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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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"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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"slug": "the-cultural-heart-of-sonoma-county-beats-on-despite-the-fires",
"title": "The Cultural Heart of Sonoma County Beats on Despite the Fires",
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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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"title": "The Cultural Heart of Sonoma County Beats on Despite the Fires | KQED",
"description": "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. "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",
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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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"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",
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"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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"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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"content": "\u003cp>Kinetic Arts is mounting its third holiday circus show. It’s a bit smaller and less ambitious than in years past, but just as thrilling and heartwarming. Artistic Director Jaron Hollander’s show this year is called \u003cem>Circus Veritas\u003c/em> (or circus of truth) and it’s a kind of a comment on current politics.\u003c/p>\n\u003cp>“The world is trying to convince you of truth that their version is correct,” Hollander told me one morning during rehearsals, “that that is fake, this is real. We’re just going to lie from moment one.”\u003c/p>\n\u003cp>Among the performers is Kinetic Arts regular Ellie Rossi, who is just 15 years old and is already a top rope artist in international competitions. \u003c/p>\n\u003cp>“I’ve always loved to climb on everything,” Rossisaid during the break. “But a lot of it is getting to express emotion and feeling through things other than your words, and through movement. And telling a story, and giving people an escape that’s just fun.”\u003c/p>\n\u003cp>One of the best routines is a knife throwing act with an audience member as blindfolded participant, where the lies are part of the fun for the rest of the audience. Of course, circus acts often defy what we assume to be the truth about gravity and the limits of human strength and agility. By the way, Jamedra’s kids — 4-year-old twins and a 6-year-old son — had a great time, so this is terrific family entertainment. It runs through Dec. 17 at Kinetic Arts; \u003ca href=\"http://www.kineticartsproductions.com/\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13813899\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13813899\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/CV-handstand-e1510013954680-800x451.jpg\" alt=\"Eka.Boo.Button performs a very long handstand in 'Circus Veritas' by Kinetic Arts production.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CV-handstand-e1510013954680-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CV-handstand-e1510013954680-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CV-handstand-e1510013954680-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CV-handstand-e1510013954680-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CV-handstand-e1510013954680-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CV-handstand-e1510013954680-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CV-handstand-e1510013954680-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CV-handstand-e1510013954680-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CV-handstand-e1510013954680-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CV-handstand-e1510013954680.jpg 1631w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eka.Boo.Button performs a very long handstand in ‘Circus Veritas’ by Kinetic Arts production. \u003ccite>(Photo: Eric Gillet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kinetic Arts is mounting its third holiday circus show. It’s a bit smaller and less ambitious than in years past, but just as thrilling and heartwarming. Artistic Director Jaron Hollander’s show this year is called \u003cem>Circus Veritas\u003c/em> (or circus of truth) and it’s a kind of a comment on current politics.\u003c/p>\n\u003cp>“The world is trying to convince you of truth that their version is correct,” Hollander told me one morning during rehearsals, “that that is fake, this is real. We’re just going to lie from moment one.”\u003c/p>\n\u003cp>Among the performers is Kinetic Arts regular Ellie Rossi, who is just 15 years old and is already a top rope artist in international competitions. \u003c/p>\n\u003cp>“I’ve always loved to climb on everything,” Rossisaid during the break. “But a lot of it is getting to express emotion and feeling through things other than your words, and through movement. And telling a story, and giving people an escape that’s just fun.”\u003c/p>\n\u003cp>One of the best routines is a knife throwing act with an audience member as blindfolded participant, where the lies are part of the fun for the rest of the audience. Of course, circus acts often defy what we assume to be the truth about gravity and the limits of human strength and agility. By the way, Jamedra’s kids — 4-year-old twins and a 6-year-old son — had a great time, so this is terrific family entertainment. It runs through Dec. 17 at Kinetic Arts; \u003ca href=\"http://www.kineticartsproductions.com/\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13813899\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13813899\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/CV-handstand-e1510013954680-800x451.jpg\" alt=\"Eka.Boo.Button performs a very long handstand in 'Circus Veritas' by Kinetic Arts production.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CV-handstand-e1510013954680-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CV-handstand-e1510013954680-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CV-handstand-e1510013954680-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CV-handstand-e1510013954680-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CV-handstand-e1510013954680-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CV-handstand-e1510013954680-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CV-handstand-e1510013954680-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CV-handstand-e1510013954680-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CV-handstand-e1510013954680-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CV-handstand-e1510013954680.jpg 1631w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eka.Boo.Button performs a very long handstand in ‘Circus Veritas’ by Kinetic Arts production. \u003ccite>(Photo: Eric Gillet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Berkeley composer John Adams and director/writer Peter Sellars are old hands at opera as contemporary history, including \u003cem>Nixon in China\u003c/em>, \u003cem>The Death of Klinghoffer\u003c/em> and \u003cem>Doctor Atomic.\u003c/em> Now they’re looking further back in time, to the California gold rush, in the world premiere of \u003cem>Girls of the Golden West\u003c/em> at San Francisco Opera. This is a revisionist history of the era that focuses on the wives and the prostitutes in the gold camps, the wagon driver who’s a runaway slave, the Californians who lost everything when the US annexed the state, plus stories about vigilante injustice and racism. Sellars has drawn the libretto from historical sources, and he told me certainly it’s a story about the past, but also the present. \u003c/p>\n\u003cp>“We’re here in a new gold rush in Silicon Valley,” Sellars said, “with astounding fortunes made overnight. And meanwhile, the politics of who has how much citizenship, and how economic participation has been organized, all those things are completely to the point of the moment.”\u003c/p>\n\u003cp>My co-host Jamedra Brown Fleischman wondered if it would be appropriate to wear a pussy hat to see this show. I think Adams and Sellars would say that was the perfect headgear, even at the San Francisco Opera. \u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" 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>Berkeley composer John Adams and director/writer Peter Sellars are old hands at opera as contemporary history, including \u003cem>Nixon in China\u003c/em>, \u003cem>The Death of Klinghoffer\u003c/em> and \u003cem>Doctor Atomic.\u003c/em> Now they’re looking further back in time, to the California gold rush, in the world premiere of \u003cem>Girls of the Golden West\u003c/em> at San Francisco Opera. This is a revisionist history of the era that focuses on the wives and the prostitutes in the gold camps, the wagon driver who’s a runaway slave, the Californians who lost everything when the US annexed the state, plus stories about vigilante injustice and racism. Sellars has drawn the libretto from historical sources, and he told me certainly it’s a story about the past, but also the present. \u003c/p>\n\u003cp>“We’re here in a new gold rush in Silicon Valley,” Sellars said, “with astounding fortunes made overnight. And meanwhile, the politics of who has how much citizenship, and how economic participation has been organized, all those things are completely to the point of the moment.”\u003c/p>\n\u003cp>My co-host Jamedra Brown Fleischman wondered if it would be appropriate to wear a pussy hat to see this show. I think Adams and Sellars would say that was the perfect headgear, even at the San Francisco Opera. \u003ca href=\"https://sfopera.com/1718season/201718-season/goldenwest/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>I didn’t see \u003cem>Aladdin,\u003c/em> the touring version of Disney’s Broadway musical adaptation of the animated musical, but my co-host Jamedra Brown Fleischman went. She says that despite her strong dislike for musicals and concerns about a show which still raises the hackles of Arab-Americans over the movie’s fake Orientalism, she was pleasantly surprised. The lavish sets and costumes made for satisfying eye-candy while fans of the original film (in which Robin Williams stole the show as the genie), will have a great time singing along to songs (Alan Menken, Howard Ashman, Tim Rice and Chad Beguelin), they didn’t know they still remember. If you like confetti showers, she says, she can recommend the show. The show runs at SHN Orpheum Theatre until Jan. 7, 2018; \u003ca href=\"https://www.shnsf.com/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=4DCD751E-9952-495C-9734-1491C7323B5C\" target=\"_blank\" rel=\"noopener\">details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "In 'Circus Veritas,' Sly, Dazzling Deceit Takes Center Ring",
"headTitle": "In ‘Circus Veritas,’ Sly, Dazzling Deceit Takes Center Ring | KQED",
"content": "\u003cp>I’m not even sure what a circus is anymore. Though they always seem to involve some kind of physical daring and a strange, drifty sense of humor, their snappy one-liners get lost in the big top — or, in the case of the Kinetic Arts’ annual holiday show, \u003cem>Circus Veritas\u003c/em>, the rather large warehouse. What I \u003cem>am\u003c/em> sure of is that whatever the circus is in 2017, Kinetic Arts has found a way to its slippery soul.\u003c/p>\n\u003cp>Under Jaron Hollander’s inventive direction, the company’s productions are more about a state of mind than mind-boggling stunts. There are many feats, some of them verging on the spectacular, but they occur in the service of conveying the aspirations and failures of people. We aren’t watching acrobats and contortionists, but vain, silly, headlong characters who fly through the air in nutty poses, and often for all the wrong reasons.\u003c/p>\n\u003cp>The show’s emcee, Frank Conner Ponzi III (a sly Ross Travis), starts the evening by simply talking to the audience, a calming approach in a world overcome by spectacle and sensation. He’s one of these southern hucksters, halfway between a minister and a snake-oil salesman, and his con is so obvious that it’s comforting rather than menacing.\u003c/p>\n\u003cfigure id=\"attachment_13813903\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13813903\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/CVhangingon-e1510014632305-800x448.jpg\" alt=\"Jane Doe (Emily Rose Phillips) hangs onto Frank Conner Ponzi III (Ross Tavis) rather high up in the air in 'Circus Veritas' produced by Kinetic Arts.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVhangingon-e1510014632305-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVhangingon-e1510014632305-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVhangingon-e1510014632305-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVhangingon-e1510014632305-1020x571.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVhangingon-e1510014632305-1180x660.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVhangingon-e1510014632305-960x537.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVhangingon-e1510014632305-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVhangingon-e1510014632305-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVhangingon-e1510014632305-520x291.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVhangingon-e1510014632305.jpg 1558w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jane Doe (Emily Rose Phillips) hangs onto Frank Conner Ponzi III (Ross Tavis) rather high up in the air in ‘Circus Veritas’ produced by Kinetic Arts. \u003ccite>(Photo: Eric Gillet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ponzi III tries to sell a special seat for $100, plies the audience for volunteers, and promises to help us overcome the “evil snake of reality.” The atmosphere is casual, intimate, and jokey, though by the end, this afterthought of a beginning will approach something close to a philosophy.\u003c/p>\n\u003cp>When the cast appears in monk costumes and wanders through the audience asking, “My name is John the Baptist, who are you?” (or the “Easter Bunny,” or “Peanut Butter and Jelly,” or “Mary Poppins” or “A music box ballerina”), the whole piece has the feel of a fairytale world springing to life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then and only then do we get anything close to a typical circus act, as the gang suddenly jumps, flips, and artfully stumbles around a hole in the ground. And then a hole on the move. And finally a hole in the air. The effect is magical, and the magic is the product of not just skill, but also of situation.\u003c/p>\n\u003cp>Over and over again, the show slips from the ordinary to sudden and breathtaking displays of athleticism and imagination. Popcorn (Ellie Rossi) flips off a T-shirt to climb a rope and gets hopelessly entangled in it. Every time she seems to escape the shirt’s clutches, she somehow manages to get further twisted in its vise grip. It’s as if we can never shake the mundane and petty, no matter how lofty our dreams.\u003c/p>\n\u003cfigure id=\"attachment_13813908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13813908\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/CVcaughtinair-e1510014993686-800x450.jpg\" alt=\"Popcorn (Ellie Rossi) starts to feel that this particular stunt isn't going her way in 'Circus Veritas' produced by Kinetic Arts.\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Popcorn (Ellie Rossi) starts to feel that this particular stunt isn’t going her way in ‘Circus Veritas’ produced by Kinetic Arts. \u003ccite>(Photo: Eric Gillet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gloria (Katherine Hutchinson) pretentiously announces that she is a liar and has dedicated her life to ballet. Following her, Jane Doe (Emily Rose Phillips) announces that she is also a liar, also named Gloria, and has also dedicated her life to ballet. In response, Gloria scurries up a blue silk rope at least 30 feet into the air to show off her talents in peace. Doe then hurriedly sets up a blue silk rope, scurries up to her rival, and attempts to mimic and surpass Gloria’s every maneuver.\u003c/p>\n\u003cp>The pleasure these two fools take in outdoing the other is so human and ordinary that you forget that they’re flipping, twirling, and jousting at a ridiculous height and without a net. The individual act of the circus becomes a drama of idiots; rather than their freakish abilities setting them apart, every bit of goofball daring brings them closer to us.\u003c/p>\n\u003cp>This has an interesting effect. Awe, the typical provenance of the circus, is cast aside for a sense of complicity and identification. And that allows for the performance to veer off in shifty, strange directions. There’s a terrific set piece in the second act that begins with Ponzi III announcing, “This is the part where we break character and really talk to you.”\u003c/p>\n\u003cfigure id=\"attachment_13813901\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13813901\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/CVRosslectures-e1510014220601-800x450.jpg\" alt=\"Frank Conner Ponzi III (Ross Travis) begins a confession session with the cast of 'Circus Veritas' produced by Kinetic Arts.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVRosslectures-e1510014220601-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVRosslectures-e1510014220601-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVRosslectures-e1510014220601-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVRosslectures-e1510014220601-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVRosslectures-e1510014220601-1920x1079.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVRosslectures-e1510014220601-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVRosslectures-e1510014220601-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVRosslectures-e1510014220601-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVRosslectures-e1510014220601-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVRosslectures-e1510014220601-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frank Conner Ponzi III (Ross Travis) begins a confession session with the cast of ‘Circus Veritas’ produced by Kinetic Arts. \u003ccite>(Photo: Eric Gillet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And one after one, the cast speaks delicately into a microphone, emulating the hushed voice of liberal piety. “I grew up with so much privilege I had to court pain and misery to achieve artistic relevance.” “I couldn’t get my Chinese acrobatic coach to beat me and so I had to do it myself.” “I gave up skiing and horseback riding so I could excel at ballet.” It’s as if we’ve been suddenly thrust into a Bay Area dinner party where rich leftists compete for “Most Traumatic Life Story.”\u003c/p>\n\u003cp>\u003cem>Circus Veritas\u003c/em> imagines a world where everything is a kind of lie, even the most skillful performances, or maybe especially those. And so it’s shocking to think that all these moments of true daring are the product of nothing more than the most everyday of human concerns — to be greater than we are, to lord it over others, to fight for the briefest moment of any kind of transcendence. And to embrace the deceit that gets us there.\u003c/p>\n\u003cp>This is tricky and liberating holiday fare.\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>\n\u003cp>\u003cem>‘Circus Veritas’ runs through Sunday, Dec. 17, at the Kinetic Arts Center in Oakland. For tickets and information, \u003ca href=\"http://www.kineticartsproductions.com/\" rel=\"noopener\" target=\"_blank\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’m not even sure what a circus is anymore. Though they always seem to involve some kind of physical daring and a strange, drifty sense of humor, their snappy one-liners get lost in the big top — or, in the case of the Kinetic Arts’ annual holiday show, \u003cem>Circus Veritas\u003c/em>, the rather large warehouse. What I \u003cem>am\u003c/em> sure of is that whatever the circus is in 2017, Kinetic Arts has found a way to its slippery soul.\u003c/p>\n\u003cp>Under Jaron Hollander’s inventive direction, the company’s productions are more about a state of mind than mind-boggling stunts. There are many feats, some of them verging on the spectacular, but they occur in the service of conveying the aspirations and failures of people. We aren’t watching acrobats and contortionists, but vain, silly, headlong characters who fly through the air in nutty poses, and often for all the wrong reasons.\u003c/p>\n\u003cp>The show’s emcee, Frank Conner Ponzi III (a sly Ross Travis), starts the evening by simply talking to the audience, a calming approach in a world overcome by spectacle and sensation. He’s one of these southern hucksters, halfway between a minister and a snake-oil salesman, and his con is so obvious that it’s comforting rather than menacing.\u003c/p>\n\u003cfigure id=\"attachment_13813903\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13813903\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/CVhangingon-e1510014632305-800x448.jpg\" alt=\"Jane Doe (Emily Rose Phillips) hangs onto Frank Conner Ponzi III (Ross Tavis) rather high up in the air in 'Circus Veritas' produced by Kinetic Arts.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVhangingon-e1510014632305-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVhangingon-e1510014632305-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVhangingon-e1510014632305-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVhangingon-e1510014632305-1020x571.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVhangingon-e1510014632305-1180x660.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVhangingon-e1510014632305-960x537.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVhangingon-e1510014632305-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVhangingon-e1510014632305-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVhangingon-e1510014632305-520x291.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVhangingon-e1510014632305.jpg 1558w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jane Doe (Emily Rose Phillips) hangs onto Frank Conner Ponzi III (Ross Tavis) rather high up in the air in ‘Circus Veritas’ produced by Kinetic Arts. \u003ccite>(Photo: Eric Gillet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ponzi III tries to sell a special seat for $100, plies the audience for volunteers, and promises to help us overcome the “evil snake of reality.” The atmosphere is casual, intimate, and jokey, though by the end, this afterthought of a beginning will approach something close to a philosophy.\u003c/p>\n\u003cp>When the cast appears in monk costumes and wanders through the audience asking, “My name is John the Baptist, who are you?” (or the “Easter Bunny,” or “Peanut Butter and Jelly,” or “Mary Poppins” or “A music box ballerina”), the whole piece has the feel of a fairytale world springing to life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Then and only then do we get anything close to a typical circus act, as the gang suddenly jumps, flips, and artfully stumbles around a hole in the ground. And then a hole on the move. And finally a hole in the air. The effect is magical, and the magic is the product of not just skill, but also of situation.\u003c/p>\n\u003cp>Over and over again, the show slips from the ordinary to sudden and breathtaking displays of athleticism and imagination. Popcorn (Ellie Rossi) flips off a T-shirt to climb a rope and gets hopelessly entangled in it. Every time she seems to escape the shirt’s clutches, she somehow manages to get further twisted in its vise grip. It’s as if we can never shake the mundane and petty, no matter how lofty our dreams.\u003c/p>\n\u003cfigure id=\"attachment_13813908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13813908\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/CVcaughtinair-e1510014993686-800x450.jpg\" alt=\"Popcorn (Ellie Rossi) starts to feel that this particular stunt isn't going her way in 'Circus Veritas' produced by Kinetic Arts.\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Popcorn (Ellie Rossi) starts to feel that this particular stunt isn’t going her way in ‘Circus Veritas’ produced by Kinetic Arts. \u003ccite>(Photo: Eric Gillet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gloria (Katherine Hutchinson) pretentiously announces that she is a liar and has dedicated her life to ballet. Following her, Jane Doe (Emily Rose Phillips) announces that she is also a liar, also named Gloria, and has also dedicated her life to ballet. In response, Gloria scurries up a blue silk rope at least 30 feet into the air to show off her talents in peace. Doe then hurriedly sets up a blue silk rope, scurries up to her rival, and attempts to mimic and surpass Gloria’s every maneuver.\u003c/p>\n\u003cp>The pleasure these two fools take in outdoing the other is so human and ordinary that you forget that they’re flipping, twirling, and jousting at a ridiculous height and without a net. The individual act of the circus becomes a drama of idiots; rather than their freakish abilities setting them apart, every bit of goofball daring brings them closer to us.\u003c/p>\n\u003cp>This has an interesting effect. Awe, the typical provenance of the circus, is cast aside for a sense of complicity and identification. And that allows for the performance to veer off in shifty, strange directions. There’s a terrific set piece in the second act that begins with Ponzi III announcing, “This is the part where we break character and really talk to you.”\u003c/p>\n\u003cfigure id=\"attachment_13813901\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13813901\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/CVRosslectures-e1510014220601-800x450.jpg\" alt=\"Frank Conner Ponzi III (Ross Travis) begins a confession session with the cast of 'Circus Veritas' produced by Kinetic Arts.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVRosslectures-e1510014220601-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVRosslectures-e1510014220601-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVRosslectures-e1510014220601-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVRosslectures-e1510014220601-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVRosslectures-e1510014220601-1920x1079.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVRosslectures-e1510014220601-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVRosslectures-e1510014220601-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVRosslectures-e1510014220601-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVRosslectures-e1510014220601-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/CVRosslectures-e1510014220601-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frank Conner Ponzi III (Ross Travis) begins a confession session with the cast of ‘Circus Veritas’ produced by Kinetic Arts. \u003ccite>(Photo: Eric Gillet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And one after one, the cast speaks delicately into a microphone, emulating the hushed voice of liberal piety. “I grew up with so much privilege I had to court pain and misery to achieve artistic relevance.” “I couldn’t get my Chinese acrobatic coach to beat me and so I had to do it myself.” “I gave up skiing and horseback riding so I could excel at ballet.” It’s as if we’ve been suddenly thrust into a Bay Area dinner party where rich leftists compete for “Most Traumatic Life Story.”\u003c/p>\n\u003cp>\u003cem>Circus Veritas\u003c/em> imagines a world where everything is a kind of lie, even the most skillful performances, or maybe especially those. And so it’s shocking to think that all these moments of true daring are the product of nothing more than the most everyday of human concerns — to be greater than we are, to lord it over others, to fight for the briefest moment of any kind of transcendence. And to embrace the deceit that gets us there.\u003c/p>\n\u003cp>This is tricky and liberating holiday fare.\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>\n\u003cp>\u003cem>‘Circus Veritas’ runs through Sunday, Dec. 17, at the Kinetic Arts Center in Oakland. For tickets and information, \u003ca href=\"http://www.kineticartsproductions.com/\" rel=\"noopener\" target=\"_blank\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This week we’re featuring a number of museum and gallery shows worth taking in now or during the holidays, when we all have a bit more time to get out and possibly need to escape our families. My co-host KQED Arts Editor Sarah Hotchkiss is the perfect guide for this endeavor, as she frequently escapes to local art exhibits.\u003c/p>\n\u003cp>Plus we talk about a country music ballet, an anniversary music festival and North Bay fire benefits.\u003c/p>\n\u003cp>\u003cstrong>Ongoing:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXGh\" target=\"_blank\" rel=\"noopener\"> Our favorite museum shows for the holidays\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 16-18:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXGb\" target=\"_blank\" rel=\"noopener\">The Del Sol Quartet celebrates 25 years with world premieres and an audience ukulele choir\u003c/a>\u003c/p>\n\u003cp>Nov. 17-18: \u003ca href=\"https://wp.me/p4oi3Y-VXGW\" target=\"_blank\" rel=\"noopener\">Post:Ballet sets a dance to music by America’s first gay country band, Lavender Country\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nov. 12: \u003ca href=\"https://wp.me/p4oi3Y-VXGA\" target=\"_blank\" rel=\"noopener\">Signs of normalcy at Sonoma’s Gundlach Bundschu, a winery touched by the North Bay Fires\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 19:\u003c/strong> \u003ca href=\"http://www.slimspresents.com/event/fire-relief-benefit-show-featuring-rupa-and-the-april-fishes-slims-w-the-sam-chase-down-dirty-shake-presented-by-seaweed-sway-friends/\" target=\"_blank\" rel=\"noopener\">Rupa and the April Fishes andThe Sam Chase in a benefit for North Bay Fire relief\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 19:\u003c/strong> \u003ca href=\"https://www.youtube.com/watch?time_continue=2&v=R4zu3TegSFI\" target=\"_blank\" rel=\"noopener\">The San Francisco Symphony schedules a special benefit concert for North Bay Fire Relief\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=2&v=R4zu3TegSFI\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week we’re featuring a number of museum and gallery shows worth taking in now or during the holidays, when we all have a bit more time to get out and possibly need to escape our families. My co-host KQED Arts Editor Sarah Hotchkiss is the perfect guide for this endeavor, as she frequently escapes to local art exhibits.\u003c/p>\n\u003cp>Plus we talk about a country music ballet, an anniversary music festival and North Bay fire benefits.\u003c/p>\n\u003cp>\u003cstrong>Ongoing:\u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXGh\" target=\"_blank\" rel=\"noopener\"> Our favorite museum shows for the holidays\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 16-18:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXGb\" target=\"_blank\" rel=\"noopener\">The Del Sol Quartet celebrates 25 years with world premieres and an audience ukulele choir\u003c/a>\u003c/p>\n\u003cp>Nov. 17-18: \u003ca href=\"https://wp.me/p4oi3Y-VXGW\" target=\"_blank\" rel=\"noopener\">Post:Ballet sets a dance to music by America’s first gay country band, Lavender Country\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nov. 12: \u003ca href=\"https://wp.me/p4oi3Y-VXGA\" target=\"_blank\" rel=\"noopener\">Signs of normalcy at Sonoma’s Gundlach Bundschu, a winery touched by the North Bay Fires\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 19:\u003c/strong> \u003ca href=\"http://www.slimspresents.com/event/fire-relief-benefit-show-featuring-rupa-and-the-april-fishes-slims-w-the-sam-chase-down-dirty-shake-presented-by-seaweed-sway-friends/\" target=\"_blank\" rel=\"noopener\">Rupa and the April Fishes andThe Sam Chase in a benefit for North Bay Fire relief\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Nov. 19:\u003c/strong> \u003ca href=\"https://www.youtube.com/watch?time_continue=2&v=R4zu3TegSFI\" target=\"_blank\" rel=\"noopener\">The San Francisco Symphony schedules a special benefit concert for North Bay Fire Relief\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/R4zu3TegSFI'\n title='//www.youtube.com/embed/R4zu3TegSFI'\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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"content": "\u003cp>Joseph Meli, accused of defrauding some 130 investors of some $95 million in a scheme framed as the resale of tickets to \u003cem>Hamilton\u003c/em> and other events, pleaded guilty Tuesday to one count of securities fraud. Previously he had entered a plea of not guilty to five counts of fraud and conspiracy.\u003c/p>\n\u003cp>Meli and two associates \u003ca href=\"https://www.justice.gov/usao-sdny/pr/manhattan-man-pleads-guilty-participating-multimillion-dollar-securities-fraud-scheme\" target=\"_blank\" rel=\"noopener\">claimed\u003c/a> to investors that they had a relationship with the producer of \u003cem>Hamilton\u003c/em> and could purchase tickets in bulk to the Broadway smash and other popular attractions, and resell them on the secondary market for a tidy profit. Following the classic structure of a \u003ca href=\"https://www.bloomberg.com/news/articles/2017-10-31/manhattan-man-pleads-guilty-in-hamilton-ticket-ponzi-scheme\" target=\"_blank\" rel=\"noopener\">Ponzi scheme\u003c/a>, Melli and his associates — including Steven Simmons, who \u003ca href=\"http://www.reuters.com/article/us-usa-crime-ponzi-hamilton/connecticut-man-pleads-guilty-to-ponzi-like-hedge-fund-scheme-idUSKBN1CZ2L0\">pleaded guilty\u003c/a> on Monday — would pay off older investors with the investments of new ones.\u003c/p>\n\u003cp>Meli faced 85 years in prison and tens of millions of dollars in fines if he received the maximum sentence on each of the five charges.\u003c/p>\n\u003cp>The plea agreement came eight days after the filing of a motion by his attorney accusing the government of gathering some of the information for its case in a way that violated New York’s Rules of Professional Conduct.\u003c/p>\n\u003cp>Meli now faces a reduced sentence, scheduled to be handed down in January, of between six-and-a-half and just over eight years — along with a fine between $25,000 and the $5 million.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Meli’s attorney, Dan Fetterman, accused the government of using its confidential witness in the case to elicit “a series of rambling, contradictory statements” from Meli, in the absence of his attorney. In his motion Fetterman writes the tactic violated the Rules of Professional Conduct, as noted by\u003cem> \u003c/em>\u003ca href=\"http://www.hollywoodreporter.com/thr-esq/alleged-hamilton-ponzi-schemer-gets-plea-deal-accusing-government-misconduct-1053299\" target=\"_blank\" rel=\"noopener\">\u003cem>The Hollywood Reporter\u003c/em>.\u003c/a>\u003c/p>\n\u003cp>The office of the U.S. Attorney for the Southern District of New York declined a request for more information, but did issue \u003ca href=\"https://www.justice.gov/usao-sdny/pr/manhattan-man-pleads-guilty-participating-multimillion-dollar-securities-fraud-scheme\" target=\"_blank\" rel=\"noopener\">a press release\u003c/a> on Meli’s plea.\u003c/p>\n\u003cp>“Mr. Meli is pleased that the United States Attorney’s Office for the Southern District of New York has agreed to dismiss the charges against him concerning the Sentinel Ponzi scheme,” Fetterman says in a statement provided to NPR, “and he looks forward to putting the case involving his ticket reselling business behind him.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The industry which allowed Meli to defraud his investors — secondary ticketing, or “scalping” in the states and “touting” in the U.K. — is a contentious one, even when massive fraud isn’t in the picture. Ticketmaster, the world’s largest ticket-selling company, has its own subsidiary, TicketsNow, which allows customers to resell their tickets. The U.K.’s Department of Media, Culture and Sport announced a \u003ca href=\"https://www.theguardian.com/money/2017/mar/10/ministers-to-criminalise-use-of-ticket-tout-harvesting-software\" target=\"_blank\" rel=\"noopener\">package of regulations\u003c/a> earlier this year to rein in the practice. At its root are “bots,” automated computer programs which can sweep up swaths of seats to events at face value, allowing the owner of the bot to resell them for a profit. While the U.K. has no rules on ticket resales, many states in the U.S. do not allow the resale of tickets for prices higher than face value. But not all — Minnesota, for example, legalized resales \u003ca href=\"http://www.startribune.com/fans-burned-by-ticket-scalping/385044751/\" target=\"_blank\" rel=\"noopener\">in 2007\u003c/a>, which led to what the \u003cem>Star Tribune\u003c/em> called a “ticketing epidemic” in the state. \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=Accused+Of+%2495+Million+Fraud%2C+%27Hamilton%27+Ponzi+Schemer+Strikes+A+Plea+Agreement&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Joseph Meli, accused of defrauding some 130 investors of some $95 million in a scheme framed as the resale of tickets to \u003cem>Hamilton\u003c/em> and other events, pleaded guilty Tuesday to one count of securities fraud. Previously he had entered a plea of not guilty to five counts of fraud and conspiracy.\u003c/p>\n\u003cp>Meli and two associates \u003ca href=\"https://www.justice.gov/usao-sdny/pr/manhattan-man-pleads-guilty-participating-multimillion-dollar-securities-fraud-scheme\" target=\"_blank\" rel=\"noopener\">claimed\u003c/a> to investors that they had a relationship with the producer of \u003cem>Hamilton\u003c/em> and could purchase tickets in bulk to the Broadway smash and other popular attractions, and resell them on the secondary market for a tidy profit. Following the classic structure of a \u003ca href=\"https://www.bloomberg.com/news/articles/2017-10-31/manhattan-man-pleads-guilty-in-hamilton-ticket-ponzi-scheme\" target=\"_blank\" rel=\"noopener\">Ponzi scheme\u003c/a>, Melli and his associates — including Steven Simmons, who \u003ca href=\"http://www.reuters.com/article/us-usa-crime-ponzi-hamilton/connecticut-man-pleads-guilty-to-ponzi-like-hedge-fund-scheme-idUSKBN1CZ2L0\">pleaded guilty\u003c/a> on Monday — would pay off older investors with the investments of new ones.\u003c/p>\n\u003cp>Meli faced 85 years in prison and tens of millions of dollars in fines if he received the maximum sentence on each of the five charges.\u003c/p>\n\u003cp>The plea agreement came eight days after the filing of a motion by his attorney accusing the government of gathering some of the information for its case in a way that violated New York’s Rules of Professional Conduct.\u003c/p>\n\u003cp>Meli now faces a reduced sentence, scheduled to be handed down in January, of between six-and-a-half and just over eight years — along with a fine between $25,000 and the $5 million.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meli’s attorney, Dan Fetterman, accused the government of using its confidential witness in the case to elicit “a series of rambling, contradictory statements” from Meli, in the absence of his attorney. In his motion Fetterman writes the tactic violated the Rules of Professional Conduct, as noted by\u003cem> \u003c/em>\u003ca href=\"http://www.hollywoodreporter.com/thr-esq/alleged-hamilton-ponzi-schemer-gets-plea-deal-accusing-government-misconduct-1053299\" target=\"_blank\" rel=\"noopener\">\u003cem>The Hollywood Reporter\u003c/em>.\u003c/a>\u003c/p>\n\u003cp>The office of the U.S. Attorney for the Southern District of New York declined a request for more information, but did issue \u003ca href=\"https://www.justice.gov/usao-sdny/pr/manhattan-man-pleads-guilty-participating-multimillion-dollar-securities-fraud-scheme\" target=\"_blank\" rel=\"noopener\">a press release\u003c/a> on Meli’s plea.\u003c/p>\n\u003cp>“Mr. Meli is pleased that the United States Attorney’s Office for the Southern District of New York has agreed to dismiss the charges against him concerning the Sentinel Ponzi scheme,” Fetterman says in a statement provided to NPR, “and he looks forward to putting the case involving his ticket reselling business behind him.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The industry which allowed Meli to defraud his investors — secondary ticketing, or “scalping” in the states and “touting” in the U.K. — is a contentious one, even when massive fraud isn’t in the picture. Ticketmaster, the world’s largest ticket-selling company, has its own subsidiary, TicketsNow, which allows customers to resell their tickets. The U.K.’s Department of Media, Culture and Sport announced a \u003ca href=\"https://www.theguardian.com/money/2017/mar/10/ministers-to-criminalise-use-of-ticket-tout-harvesting-software\" target=\"_blank\" rel=\"noopener\">package of regulations\u003c/a> earlier this year to rein in the practice. At its root are “bots,” automated computer programs which can sweep up swaths of seats to events at face value, allowing the owner of the bot to resell them for a profit. While the U.K. has no rules on ticket resales, many states in the U.S. do not allow the resale of tickets for prices higher than face value. But not all — Minnesota, for example, legalized resales \u003ca href=\"http://www.startribune.com/fans-burned-by-ticket-scalping/385044751/\" target=\"_blank\" rel=\"noopener\">in 2007\u003c/a>, which led to what the \u003cem>Star Tribune\u003c/em> called a “ticketing epidemic” in the state. \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=Accused+Of+%2495+Million+Fraud%2C+%27Hamilton%27+Ponzi+Schemer+Strikes+A+Plea+Agreement&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The recovery is just beginning for residents in Napa, Sonoma and Mendocino counties, and once again we’re highlighting ways to support the arts and raise funds for the North Bay. As my co-host A-lan Holt, a playwright and associate director at Stanford’s Institute for Diversity in the Arts, says, “We support you. We support you. We support you.”\u003c/p>\n\u003cp>On the Do List this week, we had fun, too, talking about a Day of the Dead opera at Brava in San Francisco, a jazz salute to Japanese American veterans at the Presidio, and two hot singers: Son Little and Lizzo.\u003c/p>\n\u003cp>\u003cstrong>Nov. 3: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXtx\" target=\"_blank\" rel=\"noopener\">An army of skeletons fights colonialism in a Day of the Dead opera\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 3:\u003c/strong> \u003ca href=\"http://www.jamcellarsballroom.com/event/tw-eventinfo/Fire+Relief+Fundraiser+%28unplugged%29%3ALeann+Rimes%2CZZ+Ward%2CAll+American+Rejects%2BMORE/7816595/\" target=\"_blank\" rel=\"noopener\">A Napa fundraiser for fire relief featuring LeAnn Rimes at the Margrit Mondavi Theater in the JaM Cellars Ballroom\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 4–6: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXun\" target=\"_blank\" rel=\"noopener\">The Santa Rosa Symphony explores the power of music to heal and transform, with free tickets for those who’ve lost their homes\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Nov. 8–12: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXtO\" target=\"_blank\" rel=\"noopener\">The Napa Film Festival goes on, also with free tickets for those who’ve lost their homes\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 11: \u003c/strong>\u003ca href=\"http://www.zspace.org/how-a-mountain-was-made\" target=\"_blank\" rel=\"noopener\">Theater company Word for Word presents a show for kids, \u003cem>How a Mountain Was Made\u003c/em>, a performance of California Indian tales written by Sonoma County resident and tribal leader Greg Sarris at Z Space in a benefit for North Bay fire relief\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 18:\u003c/strong> \u003ca href=\"https://www.facebook.com/events/2114999345402113/\" target=\"_blank\" rel=\"noopener\">The folks at BottleRock present \u003cem>For the Love of Sonoma: A Benefit Concert to Support the North Bay Fire Relief Efforts\u003c/em> featuring Counting Crows\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 4 and 11\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/01/a-salute-to-the-go-for-broke-regiment/\" target=\"_blank\" rel=\"noopener\">Anthony Brown’s Asian American Orchestra presents a salute to Japanese American vets\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 10–Dec. 16:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXuK\" target=\"_blank\" rel=\"noopener\">A festival of ideas and performance in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 8:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXvf\" target=\"_blank\" rel=\"noopener\">Son Little communes with a gospel singer from the past\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 9:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXvj\" target=\"_blank\" rel=\"noopener\">Lizzo, a voice for female empowerment, performs at the Fillmore\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The recovery is just beginning for residents in Napa, Sonoma and Mendocino counties, and once again we’re highlighting ways to support the arts and raise funds for the North Bay. As my co-host A-lan Holt, a playwright and associate director at Stanford’s Institute for Diversity in the Arts, says, “We support you. We support you. We support you.”\u003c/p>\n\u003cp>On the Do List this week, we had fun, too, talking about a Day of the Dead opera at Brava in San Francisco, a jazz salute to Japanese American veterans at the Presidio, and two hot singers: Son Little and Lizzo.\u003c/p>\n\u003cp>\u003cstrong>Nov. 3: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXtx\" target=\"_blank\" rel=\"noopener\">An army of skeletons fights colonialism in a Day of the Dead opera\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 3:\u003c/strong> \u003ca href=\"http://www.jamcellarsballroom.com/event/tw-eventinfo/Fire+Relief+Fundraiser+%28unplugged%29%3ALeann+Rimes%2CZZ+Ward%2CAll+American+Rejects%2BMORE/7816595/\" target=\"_blank\" rel=\"noopener\">A Napa fundraiser for fire relief featuring LeAnn Rimes at the Margrit Mondavi Theater in the JaM Cellars Ballroom\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 4–6: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXun\" target=\"_blank\" rel=\"noopener\">The Santa Rosa Symphony explores the power of music to heal and transform, with free tickets for those who’ve lost their homes\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>Nov. 8–12: \u003c/strong>\u003ca href=\"https://wp.me/p4oi3Y-VXtO\" target=\"_blank\" rel=\"noopener\">The Napa Film Festival goes on, also with free tickets for those who’ve lost their homes\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 11: \u003c/strong>\u003ca href=\"http://www.zspace.org/how-a-mountain-was-made\" target=\"_blank\" rel=\"noopener\">Theater company Word for Word presents a show for kids, \u003cem>How a Mountain Was Made\u003c/em>, a performance of California Indian tales written by Sonoma County resident and tribal leader Greg Sarris at Z Space in a benefit for North Bay fire relief\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 18:\u003c/strong> \u003ca href=\"https://www.facebook.com/events/2114999345402113/\" target=\"_blank\" rel=\"noopener\">The folks at BottleRock present \u003cem>For the Love of Sonoma: A Benefit Concert to Support the North Bay Fire Relief Efforts\u003c/em> featuring Counting Crows\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 4 and 11\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/11/01/a-salute-to-the-go-for-broke-regiment/\" target=\"_blank\" rel=\"noopener\">Anthony Brown’s Asian American Orchestra presents a salute to Japanese American vets\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 10–Dec. 16:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXuK\" target=\"_blank\" rel=\"noopener\">A festival of ideas and performance in Oakland\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 8:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXvf\" target=\"_blank\" rel=\"noopener\">Son Little communes with a gospel singer from the past\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Nov. 9:\u003c/strong> \u003ca href=\"https://wp.me/p4oi3Y-VXvj\" target=\"_blank\" rel=\"noopener\">Lizzo, a voice for female empowerment, performs at the Fillmore\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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