspx?id=1392774&group=\">healing space\u003c/a>” and forum, where the document can be discussed and action steps crafted for theaters and theater-makers moving forward, “holding them more accountable.” (Fellow document contributor Ashley Smiley—a Campo Santo member as well as theater and facilities manager for the Bayview Opera House—will help to moderate a breakout room of POC participants, while SK Kerastas will do the same for white allies.)\u003c/p>\n\u003cp>As of now, very few of the theaters named in the document have made a public statement on its contents. But on June 11, sketch comedy troupe Killing My Lobster issued a detailed public apology for harm caused and an action plan for moving forward, including enacting more equitable casting policies and two new hires to support their comedy writing courses. For artistic director Allison Page, to not speak publicly was “not an option.”\u003c/p>\n\u003cp>“After reading over the harrowing personal experiences in that document, I expected to see a lot of apologies,” she explains. “I’m stunned to not be seeing that. But you know who isn’t stunned? BIPOC theatre artists, who had no reason to believe that the industry which has taken advantage of their talents without recognizing their personhood for centuries would suddenly turn around entirely and take accountability for harmful actions.”\u003c/p>\n\u003cfigure id=\"attachment_13882277\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13882277\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/Dominique-Gelin-photo-by-Katy-Karns-800x964.jpg\" alt=\"\" width=\"600\" height=\"723\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Dominique-Gelin-photo-by-Katy-Karns-800x964.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Dominique-Gelin-photo-by-Katy-Karns-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Dominique-Gelin-photo-by-Katy-Karns-768x925.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/Dominique-Gelin-photo-by-Katy-Karns.jpg 1000w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Dominique Gelin, one of Killing My Lobster’s new hires, will help to create better accountability and equity in the comedy classroom. \u003ccite>(Katy Karns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Having had time for reflection, Orquiza admits that he has reservations about some of the directions the document took while in editable state. He cites concerns with hearsay, personal vendettas, and malicious intent—none of which were outcomes he anticipated. For the moment, he is creating a new version of the document “aligning with the original intention,” and a website/community portal where stories will continue to be collected. Meanwhile, in Orange County, another “living document” has emerged—inspired by the Bay Area’s document—calling for “first hand accounts of experiences of racist behavior in Orange County theater.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When all is said and done, Orquiza is proud to have brought the issues detailed in the document to the forefront. “I am hopeful that this document will inspire a movement here in the Bay Area,” he affirms. “To create an active change and accountability, and to address the inequity within their organizations.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"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.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"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",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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