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"content": "\u003cp>A good holiday show should be uplifting and have an optimistic view of humankind, which is not an easy task in a year full of trauma (like this one). But the Tony-nominated \u003cem>Bright Star\u003c/em> succeeds. This comic melodrama, set in the Blue Ridge of North Carolina after World War II, is set to charming bluegrass-ish songs by Edie Brickell and Steve Martin, and its solid story line even has a happy ending, despite how dark it gets. Carmen Cusack, who starred in the short-lived Broadway production, is terrific as the heroine who loses her child but achieves literary fame. My co-host Jeffrey Edalatpour says he had trouble checking his cynicism at the theater door, but I thought it was terrific entertainment. One nagging issue, \u003cem>Bright Star\u003c/em> offers not one African American role, despite its southeastern setting. \u003ca href=\"https://sfcurran.com/bright-star/?gclid=EAIaIQobChMIuo7nyv_11wIVEIl-Ch3wUQBxEAAYASAAEgK3Z_D_BwE\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vcDanEJnCPI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>\u003cstrong>Updated at 8:45 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>James Levine, a legendary conductor at the Metropolitan Opera, has been accused of sexually abusing a teenager in Illinois for a period of several years in the 1980s. \u003c/p>\n\u003cp>The Met said in \u003ca href=\"https://www.facebook.com/MetOpera/posts/10159806195345533\">a statement\u003c/a> Sunday it is suspending Levine from all activities related to the opera house while the allegations are being investigated, “following multiple allegations of sexual misconduct committed by Mr. Levine that took place from the 60’s to the 80’s, including the earlier part of his conducting career at the Met.”\u003c/p>\n\u003cp>Met General Manager Peter Gelb added, “While we await the results of the investigation, based on these new news reports, the Met has made the decision to act now.”\u003c/p>\n\u003cp>Levine, now 74, was the music director at the Met for four decades. He has recently suffered a variety of health problems and retired from his headline role at the Met last year, but continues to conduct occasional performances. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Officials at the Met were reportedly made aware of the allegations sometime in 2016. On Saturday, the Met said on Twitter that an investigation has been launched, with the help of “outside resources,” to evaluate the veracity of the claims.\u003c/p>\n\u003cp>https://twitter.com/MetOpera/status/937139056991002624\u003c/p>\n\u003cp>The allegations, \u003ca href=\"https://nypost.com/2017/12/02/legendary-opera-conductor-molested-teen-for-years-police-report/\" target=\"_blank\" rel=\"noopener\">first described\u003c/a> by the \u003cem>New York Post, \u003c/em>were described in a police report that was filed in 2016. In that report, a man says that he met Levine as a child in Illinois, where Levine was a conductor at the Ravinia Music Festival each summer. \u003c/p>\n\u003cp>In the report the man alleges that in 1985, when he was 15 and Levine was 41, Levine held his hand in a “prolonged and incredibly sensual way” while they were alone in a car, the \u003cem>Post\u003c/em> reports. The following year Levine began to touch the teenager’s genitalia and masturbate in front of him. The ensuing sexual contact lasted for years, according to the allegation.\u003c/p>\n\u003cp>Levine also served as a mentor to the teenager, wrote a college recommendation essay, and gave him tens of thousands of dollars of cash, the \u003cem>Post \u003c/em>writes. \u003c/p>\n\u003cp>There were “hundreds of incidents,” the alleged victim said. The man, who says he is straight and that he was not aroused by any of their interactions, wrote in the report that he was “confused and paralyzed” by Levine’s actions.\u003c/p>\n\u003cp>\u003ca href=\"https://www.nytimes.com/2017/12/02/arts/music/james-levine-sexual-misconduct-met-opera.html\" target=\"_blank\" rel=\"noopener\">The New York Times\u003c/a> has also seen a copy of the police report, and confirmed the stories contained in the report with the alleged victim and with one of his relatives. The \u003cem>Times \u003c/em>also notes that rumors of sexual misconduct have swirled around Levine, unconfirmed, for years. \u003c/p>\n\u003cp>\u003cem>The\u003c/em> \u003cem>Times \u003c/em>reports that Levine invited the victim to audition as a conductor, and told him that he should focus on “other talents” — while continuing to promise to “raise [him] ‘special’ ” in some way. The young man first told a relative about the abuse in 1993, the newspaper writes; he reported it to police in 2016, after realizing that Levine’s behavior had negatively affected his life.\u003c/p>\n\u003cp>The allegations describe acts that would be criminal in Illinois, but the statute of limitations for sex crimes with children had expired by the time the police report was filed, the \u003cem>Post \u003c/em>says.\u003c/p>\n\u003cp>Police from Lake Forest, Ill., spoke to Peter Gelb, the general manager of the Met, among other people, the \u003cem>Times \u003c/em>reports:\u003cem> \u003c/em>“Met officials acknowledged they had been aware of the police report since last year, but said that Mr. Levine had denied the accusation and that they had heard nothing further from the police.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Met’s announcement of an investigation does not mention prior knowledge of the allegations; it cites media reports as the inspiration for taking action. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Met+Suspends+Famed+Conductor+Accused+Of+Molesting+Teenager+For+Years+In+The+%2780s&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The allegations, \u003ca href=\"https://nypost.com/2017/12/02/legendary-opera-conductor-molested-teen-for-years-police-report/\" target=\"_blank\" rel=\"noopener\">first described\u003c/a> by the \u003cem>New York Post, \u003c/em>were described in a police report that was filed in 2016. In that report, a man says that he met Levine as a child in Illinois, where Levine was a conductor at the Ravinia Music Festival each summer. \u003c/p>\n\u003cp>In the report the man alleges that in 1985, when he was 15 and Levine was 41, Levine held his hand in a “prolonged and incredibly sensual way” while they were alone in a car, the \u003cem>Post\u003c/em> reports. The following year Levine began to touch the teenager’s genitalia and masturbate in front of him. The ensuing sexual contact lasted for years, according to the allegation.\u003c/p>\n\u003cp>Levine also served as a mentor to the teenager, wrote a college recommendation essay, and gave him tens of thousands of dollars of cash, the \u003cem>Post \u003c/em>writes. \u003c/p>\n\u003cp>There were “hundreds of incidents,” the alleged victim said. The man, who says he is straight and that he was not aroused by any of their interactions, wrote in the report that he was “confused and paralyzed” by Levine’s actions.\u003c/p>\n\u003cp>\u003ca href=\"https://www.nytimes.com/2017/12/02/arts/music/james-levine-sexual-misconduct-met-opera.html\" target=\"_blank\" rel=\"noopener\">The New York Times\u003c/a> has also seen a copy of the police report, and confirmed the stories contained in the report with the alleged victim and with one of his relatives. The \u003cem>Times \u003c/em>also notes that rumors of sexual misconduct have swirled around Levine, unconfirmed, for years. \u003c/p>\n\u003cp>\u003cem>The\u003c/em> \u003cem>Times \u003c/em>reports that Levine invited the victim to audition as a conductor, and told him that he should focus on “other talents” — while continuing to promise to “raise [him] ‘special’ ” in some way. The young man first told a relative about the abuse in 1993, the newspaper writes; he reported it to police in 2016, after realizing that Levine’s behavior had negatively affected his life.\u003c/p>\n\u003cp>The allegations describe acts that would be criminal in Illinois, but the statute of limitations for sex crimes with children had expired by the time the police report was filed, the \u003cem>Post \u003c/em>says.\u003c/p>\n\u003cp>Police from Lake Forest, Ill., spoke to Peter Gelb, the general manager of the Met, among other people, the \u003cem>Times \u003c/em>reports:\u003cem> \u003c/em>“Met officials acknowledged they had been aware of the police report since last year, but said that Mr. Levine had denied the accusation and that they had heard nothing further from the police.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Met’s announcement of an investigation does not mention prior knowledge of the allegations; it cites media reports as the inspiration for taking action. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Met+Suspends+Famed+Conductor+Accused+Of+Molesting+Teenager+For+Years+In+The+%2780s&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Roughly 50 elementary school kids from East Palo Alto are being treated this Sunday to a one-of-a-kind tour of \u003ca href=\"https://sfopera.com/\">SF Opera\u003c/a>, led by the famous artist and opera set designer David Hockney.\u003c/p>\n\u003cp>Following a pre-show workshop on Hockney’s set design, originally created for the opera company’s 1993 season, they’re expected to have a meet-and-greet with the artist himself before settling in for a matinee performance of \u003ci>Turandot\u003c/i>.\u003c/p>\n\u003cp>\u003ca href=\"http://turnaroundartsca.org/\">Turnaround Arts\u003c/a>, a non-profit that pairs artists with lower performing schools, connected Hockney with the \u003ca href=\"https://costanoschool.weebly.com/about-us.html\" target=\"_blank\" rel=\"noopener\">Costaño School\u003c/a> last January. He visited the school around then and taught a couple classes on how to paint on an iPad.\u003c/p>\n\u003cp>“We’ve been really, really fortunate to have David Hockney adopt our school. It’s pretty amazing,” Angela Karamian, an arts specialist at the Costaño School, said. “The arts are relevant to everything they see in their classrooms. That’s a message I push all the time.”\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/RDnews/2017/12/MyrowKidsOperaTrip.mp3\" Image=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/RS28235_Turandot-Act-I_David-Hockney-set_photo-Cory-Weaver-qut-800x490.jpg\" Title=\"Hockney Puts Opera Set Design on Curriculum for East Palo Alto Students\" program=\"KQED News\"]\u003c/p>\n\u003cp>The SF Opera idea came to Karamian not long ago while driving to work. She heard on the radio that the SF Opera was performing \u003cem>Turandot\u003c/em>, and that Hockney designed the sets.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Malissa Shriver, who heads the California chapter of Turnaround Arts, says Hockney was game to reconnect with the kids, and bankroll a field trip to San Francisco.\u003c/p>\n\u003cp>“You know, David said to me after the first visit at Costaño, that he hadn’t been so excited and inspired in such a long time,” Shriver said.\u003c/p>\n\u003cp>“The arts bridge so many divides,” Shriver added. “You know, across language, across culture, across age. Here’s a man of 80 years old interacting and being loved by these children who are in 3rd and 4th and 5th grade, you know? I feel like in our culture, young people often don’t really have a lot of time for old people — and vice versa.”\u003c/p>\n\u003cfigure id=\"attachment_13816494\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816494\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/RS23676_IMG_2677-qut-800x450.jpg\" alt=\"David Hockney was a hit with the children of Costaño School back in January, but then it's fair to say they were a hit with him. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RS23676_IMG_2677-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RS23676_IMG_2677-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RS23676_IMG_2677-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RS23676_IMG_2677-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RS23676_IMG_2677-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RS23676_IMG_2677-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RS23676_IMG_2677-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RS23676_IMG_2677-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RS23676_IMG_2677-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RS23676_IMG_2677-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Hockney was a hit with the children of Costaño School back in January, but then it’s fair to say they were a hit with him. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>SF Opera is also talking with the Costaño School about creating a class for 7th graders where they learn to write opera.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Roughly 50 elementary school kids from East Palo Alto are being treated this Sunday to a one-of-a-kind tour of \u003ca href=\"https://sfopera.com/\">SF Opera\u003c/a>, led by the famous artist and opera set designer David Hockney.\u003c/p>\n\u003cp>Following a pre-show workshop on Hockney’s set design, originally created for the opera company’s 1993 season, they’re expected to have a meet-and-greet with the artist himself before settling in for a matinee performance of \u003ci>Turandot\u003c/i>.\u003c/p>\n\u003cp>\u003ca href=\"http://turnaroundartsca.org/\">Turnaround Arts\u003c/a>, a non-profit that pairs artists with lower performing schools, connected Hockney with the \u003ca href=\"https://costanoschool.weebly.com/about-us.html\" target=\"_blank\" rel=\"noopener\">Costaño School\u003c/a> last January. He visited the school around then and taught a couple classes on how to paint on an iPad.\u003c/p>\n\u003cp>“We’ve been really, really fortunate to have David Hockney adopt our school. It’s pretty amazing,” Angela Karamian, an arts specialist at the Costaño School, said. “The arts are relevant to everything they see in their classrooms. That’s a message I push all the time.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The SF Opera idea came to Karamian not long ago while driving to work. She heard on the radio that the SF Opera was performing \u003cem>Turandot\u003c/em>, and that Hockney designed the sets.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Malissa Shriver, who heads the California chapter of Turnaround Arts, says Hockney was game to reconnect with the kids, and bankroll a field trip to San Francisco.\u003c/p>\n\u003cp>“You know, David said to me after the first visit at Costaño, that he hadn’t been so excited and inspired in such a long time,” Shriver said.\u003c/p>\n\u003cp>“The arts bridge so many divides,” Shriver added. “You know, across language, across culture, across age. Here’s a man of 80 years old interacting and being loved by these children who are in 3rd and 4th and 5th grade, you know? I feel like in our culture, young people often don’t really have a lot of time for old people — and vice versa.”\u003c/p>\n\u003cfigure id=\"attachment_13816494\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816494\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/RS23676_IMG_2677-qut-800x450.jpg\" alt=\"David Hockney was a hit with the children of Costaño School back in January, but then it's fair to say they were a hit with him. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RS23676_IMG_2677-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RS23676_IMG_2677-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RS23676_IMG_2677-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RS23676_IMG_2677-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RS23676_IMG_2677-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RS23676_IMG_2677-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RS23676_IMG_2677-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RS23676_IMG_2677-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RS23676_IMG_2677-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/RS23676_IMG_2677-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Hockney was a hit with the children of Costaño School back in January, but then it’s fair to say they were a hit with him. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>SF Opera is also talking with the Costaño School about creating a class for 7th graders where they learn to write opera.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Giant Tree Stump Journeys From Sierra to S.F. Opera Stage",
"headTitle": "Giant Tree Stump Journeys From Sierra to S.F. Opera Stage | KQED",
"content": "\u003cp>Stage director Peter Sellars recently drove three hours east of San Francisco to see the stump of what was once one of the tallest trees in the world — the Discovery Tree.\u003c/p>\n\u003cp>“The stump is a vision from Dante,” Sellars said on a break from rehearsals at San Francisco’s War Memorial Opera House for his new opera, \u003cem>\u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">Girls of the Golden West\u003c/a>. “\u003c/em>It’s some wild rage of the spirit world that just is coming out in this twisted scream of roots.”\u003c/p>\n\u003cp>Artists have long romanticized California’s Gold Rush — just think of the writings of Bret Harte, or of Giacomo Puccini’s opera, \u003cem>The Girl of the Golden West, \u003c/em>the title of which Sellars and his collaborators shamelessly stole.\u003c/p>\n\u003cfigure id=\"attachment_13816351\" class=\"wp-caption alignleft\" style=\"max-width: 492px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816351\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy.png\" alt=\"An etching of The Discovery Tree Stump. The image informed the creators of 'Girls of the Golden West.'\" width=\"492\" height=\"348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy.png 492w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy-160x113.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy-240x170.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy-375x265.png 375w\" sizes=\"(max-width: 492px) 100vw, 492px\">\u003cfigcaption class=\"wp-caption-text\">An etching of The Discovery Tree Stump. The image informed the creators of ‘Girls of the Golden West.’ \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Contrastingly, \u003cem>Girls of the Golden West\u003c/em> tells a much darker story of greed, racism and environmental destruction. And at the center of the stage is the stump of the Discovery Tree.\u003c/p>\n\u003cp>Sellars first heard about the stump, which is located in \u003ca href=\"http://www.parks.ca.gov/?page_id=551\" target=\"_blank\" rel=\"noopener\">Calaveras Big Trees State Park\u003c/a>, when \u003cem>Girls of the Golden West\u003c/em> composer John Adams emailed him an antique etching of it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The image shows a bunch of well-dressed couples dancing on top of the stump. At around twenty-four feet across — about the size of a small ice rink — it must have made for a bucolic setting for the two-steps and waltzes of wealthy nineteenth century tourists.\u003c/p>\n\u003cp>“I was just stunned because of course it’s a shocking image,” Sellars said.\u003c/p>\n\u003cfigure id=\"attachment_13807065\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807065\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg\" alt=\"'Girls of the Golden West' Composer John Adams and Librettist Peter Sellars\" width=\"800\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1920x1013.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1180x623.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-960x507.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-520x274.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573.jpg 2039w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Girls of the Golden West’ composer John Adams and librettist/stage director Peter Sellars. \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This incongruous vision of a bunch of humans twirling and stomping all over the dead remains of one of the biggest marvels of the natural world captured Sellars attention. It spoke to the bleak themes of his opera.\u003c/p>\n\u003cp>“The destruction of the natural world; the kind of relentless and heartless progress of this idea that the only thing that matters is money, and the Gold Rush of course epitomized that,” Sellars said.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>The November morning I visited Calaveras Big Trees State Park, no one was dancing on the stump. The air in the grove was crisp and damp. I was entranced by the steam rising off the lofty, chocolate-colored trunks.\u003c/p>\n\u003cp>And then I saw The Stump.\u003c/p>\n\u003cp>The park gets around 200,000 visitors a year, and Big Trees State Park docent Sanders Lamont said 95 percent of them come to see the 1,200-year-old hunk of wood.\u003c/p>\n\u003cfigure id=\"attachment_13816353\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816353\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-800x600.jpg\" alt=\"Calaveras Big Trees State Park docent Sanders Lamont.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Calaveras Big Trees State Park docent Sanders Lamont. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lamont said word got out about the tree in 1852, when a hunter named Augustus T. Dowd came across it while chasing down a bear. But no one believed Dowd about his find at first.\u003c/p>\n\u003cp>“Dowd said, ‘Man, I’ve found the biggest tree in the world,'” Lamont said. “And they said, ‘Shut up and have a drink.'”\u003c/p>\n\u003cp>But Dowd eventually convinced a crew to return to the site with him. They were floored, and news of the Discovery Tree spread fast.\u003c/p>\n\u003cp>“Even in Europe it was a sensation,” Lamont said. “And from there on it becomes a story of typical eighteen-hundreds exploitation.”\u003c/p>\n\u003cp>Lamont says sequoias don’t make for great lumber and firewood. So some enterprising local businessmen quickly realized they could make money from the Discovery Tree another way: by hacking the giant down and turning parts of it into a traveling exhibit.\u003c/p>\n\u003cfigure id=\"attachment_13816358\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816358\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Discovery-Tree-800x600.jpg\" alt=\"The Discovery Tree today\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Discovery Tree today. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The road show failed to make money, in part because the famous impresario P.T. Barnum saw it as competing with his own exhibits in New York City. After Barnum’s claims debunking the tree spectacle in the press, it didn’t attract enough visitors. Eventually it burned in a warehouse fire.\u003c/p>\n\u003cp>Back in California, tourism to the sequoia grove and the Discovery Tree’s stump took off in a big way, especially when the entrepreneurs added a hotel, a bar and even a bowling alley.\u003c/p>\n\u003cp>Those giant sequoias, meanwhile, started to attract scientists’ attention. The eminent naturalist John Muir visited the grove on a couple of occasions, and was one of a number of authors who wrote articles calling for the preservation of the trees. Other voices around the world joined the campaign. Eventually the state park system came into being to protect the large trees.\u003c/p>\n\u003cp>“The outrage over the cutting of this tree sparked the modern environmental movement all around the world,” Lamont said.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>A full-size recreation of the giant stump — made from wood, foam and resin — takes up almost the entire stage in \u003cem>Girls of the Golden West\u003c/em>. It sits front and center for some of the opera’s most cataclysmic moments, including an attempted rape and an angry mob yelling for non-white miners to get out.\u003c/p>\n\u003cfigure id=\"attachment_13816352\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816352\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-800x534.jpg\" alt=\"Davone Tines and Ryan McKinny in a scene of racial abuse in 'Girls of the Golden West'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Davone Tines and Ryan McKinny in a scene of racial abuse in ‘Girls of the Golden West’ \u003ccite>(Photo: Stefan Cohen courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The whole thing ends with a baleful aria describing the mess the miners have made of the landscape.\u003c/p>\n\u003cp>“The whole bar is thickly peppered with empty bottles, oyster cans, sardine boxes,” one of the characters sings in the final scene of the work.\u003c/p>\n\u003cp>But like the role the Discovery Tree played in igniting the public’s conscience about caring for the natural environment, so the opera ends on a slightly positive note — with an image of the fathomless splendor of the California sky.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Girls of the Golden West’ runs through Sunday, Dec. 10, at the War Memorial Opera House in San Francisco. More information \u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Once one of the tallest trees in the world, the Discovery Tree tells the story of environmental destruction at the heart of the new opera 'The Girls of the Golden West.'",
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"title": "Giant Tree Stump Journeys From Sierra to S.F. Opera Stage | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Stage director Peter Sellars recently drove three hours east of San Francisco to see the stump of what was once one of the tallest trees in the world — the Discovery Tree.\u003c/p>\n\u003cp>“The stump is a vision from Dante,” Sellars said on a break from rehearsals at San Francisco’s War Memorial Opera House for his new opera, \u003cem>\u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">Girls of the Golden West\u003c/a>. “\u003c/em>It’s some wild rage of the spirit world that just is coming out in this twisted scream of roots.”\u003c/p>\n\u003cp>Artists have long romanticized California’s Gold Rush — just think of the writings of Bret Harte, or of Giacomo Puccini’s opera, \u003cem>The Girl of the Golden West, \u003c/em>the title of which Sellars and his collaborators shamelessly stole.\u003c/p>\n\u003cfigure id=\"attachment_13816351\" class=\"wp-caption alignleft\" style=\"max-width: 492px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13816351\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy.png\" alt=\"An etching of The Discovery Tree Stump. The image informed the creators of 'Girls of the Golden West.'\" width=\"492\" height=\"348\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy.png 492w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy-160x113.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy-240x170.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Calaveras-big-trees-dance-copy-375x265.png 375w\" sizes=\"(max-width: 492px) 100vw, 492px\">\u003cfigcaption class=\"wp-caption-text\">An etching of The Discovery Tree Stump. The image informed the creators of ‘Girls of the Golden West.’ \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Contrastingly, \u003cem>Girls of the Golden West\u003c/em> tells a much darker story of greed, racism and environmental destruction. And at the center of the stage is the stump of the Discovery Tree.\u003c/p>\n\u003cp>Sellars first heard about the stump, which is located in \u003ca href=\"http://www.parks.ca.gov/?page_id=551\" target=\"_blank\" rel=\"noopener\">Calaveras Big Trees State Park\u003c/a>, when \u003cem>Girls of the Golden West\u003c/em> composer John Adams emailed him an antique etching of it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The image shows a bunch of well-dressed couples dancing on top of the stump. At around twenty-four feet across — about the size of a small ice rink — it must have made for a bucolic setting for the two-steps and waltzes of wealthy nineteenth century tourists.\u003c/p>\n\u003cp>“I was just stunned because of course it’s a shocking image,” Sellars said.\u003c/p>\n\u003cfigure id=\"attachment_13807065\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13807065\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg\" alt=\"'Girls of the Golden West' Composer John Adams and Librettist Peter Sellars\" width=\"800\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1920x1013.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-1180x623.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-960x507.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-240x127.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-375x198.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573-520x274.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/Girls-of-the-Golden-West-Composer-John-Adams-and-Librettist-Peter-Sellars-2-e1504149962573.jpg 2039w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Girls of the Golden West’ composer John Adams and librettist/stage director Peter Sellars. \u003ccite>(Photo: Courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This incongruous vision of a bunch of humans twirling and stomping all over the dead remains of one of the biggest marvels of the natural world captured Sellars attention. It spoke to the bleak themes of his opera.\u003c/p>\n\u003cp>“The destruction of the natural world; the kind of relentless and heartless progress of this idea that the only thing that matters is money, and the Gold Rush of course epitomized that,” Sellars said.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>The November morning I visited Calaveras Big Trees State Park, no one was dancing on the stump. The air in the grove was crisp and damp. I was entranced by the steam rising off the lofty, chocolate-colored trunks.\u003c/p>\n\u003cp>And then I saw The Stump.\u003c/p>\n\u003cp>The park gets around 200,000 visitors a year, and Big Trees State Park docent Sanders Lamont said 95 percent of them come to see the 1,200-year-old hunk of wood.\u003c/p>\n\u003cfigure id=\"attachment_13816353\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816353\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-800x600.jpg\" alt=\"Calaveras Big Trees State Park docent Sanders Lamont.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Sanders-Lamont-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Calaveras Big Trees State Park docent Sanders Lamont. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lamont said word got out about the tree in 1852, when a hunter named Augustus T. Dowd came across it while chasing down a bear. But no one believed Dowd about his find at first.\u003c/p>\n\u003cp>“Dowd said, ‘Man, I’ve found the biggest tree in the world,'” Lamont said. “And they said, ‘Shut up and have a drink.'”\u003c/p>\n\u003cp>But Dowd eventually convinced a crew to return to the site with him. They were floored, and news of the Discovery Tree spread fast.\u003c/p>\n\u003cp>“Even in Europe it was a sensation,” Lamont said. “And from there on it becomes a story of typical eighteen-hundreds exploitation.”\u003c/p>\n\u003cp>Lamont says sequoias don’t make for great lumber and firewood. So some enterprising local businessmen quickly realized they could make money from the Discovery Tree another way: by hacking the giant down and turning parts of it into a traveling exhibit.\u003c/p>\n\u003cfigure id=\"attachment_13816358\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816358\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Discovery-Tree-800x600.jpg\" alt=\"The Discovery Tree today\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Discovery-Tree-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Discovery Tree today. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The road show failed to make money, in part because the famous impresario P.T. Barnum saw it as competing with his own exhibits in New York City. After Barnum’s claims debunking the tree spectacle in the press, it didn’t attract enough visitors. Eventually it burned in a warehouse fire.\u003c/p>\n\u003cp>Back in California, tourism to the sequoia grove and the Discovery Tree’s stump took off in a big way, especially when the entrepreneurs added a hotel, a bar and even a bowling alley.\u003c/p>\n\u003cp>Those giant sequoias, meanwhile, started to attract scientists’ attention. The eminent naturalist John Muir visited the grove on a couple of occasions, and was one of a number of authors who wrote articles calling for the preservation of the trees. Other voices around the world joined the campaign. Eventually the state park system came into being to protect the large trees.\u003c/p>\n\u003cp>“The outrage over the cutting of this tree sparked the modern environmental movement all around the world,” Lamont said.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>A full-size recreation of the giant stump — made from wood, foam and resin — takes up almost the entire stage in \u003cem>Girls of the Golden West\u003c/em>. It sits front and center for some of the opera’s most cataclysmic moments, including an attempted rape and an angry mob yelling for non-white miners to get out.\u003c/p>\n\u003cfigure id=\"attachment_13816352\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816352\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-800x534.jpg\" alt=\"Davone Tines and Ryan McKinny in a scene of racial abuse in 'Girls of the Golden West'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/28_Stefan-Cohen_GGW_Davone-Tines_Ryan-McKinny-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Davone Tines and Ryan McKinny in a scene of racial abuse in ‘Girls of the Golden West’ \u003ccite>(Photo: Stefan Cohen courtesy of San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The whole thing ends with a baleful aria describing the mess the miners have made of the landscape.\u003c/p>\n\u003cp>“The whole bar is thickly peppered with empty bottles, oyster cans, sardine boxes,” one of the characters sings in the final scene of the work.\u003c/p>\n\u003cp>But like the role the Discovery Tree played in igniting the public’s conscience about caring for the natural environment, so the opera ends on a slightly positive note — with an image of the fathomless splendor of the California sky.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Girls of the Golden West’ runs through Sunday, Dec. 10, at the War Memorial Opera House in San Francisco. More information \u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Eli Wirtschafter joins me as the Do List co-host this week, feeling oppressed, as I often do, by the din of commercial carols piped in to every retail establishment (No, no, no! Not “The Little Drummer Boy” again!) So we went hunting for holiday shows and music that sounded fresh and offered an ecumenical spirit. Plus we have two dance events (Joe Landini and Sarah Bush) , Cuban drummer Yissy Garcia, and country rocker Lilly Hiatt, who has yet to record an album of Christmas favorites. Thank goodness.\u003c/p>\n\u003cp>Click the links below for more details on each show.\u003c/p>\n\u003cp>\u003cstrong>Dec. 7-21\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/kitka-are-the-high-priestesses-of-eastern-european-choral-music/\" target=\"_blank\" rel=\"noopener\">Kitka brings its annual \u003cem>Wintersongs\u003c/em> tour to the four corners of the Bay Area\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 7-16\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/joe-landini-celebrates-25-years-of-making-dance/\" target=\"_blank\" rel=\"noopener\">Joe Landini finds his safe place in San Francisco’s Tenderloin\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 9-17: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/trying-to-find-a-home-despite-deportations-fires-and-hurricanes/\" target=\"_blank\" rel=\"noopener\">Sarah Bush asks what it means to be home for the holidays after deportations, fires and hurricanes\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Dec. 4 and 5\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/lilly-hiatt-sings-of-sobriety-and-rock-and-roll/\" target=\"_blank\" rel=\"noopener\">Lilly Hiatt sings songs about her hard-won sobriety and old lovers, with a rocking beat and a country twang\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 3 and 6:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/cuban-drummer-yissy-garcias-genre-bending-music/\" target=\"_blank\" rel=\"noopener\">Yissy Garcia leads a jazz-rock-hip-hop-fusion band that challenges our ideas about Cuban music\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 1-9\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/an-end-to-aging-in-a-future-world-set-on-the-theatre-stage/\" target=\"_blank\" rel=\"noopener\">A play about the promise of staying young forever\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 2-24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/songs-of-praise-and-generosity-from-a-beloved-bay-area-institution/\" target=\"_blank\" rel=\"noopener\">The Oakland Interfaith Gospel Choir holiday concerts are a tradition that never gets old\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>The Shoutouts: \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Dec. 8-10\u003c/strong>: \u003ca href=\"https://events.berkeley.edu/?event_ID=109554&date=2017-12-09&tab=performing_arts\" target=\"_blank\" rel=\"noopener\">Camille A. Brown makes a dance based on schoolyard games with dazzling rhythm at Cal Performances\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dec. 1\u003c/strong>: \u003ca href=\"https://ticketing.us.veezi.com/purchase/4433?siteToken=P5WXdOEJ3Eq2eHbZHTAtbg%3D%3D\" target=\"_blank\" rel=\"noopener\">Karinda Dobbins and Dhaya Lakshminarayanan lead the comedy resistance in a show at the New Parkway in Oakland\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13816199\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816199\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/005-800x495.jpg\" alt=\"Cy and Eli at KQED\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-520x321.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cy and Eli at KQED \u003ccite>(Photo: Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Eli Wirtschafter joins me as the Do List co-host this week, feeling oppressed, as I often do, by the din of commercial carols piped in to every retail establishment (No, no, no! Not “The Little Drummer Boy” again!) So we went hunting for holiday shows and music that sounded fresh and offered an ecumenical spirit. Plus we have two dance events (Joe Landini and Sarah Bush) , Cuban drummer Yissy Garcia, and country rocker Lilly Hiatt, who has yet to record an album of Christmas favorites. Thank goodness.\u003c/p>\n\u003cp>Click the links below for more details on each show.\u003c/p>\n\u003cp>\u003cstrong>Dec. 7-21\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/kitka-are-the-high-priestesses-of-eastern-european-choral-music/\" target=\"_blank\" rel=\"noopener\">Kitka brings its annual \u003cem>Wintersongs\u003c/em> tour to the four corners of the Bay Area\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 7-16\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/joe-landini-celebrates-25-years-of-making-dance/\" target=\"_blank\" rel=\"noopener\">Joe Landini finds his safe place in San Francisco’s Tenderloin\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 9-17: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/trying-to-find-a-home-despite-deportations-fires-and-hurricanes/\" target=\"_blank\" rel=\"noopener\">Sarah Bush asks what it means to be home for the holidays after deportations, fires and hurricanes\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dec. 4 and 5\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/lilly-hiatt-sings-of-sobriety-and-rock-and-roll/\" target=\"_blank\" rel=\"noopener\">Lilly Hiatt sings songs about her hard-won sobriety and old lovers, with a rocking beat and a country twang\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 3 and 6:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/cuban-drummer-yissy-garcias-genre-bending-music/\" target=\"_blank\" rel=\"noopener\">Yissy Garcia leads a jazz-rock-hip-hop-fusion band that challenges our ideas about Cuban music\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 1-9\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/an-end-to-aging-in-a-future-world-set-on-the-theatre-stage/\" target=\"_blank\" rel=\"noopener\">A play about the promise of staying young forever\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Dec. 2-24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/11/29/songs-of-praise-and-generosity-from-a-beloved-bay-area-institution/\" target=\"_blank\" rel=\"noopener\">The Oakland Interfaith Gospel Choir holiday concerts are a tradition that never gets old\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>The Shoutouts: \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Dec. 8-10\u003c/strong>: \u003ca href=\"https://events.berkeley.edu/?event_ID=109554&date=2017-12-09&tab=performing_arts\" target=\"_blank\" rel=\"noopener\">Camille A. Brown makes a dance based on schoolyard games with dazzling rhythm at Cal Performances\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Dec. 1\u003c/strong>: \u003ca href=\"https://ticketing.us.veezi.com/purchase/4433?siteToken=P5WXdOEJ3Eq2eHbZHTAtbg%3D%3D\" target=\"_blank\" rel=\"noopener\">Karinda Dobbins and Dhaya Lakshminarayanan lead the comedy resistance in a show at the New Parkway in Oakland\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13816199\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816199\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/005-800x495.jpg\" alt=\"Cy and Eli at KQED\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/005-520x321.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cy and Eli at KQED \u003ccite>(Photo: Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>How things change. 90 is the new 30 in the play \u003cem>Ageless \u003c/em>by the Bay Area’s Bridgette Dutta Portman. It’s set in a world where everyone, except for one woman, has taken a pill that keeps them from aging. (If only!) My co-host Eli Wirtschafter sat in on a rehearsal with Quantum Dragon, a theater group devoted to fantasy and science fiction. Bay Area resident and playwright Portman told Eli this play gave her the freedom of classic speculative fiction — the ability to hold up a mirror to our own society, and our own aversion to death and dying. Go ahead, blame my generation of Baby Boomers. \u003ca href=\"https://www.quantumdragon.org/ageless\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>How things change. 90 is the new 30 in the play \u003cem>Ageless \u003c/em>by the Bay Area’s Bridgette Dutta Portman. It’s set in a world where everyone, except for one woman, has taken a pill that keeps them from aging. (If only!) My co-host Eli Wirtschafter sat in on a rehearsal with Quantum Dragon, a theater group devoted to fantasy and science fiction. Bay Area resident and playwright Portman told Eli this play gave her the freedom of classic speculative fiction — the ability to hold up a mirror to our own society, and our own aversion to death and dying. Go ahead, blame my generation of Baby Boomers. \u003ca href=\"https://www.quantumdragon.org/ageless\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Garrison Keillor, the former host of \u003cem>A Prairie Home Companion\u003c/em>, said Wednesday he has been fired by Minnesota Public Radio over allegations of improper behavior.\u003c/p>\n\u003cp>Keillor told The Associated Press of his firing in an email. In a follow-up statement, he said he was fired over “a story that I think is more interesting and more complicated than the version MPR heard.” He didn’t give details of the allegation.\u003c/p>\n\u003cp>Minnesota Public Radio didn’t immediately respond to messages seeking comment.\u003cbr>\nKeillor, 75, retired as host of his long-running public radio variety show in 2016. His hand-picked successor, mandolinist Chris Thile, is in his second season as “Prairie Home” host.\u003c/p>\n\u003cp>The statement came shortly after Keillor, an avowed Democrat, wrote a syndicated column that ridiculed the idea that Sen. Al Franken should resign over allegations of sexual harassment.\u003c/p>\n\u003cp>Keillor started his Saturday evening show featuring tales of his fictional Minnesota hometown of Lake Wobegon — “where all the women are strong, all the men are good-looking, and all the children are above average” — in 1974. The show featured musical acts, folksy humor, parody ads for fake products such as Powdermilk Biscuits and the centerpiece, Keillor delivering a seemingly off-the-cuff monologue, “The News From Lake Wobegon,” in his rich baritone voice.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Keillor bowed out with a final show at the Hollywood Bowl in July 2016 and turned the show over to Thile, a mandolinist and frequent “Prairie Home” guest musician. Keillor went on a 28-city bus tour this summer, vowing it would be his last tour, but he continues on the road with solo shows. Keillor also is finishing a Lake Wobegon screenplay and a memoir about growing up in Minnesota.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Garrison Keillor, the former host of \u003cem>A Prairie Home Companion\u003c/em>, said Wednesday he has been fired by Minnesota Public Radio over allegations of improper behavior.\u003c/p>\n\u003cp>Keillor told The Associated Press of his firing in an email. In a follow-up statement, he said he was fired over “a story that I think is more interesting and more complicated than the version MPR heard.” He didn’t give details of the allegation.\u003c/p>\n\u003cp>Minnesota Public Radio didn’t immediately respond to messages seeking comment.\u003cbr>\nKeillor, 75, retired as host of his long-running public radio variety show in 2016. His hand-picked successor, mandolinist Chris Thile, is in his second season as “Prairie Home” host.\u003c/p>\n\u003cp>The statement came shortly after Keillor, an avowed Democrat, wrote a syndicated column that ridiculed the idea that Sen. Al Franken should resign over allegations of sexual harassment.\u003c/p>\n\u003cp>Keillor started his Saturday evening show featuring tales of his fictional Minnesota hometown of Lake Wobegon — “where all the women are strong, all the men are good-looking, and all the children are above average” — in 1974. The show featured musical acts, folksy humor, parody ads for fake products such as Powdermilk Biscuits and the centerpiece, Keillor delivering a seemingly off-the-cuff monologue, “The News From Lake Wobegon,” in his rich baritone voice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Shotgun's Daring 'Black Rider' Aims for, and Pierces, the American Heart",
"headTitle": "Shotgun’s Daring ‘Black Rider’ Aims for, and Pierces, the American Heart | KQED",
"content": "\u003cp>What an artist seeks out, an artist finds. When William Burroughs accidentally shot his wife Joan Vollmer while playing a game they liked to call “William Tell,” he entered a state of trauma that would last for the whole of his career, an aesthetic awakening born of disaster.\u003c/p>\n\u003cp>Burroughs saw the sinister logic of all fables and myths of reckoning — as children of the fall, Adam and Eve’s as well as Lucifer’s, we’re always looking for everything to go very, very wrong. So it’s appropriate that disaster is the governing spirit for Burroughs, Tom Waits, and Robert Wilson in their neo-Brechtian musical, \u003cem>The Black Rider: The Casting of the Magic Bullets\u003c/em>, which gets an acid-soaked reworking under Mark Jackson’s inspired direction for the Shotgun Players.\u003c/p>\n\u003cfigure id=\"attachment_13815462\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815462\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/blackrider-4841-e1511169732801-800x450.jpg\" alt=\"ATTACHMENT DETAILSSaved. blackrider-4841.jpg November 20, 2017 239 KB 1200 × 800 Edit Image Delete Permanently URL\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4841-e1511169732801-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4841-e1511169732801-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4841-e1511169732801-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4841-e1511169732801-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4841-e1511169732801-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4841-e1511169732801-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4841-e1511169732801-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4841-e1511169732801-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4841-e1511169732801-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4841-e1511169732801.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Old Uncle (Kevin Clarke) is always ready to use his bullhorn and shout out a few pertinent messages in ‘The Black Rider,’ at Shotgun Players’ Ashby Stage. \u003ccite>(Photo: Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like all fairy tales, the story is simple. Wilhelm loves Kätchen, but Kätchen’s father Bertram is a huntsman and is dubious of a clerk who can’t shoot. Dad prefers Robert, who knows his way around guns, despite his wife Anne’s protestations about true love. There’s not one but two devils: Old Uncle and Peg Leg, the latter with a supply of magic bullets that kind of always hit their mark, or somewhere close to it.\u003c/p>\n\u003cp>It takes a perverse spirit to ask a man named William who mistakenly shot his wife dead to write a libretto about a man named Wilhelm who can’t shoot and is about to be married. That’s Wilson for you, though, a master producer and creator of theatrical extravaganzas — everything he touches turns into a comic nightmare of perfectly composed and striking stage images.\u003c/p>\n\u003cp>\u003cem>The Black Rider\u003c/em>, with its German cabaret-style score, premiered in Hamburg in 1990 and became an international sensation in both style, substance, and reception. In 2017, Jackson and Shotgun bring the tale back to America, where it belongs — not only because of the distinctly American voices of Burroughs (Missouri) and Waits (a master of mutated, bluesy Americana), but because we are a country that loves our guns and bullets.\u003c/p>\n\u003cfigure id=\"attachment_13815464\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815464\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/blackrider-5233-e1511170049892-800x450.jpg\" alt=\"Peg Leg (Rotimi Agbabiaka) teaches Wilhelm (Grace Ng) in the ways of the gun.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-5233-e1511170049892.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-5233-e1511170049892-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-5233-e1511170049892-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-5233-e1511170049892-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-5233-e1511170049892-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-5233-e1511170049892-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Peg Leg (Rotimi Agbabiaka) teaches Wilhelm (Grace Ng) in the ways of the gun in ‘The Black Rider.’ \u003ccite>(Photo: Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Wilson’s heavily European influenced productions, actors are often lathered in white makeup, three swatches short of a Kabuki mask and hard to tell apart. Everyone’s a twin in clown white. In contrast, Jackson and Shotgun cast with an eye to the American street. It’s as if they went out and bought costumes for types — accountant, huntsman, devil, ingénue, mom — and then looked around for anyone with enough crazy verve and talent to bring those clothes to life. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Hey, performance artist El Beh, want to play a prick with a gun, here’s some fatigues and a fake beard. Rotimi Agbabiaka, we’ve got a ruffled shirt and one red boot, how ’bout Peg Leg? You’ll do it if you play him three times past laconic, you’re in! Got a gray suit and goofy glasses, Grace Ng, Wilhelm’s calling you. Kevin Clarke, you’re the best hair actor in the Bay Area, get your scissors ready!\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13815459\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815459\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/blackrider-4906-e1511169110525-800x449.jpg\" alt=\"(L to R) Wilhelm (Grace Ng, Kätchen (Noelle Viñas), Bertram (Steven Hess), Anne (Elizabeth Carter), Old Uncle (Kevin Clarke), Robert (El Beh), and Peg Leg (Rotimi Agbabiaka) dance and sing their way to hell.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4906-e1511169110525-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4906-e1511169110525-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4906-e1511169110525-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4906-e1511169110525-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4906-e1511169110525-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4906-e1511169110525-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4906-e1511169110525-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4906-e1511169110525-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4906-e1511169110525-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4906-e1511169110525.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Wilhelm (Grace Ng, Kätchen (Noelle Viñas), Bertram (Steven Hess), Anne (Elizabeth Carter), Old Uncle (Kevin Clarke), Robert (El Beh), and Peg Leg (Rotimi Agbabiaka) dance and sing their way to hell in ‘The Black Rider.’ \u003ccite>(Photo: Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some might call it non-traditional casting. I’d argue that it’s just the kicks of theater and putting on a show. To see the cast lined up on the stage is to see America: every race, an array of ages, small and tall, the bald and the hirsute. There’s a joyous democratic spirit present that’s lost in the high gloss of Wilson’s original production.\u003c/p>\n\u003cp>But in bringing \u003cem>The Black Rider\u003c/em> to its American core, Shotgun also brings us back to guns and bullets and the trauma at the heart of Burroughs’ art — after all, he’s a confessed killer, and no matter which way the story goes it keeps circling back to murders, inadvertent or otherwise.\u003c/p>\n\u003cp>So despite all the exuberance and skill here — of the acting, of Waits’ beautiful music (under the direction of the \u003ca href=\"http://www.awesomeorchestra.org/\" target=\"_blank\" rel=\"noopener\">Awesöme Orchestra\u003c/a>’s David Möschler), of Jackson’s funhouse staging — we’re essentially watching a nightmare creep into reality, one we feel coming every step of the way. And in that sense the production is truly post-traumatic, a show fueled by the shock and desperation of knowing that you have shot a gun, that you have enjoyed hearing the crack of the bullet, and that when the smoke has cleared, you have murdered someone you loved.\u003c/p>\n\u003cfigure id=\"attachment_13815458\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815458\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/blackrider-4896-e1511168648804-800x450.jpg\" alt=\"Peg Leg (Rotimi Agbabiaka) has a few devilish messages we should all heed.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4896-e1511168648804-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4896-e1511168648804-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4896-e1511168648804-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4896-e1511168648804-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4896-e1511168648804-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4896-e1511168648804-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4896-e1511168648804-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4896-e1511168648804-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4896-e1511168648804-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4896-e1511168648804.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Peg Leg (Rotimi Agbabiaka) has a few devilish messages we should all heed in ‘The Black Rider.’ \u003ccite>(Photo: Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s quite a message for a show and production of such stunning grace and pleasure. As Peg Leg sings, “The bullet may have its own will / you never know whom it will kill.” The devil knows, though, and in the end he’s happy that we only see him halfway coming.\u003c/p>\n\u003cp>And as for our happiness in America, well, Shotgun’s \u003cem>Black Rider\u003c/em> makes it clear: we just want to keep pulling that trigger.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Black Rider: The Casting of the Magic Bullets’ runs through Sunday, Dec. 31, at the Ashby Stage in Berkeley. For tickets and information, \u003ca href=\"https://www.shotgunplayers.org/Online/default.asp\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"description": "What an artist seeks out, an artist finds. When William Burroughs accidentally shot his wife Joan Vollmer while playing a game they liked to call "William Tell," he entered a state of trauma that would last for the whole of his career, an aesthetic awakening born of disaster. Burroughs saw the sinister logic of all",
"title": "Shotgun's Daring 'Black Rider' Aims for, and Pierces, the American Heart | KQED",
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"headline": "Shotgun's Daring 'Black Rider' Aims for, and Pierces, the American Heart",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What an artist seeks out, an artist finds. When William Burroughs accidentally shot his wife Joan Vollmer while playing a game they liked to call “William Tell,” he entered a state of trauma that would last for the whole of his career, an aesthetic awakening born of disaster.\u003c/p>\n\u003cp>Burroughs saw the sinister logic of all fables and myths of reckoning — as children of the fall, Adam and Eve’s as well as Lucifer’s, we’re always looking for everything to go very, very wrong. So it’s appropriate that disaster is the governing spirit for Burroughs, Tom Waits, and Robert Wilson in their neo-Brechtian musical, \u003cem>The Black Rider: The Casting of the Magic Bullets\u003c/em>, which gets an acid-soaked reworking under Mark Jackson’s inspired direction for the Shotgun Players.\u003c/p>\n\u003cfigure id=\"attachment_13815462\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815462\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/blackrider-4841-e1511169732801-800x450.jpg\" alt=\"ATTACHMENT DETAILSSaved. blackrider-4841.jpg November 20, 2017 239 KB 1200 × 800 Edit Image Delete Permanently URL\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4841-e1511169732801-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4841-e1511169732801-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4841-e1511169732801-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4841-e1511169732801-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4841-e1511169732801-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4841-e1511169732801-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4841-e1511169732801-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4841-e1511169732801-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4841-e1511169732801-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4841-e1511169732801.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Old Uncle (Kevin Clarke) is always ready to use his bullhorn and shout out a few pertinent messages in ‘The Black Rider,’ at Shotgun Players’ Ashby Stage. \u003ccite>(Photo: Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like all fairy tales, the story is simple. Wilhelm loves Kätchen, but Kätchen’s father Bertram is a huntsman and is dubious of a clerk who can’t shoot. Dad prefers Robert, who knows his way around guns, despite his wife Anne’s protestations about true love. There’s not one but two devils: Old Uncle and Peg Leg, the latter with a supply of magic bullets that kind of always hit their mark, or somewhere close to it.\u003c/p>\n\u003cp>It takes a perverse spirit to ask a man named William who mistakenly shot his wife dead to write a libretto about a man named Wilhelm who can’t shoot and is about to be married. That’s Wilson for you, though, a master producer and creator of theatrical extravaganzas — everything he touches turns into a comic nightmare of perfectly composed and striking stage images.\u003c/p>\n\u003cp>\u003cem>The Black Rider\u003c/em>, with its German cabaret-style score, premiered in Hamburg in 1990 and became an international sensation in both style, substance, and reception. In 2017, Jackson and Shotgun bring the tale back to America, where it belongs — not only because of the distinctly American voices of Burroughs (Missouri) and Waits (a master of mutated, bluesy Americana), but because we are a country that loves our guns and bullets.\u003c/p>\n\u003cfigure id=\"attachment_13815464\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815464\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/blackrider-5233-e1511170049892-800x450.jpg\" alt=\"Peg Leg (Rotimi Agbabiaka) teaches Wilhelm (Grace Ng) in the ways of the gun.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-5233-e1511170049892.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-5233-e1511170049892-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-5233-e1511170049892-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-5233-e1511170049892-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-5233-e1511170049892-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-5233-e1511170049892-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Peg Leg (Rotimi Agbabiaka) teaches Wilhelm (Grace Ng) in the ways of the gun in ‘The Black Rider.’ \u003ccite>(Photo: Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Wilson’s heavily European influenced productions, actors are often lathered in white makeup, three swatches short of a Kabuki mask and hard to tell apart. Everyone’s a twin in clown white. In contrast, Jackson and Shotgun cast with an eye to the American street. It’s as if they went out and bought costumes for types — accountant, huntsman, devil, ingénue, mom — and then looked around for anyone with enough crazy verve and talent to bring those clothes to life. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Hey, performance artist El Beh, want to play a prick with a gun, here’s some fatigues and a fake beard. Rotimi Agbabiaka, we’ve got a ruffled shirt and one red boot, how ’bout Peg Leg? You’ll do it if you play him three times past laconic, you’re in! Got a gray suit and goofy glasses, Grace Ng, Wilhelm’s calling you. Kevin Clarke, you’re the best hair actor in the Bay Area, get your scissors ready!\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13815459\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815459\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/blackrider-4906-e1511169110525-800x449.jpg\" alt=\"(L to R) Wilhelm (Grace Ng, Kätchen (Noelle Viñas), Bertram (Steven Hess), Anne (Elizabeth Carter), Old Uncle (Kevin Clarke), Robert (El Beh), and Peg Leg (Rotimi Agbabiaka) dance and sing their way to hell.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4906-e1511169110525-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4906-e1511169110525-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4906-e1511169110525-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4906-e1511169110525-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4906-e1511169110525-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4906-e1511169110525-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4906-e1511169110525-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4906-e1511169110525-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4906-e1511169110525-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4906-e1511169110525.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Wilhelm (Grace Ng, Kätchen (Noelle Viñas), Bertram (Steven Hess), Anne (Elizabeth Carter), Old Uncle (Kevin Clarke), Robert (El Beh), and Peg Leg (Rotimi Agbabiaka) dance and sing their way to hell in ‘The Black Rider.’ \u003ccite>(Photo: Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Some might call it non-traditional casting. I’d argue that it’s just the kicks of theater and putting on a show. To see the cast lined up on the stage is to see America: every race, an array of ages, small and tall, the bald and the hirsute. There’s a joyous democratic spirit present that’s lost in the high gloss of Wilson’s original production.\u003c/p>\n\u003cp>But in bringing \u003cem>The Black Rider\u003c/em> to its American core, Shotgun also brings us back to guns and bullets and the trauma at the heart of Burroughs’ art — after all, he’s a confessed killer, and no matter which way the story goes it keeps circling back to murders, inadvertent or otherwise.\u003c/p>\n\u003cp>So despite all the exuberance and skill here — of the acting, of Waits’ beautiful music (under the direction of the \u003ca href=\"http://www.awesomeorchestra.org/\" target=\"_blank\" rel=\"noopener\">Awesöme Orchestra\u003c/a>’s David Möschler), of Jackson’s funhouse staging — we’re essentially watching a nightmare creep into reality, one we feel coming every step of the way. And in that sense the production is truly post-traumatic, a show fueled by the shock and desperation of knowing that you have shot a gun, that you have enjoyed hearing the crack of the bullet, and that when the smoke has cleared, you have murdered someone you loved.\u003c/p>\n\u003cfigure id=\"attachment_13815458\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815458\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/blackrider-4896-e1511168648804-800x450.jpg\" alt=\"Peg Leg (Rotimi Agbabiaka) has a few devilish messages we should all heed.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4896-e1511168648804-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4896-e1511168648804-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4896-e1511168648804-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4896-e1511168648804-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4896-e1511168648804-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4896-e1511168648804-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4896-e1511168648804-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4896-e1511168648804-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4896-e1511168648804-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/blackrider-4896-e1511168648804.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Peg Leg (Rotimi Agbabiaka) has a few devilish messages we should all heed in ‘The Black Rider.’ \u003ccite>(Photo: Cheshire Isaacs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s quite a message for a show and production of such stunning grace and pleasure. As Peg Leg sings, “The bullet may have its own will / you never know whom it will kill.” The devil knows, though, and in the end he’s happy that we only see him halfway coming.\u003c/p>\n\u003cp>And as for our happiness in America, well, Shotgun’s \u003cem>Black Rider\u003c/em> makes it clear: we just want to keep pulling that trigger.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Black Rider: The Casting of the Magic Bullets’ runs through Sunday, Dec. 31, at the Ashby Stage in Berkeley. For tickets and information, \u003ca href=\"https://www.shotgunplayers.org/Online/default.asp\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We produced the Do List from the stage of the Luther Burbank Center For the Arts in Santa Rosa, because for so many, it’s the cultural and communal heart of the city. Formerly a church, the sprawling campus offers music shows with a lot of country stars and other performances, a sculpture garden, classrooms and a community gathering space. \u003c/p>\n\u003cp>“For generations, people have had their weddings here,” executive director Rick Nowlin told us before we recorded the show. “They come to exhibitions here. I speak to people and I’ll say, ‘How many people have been to the center?’ And invariably everyone, everyone will raise their hands.”\u003c/p>\n\u003cfigure id=\"attachment_11334382\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11334382\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/LBCMAIN-800x450.jpg\" alt=\"The Luther Burbank Center, pictured in 2009.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/LBCMAIN-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/LBCMAIN-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/LBCMAIN-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/LBCMAIN-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/LBCMAIN-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/LBCMAIN.jpg 1567w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Luther Burbank Center, pictured in 2009. \u003ccite>(Wiki/StephenG3)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Gabe Meline noted, it’s a minor miracle the center still stands. The fire destroyed sculptures, landscaping, part of an instrument library, and classrooms. Thankfully the main auditorium and a smaller black box theater are in good shape.\u003c/p>\n\u003cp>We’re highlighting just two of the center’s many upcoming shows, the first being a demonstration of the center’s strong country music programming:\u003c/p>\n\u003cp>\u003cstrong>Nov. 26:\u003c/strong> Dwight Yoakam, a preacher of the Bakersfield sound, \u003ca href=\"https://lutherburbankcenter.org/event/dwight-yoakam/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And here’s a show by Sacramento’s Ballet Folklorico demonstrating the center’s commitment to the Latino community:\u003c/p>\n\u003cp>\u003cstrong>Dec. 8: \u003c/strong>11th Annual Posada Navideña by Ballet Folklórico de Sacramento \u003ca href=\"https://lutherburbankcenter.org/event/11th-posada-navidena/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ovTNQflSECc\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We produced the Do List from the stage of the Luther Burbank Center For the Arts in Santa Rosa, because for so many, it’s the cultural and communal heart of the city. Formerly a church, the sprawling campus offers music shows with a lot of country stars and other performances, a sculpture garden, classrooms and a community gathering space. \u003c/p>\n\u003cp>“For generations, people have had their weddings here,” executive director Rick Nowlin told us before we recorded the show. “They come to exhibitions here. I speak to people and I’ll say, ‘How many people have been to the center?’ And invariably everyone, everyone will raise their hands.”\u003c/p>\n\u003cfigure id=\"attachment_11334382\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11334382\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/LBCMAIN-800x450.jpg\" alt=\"The Luther Burbank Center, pictured in 2009.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/LBCMAIN-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/LBCMAIN-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/LBCMAIN-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/LBCMAIN-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/LBCMAIN-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/LBCMAIN.jpg 1567w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Luther Burbank Center, pictured in 2009. \u003ccite>(Wiki/StephenG3)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As Gabe Meline noted, it’s a minor miracle the center still stands. The fire destroyed sculptures, landscaping, part of an instrument library, and classrooms. Thankfully the main auditorium and a smaller black box theater are in good shape.\u003c/p>\n\u003cp>We’re highlighting just two of the center’s many upcoming shows, the first being a demonstration of the center’s strong country music programming:\u003c/p>\n\u003cp>\u003cstrong>Nov. 26:\u003c/strong> Dwight Yoakam, a preacher of the Bakersfield sound, \u003ca href=\"https://lutherburbankcenter.org/event/dwight-yoakam/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And here’s a show by Sacramento’s Ballet Folklorico demonstrating the center’s commitment to the Latino community:\u003c/p>\n\u003cp>\u003cstrong>Dec. 8: \u003c/strong>11th Annual Posada Navideña by Ballet Folklórico de Sacramento \u003ca href=\"https://lutherburbankcenter.org/event/11th-posada-navidena/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ovTNQflSECc'\n title='//www.youtube.com/embed/ovTNQflSECc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"title": "'Girls of the Golden West' is Nothing Like Your High School History Book",
"headTitle": "‘Girls of the Golden West’ is Nothing Like Your High School History Book | KQED",
"content": "\u003cp>School history books and Western movies typically portray the California Gold Rush as a time when white pioneers ventured west to a lawless and near-desolate land, to strike it rich. But accounts from the period portray a much more complicated society — one where different ethnic groups mingled and often clashed; where gender roles slowly began to shift away from Old World conventions.\u003c/p>\n\u003cp>With \u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera’s\u003c/a> \u003cem>Girls of the Golden West\u003c/em>, composer \u003ca href=\"https://ww2.kqed.org/arts/2017/02/07/why-john-adams-wont-write-an-opera-about-president-trump/\" target=\"_blank\" rel=\"noopener\">John Adams\u003c/a> and librettist-director Peter Sellars give a much more nuanced take on this historical period. The new opera, which had its world premiere last night on Nov. 21 and runs through Dec. 10, centers on the tales of three women from radically different backgrounds — an East Coast dame, a Mexican waitress, and a Chinese sex worker — and one man, an escaped slave.\u003c/p>\n\u003cp>Adams and Sellars cobbled these stories together from poems, letters, diaries, and literature from the period that represented a cross-section of voices: famous ones like Frederick Douglass, Mark Twain, and Alfonsina Storni as well as lesser-known miners, runaway slaves, Chinese railroad workers, and white settlers.\u003c/p>\n\u003cfigure id=\"attachment_13815655\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815655\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/04_Cory-Weaver_GGW_Davone-Tines_Julia-Bullock-800x1133.jpg\" alt=\"Davóne Tines as Ned Peters and Julia Bullock as Dame Shirley in John Adams' 'Girls of the Golden West.'\" width=\"800\" height=\"1133\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/04_Cory-Weaver_GGW_Davone-Tines_Julia-Bullock.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/04_Cory-Weaver_GGW_Davone-Tines_Julia-Bullock-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/04_Cory-Weaver_GGW_Davone-Tines_Julia-Bullock-768x1088.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/04_Cory-Weaver_GGW_Davone-Tines_Julia-Bullock-240x340.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/04_Cory-Weaver_GGW_Davone-Tines_Julia-Bullock-375x531.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/04_Cory-Weaver_GGW_Davone-Tines_Julia-Bullock-520x736.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Davóne Tines as Ned Peters and Julia Bullock as Dame Shirley in John Adams’ ‘Girls of the Golden West.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dame Shirley, a well-off doctor’s wife who settles in the mining camp Rich Bar, is a witty and insightful narrator who holds together the complicated, overlapping storylines of \u003cem>Girls of the Golden West\u003c/em>. Soprano Julia Bullock is humorous and campy as Shirley in the first act, when her rich-lady sensibilities clash with the harsh realities of the camp. But she also brings about some of the most emotionally poignant moments in the second act, when white settlers, restless and angry from their Gold Rush dreams not panning out, begin an onslaught of racist attacks on other residents of the area.\u003c/p>\n\u003cp>Shirley’s character was based on the real-life physician’s wife Louise Amelia Clappe, whose 1851-52 letters, published as \u003cem>The Shirley Papers\u003c/em>, informed much of Sellars’ libretto. As Shirley, Bullock provides many of the historical details that make the opera feel real in lieu of props or complicated set design, and her crystalline voice is one of the most beautiful of the production.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bass-baritone Davóne Tines’ Ned Peters, a runaway slave who becomes friends with Dame Shirley on her journey — and yes, there are some hints of flirtation between the two — delivers another one of the most compelling moments in \u003cem>Girls of the Golden West\u003c/em>. When drunken, rowdy white miners revel in a sinister 4th of July celebration that reeks of racism, he delivers a passionate speech based on Frederick Douglass’ “What to a slave is the 4th of July?,” echoing questions of freedom and racial inequality that are still relevant today.\u003c/p>\n\u003cfigure id=\"attachment_13815656\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815656\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/07_Stefan-Cohen_Ryan-McKinny_Paul-Appleby-800x534.jpg\" alt=\"Ryan McKinny as Clarence and Paul Appleby as Joe Cannon with the San Francisco Opera Chorus in John Adams' 'Girls of the Golden West.'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/07_Stefan-Cohen_Ryan-McKinny_Paul-Appleby.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/07_Stefan-Cohen_Ryan-McKinny_Paul-Appleby-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/07_Stefan-Cohen_Ryan-McKinny_Paul-Appleby-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/07_Stefan-Cohen_Ryan-McKinny_Paul-Appleby-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/07_Stefan-Cohen_Ryan-McKinny_Paul-Appleby-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/07_Stefan-Cohen_Ryan-McKinny_Paul-Appleby-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ryan McKinny as Clarence and Paul Appleby as Joe Cannon with the San Francisco Opera Chorus in John Adams’ ‘Girls of the Golden West.’ \u003ccite>(Stefan Cohen/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While \u003cem>Girls of the Golden West\u003c/em> isn’t heavy-handed in its political messaging, it’s hard not to draw parallels between these violent, torch-bearing miners and the mobs of white supremacists we’ve seen at recent events like Charlottesville. Motivated by a lethal cocktail of racism and economic insecurity, miners who failed to strike it rich in the Gold Rush take their anger out on Latino, Asian, black, and Native people in the area, culminating in brutal attacks.\u003c/p>\n\u003cp>Much like it does in the real world, the white settlers’ racism merges with sexism in several of \u003cem>Girls of the Golden West\u003c/em>’s most dramatic plot points, as when they harass Chinese sex worker Ah Sing (played by soprano Hye Jung Lee), or when they lynch waitress Josefa Segovia (mezzo-soprano J’Nai Bridges), who kills a man in self-defense.\u003c/p>\n\u003cp>The opera doesn’t sugarcoat these traumatic and unjust happenings, but it also leaves room for the women to speak their piece. Ah Sing, who sings about being sold into sex slavery at 10 years old but takes a certain level of pride in her business acumen as an adult, has a rich, complicated backstory. And Segovia, based on a real-life woman who was hanged over the Yuba River, displays simultaneous grit and tenderness in her journey of love and survival.\u003c/p>\n\u003cfigure id=\"attachment_13815657\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815657\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/17_Cory-Weaver_GGW_Hye-Jung-Lee-800x537.jpg\" alt=\"Hye Jung Lee as Ah Sing in John Adams' 'Girls of the Golden West.'\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/17_Cory-Weaver_GGW_Hye-Jung-Lee.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/17_Cory-Weaver_GGW_Hye-Jung-Lee-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/17_Cory-Weaver_GGW_Hye-Jung-Lee-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/17_Cory-Weaver_GGW_Hye-Jung-Lee-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/17_Cory-Weaver_GGW_Hye-Jung-Lee-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/17_Cory-Weaver_GGW_Hye-Jung-Lee-520x349.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hye Jung Lee as Ah Sing in John Adams’ ‘Girls of the Golden West.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These characters give \u003cem>Girls of the Golden West\u003c/em> its depth, but Sellars could have taken the opera up another notch by including stories from indigenous people from the area. Native Americans are only mentioned twice in passing — once when Dame Shirley describes Native women in a racist, insulting way, and another instance in reference to a massacre. Surely there are Native people from history whose stories could have been incorporated into the opera as skillfully as the others.\u003c/p>\n\u003cp>In terms of casting, San Francisco Opera has done an admirable job featuring young, diverse, stand-out talent. None of the actors are big names yet, but they’re being heralded as rising stars — especially \u003ca href=\"https://www.newyorker.com/culture/culture-desk/the-artistry-of-the-soprano-julia-bullock\" target=\"_blank\" rel=\"noopener\">Bullock\u003c/a> and \u003ca href=\"http://beta.latimes.com/entertainment/arts/la-ca-cm-davone-tines-el-nino-20161208-htmlstory.html\" target=\"_blank\" rel=\"noopener\">Tines\u003c/a>. It was an admirable and surprising choice for Adams cast Bullock, who is African American, as Shirley, a white woman, especially given the preponderance of white actors in brownface in Western movies and the biases that exist in Hollywood (and opera) casting today.\u003c/p>\n\u003cp>\u003cem>Girls of the Golden West\u003c/em> is a fictionalized account, but even so, Sellars and Adams are opening up a timely dialogue about our state history that helps us better understand the present.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "John Adams' new opera scrubs the white-washing from the California Gold Rush.",
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"title": "'Girls of the Golden West' is Nothing Like Your High School History Book | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>School history books and Western movies typically portray the California Gold Rush as a time when white pioneers ventured west to a lawless and near-desolate land, to strike it rich. But accounts from the period portray a much more complicated society — one where different ethnic groups mingled and often clashed; where gender roles slowly began to shift away from Old World conventions.\u003c/p>\n\u003cp>With \u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">San Francisco Opera’s\u003c/a> \u003cem>Girls of the Golden West\u003c/em>, composer \u003ca href=\"https://ww2.kqed.org/arts/2017/02/07/why-john-adams-wont-write-an-opera-about-president-trump/\" target=\"_blank\" rel=\"noopener\">John Adams\u003c/a> and librettist-director Peter Sellars give a much more nuanced take on this historical period. The new opera, which had its world premiere last night on Nov. 21 and runs through Dec. 10, centers on the tales of three women from radically different backgrounds — an East Coast dame, a Mexican waitress, and a Chinese sex worker — and one man, an escaped slave.\u003c/p>\n\u003cp>Adams and Sellars cobbled these stories together from poems, letters, diaries, and literature from the period that represented a cross-section of voices: famous ones like Frederick Douglass, Mark Twain, and Alfonsina Storni as well as lesser-known miners, runaway slaves, Chinese railroad workers, and white settlers.\u003c/p>\n\u003cfigure id=\"attachment_13815655\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815655\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/04_Cory-Weaver_GGW_Davone-Tines_Julia-Bullock-800x1133.jpg\" alt=\"Davóne Tines as Ned Peters and Julia Bullock as Dame Shirley in John Adams' 'Girls of the Golden West.'\" width=\"800\" height=\"1133\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/04_Cory-Weaver_GGW_Davone-Tines_Julia-Bullock.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/04_Cory-Weaver_GGW_Davone-Tines_Julia-Bullock-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/04_Cory-Weaver_GGW_Davone-Tines_Julia-Bullock-768x1088.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/04_Cory-Weaver_GGW_Davone-Tines_Julia-Bullock-240x340.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/04_Cory-Weaver_GGW_Davone-Tines_Julia-Bullock-375x531.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/04_Cory-Weaver_GGW_Davone-Tines_Julia-Bullock-520x736.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Davóne Tines as Ned Peters and Julia Bullock as Dame Shirley in John Adams’ ‘Girls of the Golden West.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dame Shirley, a well-off doctor’s wife who settles in the mining camp Rich Bar, is a witty and insightful narrator who holds together the complicated, overlapping storylines of \u003cem>Girls of the Golden West\u003c/em>. Soprano Julia Bullock is humorous and campy as Shirley in the first act, when her rich-lady sensibilities clash with the harsh realities of the camp. But she also brings about some of the most emotionally poignant moments in the second act, when white settlers, restless and angry from their Gold Rush dreams not panning out, begin an onslaught of racist attacks on other residents of the area.\u003c/p>\n\u003cp>Shirley’s character was based on the real-life physician’s wife Louise Amelia Clappe, whose 1851-52 letters, published as \u003cem>The Shirley Papers\u003c/em>, informed much of Sellars’ libretto. As Shirley, Bullock provides many of the historical details that make the opera feel real in lieu of props or complicated set design, and her crystalline voice is one of the most beautiful of the production.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bass-baritone Davóne Tines’ Ned Peters, a runaway slave who becomes friends with Dame Shirley on her journey — and yes, there are some hints of flirtation between the two — delivers another one of the most compelling moments in \u003cem>Girls of the Golden West\u003c/em>. When drunken, rowdy white miners revel in a sinister 4th of July celebration that reeks of racism, he delivers a passionate speech based on Frederick Douglass’ “What to a slave is the 4th of July?,” echoing questions of freedom and racial inequality that are still relevant today.\u003c/p>\n\u003cfigure id=\"attachment_13815656\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815656\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/07_Stefan-Cohen_Ryan-McKinny_Paul-Appleby-800x534.jpg\" alt=\"Ryan McKinny as Clarence and Paul Appleby as Joe Cannon with the San Francisco Opera Chorus in John Adams' 'Girls of the Golden West.'\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/07_Stefan-Cohen_Ryan-McKinny_Paul-Appleby.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/07_Stefan-Cohen_Ryan-McKinny_Paul-Appleby-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/07_Stefan-Cohen_Ryan-McKinny_Paul-Appleby-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/07_Stefan-Cohen_Ryan-McKinny_Paul-Appleby-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/07_Stefan-Cohen_Ryan-McKinny_Paul-Appleby-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/07_Stefan-Cohen_Ryan-McKinny_Paul-Appleby-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ryan McKinny as Clarence and Paul Appleby as Joe Cannon with the San Francisco Opera Chorus in John Adams’ ‘Girls of the Golden West.’ \u003ccite>(Stefan Cohen/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While \u003cem>Girls of the Golden West\u003c/em> isn’t heavy-handed in its political messaging, it’s hard not to draw parallels between these violent, torch-bearing miners and the mobs of white supremacists we’ve seen at recent events like Charlottesville. Motivated by a lethal cocktail of racism and economic insecurity, miners who failed to strike it rich in the Gold Rush take their anger out on Latino, Asian, black, and Native people in the area, culminating in brutal attacks.\u003c/p>\n\u003cp>Much like it does in the real world, the white settlers’ racism merges with sexism in several of \u003cem>Girls of the Golden West\u003c/em>’s most dramatic plot points, as when they harass Chinese sex worker Ah Sing (played by soprano Hye Jung Lee), or when they lynch waitress Josefa Segovia (mezzo-soprano J’Nai Bridges), who kills a man in self-defense.\u003c/p>\n\u003cp>The opera doesn’t sugarcoat these traumatic and unjust happenings, but it also leaves room for the women to speak their piece. Ah Sing, who sings about being sold into sex slavery at 10 years old but takes a certain level of pride in her business acumen as an adult, has a rich, complicated backstory. And Segovia, based on a real-life woman who was hanged over the Yuba River, displays simultaneous grit and tenderness in her journey of love and survival.\u003c/p>\n\u003cfigure id=\"attachment_13815657\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13815657\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/17_Cory-Weaver_GGW_Hye-Jung-Lee-800x537.jpg\" alt=\"Hye Jung Lee as Ah Sing in John Adams' 'Girls of the Golden West.'\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/17_Cory-Weaver_GGW_Hye-Jung-Lee.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/17_Cory-Weaver_GGW_Hye-Jung-Lee-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/17_Cory-Weaver_GGW_Hye-Jung-Lee-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/17_Cory-Weaver_GGW_Hye-Jung-Lee-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/17_Cory-Weaver_GGW_Hye-Jung-Lee-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/17_Cory-Weaver_GGW_Hye-Jung-Lee-520x349.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hye Jung Lee as Ah Sing in John Adams’ ‘Girls of the Golden West.’ \u003ccite>(Cory Weaver/San Francisco Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These characters give \u003cem>Girls of the Golden West\u003c/em> its depth, but Sellars could have taken the opera up another notch by including stories from indigenous people from the area. Native Americans are only mentioned twice in passing — once when Dame Shirley describes Native women in a racist, insulting way, and another instance in reference to a massacre. Surely there are Native people from history whose stories could have been incorporated into the opera as skillfully as the others.\u003c/p>\n\u003cp>In terms of casting, San Francisco Opera has done an admirable job featuring young, diverse, stand-out talent. None of the actors are big names yet, but they’re being heralded as rising stars — especially \u003ca href=\"https://www.newyorker.com/culture/culture-desk/the-artistry-of-the-soprano-julia-bullock\" target=\"_blank\" rel=\"noopener\">Bullock\u003c/a> and \u003ca href=\"http://beta.latimes.com/entertainment/arts/la-ca-cm-davone-tines-el-nino-20161208-htmlstory.html\" target=\"_blank\" rel=\"noopener\">Tines\u003c/a>. It was an admirable and surprising choice for Adams cast Bullock, who is African American, as Shirley, a white woman, especially given the preponderance of white actors in brownface in Western movies and the biases that exist in Hollywood (and opera) casting today.\u003c/p>\n\u003cp>\u003cem>Girls of the Golden West\u003c/em> is a fictionalized account, but even so, Sellars and Adams are opening up a timely dialogue about our state history that helps us better understand the present.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Dangers of Being Earnest: 'The Royale' and Jack Johnson",
"headTitle": "The Dangers of Being Earnest: ‘The Royale’ and Jack Johnson | KQED",
"content": "\u003cp>In our racially damaged culture, it doesn’t feel right to criticize Marco Ramirez’s \u003ca href=\"https://www.auroratheatre.org/index.php/shows-events/2017-2018-season/the-royale\">\u003cem>The Royale\u003c/em>\u003c/a>, especially in light of the Aurora Theatre’s well acted, designed, and directed Bay Area premiere.\u003c/p>\n\u003cp>After all, you couldn’t hope or imagine for a more earnest and caring depiction of the first African-American heavyweight champion of the world (1907–1915), Jack Johnson. But the play is also an inadvertent demonstration of the limits of earnestness and care as an aesthetic, especially when dealing with extraordinary people.\u003c/p>\n\u003cp>And Johnson was extraordinary. A subtle, tactical, and powerful boxer; a personality born for the international stage and fame; seemingly oblivious and unafraid of Jim Crow America, here is a man whose presence and accomplishments were so electric that Congress created a law making it illegal to transport boxing films across state lines — apparently they felt that watching his matches would demoralize white people.\u003c/p>\n\u003cfigure id=\"attachment_13814791\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814791\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Roayle_featured-e1510618412919-800x452.jpg\" alt=\"(L to R) Jay Jackson (Calvin M. Thompson) and Fish (Satchel André) square off with (L to R) Wynton (Donald E. Lacy, Jr.), Max (Tim Kniffin) and Nina (Atim Udoffia) in the background.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Roayle_featured-e1510618412919-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Roayle_featured-e1510618412919-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Roayle_featured-e1510618412919-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Roayle_featured-e1510618412919-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Roayle_featured-e1510618412919-1920x1084.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Roayle_featured-e1510618412919-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Roayle_featured-e1510618412919-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Roayle_featured-e1510618412919-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Roayle_featured-e1510618412919-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Roayle_featured-e1510618412919-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Jay Jackson (Calvin M. Thompson) and Fish (Satchel André) square off with (L to R) Wynton (Donald E. Lacy, Jr.), Max (Tim Kniffin) and Nina (Atim Udoffia) in the background. \u003ccite>(Photo: David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So when \u003cem>The Royale\u003c/em> opens with a boxing match, you think, okay, let’s get this fight going. Fights are outrageous; Johnson was outrageous; America was sickeningly outrageous; fights on stage depicting early 20th century boxing matches are outrageous. I was ready for violence, a nice theatrical conflagration brimming over with revolutionary zeal.\u003c/p>\n\u003cp>Instead, Ramirez (who rechristened Johnson “Jay Jackson” in the play, for no clear dramatic reason) gives us an abstraction of a fight, without any of the benefits of the abstract. The actors face the audience and stomp on the stage to indicate the throwing of punches. We aren’t reflecting on the nature of boxing, or how we conceive of a fight, or the possibility of fracturing time and space to enter Jackson’s soul. It’s just a fancy way of setting up a rather clichéd set of dramatic terms.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jackson taunts his opponent Fish, a fellow African-American boxer who will later become his sparring partner; Jackson’s trainer Wynton yells instructions and encouragement from his corner (“keep those hands up, Jay!”), and the announcer announces exactly what we’re seeing. It all has the feel of a fifth-rate television movie gussied up as Oscar bait.\u003c/p>\n\u003cp>In a May 2016 interview with the \u003cem>Miami Herald, \u003c/em>Ramirez was clear about his worries and intentions in writing about Johnson. “I was really sensitive knowing how important the story was in African-American history,” he said. “I wanted to make sure of… not so much getting the story of his life right but getting the adversity he faced right.”\u003c/p>\n\u003cp>He should’ve stuck with the story. In chasing adversity, Ramirez’s loses much of the man, his life, and the feel of early 20th century America. Johnson/Jackson becomes the slave of historical circumstance that he never was. Individual scenes become mere demonstrations of a sentimental take on racism and suffering. It feels tired, preordained, portentous, and makes for some curious writing.\u003c/p>\n\u003cfigure id=\"attachment_13814799\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814799\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Royale_fish-e1510620175329-800x450.jpg\" alt=\"Fish (Satchel André) tells Wynton (Donald E. Lacy) a few of his ideas about the world.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Royale_fish-e1510620175329-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Royale_fish-e1510620175329-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Royale_fish-e1510620175329-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Royale_fish-e1510620175329-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Royale_fish-e1510620175329-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Royale_fish-e1510620175329-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Royale_fish-e1510620175329-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Royale_fish-e1510620175329-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Royale_fish-e1510620175329-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Royale_fish-e1510620175329-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fish (Satchel André) tells Wynton (Donald E. Lacy) a few of his ideas about the world. \u003ccite>(Photo: David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At one point, for example, Jackson and his manager Max argue about his security as if they’re having the discussion for the first time — “Men showin’ up — Men with pistols — You tellin’ me it’s happened before?” But it’s a ludicrous dramatic conceit that Johnson/Jackson would have been taken aback by the possibility of white violence in 1907. Hell, it wouldn’t be surprising in 2017.\u003c/p>\n\u003cp>To get his shot at the world championship, Johnson dogged then-champion Tommy Burns all over the world for two years, taunting him in the press until Burns had no choice but to fight. By 1912, when Johnson fought James Jefferies, the returning undefeated champion and great white hope Jack London yearned for, he was probably the most famous African American in the world, and certainly the most notorious.\u003c/p>\n\u003cp>This was a man finely attuned to the sensibilities of his age, who manipulated them to his own ambitions. To present him as a shocked naif is to reduce and strip him of what he obviously possessed — great imagination.\u003c/p>\n\u003cp>But in order to see and feel that imagination, we have to believe that it’s operating in a plausibly real world and not one rigged for dramatic effect. At one point, it seems that Fish has betrayed Jackson — he hasn’t — and you realize that Ramirez just wanted to ramp up the tension in the play. As if a life like that needed more drama.\u003c/p>\n\u003cp>In a similar fashion, Jackson’s sister Nina visits him before his title fight with Champ Bixby (a historically and dramatically unconvincing conflation of Burns and Jefferies) to debate, argue, and taunt him into not fighting for fear of the violence that will follow if he wins. She’s presented as a guardian of moral rectitude, the ethical center to Jackson’s loose ways — “You’re so caught up in playing David to Goliath, in being the one fish swimming upstream, I think you up and forgot about the rest of us.”\u003c/p>\n\u003cfigure id=\"attachment_13814790\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814790\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Royale_Nina-e1510617834625-800x450.jpg\" alt=\"Jay Jackson (Calvin M. Thompson) squares off against his sister Nina (Atim Udoffia).\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Royale_Nina-e1510617834625-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Royale_Nina-e1510617834625-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Royale_Nina-e1510617834625-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Royale_Nina-e1510617834625-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Royale_Nina-e1510617834625-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Royale_Nina-e1510617834625-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Royale_Nina-e1510617834625-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Royale_Nina-e1510617834625-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Royale_Nina-e1510617834625-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Royale_Nina-e1510617834625-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jay Jackson (Calvin M. Thompson) squares off against his sister Nina (Atim Udoffia). \u003ccite>(Photo: David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The conflict, though, is purely ceremonial. We know that nothing will stop this fight, and that Nina’s moral and ethical qualms are not only unpersuasive, but also empty. If race is the battleground that the play’s symbolic logic rests, then the idea of not fighting is cowardly, foolish, and a joke to even consider. Without the Johnson/Jacksons of the world, there is no joy, hope, or any possibility of change. Everything becomes adversity.\u003c/p>\n\u003cp>The desire to honor is a dangerous and conservative aesthetic. It panders and plays to the romantic and sentimental in all of us. With great care and earnestness, Ramirez has turned a free-thinking visionary into a psychologically trapped dupe. That takes work.\u003c/p>\n\u003cp>I can’t think of a more effective dismantling of vision and imagination than \u003cem>The Royale\u003c/em>. It’s tailor-made for our times, where concern so often pushes thought and action to the wings.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘The Royale’ runs through Sunday, Dec. 3, at the Aurora Theatre. For tickets and information, \u003ca href=\"https://www.auroratheatre.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "In focusing on his obstacles instead of his triumphs, Marcos Ramirez's play at the Aurora turns a free-thinking visionary into a psychologically trapped dupe.",
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"description": "In focusing on his obstacles instead of his triumphs, Marcos Ramirez's play at the Aurora turns a free-thinking visionary into a psychologically trapped dupe.",
"title": "The Dangers of Being Earnest: 'The Royale' and Jack Johnson | KQED",
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"headline": "The Dangers of Being Earnest: 'The Royale' and Jack Johnson",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In our racially damaged culture, it doesn’t feel right to criticize Marco Ramirez’s \u003ca href=\"https://www.auroratheatre.org/index.php/shows-events/2017-2018-season/the-royale\">\u003cem>The Royale\u003c/em>\u003c/a>, especially in light of the Aurora Theatre’s well acted, designed, and directed Bay Area premiere.\u003c/p>\n\u003cp>After all, you couldn’t hope or imagine for a more earnest and caring depiction of the first African-American heavyweight champion of the world (1907–1915), Jack Johnson. But the play is also an inadvertent demonstration of the limits of earnestness and care as an aesthetic, especially when dealing with extraordinary people.\u003c/p>\n\u003cp>And Johnson was extraordinary. A subtle, tactical, and powerful boxer; a personality born for the international stage and fame; seemingly oblivious and unafraid of Jim Crow America, here is a man whose presence and accomplishments were so electric that Congress created a law making it illegal to transport boxing films across state lines — apparently they felt that watching his matches would demoralize white people.\u003c/p>\n\u003cfigure id=\"attachment_13814791\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814791\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Roayle_featured-e1510618412919-800x452.jpg\" alt=\"(L to R) Jay Jackson (Calvin M. Thompson) and Fish (Satchel André) square off with (L to R) Wynton (Donald E. Lacy, Jr.), Max (Tim Kniffin) and Nina (Atim Udoffia) in the background.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Roayle_featured-e1510618412919-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Roayle_featured-e1510618412919-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Roayle_featured-e1510618412919-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Roayle_featured-e1510618412919-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Roayle_featured-e1510618412919-1920x1084.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Roayle_featured-e1510618412919-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Roayle_featured-e1510618412919-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Roayle_featured-e1510618412919-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Roayle_featured-e1510618412919-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Roayle_featured-e1510618412919-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Jay Jackson (Calvin M. Thompson) and Fish (Satchel André) square off with (L to R) Wynton (Donald E. Lacy, Jr.), Max (Tim Kniffin) and Nina (Atim Udoffia) in the background. \u003ccite>(Photo: David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So when \u003cem>The Royale\u003c/em> opens with a boxing match, you think, okay, let’s get this fight going. Fights are outrageous; Johnson was outrageous; America was sickeningly outrageous; fights on stage depicting early 20th century boxing matches are outrageous. I was ready for violence, a nice theatrical conflagration brimming over with revolutionary zeal.\u003c/p>\n\u003cp>Instead, Ramirez (who rechristened Johnson “Jay Jackson” in the play, for no clear dramatic reason) gives us an abstraction of a fight, without any of the benefits of the abstract. The actors face the audience and stomp on the stage to indicate the throwing of punches. We aren’t reflecting on the nature of boxing, or how we conceive of a fight, or the possibility of fracturing time and space to enter Jackson’s soul. It’s just a fancy way of setting up a rather clichéd set of dramatic terms.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jackson taunts his opponent Fish, a fellow African-American boxer who will later become his sparring partner; Jackson’s trainer Wynton yells instructions and encouragement from his corner (“keep those hands up, Jay!”), and the announcer announces exactly what we’re seeing. It all has the feel of a fifth-rate television movie gussied up as Oscar bait.\u003c/p>\n\u003cp>In a May 2016 interview with the \u003cem>Miami Herald, \u003c/em>Ramirez was clear about his worries and intentions in writing about Johnson. “I was really sensitive knowing how important the story was in African-American history,” he said. “I wanted to make sure of… not so much getting the story of his life right but getting the adversity he faced right.”\u003c/p>\n\u003cp>He should’ve stuck with the story. In chasing adversity, Ramirez’s loses much of the man, his life, and the feel of early 20th century America. Johnson/Jackson becomes the slave of historical circumstance that he never was. Individual scenes become mere demonstrations of a sentimental take on racism and suffering. It feels tired, preordained, portentous, and makes for some curious writing.\u003c/p>\n\u003cfigure id=\"attachment_13814799\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814799\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Royale_fish-e1510620175329-800x450.jpg\" alt=\"Fish (Satchel André) tells Wynton (Donald E. Lacy) a few of his ideas about the world.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Royale_fish-e1510620175329-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Royale_fish-e1510620175329-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Royale_fish-e1510620175329-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Royale_fish-e1510620175329-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Royale_fish-e1510620175329-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Royale_fish-e1510620175329-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Royale_fish-e1510620175329-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Royale_fish-e1510620175329-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Royale_fish-e1510620175329-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Royale_fish-e1510620175329-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fish (Satchel André) tells Wynton (Donald E. Lacy) a few of his ideas about the world. \u003ccite>(Photo: David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At one point, for example, Jackson and his manager Max argue about his security as if they’re having the discussion for the first time — “Men showin’ up — Men with pistols — You tellin’ me it’s happened before?” But it’s a ludicrous dramatic conceit that Johnson/Jackson would have been taken aback by the possibility of white violence in 1907. Hell, it wouldn’t be surprising in 2017.\u003c/p>\n\u003cp>To get his shot at the world championship, Johnson dogged then-champion Tommy Burns all over the world for two years, taunting him in the press until Burns had no choice but to fight. By 1912, when Johnson fought James Jefferies, the returning undefeated champion and great white hope Jack London yearned for, he was probably the most famous African American in the world, and certainly the most notorious.\u003c/p>\n\u003cp>This was a man finely attuned to the sensibilities of his age, who manipulated them to his own ambitions. To present him as a shocked naif is to reduce and strip him of what he obviously possessed — great imagination.\u003c/p>\n\u003cp>But in order to see and feel that imagination, we have to believe that it’s operating in a plausibly real world and not one rigged for dramatic effect. At one point, it seems that Fish has betrayed Jackson — he hasn’t — and you realize that Ramirez just wanted to ramp up the tension in the play. As if a life like that needed more drama.\u003c/p>\n\u003cp>In a similar fashion, Jackson’s sister Nina visits him before his title fight with Champ Bixby (a historically and dramatically unconvincing conflation of Burns and Jefferies) to debate, argue, and taunt him into not fighting for fear of the violence that will follow if he wins. She’s presented as a guardian of moral rectitude, the ethical center to Jackson’s loose ways — “You’re so caught up in playing David to Goliath, in being the one fish swimming upstream, I think you up and forgot about the rest of us.”\u003c/p>\n\u003cfigure id=\"attachment_13814790\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814790\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Royale_Nina-e1510617834625-800x450.jpg\" alt=\"Jay Jackson (Calvin M. Thompson) squares off against his sister Nina (Atim Udoffia).\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Royale_Nina-e1510617834625-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Royale_Nina-e1510617834625-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Royale_Nina-e1510617834625-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Royale_Nina-e1510617834625-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Royale_Nina-e1510617834625-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Royale_Nina-e1510617834625-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Royale_Nina-e1510617834625-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Royale_Nina-e1510617834625-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Royale_Nina-e1510617834625-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Royale_Nina-e1510617834625-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jay Jackson (Calvin M. Thompson) squares off against his sister Nina (Atim Udoffia). \u003ccite>(Photo: David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The conflict, though, is purely ceremonial. We know that nothing will stop this fight, and that Nina’s moral and ethical qualms are not only unpersuasive, but also empty. If race is the battleground that the play’s symbolic logic rests, then the idea of not fighting is cowardly, foolish, and a joke to even consider. Without the Johnson/Jacksons of the world, there is no joy, hope, or any possibility of change. Everything becomes adversity.\u003c/p>\n\u003cp>The desire to honor is a dangerous and conservative aesthetic. It panders and plays to the romantic and sentimental in all of us. With great care and earnestness, Ramirez has turned a free-thinking visionary into a psychologically trapped dupe. That takes work.\u003c/p>\n\u003cp>I can’t think of a more effective dismantling of vision and imagination than \u003cem>The Royale\u003c/em>. It’s tailor-made for our times, where concern so often pushes thought and action to the wings.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Royale’ runs through Sunday, Dec. 3, at the Aurora Theatre. For tickets and information, \u003ca href=\"https://www.auroratheatre.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"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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"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",
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"source": "Commonwealth Club of California"
},
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"title": "Forum",
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"meta": {
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"source": "WNYC"
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"id": "fresh-air",
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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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"hidden-brain": {
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"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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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"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.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"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. ",
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"jerrybrown": {
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"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. ",
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"order": 18
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},
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"id": "latino-usa",
"title": "Latino USA",
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"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/",
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},
"link": "/radio/program/latino-usa",
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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"
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},
"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",
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"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",
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