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"content": "\u003cp>I’m not generally the sort of person who wins stuff. The only time I remember getting lucky in a prize draw was the day I scored a box of fresh vegetables with my parents at a harvest festival in Saxony, Germany, when I was 7 years old.\u003c/p>\n\u003cp>So when I learned about \u003cem>Hamilton\u003c/em>, and digested all the hype surrounding the long waiting lists for tickets, and the nosebleed sums of money people were paying for seats to see the musical on tour in San Francisco, I knew I wouldn’t be able to get any closer to the experience than perhaps watching some clips of it on TV or online.\u003c/p>\n\u003cp>And this is probably very much where my efforts would have ended, were it not for a friend who told me about the ticket lottery for the San Francisco production. The terms offer a limited number of tickets to daily performances of the musical via a random drawing. Winning tickets are $10 and limited to two per winner.\u003c/p>\n\u003cp>“Worth a try,” I thought.\u003c/p>\n\u003cp>I entered the \u003cem>Hamilton\u003c/em> lottery every day for two weeks. It became part of my routine, like brushing my teeth.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Last Tuesday morning, when I was sitting in a meeting at work, I received a text message. “You won 2x tickets!” it simply said.\u003c/p>\n\u003cp>I’m not normally given to outbursts in meetings. But I couldn’t prevent a quiet shriek escaping from my lips. My concentration was gone. What? Me? Won? Really? How? Why? Did I just exhaust my whole portion of luck for the rest of my life?\u003c/p>\n\u003cp>I wasted no time in paying the $20 via Paypal for the seats, and then I was done. The two tickets were mine to collect at will call the next day for the afternoon performance.\u003c/p>\n\u003cp>I couldn’t wait to share the news with my husband. He loves musicals. I don’t know many other grown men who’ve seen \u003cem>The Lion King\u003c/em> three times. So you can imagine his surprise when I told him we were off to see \u003cem>Hamilton\u003c/em>. He almost fell over.\u003c/p>\n\u003cfigure id=\"attachment_13660485\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13660485\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/IMG_2862-e1500067827199-800x451.jpg\" alt=\"A selfie at the Orpheum Theatre.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/IMG_2862-e1500067827199-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/IMG_2862-e1500067827199-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/IMG_2862-e1500067827199-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/IMG_2862-e1500067827199-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/IMG_2862-e1500067827199-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/IMG_2862-e1500067827199-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/IMG_2862-e1500067827199-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/IMG_2862-e1500067827199-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/IMG_2862-e1500067827199.jpg 1084w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A selfie at the Orpheum Theatre. \u003ccite>(Photo: Johanna Reis/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Our excitement went into overdrive when we arrived at the Orpheum Theatre and discovered where our seats were located.\u003c/p>\n\u003cp>“Wait a second,” I said to my husband, while squinting at our tickets. “Row A…\u003cem>that\u003c/em> Row A…the \u003cem>front\u003c/em> row A…Oh. My God.” We just couldn’t believe our luck.\u003c/p>\n\u003cp>From then on, we soaked up every single second of the artistically electrifying, socially charged musical. The composition, sense of ensemble and choreography blew our minds and left us emotionally shattered.\u003c/p>\n\u003cp>It’s been two days since we saw the show. But the wonder of the experience is still fresh in our minds, hearts and ears. I’ve been humming “Alexander Hamilton, my name is Alexander Hamilton …”, “I am not throwing away my shot!” and “Rise up! Whoa! Whoa!” around the office. My colleagues are alternately puzzled and impressed. I hope this feeling will never let us go.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To enter the lottery to win a ticket to see ‘Hamilton’ for $10, click \u003ca href=\"http://www.luckyseat.com/hamilton/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Last Tuesday morning, when I was sitting in a meeting at work, I received a text message. “You won 2x tickets!” it simply said.\u003c/p>\n\u003cp>I’m not normally given to outbursts in meetings. But I couldn’t prevent a quiet shriek escaping from my lips. My concentration was gone. What? Me? Won? Really? How? Why? Did I just exhaust my whole portion of luck for the rest of my life?\u003c/p>\n\u003cp>I wasted no time in paying the $20 via Paypal for the seats, and then I was done. The two tickets were mine to collect at will call the next day for the afternoon performance.\u003c/p>\n\u003cp>I couldn’t wait to share the news with my husband. He loves musicals. I don’t know many other grown men who’ve seen \u003cem>The Lion King\u003c/em> three times. So you can imagine his surprise when I told him we were off to see \u003cem>Hamilton\u003c/em>. He almost fell over.\u003c/p>\n\u003cfigure id=\"attachment_13660485\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13660485\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/IMG_2862-e1500067827199-800x451.jpg\" alt=\"A selfie at the Orpheum Theatre.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/IMG_2862-e1500067827199-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/IMG_2862-e1500067827199-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/IMG_2862-e1500067827199-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/IMG_2862-e1500067827199-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/IMG_2862-e1500067827199-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/IMG_2862-e1500067827199-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/IMG_2862-e1500067827199-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/IMG_2862-e1500067827199-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/IMG_2862-e1500067827199.jpg 1084w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A selfie at the Orpheum Theatre. \u003ccite>(Photo: Johanna Reis/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Our excitement went into overdrive when we arrived at the Orpheum Theatre and discovered where our seats were located.\u003c/p>\n\u003cp>“Wait a second,” I said to my husband, while squinting at our tickets. “Row A…\u003cem>that\u003c/em> Row A…the \u003cem>front\u003c/em> row A…Oh. My God.” We just couldn’t believe our luck.\u003c/p>\n\u003cp>From then on, we soaked up every single second of the artistically electrifying, socially charged musical. The composition, sense of ensemble and choreography blew our minds and left us emotionally shattered.\u003c/p>\n\u003cp>It’s been two days since we saw the show. But the wonder of the experience is still fresh in our minds, hearts and ears. I’ve been humming “Alexander Hamilton, my name is Alexander Hamilton …”, “I am not throwing away my shot!” and “Rise up! Whoa! Whoa!” around the office. My colleagues are alternately puzzled and impressed. I hope this feeling will never let us go.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To enter the lottery to win a ticket to see ‘Hamilton’ for $10, click \u003ca href=\"http://www.luckyseat.com/hamilton/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cy-and-jamedras-picks-a-neo-soul-innovator-a-melodrama-on-race-and-a-showcase-for-womens-audio",
"title": "Cy and Jamedra's Picks: A Neo-Soul Innovator, a Melodrama on Race, and a Showcase for Women's Audio",
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"headTitle": "Cy and Jamedra’s Picks: A Neo-Soul Innovator, a Melodrama on Race, and a Showcase for Women’s Audio | KQED",
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"content": "\u003cp>The days are long, perfect for lounging at the park. But when dusk turns to nighttime, The Do List wants you to find the perfect show. My co-host this week is Jamedra Brown Fleischman, former social media specialist for KQED Arts, and a co-host of \u003ca href=\"http://www.npr.org/podcasts/448115865/the-cooler\" target=\"_blank\" rel=\"noopener noreferrer\">The Cooler podcast\u003c/a> from KQED Pop. Now here’s our picks.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=m0DX4FzGvOs\u003c/p>\n\u003cp>\u003cstrong>July 29\u003c/strong>: \u003ca href=\"http://www.meshell.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Meshell Ndegeocello\u003c/a> can do just about anything musically, including jazz and hip-hop, and the songs are intensely emotional. Jamedra notes she’s credited as the founder of the neo-soul movement, with Erykah Badu, Goapele, Maxwell and others following suit. Ndegeocello has worked recently with director Ava Duvernay on the TV series \u003cem>Queen Sugar\u003c/em> — but for Jamedra, her voice will always conjure up one of her favorite movies,\u003cem> Love and Basketball\u003c/em> (2000), in which \u003ca href=\"https://www.youtube.com/watch?v=1qbzo9DnAqA\" target=\"_blank\" rel=\"noopener noreferrer\">she sings about a love betrayed\u003c/a>. Details for Ndegeocello’s show at Freight & Salvage \u003ca href=\"http://thefreight.org/meshell-ndegeocello\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13646698\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13646698\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/3636_17_Lotus-Live_Poster_V5-1-800x1162.jpeg\" alt=\"A poster for the Asian Art Museum‘s attempt to set a Guinness World Record for the largest human flower\" width=\"800\" height=\"1162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/3636_17_Lotus-Live_Poster_V5-1-800x1162.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/3636_17_Lotus-Live_Poster_V5-1-160x232.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/3636_17_Lotus-Live_Poster_V5-1-768x1116.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/3636_17_Lotus-Live_Poster_V5-1-1020x1482.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/3636_17_Lotus-Live_Poster_V5-1-1920x2789.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/3636_17_Lotus-Live_Poster_V5-1-1180x1714.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/3636_17_Lotus-Live_Poster_V5-1-960x1395.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/3636_17_Lotus-Live_Poster_V5-1-240x349.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/3636_17_Lotus-Live_Poster_V5-1-375x545.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/3636_17_Lotus-Live_Poster_V5-1-520x755.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A poster for the Asian Art Museum’s attempt to set a Guinness World Record for the largest human flower. \u003ccite>(Photo: Courtesy of Asian Art Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 15: \u003c/strong>\u003cspan style=\"font-weight: 400\">Here’s a chance to win a prize, make history, and celebrate the lotus, a flower that expresses Buddhist and Hindu ideals of purity and beauty. Following the \u003ca href=\"https://ww2.kqed.org/arts/2015/08/27/watch-a-thousand-rosie-the-riveters-set-a-world-record-in-richmond/\" target=\"_blank\" rel=\"noopener noreferrer\">trend\u003c/a> of \u003ca href=\"https://ww2.kqed.org/arts/2017/07/07/frida-kahlo-celebrated-with-an-attempt-at-a-world-record/\" target=\"_blank\" rel=\"noopener noreferrer\">unusual\u003c/a> world-record \u003ca href=\"https://ww2.kqed.org/arts/2015/07/02/oakland-comes-together-to-break-record-for-longest-soul-train/\" target=\"_blank\" rel=\"noopener noreferrer\">attempts\u003c/a> in the Bay Area, the Asian Art Museum is hoping to set a \u003c/span>\u003cspan style=\"font-weight: 400\">Guinness World Record for the largest human flower as part of its \u003ca href=\"http://www.asianart.org/exhibitions/flower-power\" target=\"_blank\" rel=\"noopener noreferrer\">Flower Power exhibit\u003c/a>, timed for citywide commemoration of the 50th anniversary of the Summer of Love. Already, \u003ca href=\"https://www.eventbrite.com/e/lotus-live-earn-the-guinness-world-recordstm-title-for-largest-human-flower-tickets-35088099450?aff=ehomecard\" target=\"_blank\" rel=\"noopener noreferrer\">2,500 people have signed up\u003c/a>, and the museum is hoping for 3,000 or more. \u003c/span>\u003cspan style=\"font-weight: 400\">The current Guinness record for largest human flower featured 2,297 people at the Rochester Lilac Festival in 2014. And to help pad the numbers for this attempt? Jamedra’s bringing her kids.\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8fGcf3GODKE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>July 14 & 23\u003c/strong>: Seun Kuti is very much like his father, the late Nigerian political activist and musician Fela Kuti. He leads his father’s former band, Egypt 80, and sings of protest and the fight against oppression from banks and politicians of the left and right in Africa — and in Flint, Michigan (check the anti-IMF video above). Seun preaches the lyrics over irresistible Afrobeat rhythms. Raise your fist, dance your butt off. Details for his show Friday at the California WorldFest in Grass Valley are \u003ca href=\"http://worldfest.net/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. And he plays the New Parish in Oakland on Sunday, July 23; \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=7373525&pl=newparish&REFID=clientsitewp\" target=\"_blank\" rel=\"noopener noreferrer\">details here. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13627339\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13627339\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-800x451.jpg\" alt=\"M'Closky (Lance Gardner) is all villain in 'An Octoroon' by Branden Jacobs-Jenkins.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">M’Closky (Lance Gardner) is all villain in ‘An Octoroon’ by Branden Jacobs-Jenkins. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 23-July 29: \u003c/strong>\u003cem>An Octoroon\u003c/em> is the most fascinating and confrontational play I’ve seen this year. This West Coast premiere from \u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.newyorker.com/magazine/2017/03/06/branden-jacobs-jenkins-from-the-heart\" target=\"_blank\" rel=\"noopener noreferrer\">Branden Jacobs-Jenkins\u003c/a> opens with actor Lance Gardner speaking: “\u003c/span>Hi everyone. I’m a black playwright. I don’t know exactly what that means. But I’m here to tell you a story.” And then Gardner puts on whiteface, as another actor dons redface to play an American Indian. There’s blackface too, so, as Jamedra says, if you’re not offended in some way, you’re not paying attention. Much of the play is Jacobs-Jenkins deconstruction of a 19th Century melodrama by \u003ca href=\"http://www.theatrehistory.com/irish/boucicault001.html\" target=\"_blank\" rel=\"noopener noreferrer\">Dion Boucicault\u003c/a> about the fate of a Southern plantation. But there’s also running commentary on what it’s like to be an African American on the American stage. Br’er Rabbit gets a part too, and just when you think it’s okay to laugh at the racist attitudes of characters from 160 years ago, Jacobs-Jenkins slaps you with an image or line forcing you to recognize how things haven’t changed very much at all. Check out our critic John Wilkins’ review \u003ca href=\"https://ww2.kqed.org/arts/2017/07/12/an-octoroon-wallows-in-americas-racial-quagmire/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. Details for \u003cem>An Octoroon\u003c/em> at Berkeley Rep are \u003ca href=\"https://www.berkeleyrep.org/season/1617/10668.asp\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pobZr1XYxos\u003c/p>\n\u003cp>\u003cstrong>July 26\u003c/strong>: Oakland’s \u003ca href=\"https://ww2.kqed.org/arts/2017/02/22/star-amerasu-talks-transphobia-addiction-and-assault-with-an-upbeat-electro-pop-twist/\" target=\"_blank\" rel=\"noopener noreferrer\">Star Ahmerasu\u003c/a>, a queer black trans woman who wears her heart and soul on her sleeve; Oakland’s Siri, “the trippy princess”; and soul singer \u003ca href=\"https://soundcloud.com/simmisings\" target=\"_blank\" rel=\"noopener noreferrer\">Simmi\u003c/a>, and DJ Arumi — they’re all “local sirens,” new faces on the Bay Area music scene. They also comprise the lineup for a quarterly showcase staged by Women’s Audio Mission, whose goal is to get more women involved in the music industry, which is more male-dominated than Hollywood (and that’s saying something). Details for this free Women’s Audio Mission show at Pianofight in San Francisco are \u003ca href=\"https://www.eventbrite.com/e/wam-presents-local-sirens-siri-ahf-mer-ah-su-simmi-arumi-tickets-33949814810?aff=es2\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>Thanks so much to Jamedra Brown Fleischman for co-hosting the show this week\u003c/p>\n\u003cfigure id=\"attachment_13653849\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13653849 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-e1499980660106-800x450.jpg\" alt=\"Jamedra Brown Fleischman and Cy Musiker\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-e1499980660106-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-e1499980660106-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-e1499980660106-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-e1499980660106-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-e1499980660106-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-e1499980660106-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-e1499980660106-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-e1499980660106-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-e1499980660106-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-e1499980660106-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamedra Brown Fleischman and Cy Musiker \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The days are long, perfect for lounging at the park. But when dusk turns to nighttime, The Do List wants you to find the perfect show. My co-host this week is Jamedra Brown Fleischman, former social media specialist for KQED Arts, and a co-host of \u003ca href=\"http://www.npr.org/podcasts/448115865/the-cooler\" target=\"_blank\" rel=\"noopener noreferrer\">The Cooler podcast\u003c/a> from KQED Pop. Now here’s our picks.\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/m0DX4FzGvOs'\n title='//www.youtube.com/embed/m0DX4FzGvOs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 29\u003c/strong>: \u003ca href=\"http://www.meshell.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Meshell Ndegeocello\u003c/a> can do just about anything musically, including jazz and hip-hop, and the songs are intensely emotional. Jamedra notes she’s credited as the founder of the neo-soul movement, with Erykah Badu, Goapele, Maxwell and others following suit. Ndegeocello has worked recently with director Ava Duvernay on the TV series \u003cem>Queen Sugar\u003c/em> — but for Jamedra, her voice will always conjure up one of her favorite movies,\u003cem> Love and Basketball\u003c/em> (2000), in which \u003ca href=\"https://www.youtube.com/watch?v=1qbzo9DnAqA\" target=\"_blank\" rel=\"noopener noreferrer\">she sings about a love betrayed\u003c/a>. Details for Ndegeocello’s show at Freight & Salvage \u003ca href=\"http://thefreight.org/meshell-ndegeocello\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13646698\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13646698\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/3636_17_Lotus-Live_Poster_V5-1-800x1162.jpeg\" alt=\"A poster for the Asian Art Museum‘s attempt to set a Guinness World Record for the largest human flower\" width=\"800\" height=\"1162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/3636_17_Lotus-Live_Poster_V5-1-800x1162.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/3636_17_Lotus-Live_Poster_V5-1-160x232.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/3636_17_Lotus-Live_Poster_V5-1-768x1116.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/3636_17_Lotus-Live_Poster_V5-1-1020x1482.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/3636_17_Lotus-Live_Poster_V5-1-1920x2789.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/3636_17_Lotus-Live_Poster_V5-1-1180x1714.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/3636_17_Lotus-Live_Poster_V5-1-960x1395.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/3636_17_Lotus-Live_Poster_V5-1-240x349.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/3636_17_Lotus-Live_Poster_V5-1-375x545.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/3636_17_Lotus-Live_Poster_V5-1-520x755.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A poster for the Asian Art Museum’s attempt to set a Guinness World Record for the largest human flower. \u003ccite>(Photo: Courtesy of Asian Art Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 15: \u003c/strong>\u003cspan style=\"font-weight: 400\">Here’s a chance to win a prize, make history, and celebrate the lotus, a flower that expresses Buddhist and Hindu ideals of purity and beauty. Following the \u003ca href=\"https://ww2.kqed.org/arts/2015/08/27/watch-a-thousand-rosie-the-riveters-set-a-world-record-in-richmond/\" target=\"_blank\" rel=\"noopener noreferrer\">trend\u003c/a> of \u003ca href=\"https://ww2.kqed.org/arts/2017/07/07/frida-kahlo-celebrated-with-an-attempt-at-a-world-record/\" target=\"_blank\" rel=\"noopener noreferrer\">unusual\u003c/a> world-record \u003ca href=\"https://ww2.kqed.org/arts/2015/07/02/oakland-comes-together-to-break-record-for-longest-soul-train/\" target=\"_blank\" rel=\"noopener noreferrer\">attempts\u003c/a> in the Bay Area, the Asian Art Museum is hoping to set a \u003c/span>\u003cspan style=\"font-weight: 400\">Guinness World Record for the largest human flower as part of its \u003ca href=\"http://www.asianart.org/exhibitions/flower-power\" target=\"_blank\" rel=\"noopener noreferrer\">Flower Power exhibit\u003c/a>, timed for citywide commemoration of the 50th anniversary of the Summer of Love. Already, \u003ca href=\"https://www.eventbrite.com/e/lotus-live-earn-the-guinness-world-recordstm-title-for-largest-human-flower-tickets-35088099450?aff=ehomecard\" target=\"_blank\" rel=\"noopener noreferrer\">2,500 people have signed up\u003c/a>, and the museum is hoping for 3,000 or more. \u003c/span>\u003cspan style=\"font-weight: 400\">The current Guinness record for largest human flower featured 2,297 people at the Rochester Lilac Festival in 2014. And to help pad the numbers for this attempt? Jamedra’s bringing her kids.\u003c/span>\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/8fGcf3GODKE'\n title='//www.youtube.com/embed/8fGcf3GODKE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>July 14 & 23\u003c/strong>: Seun Kuti is very much like his father, the late Nigerian political activist and musician Fela Kuti. He leads his father’s former band, Egypt 80, and sings of protest and the fight against oppression from banks and politicians of the left and right in Africa — and in Flint, Michigan (check the anti-IMF video above). Seun preaches the lyrics over irresistible Afrobeat rhythms. Raise your fist, dance your butt off. Details for his show Friday at the California WorldFest in Grass Valley are \u003ca href=\"http://worldfest.net/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. And he plays the New Parish in Oakland on Sunday, July 23; \u003ca href=\"http://www.ticketweb.com/t3/sale/SaleEventDetail?dispatch=loadSelectionData&eventId=7373525&pl=newparish&REFID=clientsitewp\" target=\"_blank\" rel=\"noopener noreferrer\">details here. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13627339\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13627339\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-800x451.jpg\" alt=\"M'Closky (Lance Gardner) is all villain in 'An Octoroon' by Branden Jacobs-Jenkins.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">M’Closky (Lance Gardner) is all villain in ‘An Octoroon’ by Branden Jacobs-Jenkins. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 23-July 29: \u003c/strong>\u003cem>An Octoroon\u003c/em> is the most fascinating and confrontational play I’ve seen this year. This West Coast premiere from \u003cspan style=\"font-weight: 400\">\u003ca href=\"http://www.newyorker.com/magazine/2017/03/06/branden-jacobs-jenkins-from-the-heart\" target=\"_blank\" rel=\"noopener noreferrer\">Branden Jacobs-Jenkins\u003c/a> opens with actor Lance Gardner speaking: “\u003c/span>Hi everyone. I’m a black playwright. I don’t know exactly what that means. But I’m here to tell you a story.” And then Gardner puts on whiteface, as another actor dons redface to play an American Indian. There’s blackface too, so, as Jamedra says, if you’re not offended in some way, you’re not paying attention. Much of the play is Jacobs-Jenkins deconstruction of a 19th Century melodrama by \u003ca href=\"http://www.theatrehistory.com/irish/boucicault001.html\" target=\"_blank\" rel=\"noopener noreferrer\">Dion Boucicault\u003c/a> about the fate of a Southern plantation. But there’s also running commentary on what it’s like to be an African American on the American stage. Br’er Rabbit gets a part too, and just when you think it’s okay to laugh at the racist attitudes of characters from 160 years ago, Jacobs-Jenkins slaps you with an image or line forcing you to recognize how things haven’t changed very much at all. Check out our critic John Wilkins’ review \u003ca href=\"https://ww2.kqed.org/arts/2017/07/12/an-octoroon-wallows-in-americas-racial-quagmire/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. Details for \u003cem>An Octoroon\u003c/em> at Berkeley Rep are \u003ca href=\"https://www.berkeleyrep.org/season/1617/10668.asp\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/pobZr1XYxos'\n title='//www.youtube.com/embed/pobZr1XYxos'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 26\u003c/strong>: Oakland’s \u003ca href=\"https://ww2.kqed.org/arts/2017/02/22/star-amerasu-talks-transphobia-addiction-and-assault-with-an-upbeat-electro-pop-twist/\" target=\"_blank\" rel=\"noopener noreferrer\">Star Ahmerasu\u003c/a>, a queer black trans woman who wears her heart and soul on her sleeve; Oakland’s Siri, “the trippy princess”; and soul singer \u003ca href=\"https://soundcloud.com/simmisings\" target=\"_blank\" rel=\"noopener noreferrer\">Simmi\u003c/a>, and DJ Arumi — they’re all “local sirens,” new faces on the Bay Area music scene. They also comprise the lineup for a quarterly showcase staged by Women’s Audio Mission, whose goal is to get more women involved in the music industry, which is more male-dominated than Hollywood (and that’s saying something). Details for this free Women’s Audio Mission show at Pianofight in San Francisco are \u003ca href=\"https://www.eventbrite.com/e/wam-presents-local-sirens-siri-ahf-mer-ah-su-simmi-arumi-tickets-33949814810?aff=es2\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>Thanks so much to Jamedra Brown Fleischman for co-hosting the show this week\u003c/p>\n\u003cfigure id=\"attachment_13653849\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13653849 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-e1499980660106-800x450.jpg\" alt=\"Jamedra Brown Fleischman and Cy Musiker\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-e1499980660106-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-e1499980660106-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-e1499980660106-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-e1499980660106-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-e1499980660106-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-e1499980660106-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-e1499980660106-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-e1499980660106-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-e1499980660106-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-e1499980660106-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamedra Brown Fleischman and Cy Musiker \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'An Octoroon' Wallows in America's Racial Quagmire",
"headTitle": "‘An Octoroon’ Wallows in America’s Racial Quagmire | KQED",
"content": "\u003cp>In our present political climate, blackness has become not just a lightning rod, but also a victim of reductive, uncritical thinking, both from the right and the left. And so I’ve been looking forward to the Berkeley Repertory Theatre’s production of Brandon Jacobs-Jenkins’ much-lauded \u003ca href=\"https://www.berkeleyrep.org/season/1617/10668.asp\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>An Octoroon\u003c/em>\u003c/a>, a postmodern riff on Dion Boucicault’s 19th century hit melodrama, \u003cem>The Octoroon\u003c/em>.\u003c/p>\n\u003cp>Jacobs-Jenkins is certainly one of today’s more astute and alert playwrights (\u003cem>War\u003c/em>, \u003cem>Neighbors\u003c/em>) and he wastes no time in taking the knife to the jugular of bad ideas. BJJ (short for Brandon Jacobs-Jenkins) — played by Lance Gardner in a precise, searing performance — ambles out onto the stage and says, “Hi, everyone. I’m a ‘black playwright.’ I don’t know exactly what that means.” It’s a sharp first jab, throwing out what seems like an obvious declaration and then immediately dismantling it with good-natured bafflement.\u003c/p>\n\u003cp>All BJJ wants it is for us to share in his predicament. Even though he’s black, he wants to be free to be more than black — an artist who might, for instance, write a play about “talking farm animals.” When a literary manager excitedly responds that BJJ is “deconstructing African folktales,” he shoots back, “Bitch! I’m not fucking deconstructing any fucking African fucking folktales.” One might say that this is a man who wants both in and out of America’s racial quagmire.\u003c/p>\n\u003cfigure id=\"attachment_13627329\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13627329\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/OC1-e1499666389927-800x451.jpg\" alt=\"BJJ (Lance Gardner) gets ready to perform whiteness in 'An Octoroon' by Brandon Jacobs-Jenkins.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC1-e1499666389927-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC1-e1499666389927-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC1-e1499666389927-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC1-e1499666389927-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC1-e1499666389927-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC1-e1499666389927-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC1-e1499666389927-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC1-e1499666389927-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC1-e1499666389927-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC1-e1499666389927-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BJJ (Lance Gardner) gets ready to perform whiteness in ‘An Octoroon’ by Brandon Jacobs-Jenkins. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003cem>coup-de-theatre\u003c/em> of Jacobs-Jenkins’ smart opening is that BJJ is preparing for a role in his reimagining of Boucicault’s melodrama. He’s going to play both the white hero and the white villain of the piece. As we listen to him plead to escape the restrictive racial categories of our age, he’s smearing himself with a clown’s white makeup and donning a floppy-haired wig to embrace the restrictive racial categories of the past.\u003c/p>\n\u003cp>What follows is Boucicault’s plot, a fair number of Boucicault’s scenes, and Jacobs-Jenkins’ own sensibilities and concerns. The past is, of course, a great place to have fun and to make fun of: knowledge is superiority and the present always has a surplus of hindsight. And so it’s not just race that Jacobs-Jenkins sends up, but also the cultural and theatrical sensibilities that produced the American melodrama.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We get to laugh at the racist caricatures of African-Americans and Native Americans, ridiculous courting rituals, and the over-the-top narrative machinations that once passed for riveting drama. The notion that George (recently returned from sophisticated Paris) and Zoe (the lovely octoroon of the title) should not marry because, as she puts it, “the one black drop gives me despair, for I’m an unclean thing — I’m an octoroon!” is ludicrous. Of course, it’s even more so as the cast sighs and mugs its way through scenes of high emotion.\u003c/p>\n\u003cfigure id=\"attachment_13627339\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13627339\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-800x451.jpg\" alt=\"The villain M'Closky (Lance Gardner) is all villain in 'An Octoroon' by Branden Jacobs-Jenkins. \" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The villain M’Closky (Lance Gardner) is all villain in ‘An Octoroon’ by Branden Jacobs-Jenkins. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The way that Jacobs-Jenkins sets up the play, framed around his present-day concerns, creates even more distance. This is not our world. Both dramatically and philosophically these choices place \u003cem>An Octoroon\u003c/em> on precarious ground. It gives the 21st century audience of the Berkeley Rep and others like it across the country an obvious out — it’s easy to write off “the idiotic past” — and renders it difficult to make a case for the ongoing relevance of Boucicault’s original play. So what seems like an easy target and a way to address the tortured politics of our present day loses force and starts to feel awfully muddled.\u003c/p>\n\u003cp>It’s not that Jacobs-Jenkins isn’t unaware of the rat’s nest of complexity he’s taking on; it’s that his interventions, except for a few instances, strain for meaning rather than cause the obvious discomfort he’s after. The playwright is a would-be provocateur who just seems too easy to please in his justified anger. Perhaps it’s too justified.\u003c/p>\n\u003cp>In one of the most crucial plot points of the play, BJJ enters and tries to explain, intervene in, and update Boucicault’s use of what was the then-new technology of photography. The moment feels as aesthetically false as the goofy histrionics of melodramatic acting. Yes, it’s a clever twist. But it feels more like a last ditch attempt at significance rather than a true reckoning.\u003c/p>\n\u003cfigure id=\"attachment_13627340\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13627340\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/OC9-e1499667314752-800x453.jpg\" alt=\"Zoe (Sydney Morton), the octoroon of 'An Octoroon' takes a light to America's racial tragedy.\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC9-e1499667314752-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC9-e1499667314752-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC9-e1499667314752-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC9-e1499667314752-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC9-e1499667314752-1920x1087.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC9-e1499667314752-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC9-e1499667314752-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC9-e1499667314752-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC9-e1499667314752-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC9-e1499667314752-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zoe (Sydney Morton), the octoroon of ‘An Octoroon’ takes a light to America’s racial tragedy. \u003ccite>(Photo Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dripping in schmaltz, melodrama is a justifiably derided form. Yet aspects of it are deep in the DNA of American theater. It’s evident not just in 19th century warhorses like \u003cem>The Octoroon\u003c/em> and \u003cem>Uncle Tom’s Cabin\u003c/em>, but also in some of the greatest and most unhinged moments in the plays of Eugene O’Neill and Tennessee Williams, as well as those of contemporary writers such as Cherrie Moraga and Katori Hall.\u003c/p>\n\u003cp>As Jacobs-Jenkins is keenly aware, melodrama is often the easiest and most direct form of addressing issues of social justice. But in doing so, you really have to believe in what you’re writing about with your whole spirit and risk seeming like an idiot, both among your contemporaries and into the future. Boucicault saw an injustice and responded imperfectly, but he did it with verve.\u003c/p>\n\u003cp>We live in a world where “smart” and “distanced” have become signs of sophistication and intelligence. The postmodern hijinks of Jacobs-Jenkins’ \u003cem>An Octoroon\u003c/em> seems knowing, but it lacks the headlong rush of its source material. Despite its many virtues, there’s something safe and docile about this 21st century play; in spite of its many faults, the 19th century melodrama on which it’s based feels more true and alive.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘An Octoroon’ runs through Saturday, Jul. 29 at Berkeley Repertory Theatre. For tickets and information \u003ca href=\"https://www.berkeleyrep.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Brandon Jacobs-Jenkins’ postmodern riff on a 19th century hit melodrama at Berkeley Rep is engaging, but at times goes too easy on the audience.",
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"description": "Brandon Jacobs-Jenkins’ postmodern riff on a 19th century hit melodrama at Berkeley Rep is engaging, but at times goes too easy on the audience.",
"title": "'An Octoroon' Wallows in America's Racial Quagmire | KQED",
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"headline": "'An Octoroon' Wallows in America's Racial Quagmire",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In our present political climate, blackness has become not just a lightning rod, but also a victim of reductive, uncritical thinking, both from the right and the left. And so I’ve been looking forward to the Berkeley Repertory Theatre’s production of Brandon Jacobs-Jenkins’ much-lauded \u003ca href=\"https://www.berkeleyrep.org/season/1617/10668.asp\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>An Octoroon\u003c/em>\u003c/a>, a postmodern riff on Dion Boucicault’s 19th century hit melodrama, \u003cem>The Octoroon\u003c/em>.\u003c/p>\n\u003cp>Jacobs-Jenkins is certainly one of today’s more astute and alert playwrights (\u003cem>War\u003c/em>, \u003cem>Neighbors\u003c/em>) and he wastes no time in taking the knife to the jugular of bad ideas. BJJ (short for Brandon Jacobs-Jenkins) — played by Lance Gardner in a precise, searing performance — ambles out onto the stage and says, “Hi, everyone. I’m a ‘black playwright.’ I don’t know exactly what that means.” It’s a sharp first jab, throwing out what seems like an obvious declaration and then immediately dismantling it with good-natured bafflement.\u003c/p>\n\u003cp>All BJJ wants it is for us to share in his predicament. Even though he’s black, he wants to be free to be more than black — an artist who might, for instance, write a play about “talking farm animals.” When a literary manager excitedly responds that BJJ is “deconstructing African folktales,” he shoots back, “Bitch! I’m not fucking deconstructing any fucking African fucking folktales.” One might say that this is a man who wants both in and out of America’s racial quagmire.\u003c/p>\n\u003cfigure id=\"attachment_13627329\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13627329\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/OC1-e1499666389927-800x451.jpg\" alt=\"BJJ (Lance Gardner) gets ready to perform whiteness in 'An Octoroon' by Brandon Jacobs-Jenkins.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC1-e1499666389927-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC1-e1499666389927-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC1-e1499666389927-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC1-e1499666389927-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC1-e1499666389927-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC1-e1499666389927-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC1-e1499666389927-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC1-e1499666389927-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC1-e1499666389927-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC1-e1499666389927-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BJJ (Lance Gardner) gets ready to perform whiteness in ‘An Octoroon’ by Brandon Jacobs-Jenkins. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003cem>coup-de-theatre\u003c/em> of Jacobs-Jenkins’ smart opening is that BJJ is preparing for a role in his reimagining of Boucicault’s melodrama. He’s going to play both the white hero and the white villain of the piece. As we listen to him plead to escape the restrictive racial categories of our age, he’s smearing himself with a clown’s white makeup and donning a floppy-haired wig to embrace the restrictive racial categories of the past.\u003c/p>\n\u003cp>What follows is Boucicault’s plot, a fair number of Boucicault’s scenes, and Jacobs-Jenkins’ own sensibilities and concerns. The past is, of course, a great place to have fun and to make fun of: knowledge is superiority and the present always has a surplus of hindsight. And so it’s not just race that Jacobs-Jenkins sends up, but also the cultural and theatrical sensibilities that produced the American melodrama.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We get to laugh at the racist caricatures of African-Americans and Native Americans, ridiculous courting rituals, and the over-the-top narrative machinations that once passed for riveting drama. The notion that George (recently returned from sophisticated Paris) and Zoe (the lovely octoroon of the title) should not marry because, as she puts it, “the one black drop gives me despair, for I’m an unclean thing — I’m an octoroon!” is ludicrous. Of course, it’s even more so as the cast sighs and mugs its way through scenes of high emotion.\u003c/p>\n\u003cfigure id=\"attachment_13627339\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13627339\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-800x451.jpg\" alt=\"The villain M'Closky (Lance Gardner) is all villain in 'An Octoroon' by Branden Jacobs-Jenkins. \" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC4-e1499666699982-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The villain M’Closky (Lance Gardner) is all villain in ‘An Octoroon’ by Branden Jacobs-Jenkins. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The way that Jacobs-Jenkins sets up the play, framed around his present-day concerns, creates even more distance. This is not our world. Both dramatically and philosophically these choices place \u003cem>An Octoroon\u003c/em> on precarious ground. It gives the 21st century audience of the Berkeley Rep and others like it across the country an obvious out — it’s easy to write off “the idiotic past” — and renders it difficult to make a case for the ongoing relevance of Boucicault’s original play. So what seems like an easy target and a way to address the tortured politics of our present day loses force and starts to feel awfully muddled.\u003c/p>\n\u003cp>It’s not that Jacobs-Jenkins isn’t unaware of the rat’s nest of complexity he’s taking on; it’s that his interventions, except for a few instances, strain for meaning rather than cause the obvious discomfort he’s after. The playwright is a would-be provocateur who just seems too easy to please in his justified anger. Perhaps it’s too justified.\u003c/p>\n\u003cp>In one of the most crucial plot points of the play, BJJ enters and tries to explain, intervene in, and update Boucicault’s use of what was the then-new technology of photography. The moment feels as aesthetically false as the goofy histrionics of melodramatic acting. Yes, it’s a clever twist. But it feels more like a last ditch attempt at significance rather than a true reckoning.\u003c/p>\n\u003cfigure id=\"attachment_13627340\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13627340\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/OC9-e1499667314752-800x453.jpg\" alt=\"Zoe (Sydney Morton), the octoroon of 'An Octoroon' takes a light to America's racial tragedy.\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC9-e1499667314752-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC9-e1499667314752-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC9-e1499667314752-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC9-e1499667314752-1020x577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC9-e1499667314752-1920x1087.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC9-e1499667314752-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC9-e1499667314752-960x543.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC9-e1499667314752-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC9-e1499667314752-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/OC9-e1499667314752-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zoe (Sydney Morton), the octoroon of ‘An Octoroon’ takes a light to America’s racial tragedy. \u003ccite>(Photo Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dripping in schmaltz, melodrama is a justifiably derided form. Yet aspects of it are deep in the DNA of American theater. It’s evident not just in 19th century warhorses like \u003cem>The Octoroon\u003c/em> and \u003cem>Uncle Tom’s Cabin\u003c/em>, but also in some of the greatest and most unhinged moments in the plays of Eugene O’Neill and Tennessee Williams, as well as those of contemporary writers such as Cherrie Moraga and Katori Hall.\u003c/p>\n\u003cp>As Jacobs-Jenkins is keenly aware, melodrama is often the easiest and most direct form of addressing issues of social justice. But in doing so, you really have to believe in what you’re writing about with your whole spirit and risk seeming like an idiot, both among your contemporaries and into the future. Boucicault saw an injustice and responded imperfectly, but he did it with verve.\u003c/p>\n\u003cp>We live in a world where “smart” and “distanced” have become signs of sophistication and intelligence. The postmodern hijinks of Jacobs-Jenkins’ \u003cem>An Octoroon\u003c/em> seems knowing, but it lacks the headlong rush of its source material. Despite its many virtues, there’s something safe and docile about this 21st century play; in spite of its many faults, the 19th century melodrama on which it’s based feels more true and alive.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘An Octoroon’ runs through Saturday, Jul. 29 at Berkeley Repertory Theatre. For tickets and information \u003ca href=\"https://www.berkeleyrep.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Breitbart Mime Troupe Freakout Tests NEA Funding Assumptions",
"headTitle": "Breitbart Mime Troupe Freakout Tests NEA Funding Assumptions | KQED",
"content": "\u003cp>In its 58th year, the \u003ca href=\"http://www.sfmt.org/index.php\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Mime Troupe\u003c/a> is caught in what I would describe as an extended aesthetic rut. The company delivers a variation of the same show year after year: a kind of longform \u003cem>Saturday Night Live\u003c/em> sketch with a more robust leftish agenda.\u003c/p>\n\u003cp>The Troupe’s shows are more a summer ritual gathering than a place for theater. The productions go up and down in quality. Thanks to Edris Cooper-Anifowoshe’s direction, this year’s offering, \u003cem>Walls\u003c/em>, zips along for the first half-hour or so. But the experience ultimately feels like most other Mime Troupe productions — you’ve seen and felt it all before.\u003c/p>\n\u003cfigure id=\"attachment_13596646\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13596646\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/yessir_hi-e1499325052832-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/yessir_hi-e1499325052832-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/yessir_hi-e1499325052832-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/yessir_hi-e1499325052832-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/yessir_hi-e1499325052832-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/yessir_hi-e1499325052832-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/yessir_hi-e1499325052832-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/yessir_hi-e1499325052832-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/yessir_hi-e1499325052832-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/yessir_hi-e1499325052832-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/yessir_hi-e1499325052832-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L. Mary Jones (Velina Brown) strays towards the bad in ‘Walls’ by the San Francisco Mime Troupe. \u003ccite>(Photo: Mike Melnyk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So when \u003cem>Breitbart News\u003c/em>, basically scavenging the work of the \u003ca href=\"http://freebeacon.com/culture/feds-spend-20000-musical-illegal-immigrant-lesbian/\">\u003cem>Free Beacon\u003c/em>\u003c/a>, flipped out last week over the Mime Troupe receiving a grant from the National Endowment for the Arts (NEA) (“\u003ca href=\"http://www.breitbart.com/texas/2017/06/26/trump-nea-grants-20k-lesbian-illegal-alien-musical/\" target=\"_blank\" rel=\"noopener noreferrer\">Trump NEA grants $20k for lesbian illegal alien musical\u003c/a>“) the online publication got at some uncomfortable truths. Perhaps the most pressing question the article raised is, what do we expect from political art, and art that is partially funded by the government?\u003c/p>\n\u003cp>Both the \u003cem>Breitbart \u003c/em>article and the one it filches from in the \u003cem>Free Beacon\u003c/em> hew to the facts, for the most part. They quote from the show’s press release, have a clear sense of what \u003cem>Walls\u003c/em> is about, and demonstrate an understanding of the Mime Troupe’s mission. What these publications object to is the notion of support, primarily financial, as well as the simple act of giving credence to anything they deem un-American.\u003c/p>\n\u003cp>In a basic way, the mere existence of the Mime Troupe is a threat, a counter-vision that is so destabilizing that a $20,000 grant is treated as a bankrupting of the entire economy, to say nothing of the nation’s soul. The \u003cem>Breitbart\u003c/em> headline — “lesbian illegal alien musical” — says it all. But what’s damning about it all is how the Mime Troupe takes such potent, promising material and churns it into indifferent mush.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The outline of \u003cem>Walls\u003c/em> is promising, and asks serious questions about national policies and personal responsibility. Zaniyah Nahuati, a young Mexican woman, has crossed over to the United States and has been hiding in her lover’s apartment. That she’s a lesbian and her partner Mary is an ICE agent is just the beginning of a series of farcical mishaps that cut to the heart of our national immigration policy. It’s not just President Donald Trump’s way of doing things that comes under scrutiny in the show, but also the policies of former Presidents Obama, both Bushes, and Clinton.\u003c/p>\n\u003cfigure id=\"attachment_13596681\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13596681\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/crossing_hi-e1499325976956-800x451.jpg\" alt=\"Just depicting L. Mary Jones (Velina Brown) and Zaniyah Nahuati (Marilet Martinez) together is dangerous for Breitbart News in 'Walls' by the San Francisco Mime Troupe.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/crossing_hi-e1499325976956-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/crossing_hi-e1499325976956-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/crossing_hi-e1499325976956-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/crossing_hi-e1499325976956-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/crossing_hi-e1499325976956-1920x1084.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/crossing_hi-e1499325976956-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/crossing_hi-e1499325976956-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/crossing_hi-e1499325976956-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/crossing_hi-e1499325976956-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/crossing_hi-e1499325976956-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Just depicting L. Mary Jones (Velina Brown) and Zaniyah Nahuati (Marilet Martinez) together is dangerous for Breitbart News in ‘Walls’ by the San Francisco Mime Troupe. \u003ccite>(Photo: Mike Melnyk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The setup is by far the most effective aspect of Michael Gene Sullivan’s script. Mary is essentially two citizens: a private one who wishes to protect the illegal Zaniyah, and a public one who is sworn to track her down, turn her in, and escort her back to Mexico. And so this is a love story between a person without legal standing and another split between law and desire.\u003c/p>\n\u003cp>Great farce moves so fast that we can barely keep up with it. But in \u003cem>Walls\u003c/em>, all the comic bits, minor characters, and overly long set-ups to obvious jokes slow down the action. Rather than concentrate on the lives of people living in complex times and how they negotiate them, we end up numbed by a narrative we’re light years ahead of. Scenes that should fly by go on and on to less and less effect.\u003c/p>\n\u003cfigure id=\"attachment_13596649\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13596649\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/lep1_hi-e1499325680255-800x466.jpg\" alt=\"ICE Agent Cliodhna Abhabullogue (Lizzie Calogero), Leprechaun (Marilet Martinez) and L. Mary Jones (Velina Brown) discuss the meaning of immigration in 'Walls' by the San Francisco Mime Troupe.\" width=\"800\" height=\"466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/lep1_hi-e1499325680255-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/lep1_hi-e1499325680255-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/lep1_hi-e1499325680255-768x447.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/lep1_hi-e1499325680255-1020x594.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/lep1_hi-e1499325680255-1920x1118.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/lep1_hi-e1499325680255-1180x687.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/lep1_hi-e1499325680255-960x559.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/lep1_hi-e1499325680255-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/lep1_hi-e1499325680255-375x218.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/lep1_hi-e1499325680255-520x303.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ICE Agent Cliodhna Abhabullogue (Lizzie Calogero), Leprechaun (Marilet Martinez) and L. Mary Jones (Velina Brown) discuss the meaning of immigration in ‘Walls’ by the San Francisco Mime Troupe. \u003ccite>(Photo: Mike Melnyk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If the set up offends \u003cem>Breitbart\u003c/em> and the \u003cem>Free Beacon\u003c/em>, the follow-through should offend all those who dream of an engaged political art, one that’s funded, free, and alive to the world. There should be more to an offending vision than its mere presence.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Walls’ runs through Sunday, Sep. 10 at various outdoor locations throughout the Bay Area. Tickets are free. For information on show times \u003ca href=\"http://www.sfmt.org/schedule/index.php\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "Seeing the San Francisco theater company's show 'Walls' after the right-wing publication dubbed it a 'lesbian illegal alien musical' provides food for thought.",
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"description": "Seeing the San Francisco theater company's show 'Walls' after the right-wing publication dubbed it a 'lesbian illegal alien musical' provides food for thought.",
"title": "Breitbart Mime Troupe Freakout Tests NEA Funding Assumptions | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In its 58th year, the \u003ca href=\"http://www.sfmt.org/index.php\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Mime Troupe\u003c/a> is caught in what I would describe as an extended aesthetic rut. The company delivers a variation of the same show year after year: a kind of longform \u003cem>Saturday Night Live\u003c/em> sketch with a more robust leftish agenda.\u003c/p>\n\u003cp>The Troupe’s shows are more a summer ritual gathering than a place for theater. The productions go up and down in quality. Thanks to Edris Cooper-Anifowoshe’s direction, this year’s offering, \u003cem>Walls\u003c/em>, zips along for the first half-hour or so. But the experience ultimately feels like most other Mime Troupe productions — you’ve seen and felt it all before.\u003c/p>\n\u003cfigure id=\"attachment_13596646\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13596646\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/yessir_hi-e1499325052832-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/yessir_hi-e1499325052832-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/yessir_hi-e1499325052832-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/yessir_hi-e1499325052832-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/yessir_hi-e1499325052832-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/yessir_hi-e1499325052832-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/yessir_hi-e1499325052832-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/yessir_hi-e1499325052832-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/yessir_hi-e1499325052832-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/yessir_hi-e1499325052832-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/yessir_hi-e1499325052832-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L. Mary Jones (Velina Brown) strays towards the bad in ‘Walls’ by the San Francisco Mime Troupe. \u003ccite>(Photo: Mike Melnyk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So when \u003cem>Breitbart News\u003c/em>, basically scavenging the work of the \u003ca href=\"http://freebeacon.com/culture/feds-spend-20000-musical-illegal-immigrant-lesbian/\">\u003cem>Free Beacon\u003c/em>\u003c/a>, flipped out last week over the Mime Troupe receiving a grant from the National Endowment for the Arts (NEA) (“\u003ca href=\"http://www.breitbart.com/texas/2017/06/26/trump-nea-grants-20k-lesbian-illegal-alien-musical/\" target=\"_blank\" rel=\"noopener noreferrer\">Trump NEA grants $20k for lesbian illegal alien musical\u003c/a>“) the online publication got at some uncomfortable truths. Perhaps the most pressing question the article raised is, what do we expect from political art, and art that is partially funded by the government?\u003c/p>\n\u003cp>Both the \u003cem>Breitbart \u003c/em>article and the one it filches from in the \u003cem>Free Beacon\u003c/em> hew to the facts, for the most part. They quote from the show’s press release, have a clear sense of what \u003cem>Walls\u003c/em> is about, and demonstrate an understanding of the Mime Troupe’s mission. What these publications object to is the notion of support, primarily financial, as well as the simple act of giving credence to anything they deem un-American.\u003c/p>\n\u003cp>In a basic way, the mere existence of the Mime Troupe is a threat, a counter-vision that is so destabilizing that a $20,000 grant is treated as a bankrupting of the entire economy, to say nothing of the nation’s soul. The \u003cem>Breitbart\u003c/em> headline — “lesbian illegal alien musical” — says it all. But what’s damning about it all is how the Mime Troupe takes such potent, promising material and churns it into indifferent mush.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The outline of \u003cem>Walls\u003c/em> is promising, and asks serious questions about national policies and personal responsibility. Zaniyah Nahuati, a young Mexican woman, has crossed over to the United States and has been hiding in her lover’s apartment. That she’s a lesbian and her partner Mary is an ICE agent is just the beginning of a series of farcical mishaps that cut to the heart of our national immigration policy. It’s not just President Donald Trump’s way of doing things that comes under scrutiny in the show, but also the policies of former Presidents Obama, both Bushes, and Clinton.\u003c/p>\n\u003cfigure id=\"attachment_13596681\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13596681\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/crossing_hi-e1499325976956-800x451.jpg\" alt=\"Just depicting L. Mary Jones (Velina Brown) and Zaniyah Nahuati (Marilet Martinez) together is dangerous for Breitbart News in 'Walls' by the San Francisco Mime Troupe.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/crossing_hi-e1499325976956-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/crossing_hi-e1499325976956-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/crossing_hi-e1499325976956-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/crossing_hi-e1499325976956-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/crossing_hi-e1499325976956-1920x1084.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/crossing_hi-e1499325976956-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/crossing_hi-e1499325976956-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/crossing_hi-e1499325976956-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/crossing_hi-e1499325976956-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/crossing_hi-e1499325976956-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Just depicting L. Mary Jones (Velina Brown) and Zaniyah Nahuati (Marilet Martinez) together is dangerous for Breitbart News in ‘Walls’ by the San Francisco Mime Troupe. \u003ccite>(Photo: Mike Melnyk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The setup is by far the most effective aspect of Michael Gene Sullivan’s script. Mary is essentially two citizens: a private one who wishes to protect the illegal Zaniyah, and a public one who is sworn to track her down, turn her in, and escort her back to Mexico. And so this is a love story between a person without legal standing and another split between law and desire.\u003c/p>\n\u003cp>Great farce moves so fast that we can barely keep up with it. But in \u003cem>Walls\u003c/em>, all the comic bits, minor characters, and overly long set-ups to obvious jokes slow down the action. Rather than concentrate on the lives of people living in complex times and how they negotiate them, we end up numbed by a narrative we’re light years ahead of. Scenes that should fly by go on and on to less and less effect.\u003c/p>\n\u003cfigure id=\"attachment_13596649\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13596649\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/lep1_hi-e1499325680255-800x466.jpg\" alt=\"ICE Agent Cliodhna Abhabullogue (Lizzie Calogero), Leprechaun (Marilet Martinez) and L. Mary Jones (Velina Brown) discuss the meaning of immigration in 'Walls' by the San Francisco Mime Troupe.\" width=\"800\" height=\"466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/lep1_hi-e1499325680255-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/lep1_hi-e1499325680255-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/lep1_hi-e1499325680255-768x447.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/lep1_hi-e1499325680255-1020x594.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/lep1_hi-e1499325680255-1920x1118.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/lep1_hi-e1499325680255-1180x687.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/lep1_hi-e1499325680255-960x559.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/lep1_hi-e1499325680255-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/lep1_hi-e1499325680255-375x218.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/lep1_hi-e1499325680255-520x303.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ICE Agent Cliodhna Abhabullogue (Lizzie Calogero), Leprechaun (Marilet Martinez) and L. Mary Jones (Velina Brown) discuss the meaning of immigration in ‘Walls’ by the San Francisco Mime Troupe. \u003ccite>(Photo: Mike Melnyk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If the set up offends \u003cem>Breitbart\u003c/em> and the \u003cem>Free Beacon\u003c/em>, the follow-through should offend all those who dream of an engaged political art, one that’s funded, free, and alive to the world. There should be more to an offending vision than its mere presence.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Walls’ runs through Sunday, Sep. 10 at various outdoor locations throughout the Bay Area. Tickets are free. For information on show times \u003ca href=\"http://www.sfmt.org/schedule/index.php\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Pulitzer Prize-winning playwright Edward Albee has been in the news a lot lately. Albee \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/09/16/462191417/playwright-edward-albee-who-changed-and-challenged-audiences-dies-at-88\" target=\"_blank\" rel=\"noopener\">died in 2016\u003c/a>, and since then his estate has turned down \u003ca href=\"http://www.npr.org/sections/codeswitch/2017/05/31/530750975/why-a-theater-director-made-a-color-conscious-choice-in-virginia-woolf-casting\" target=\"_blank\" rel=\"noopener\">a multi-racial production\u003c/a> of \u003cem>Who’s Afraid of Virginia Woolf?\u003c/em> and put his contemporary art collection up for auction for an estimated $9 million. Now \u003cem>The New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2017/07/04/theater/edward-albees-final-wish-destroy-my-unfinished-work.html?_r=0\" target=\"_blank\" rel=\"noopener\">reports\u003c/a> that his incomplete works may never see the light of day.\u003c/p>\n\u003cp>The clause in Albee’s will is pretty clear: “If at the time of my death I shall leave any incomplete manuscripts I hereby direct my executors to destroy such incomplete manuscripts.”\u003c/p>\n\u003cp>Albee’s estate wouldn’t comment on whether they’ve followed his orders, but the directive is very much in character — and Emily Mann isn’t the least bit surprised. She’s the artistic director of the \u003ca href=\"http://www.mccarter.org/home.aspx?page_id=1\" target=\"_blank\" rel=\"noopener\">McCarter Theatre Center\u003c/a> in Princeton, N.J., and she worked with Albee on several plays. “He wanted to have authority over everything of his that was on the stage,” she says. That meant casting, props and even the color of the set.\u003c/p>\n\u003cp>Mann says the playwright was so exacting that when actress Rosemary Harris was rehearsing his play \u003cem>All Over\u003c/em>, “He wrote me a note on one of Rosemary’s lines which was, ‘I didn’t hear the comma.’ ”\u003c/p>\n\u003cp>According to Mann, whenever they worked on a new play together, Albee pretty much kept his writing a secret. There were never readings or workshops, just a final draft. The playwright told me in a 2008 interview, “I don’t think a play should go in rehearsal until it’s ready to open.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s where the incomplete manuscripts come in. Albee’s last work, \u003cem>Laying an Egg\u003c/em>, was supposed to open off-Broadway, but it was postponed twice because the author said it wasn’t ready. Now we may never know what was in that play.\u003c/p>\n\u003cp>David Crespy is president of the \u003ca href=\"http://edwardalbeesociety.org/\" target=\"_blank\" rel=\"noopener\">Edward Albee Society\u003c/a>, which promotes scholarship on the playwrights work. “It’s a very disappointing decision,” he says. “… It’s kind of a way of shutting us out of Edward’s creative process — which, by the way, he \u003cem>wanted\u003c/em> to shut us out of his creative process.”\u003c/p>\n\u003cp>But in the past, other estates have chosen to ignore authors’ wishes. Franz Kafka asked for his work to be burned, and it wasn’t; the play \u003cem>Long Day’s Journey Into Night\u003c/em> was staged shortly after playwright Eugene O’Neill’s death, even though he asked for a 25-year waiting period.\u003c/p>\n\u003cp>David Friedlander is a lawyer for theater productions. He says the Albee estate’s decision may be a loss for future scholarship on the playwright, but it’s well within its rights: “Authors, when they’re working on drafts of things, they might write things that are poorly written, for one; ideas and concepts that are incomplete, or characters that are incomplete; or they may write things that are, you know, sexist or racist or politically charged that they may or may not really believe. But the artist, I think, has the absolute right to determine what gets disclosed.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Albee exercised that right in \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=88141908\" target=\"_blank\" rel=\"noopener\">his 2008 interview with me\u003c/a>. When I asked about a new play he was working on, he gave a sly smile and said, “One is emerging, yes. … It’s called \u003cem>Silence\u003c/em>, yes. Yes. That’s all I will tell you at the moment about it.” \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=+Playwright+Edward+Albee%27s+Incomplete+Works+May+Never+See+The+Light+Of+Day&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pulitzer Prize-winning playwright Edward Albee has been in the news a lot lately. Albee \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/09/16/462191417/playwright-edward-albee-who-changed-and-challenged-audiences-dies-at-88\" target=\"_blank\" rel=\"noopener\">died in 2016\u003c/a>, and since then his estate has turned down \u003ca href=\"http://www.npr.org/sections/codeswitch/2017/05/31/530750975/why-a-theater-director-made-a-color-conscious-choice-in-virginia-woolf-casting\" target=\"_blank\" rel=\"noopener\">a multi-racial production\u003c/a> of \u003cem>Who’s Afraid of Virginia Woolf?\u003c/em> and put his contemporary art collection up for auction for an estimated $9 million. Now \u003cem>The New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2017/07/04/theater/edward-albees-final-wish-destroy-my-unfinished-work.html?_r=0\" target=\"_blank\" rel=\"noopener\">reports\u003c/a> that his incomplete works may never see the light of day.\u003c/p>\n\u003cp>The clause in Albee’s will is pretty clear: “If at the time of my death I shall leave any incomplete manuscripts I hereby direct my executors to destroy such incomplete manuscripts.”\u003c/p>\n\u003cp>Albee’s estate wouldn’t comment on whether they’ve followed his orders, but the directive is very much in character — and Emily Mann isn’t the least bit surprised. She’s the artistic director of the \u003ca href=\"http://www.mccarter.org/home.aspx?page_id=1\" target=\"_blank\" rel=\"noopener\">McCarter Theatre Center\u003c/a> in Princeton, N.J., and she worked with Albee on several plays. “He wanted to have authority over everything of his that was on the stage,” she says. That meant casting, props and even the color of the set.\u003c/p>\n\u003cp>Mann says the playwright was so exacting that when actress Rosemary Harris was rehearsing his play \u003cem>All Over\u003c/em>, “He wrote me a note on one of Rosemary’s lines which was, ‘I didn’t hear the comma.’ ”\u003c/p>\n\u003cp>According to Mann, whenever they worked on a new play together, Albee pretty much kept his writing a secret. There were never readings or workshops, just a final draft. The playwright told me in a 2008 interview, “I don’t think a play should go in rehearsal until it’s ready to open.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s where the incomplete manuscripts come in. Albee’s last work, \u003cem>Laying an Egg\u003c/em>, was supposed to open off-Broadway, but it was postponed twice because the author said it wasn’t ready. Now we may never know what was in that play.\u003c/p>\n\u003cp>David Crespy is president of the \u003ca href=\"http://edwardalbeesociety.org/\" target=\"_blank\" rel=\"noopener\">Edward Albee Society\u003c/a>, which promotes scholarship on the playwrights work. “It’s a very disappointing decision,” he says. “… It’s kind of a way of shutting us out of Edward’s creative process — which, by the way, he \u003cem>wanted\u003c/em> to shut us out of his creative process.”\u003c/p>\n\u003cp>But in the past, other estates have chosen to ignore authors’ wishes. Franz Kafka asked for his work to be burned, and it wasn’t; the play \u003cem>Long Day’s Journey Into Night\u003c/em> was staged shortly after playwright Eugene O’Neill’s death, even though he asked for a 25-year waiting period.\u003c/p>\n\u003cp>David Friedlander is a lawyer for theater productions. He says the Albee estate’s decision may be a loss for future scholarship on the playwright, but it’s well within its rights: “Authors, when they’re working on drafts of things, they might write things that are poorly written, for one; ideas and concepts that are incomplete, or characters that are incomplete; or they may write things that are, you know, sexist or racist or politically charged that they may or may not really believe. But the artist, I think, has the absolute right to determine what gets disclosed.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Albee exercised that right in \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=88141908\" target=\"_blank\" rel=\"noopener\">his 2008 interview with me\u003c/a>. When I asked about a new play he was working on, he gave a sly smile and said, “One is emerging, yes. … It’s called \u003cem>Silence\u003c/em>, yes. Yes. That’s all I will tell you at the moment about it.” \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=+Playwright+Edward+Albee%27s+Incomplete+Works+May+Never+See+The+Light+Of+Day&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>My co-host this week is Sarah Sexton, an Oakland music promoter, founder of the record label \u003ca href=\"http://oaktownindiemayhem.com/\" target=\"_blank\" rel=\"noopener\">Oakland Indie Mayhem\u003c/a>, and \u003ca href=\"https://ww2.kqed.org/arts/2016/07/21/women-to-watch-sarah-sexton/\" target=\"_blank\" rel=\"noopener\">one of KQED’s ‘Women to Watch’\u003c/a> in 2016. The best part of doing the show with Sarah? We got to take an audio field trip to the Oakland Museum for \u003ca href=\"https://ww2.kqed.org/arts/2017/05/10/once-suppressed-dorothea-lange-photographs-capture-wartime-paranoia/\" target=\"_blank\" rel=\"noopener\">the Dorothea Lange show \u003cem>Politics of Seeing\u003c/em>\u003c/a>. Read on for more.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=R0flGuje298\u003c/p>\n\u003cp>\u003cstrong>July 8:\u003c/strong> Madeline Kenney (video above) is an Oakland baker, cartoon enthusiast, musician, and one of the headliners for Company Pop, a showcase and pop-up store for \u003ca href=\"http://companyrecordlabel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Company Records \u003c/a>and its artists. Company Pop was founded by Berkeley’s Chaz Bundick, of the band \u003ca href=\"http://toroymoi.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Toro Y Moi\u003c/a>, and features Bundick’s side projects such as Les Sins and collaborations with \u003ca href=\"http://www.mattson2.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Mattson 2\u003c/a> and others — the roster is a diverse mix of indie rock, pop and jazz. The city of Berkeley recently celebrated Bundick by \u003ca href=\"http://pitchfork.com/news/toro-y-moi-honored-in-berkeley-with-chaz-bundick-day/\" target=\"_blank\" rel=\"noopener\">giving him a day in his honor\u003c/a>, so we’re happy they’re sharing him with Oakland for this show featuring music, art giveaways and video projections at the \u003ca href=\"https://www.facebook.com/pg/starlinesocialclub/events/?ref=page_internal\" target=\"_blank\" rel=\"noopener noreferrer\">Starline Social Club\u003c/a> on Saturday. \u003ca href=\"https://www.eventbrite.com/e/company-pop-showcase-featuring-toro-y-moi-dj-set-astronauts-etc-dj-set-vinyl-williams-madeline-tickets-35243433057\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Zg-sqo3awkg\u003c/p>\n\u003cp>\u003cstrong>July 13:\u003c/strong> The Quebe Sisters, out of Texas, are three young women who play fiddle and harmonize in a stylistic blend of Bob Wills and the Lennon Sisters. Like Wills, they mix country, jazz, and a little bit of bluegrass into an upbeat sound. My wife is a huge fan, so we’ll be at one of these shows. Details for their appearance at the Sierra Nevada Big Room in Chico on Tuesday July 11 \u003ca href=\"http://www.sierranevada.com/brewery/california/big-room\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>. Then they play Freight and Salvage in Berkeley on Thursday, July 13 (\u003ca href=\"http://thefreight.org/quebe-sisters\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>), or catch them Friday, July 14, on the plaza in Cloverdale for a free show. \u003ca href=\"http://www.cloverdaleartsalliance.org/fnlmusic/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13594147\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13594147\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-800x450.jpg\" alt=\"Charlie (Hansel Tan), Fred (Sean Fenton), Frank (Phil Wong), and Henry (James Seol) arrive in San Francisco in the 'Four Immigrants, an American Musical Manga\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charlie (Hansel Tan), Fred (Sean Fenton), Frank (Phil Wong), and Henry (James Seol) arrive in San Francisco in ‘Four Immigrants, an American Musical Manga.’ \u003ccite>(Photo: Kevin Berne/Theatreworks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 12–Aug. 6:\u003c/strong> Theatreworks founder and Artistic Director Robert Kelley never met a musical he didn’t like, so it’s no surprise to find him greenlighting a full production of \u003cem>The Four Immigrants, an American Musical Manga\u003c/em>, a play developed at the company’s New Works Festival last year.\u003c/p>\n\u003cfigure id=\"attachment_13594149\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13594149\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-800x671.jpg\" alt=\"An original illustration from the graphic novel 'The Four Immigrants' by Henry Kiyama, translated by Frederik L. Schodt\" width=\"800\" height=\"671\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-800x671.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-160x134.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-768x644.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-1020x856.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-1920x1611.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-1180x990.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-960x805.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-240x201.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-375x315.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-520x436.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An original illustration from the graphic novel ‘The Four Immigrants’ by Henry Kiyama, translated by Frederik L. Schodt. \u003ccite>(Photo: Courtesy of Theatreworks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Playwright \u003ca href=\"http://www.minkahng.com/4imm/\" target=\"_blank\" rel=\"noopener noreferrer\">Min Kahng \u003c/a>of Alameda based the musical \u003ca href=\"https://en.wikipedia.org/wiki/The_Four_Immigrants_Manga\" target=\"_blank\" rel=\"noopener noreferrer\">on a graphic novel written by Henry Kiyama\u003c/a> in 1931, based on his own experiences in San Francisco in the early 20th century, a period that covered the 1906 earthquake, the 1918 flu epidemic, and the Panama-Pacific International Exposition. The show promises to be both a celebration of the way immigrants have always believed in the American dream, but also a cautionary tale of how unwelcoming the United States has been for many Asian-Americans and other immigrants. \u003ca href=\"https://www.theatreworks.org/201718-season/201718-season/the-four-immigrants/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13593838\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13593838\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-800x517.jpg\" alt='\"Crossroads, General Store, North Carolina,\" by Dorothea Lange, part of the show ‘Politics of Seeing‘ at the Oakland Museum of California' width=\"800\" height=\"517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-1020x660.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-1920x1242.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-1180x763.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-960x621.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-375x243.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-520x336.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Crossroads, General Store, North Carolina,” by Dorothea Lange, part of the show ‘Politics of Seeing‘ at the Oakland Museum of California. \u003ccite>(Photo: Dorothea Lange Courtesy of the Oakland Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Aug. 13: \u003c/strong>\u003cem>Dorothea Lange: Politics of\u003c/em>\u003cbr>\n\u003cem> Seeing \u003c/em>is an exhibit showing that Lange, a journalist famous for her Depression era photos, was always working to fight injustice in her documentary work — whether covering poverty in the south (see above), migrants leaving the Midwest for California, \u003ca href=\"https://ww2.kqed.org/arts/2017/05/10/once-suppressed-dorothea-lange-photographs-capture-wartime-paranoia/\" target=\"_blank\" rel=\"noopener noreferrer\">Japanese-Americans facing internment\u003c/a>, or Public Defenders working for indigent clients. The pictures are always beautifully shot and framed, but for Lange, they only mattered if they provoked the viewer and brought reform. The show also shows how Lange influenced other photojournalists to expose poverty and injustice, among them Ken Light, who’s taught for years at the Journalism school at Cal Berkeley. Details for the exhibition at the Oakland Museum of California are \u003ca href=\"http://museumca.org/exhibit/dorothea-lange-politics-seeing\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0BRegAkk1A4\u003c/p>\n\u003cp>\u003cstrong>July 13\u003c/strong>: Tall Black Guy is a beat maker and music producer out of Chicago. His music is often in a laid-back groove, and remixes artists both well-known and obscure, including Sade and the South African singer Moonchild. Sarah says she likes how he tells a story through his beats and samples. And his tracks often tackle deep issues such as racism, inequality and privilege. Details for his show Thursday at the Continental Bar and Lounge in San Jose \u003ca href=\"https://www.facebook.com/events/1695706470738563/?__xt__=33.%7B%22logging_data%22%3A%7B%22profile_id%22%3A1695706470738563%2C%22event_type%22%3A%22clicked_view_profile%22%2C%22impression_info%22%3A%22eyJmIjp7InN0eWxlIjoiMzUiLCJwYWdlX2lkIjoiMTUzMjEyMjA0ODE5NDU2IiwicmVxdWVzdF9pZCI6Ik5qazVNek0zT1RjekxUQXVOemd3TkRJME1EQWdNVFE1T1RJNU9ETTBOeTB4TVRZME16VXlOVFExIn19%22%2C%22surface%22%3A%22www_pages_home%22%2C%22interacted_story_type%22%3A%22509240112603598%22%2C%22session_id%22%3A%22e35b7ded23b17bd1447db3fe3c0467c0%22%7D%7D\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13593444\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13593444\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-800x495.jpg\" alt=\"KQED's Cy Musiker and music producer Sarah Sexton at the Dorothea Lange show at the Oakland Museum of California\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-520x322.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KQED’s Cy Musiker and music producer Sarah Sexton at the Dorothea Lange show at the Oakland Museum of California. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thanks to Sarah Sexton for co-hosting this week’s show!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.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\n",
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"excerpt": "Madeline Kinney, the Quebe Sisters, Dorothea Lange, Tall Black Guy and more make up this week's Do List with co-host Sarah Sexton.",
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"title": "Cy and Sarah's Picks: A Tale of Four Immigrants, Photos of Injustice, and a Musical Company Store | KQED",
"description": "Madeline Kinney, the Quebe Sisters, Dorothea Lange, Tall Black Guy and more make up this week's Do List with co-host Sarah Sexton.",
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"headline": "Cy and Sarah's Picks: A Tale of Four Immigrants, Photos of Injustice, and a Musical Company Store",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>My co-host this week is Sarah Sexton, an Oakland music promoter, founder of the record label \u003ca href=\"http://oaktownindiemayhem.com/\" target=\"_blank\" rel=\"noopener\">Oakland Indie Mayhem\u003c/a>, and \u003ca href=\"https://ww2.kqed.org/arts/2016/07/21/women-to-watch-sarah-sexton/\" target=\"_blank\" rel=\"noopener\">one of KQED’s ‘Women to Watch’\u003c/a> in 2016. The best part of doing the show with Sarah? We got to take an audio field trip to the Oakland Museum for \u003ca href=\"https://ww2.kqed.org/arts/2017/05/10/once-suppressed-dorothea-lange-photographs-capture-wartime-paranoia/\" target=\"_blank\" rel=\"noopener\">the Dorothea Lange show \u003cem>Politics of Seeing\u003c/em>\u003c/a>. Read on for more.\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/R0flGuje298'\n title='//www.youtube.com/embed/R0flGuje298'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 8:\u003c/strong> Madeline Kenney (video above) is an Oakland baker, cartoon enthusiast, musician, and one of the headliners for Company Pop, a showcase and pop-up store for \u003ca href=\"http://companyrecordlabel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Company Records \u003c/a>and its artists. Company Pop was founded by Berkeley’s Chaz Bundick, of the band \u003ca href=\"http://toroymoi.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Toro Y Moi\u003c/a>, and features Bundick’s side projects such as Les Sins and collaborations with \u003ca href=\"http://www.mattson2.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Mattson 2\u003c/a> and others — the roster is a diverse mix of indie rock, pop and jazz. The city of Berkeley recently celebrated Bundick by \u003ca href=\"http://pitchfork.com/news/toro-y-moi-honored-in-berkeley-with-chaz-bundick-day/\" target=\"_blank\" rel=\"noopener\">giving him a day in his honor\u003c/a>, so we’re happy they’re sharing him with Oakland for this show featuring music, art giveaways and video projections at the \u003ca href=\"https://www.facebook.com/pg/starlinesocialclub/events/?ref=page_internal\" target=\"_blank\" rel=\"noopener noreferrer\">Starline Social Club\u003c/a> on Saturday. \u003ca href=\"https://www.eventbrite.com/e/company-pop-showcase-featuring-toro-y-moi-dj-set-astronauts-etc-dj-set-vinyl-williams-madeline-tickets-35243433057\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Zg-sqo3awkg'\n title='//www.youtube.com/embed/Zg-sqo3awkg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 13:\u003c/strong> The Quebe Sisters, out of Texas, are three young women who play fiddle and harmonize in a stylistic blend of Bob Wills and the Lennon Sisters. Like Wills, they mix country, jazz, and a little bit of bluegrass into an upbeat sound. My wife is a huge fan, so we’ll be at one of these shows. Details for their appearance at the Sierra Nevada Big Room in Chico on Tuesday July 11 \u003ca href=\"http://www.sierranevada.com/brewery/california/big-room\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>. Then they play Freight and Salvage in Berkeley on Thursday, July 13 (\u003ca href=\"http://thefreight.org/quebe-sisters\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>), or catch them Friday, July 14, on the plaza in Cloverdale for a free show. \u003ca href=\"http://www.cloverdaleartsalliance.org/fnlmusic/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13594147\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13594147\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-800x450.jpg\" alt=\"Charlie (Hansel Tan), Fred (Sean Fenton), Frank (Phil Wong), and Henry (James Seol) arrive in San Francisco in the 'Four Immigrants, an American Musical Manga\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charlie (Hansel Tan), Fred (Sean Fenton), Frank (Phil Wong), and Henry (James Seol) arrive in San Francisco in ‘Four Immigrants, an American Musical Manga.’ \u003ccite>(Photo: Kevin Berne/Theatreworks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 12–Aug. 6:\u003c/strong> Theatreworks founder and Artistic Director Robert Kelley never met a musical he didn’t like, so it’s no surprise to find him greenlighting a full production of \u003cem>The Four Immigrants, an American Musical Manga\u003c/em>, a play developed at the company’s New Works Festival last year.\u003c/p>\n\u003cfigure id=\"attachment_13594149\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13594149\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-800x671.jpg\" alt=\"An original illustration from the graphic novel 'The Four Immigrants' by Henry Kiyama, translated by Frederik L. Schodt\" width=\"800\" height=\"671\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-800x671.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-160x134.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-768x644.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-1020x856.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-1920x1611.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-1180x990.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-960x805.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-240x201.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-375x315.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-520x436.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An original illustration from the graphic novel ‘The Four Immigrants’ by Henry Kiyama, translated by Frederik L. Schodt. \u003ccite>(Photo: Courtesy of Theatreworks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Playwright \u003ca href=\"http://www.minkahng.com/4imm/\" target=\"_blank\" rel=\"noopener noreferrer\">Min Kahng \u003c/a>of Alameda based the musical \u003ca href=\"https://en.wikipedia.org/wiki/The_Four_Immigrants_Manga\" target=\"_blank\" rel=\"noopener noreferrer\">on a graphic novel written by Henry Kiyama\u003c/a> in 1931, based on his own experiences in San Francisco in the early 20th century, a period that covered the 1906 earthquake, the 1918 flu epidemic, and the Panama-Pacific International Exposition. The show promises to be both a celebration of the way immigrants have always believed in the American dream, but also a cautionary tale of how unwelcoming the United States has been for many Asian-Americans and other immigrants. \u003ca href=\"https://www.theatreworks.org/201718-season/201718-season/the-four-immigrants/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13593838\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13593838\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-800x517.jpg\" alt='\"Crossroads, General Store, North Carolina,\" by Dorothea Lange, part of the show ‘Politics of Seeing‘ at the Oakland Museum of California' width=\"800\" height=\"517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-1020x660.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-1920x1242.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-1180x763.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-960x621.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-375x243.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-520x336.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Crossroads, General Store, North Carolina,” by Dorothea Lange, part of the show ‘Politics of Seeing‘ at the Oakland Museum of California. \u003ccite>(Photo: Dorothea Lange Courtesy of the Oakland Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Aug. 13: \u003c/strong>\u003cem>Dorothea Lange: Politics of\u003c/em>\u003cbr>\n\u003cem> Seeing \u003c/em>is an exhibit showing that Lange, a journalist famous for her Depression era photos, was always working to fight injustice in her documentary work — whether covering poverty in the south (see above), migrants leaving the Midwest for California, \u003ca href=\"https://ww2.kqed.org/arts/2017/05/10/once-suppressed-dorothea-lange-photographs-capture-wartime-paranoia/\" target=\"_blank\" rel=\"noopener noreferrer\">Japanese-Americans facing internment\u003c/a>, or Public Defenders working for indigent clients. The pictures are always beautifully shot and framed, but for Lange, they only mattered if they provoked the viewer and brought reform. The show also shows how Lange influenced other photojournalists to expose poverty and injustice, among them Ken Light, who’s taught for years at the Journalism school at Cal Berkeley. Details for the exhibition at the Oakland Museum of California are \u003ca href=\"http://museumca.org/exhibit/dorothea-lange-politics-seeing\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\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/0BRegAkk1A4'\n title='//www.youtube.com/embed/0BRegAkk1A4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 13\u003c/strong>: Tall Black Guy is a beat maker and music producer out of Chicago. His music is often in a laid-back groove, and remixes artists both well-known and obscure, including Sade and the South African singer Moonchild. Sarah says she likes how he tells a story through his beats and samples. And his tracks often tackle deep issues such as racism, inequality and privilege. Details for his show Thursday at the Continental Bar and Lounge in San Jose \u003ca href=\"https://www.facebook.com/events/1695706470738563/?__xt__=33.%7B%22logging_data%22%3A%7B%22profile_id%22%3A1695706470738563%2C%22event_type%22%3A%22clicked_view_profile%22%2C%22impression_info%22%3A%22eyJmIjp7InN0eWxlIjoiMzUiLCJwYWdlX2lkIjoiMTUzMjEyMjA0ODE5NDU2IiwicmVxdWVzdF9pZCI6Ik5qazVNek0zT1RjekxUQXVOemd3TkRJME1EQWdNVFE1T1RJNU9ETTBOeTB4TVRZME16VXlOVFExIn19%22%2C%22surface%22%3A%22www_pages_home%22%2C%22interacted_story_type%22%3A%22509240112603598%22%2C%22session_id%22%3A%22e35b7ded23b17bd1447db3fe3c0467c0%22%7D%7D\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13593444\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13593444\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-800x495.jpg\" alt=\"KQED's Cy Musiker and music producer Sarah Sexton at the Dorothea Lange show at the Oakland Museum of California\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-520x322.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KQED’s Cy Musiker and music producer Sarah Sexton at the Dorothea Lange show at the Oakland Museum of California. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thanks to Sarah Sexton for co-hosting this week’s show!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.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\n\u003c/div>\u003c/p>",
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"title": "SF Theater Which Birthed 'Angels in America' to Close After 45 Years",
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"content": "\u003cp>The scrappy San Francisco theater company that birthed \u003ca href=\"https://en.wikipedia.org/wiki/Angels_in_America:_A_Gay_Fantasia_on_National_Themes\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Angels in America\u003c/em>\u003c/a>, one of the most iconic American plays of the late 20th century, is closing after 45 years.\u003c/p>\n\u003cp>Founded in 1972, the \u003ca href=\"http://www.theeurekatheatre.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Eureka Theatre\u003c/a> helped to launch the careers of well-known actors, directors and playwrights, like Danny Glover and Anna Deavere Smith.\u003c/p>\n\u003cp>But it’s best known for commissioning Tony Kushner to write \u003cem>Angels in America\u003c/em>. The searing political drama about the AIDS crisis had its world premiere at Eureka in 1991.\u003c/p>\n\u003cp>Kushner’s drama went on to acclaimed runs on Broadway and the UK’s National Theatre, and in 2003 became a \u003ca href=\"http://www.hbo.com/movies/angels-in-america\" target=\"_blank\" rel=\"noopener noreferrer\">hit TV miniseries\u003c/a> starring Al Pacino and Meryl Streep.\u003c/p>\n\u003cp>Laird Rodet, Eureka’s executive director, cites several reasons for the decision to shut down the company, including escalating maintenance costs on its venue, located on Jackson Street in the heart of San Francisco’s Financial District.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“After our 10-year lease expired, the landlord, Gateway Partners, wanted to have year-to-year leases for all of their tenants including Starbucks, Safeway, Togo’s and Eureka,” Rodet says. “For a non-profit venue to have a year-to-year lease, it’s almost impossible to raise funds from foundations and individuals for renovations.”\u003c/span>\u003c/p>\n\u003cp>The Eureka Theatre Company has had two distinct identities over the past 45 years. It began as a producing organization. But following a four-year hiatus in the late 1990s, it reemerged principally as a venue, renting subsidized performance space to other small Bay Area-based arts producers like \u003ca href=\"http://42ndstmoon.org/\" target=\"_blank\" rel=\"noopener noreferrer\">42nd Street Moon\u003c/a>, \u003ca href=\"http://www.sfsketchfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">SF Sketchfest\u003c/a> and \u003ca href=\"http://therhino.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Theatre Rhinoceros\u003c/a> for their shows.\u003c/p>\n\u003cp>42nd Street Moon is taking over the venue’s lease, and will continue to sublet the space to other companies as well as produce its own shows there. The venue’s name will change to Gateway Theatre.\u003c/p>\n\u003cp>“It’s in our interest to keep that space as our long-term home,” says 42nd Street Moon executive director Daren Carollo. “We want that stability.”\u003c/p>\n\u003cp>Carollo says his organization is in the process of negotiating a longer lease with Gateway Partners. “The Partners are interested in keeping arts as a vital part of space,” Carollo says. “But they want a producing company in it.”\u003c/p>\n\u003cp>Eureka will officially cease operations on Wednesday, July 5, following the final performance of Theatre Rhinoceros’ musical production of \u003ca href=\"http://therhino.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Priscilla, Queen of the Desert\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "The Eureka Theatre helped launch the careers of Danny Glover and Anna Deavere Smith, but it’s best known for commissioning Tony Kushner to write one of the most iconic dramas of the late 20th century.\r\n",
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"title": "SF Theater Which Birthed 'Angels in America' to Close After 45 Years | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The scrappy San Francisco theater company that birthed \u003ca href=\"https://en.wikipedia.org/wiki/Angels_in_America:_A_Gay_Fantasia_on_National_Themes\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Angels in America\u003c/em>\u003c/a>, one of the most iconic American plays of the late 20th century, is closing after 45 years.\u003c/p>\n\u003cp>Founded in 1972, the \u003ca href=\"http://www.theeurekatheatre.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Eureka Theatre\u003c/a> helped to launch the careers of well-known actors, directors and playwrights, like Danny Glover and Anna Deavere Smith.\u003c/p>\n\u003cp>But it’s best known for commissioning Tony Kushner to write \u003cem>Angels in America\u003c/em>. The searing political drama about the AIDS crisis had its world premiere at Eureka in 1991.\u003c/p>\n\u003cp>Kushner’s drama went on to acclaimed runs on Broadway and the UK’s National Theatre, and in 2003 became a \u003ca href=\"http://www.hbo.com/movies/angels-in-america\" target=\"_blank\" rel=\"noopener noreferrer\">hit TV miniseries\u003c/a> starring Al Pacino and Meryl Streep.\u003c/p>\n\u003cp>Laird Rodet, Eureka’s executive director, cites several reasons for the decision to shut down the company, including escalating maintenance costs on its venue, located on Jackson Street in the heart of San Francisco’s Financial District.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“After our 10-year lease expired, the landlord, Gateway Partners, wanted to have year-to-year leases for all of their tenants including Starbucks, Safeway, Togo’s and Eureka,” Rodet says. “For a non-profit venue to have a year-to-year lease, it’s almost impossible to raise funds from foundations and individuals for renovations.”\u003c/span>\u003c/p>\n\u003cp>The Eureka Theatre Company has had two distinct identities over the past 45 years. It began as a producing organization. But following a four-year hiatus in the late 1990s, it reemerged principally as a venue, renting subsidized performance space to other small Bay Area-based arts producers like \u003ca href=\"http://42ndstmoon.org/\" target=\"_blank\" rel=\"noopener noreferrer\">42nd Street Moon\u003c/a>, \u003ca href=\"http://www.sfsketchfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">SF Sketchfest\u003c/a> and \u003ca href=\"http://therhino.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Theatre Rhinoceros\u003c/a> for their shows.\u003c/p>\n\u003cp>42nd Street Moon is taking over the venue’s lease, and will continue to sublet the space to other companies as well as produce its own shows there. The venue’s name will change to Gateway Theatre.\u003c/p>\n\u003cp>“It’s in our interest to keep that space as our long-term home,” says 42nd Street Moon executive director Daren Carollo. “We want that stability.”\u003c/p>\n\u003cp>Carollo says his organization is in the process of negotiating a longer lease with Gateway Partners. “The Partners are interested in keeping arts as a vital part of space,” Carollo says. “But they want a producing company in it.”\u003c/p>\n\u003cp>Eureka will officially cease operations on Wednesday, July 5, following the final performance of Theatre Rhinoceros’ musical production of \u003ca href=\"http://therhino.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Priscilla, Queen of the Desert\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Mariah Rankine-Landers wasn’t excited to see the play her friend dragged her to. She had flown to New York for one reason, and one reason, only: Taye Diggs.\u003c/p>\n\u003cp>At the time, Diggs was starring in a Broadway production of \u003cem>Hedwig and the Angry Inch\u003c/em>, and Rankine-Landers and her friend Jessa Brie Moreno flew across the country to see it. During the trip, however, Moreno bought tickets to another play, one Rankine-Landers hadn’t heard of: \u003cem>Hamilton\u003c/em>.\u003c/p>\n\u003cp>When the curtains went up, Rankine-Landers noticed that the cast looked like her — a rarity in the theater world. \u003cem>Great\u003c/em>, she thought, \u003cem>another musical starting with a slave song\u003c/em>. Soon, though, she realized that the black actors in this play weren’t relegated to typical disenfranchised roles: they were the protagonists. She felt tears in her eyes, remembering all the times she had been told that she couldn’t play dress-up in historical costumes. “In that moment, she said, “I realized, ‘The world is changing.’”\u003c/p>\n\u003cfigure id=\"attachment_13531208\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-800x450.jpg\" alt=\"Participants in the Rise Up! workshop at the Museum of the African Diaspora run an exercise on June 24, 2017. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-13531208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Participants in the Rise Up! workshop at the Museum of the African Diaspora run an exercise on June 24, 2017. \u003ccite>(Shelby Pope)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Saturday morning, Rankine-Landers told this story to a group of about 25 teachers at the Museum of the African Diaspora. Rankine-Landers is part of Rise Up!, a group developing curriculum for educators using \u003cem>Hamilton\u003c/em> as a teaching tool. Weeks before the group’s website with public resources goes live, the teachers, armed with notebooks and coffee, were there to learn how to take advantage of the cultural zeitgeist.\u003c/p>\n\u003cp>For students, the play’s themes of revolution and power have taken on a particular significance since the election. “What’s changed is young people have a new and vital response to civic action,” said Marc Bamuthi Joseph, who developed the day’s curriculum with Rakine-Landers. Joseph is the Chief of Program and Pedagogy at Yerba Buena Center for the Arts (his title, he joked, is “what happens when poets name themselves”), whose introduction to the play came from Daveed Diggs. One of the musical’s breakout stars, Diggs’ last pre-\u003cem>Hamilton\u003c/em> role was in Joesph’s own choreopoem \u003cem>Word Becomes Flesh\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13516258\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13516258\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/edited2-800x420.jpg\" alt=\"Marc Bamuthi Joseph takes notes during one of the event's discussions.\" width=\"800\" height=\"420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-800x420.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-768x403.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-1020x535.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-1180x619.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-960x504.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-240x126.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-375x197.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-520x273.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marc Bamuthi Joseph takes notes during one of the event’s discussions. \u003ccite>(Shelby Pope)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m so nervous,” Rankine-Landers said before the event, tapping at a laptop. “I hope that they’re piqued.” The Rise Up! Curriculum encourages educators to have their students tie their personal experiences, their own revolutions, to the American Revolution. To model that, Rankine-Landers and Joesph had to ask the teachers deep, uncomfortable questions about their lived experiences. One of Rankine-Landers’ goals for the day was encourage educators to become comfortable with the uncomfortable.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After an opening prayer wherein the group agreed to acknowledge their past and move toward a future of more inclusive narratives, Rankine-Landers introduced handshake shapes, which she demonstrated with Jessa Brie Moreno (the friend who originally introduced Rankine-Landers to \u003cem>Hamilton\u003c/em>, and one of the leaders of Rise Up!). Partners started with a handshake or fist bump. Then, one partner broke away to establish a new point of contact, while the other partner remained in the original position. The process repeated until partners were tangled around each other, any awkwardness forgotten. For some, the result was a floundering waltz, or a choppy yoga routine. “That’s too much, I’m not trying to fall right now,” one woman warned her partner. Others ended up on the floor. “So good to get into the body,” Joseph enthused.\u003c/p>\n\u003cfigure id=\"attachment_13531206\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-800x450.jpg\" alt=\"Participants in the Rise Up! workshop at the Museum of the African Diaspora run an exercise on June 24, 2017.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13531206\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Participants in the Rise Up! workshop at the Museum of the African Diaspora run an exercise on June 24, 2017. \u003ccite>(Shelby Pope)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Attendees then went through a series of exercises where they were asked to interrogate themselves. Think of a memory or experience you’ve had, instructors asked, that you’d like to plant in the brain of of our 45th president (the class’ preferred way of referring to Trump). During other exercises, they were asked to examine their memories and definitions of the world, as well as those of their personal relationships: \u003cem>Who are the five people you’re most accountable to? Who are you engaged with? Who are you not close with?\u003c/em>\u003c/p>\n\u003cp>This excavation helped teachers develop a framework that would allow them to incorporate their students’ personal narratives into the study of history, to “think about personal experiences and connect them to traditional paradigms of power,” as Joseph said. “Where does accountability to one another come up in history? Who are you responsible for throughout history? How does compassion play into the American revolution?” Joseph asked, eliciting approving snaps from the crowd.\u003c/p>\n\u003cfigure id=\"attachment_13516262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/edited1-800x342.jpg\" alt=\"Attendees at the Museum of the African Diaspora's Saturday event, Rise Up! An American Curriculum.\" width=\"800\" height=\"342\" class=\"size-medium wp-image-13516262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-800x342.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-768x328.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-1020x436.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-1180x505.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-960x411.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-240x103.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-375x160.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-520x222.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Attendees at the Museum of the African Diaspora’s Saturday event, Rise Up! An American Curriculum. \u003ccite>(Shelby Pope)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But before they could pose those questions to their students, the teachers had to ask themselves the questions first. Rankine-Landers’ goal wasn’t to provide didactic instructions about how to teach \u003cem>Hamilton\u003c/em>, but to create a space where teachers could be vulnerable, a place to address the complex emotions that Hamilton — and teaching — can provoke. \u003c/p>\n\u003cp>In that regard, the class had been a success, she said afterward, as she watched attendees mingling after three hours of sharing stories, challenges and tears. “My favorite part is creating this community,” she said. “They walked in as strangers, and now they’re hugging.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mariah Rankine-Landers wasn’t excited to see the play her friend dragged her to. She had flown to New York for one reason, and one reason, only: Taye Diggs.\u003c/p>\n\u003cp>At the time, Diggs was starring in a Broadway production of \u003cem>Hedwig and the Angry Inch\u003c/em>, and Rankine-Landers and her friend Jessa Brie Moreno flew across the country to see it. During the trip, however, Moreno bought tickets to another play, one Rankine-Landers hadn’t heard of: \u003cem>Hamilton\u003c/em>.\u003c/p>\n\u003cp>When the curtains went up, Rankine-Landers noticed that the cast looked like her — a rarity in the theater world. \u003cem>Great\u003c/em>, she thought, \u003cem>another musical starting with a slave song\u003c/em>. Soon, though, she realized that the black actors in this play weren’t relegated to typical disenfranchised roles: they were the protagonists. She felt tears in her eyes, remembering all the times she had been told that she couldn’t play dress-up in historical costumes. “In that moment, she said, “I realized, ‘The world is changing.’”\u003c/p>\n\u003cfigure id=\"attachment_13531208\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-800x450.jpg\" alt=\"Participants in the Rise Up! workshop at the Museum of the African Diaspora run an exercise on June 24, 2017. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-13531208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Participants in the Rise Up! workshop at the Museum of the African Diaspora run an exercise on June 24, 2017. \u003ccite>(Shelby Pope)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Saturday morning, Rankine-Landers told this story to a group of about 25 teachers at the Museum of the African Diaspora. Rankine-Landers is part of Rise Up!, a group developing curriculum for educators using \u003cem>Hamilton\u003c/em> as a teaching tool. Weeks before the group’s website with public resources goes live, the teachers, armed with notebooks and coffee, were there to learn how to take advantage of the cultural zeitgeist.\u003c/p>\n\u003cp>For students, the play’s themes of revolution and power have taken on a particular significance since the election. “What’s changed is young people have a new and vital response to civic action,” said Marc Bamuthi Joseph, who developed the day’s curriculum with Rakine-Landers. Joseph is the Chief of Program and Pedagogy at Yerba Buena Center for the Arts (his title, he joked, is “what happens when poets name themselves”), whose introduction to the play came from Daveed Diggs. One of the musical’s breakout stars, Diggs’ last pre-\u003cem>Hamilton\u003c/em> role was in Joesph’s own choreopoem \u003cem>Word Becomes Flesh\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13516258\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13516258\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/edited2-800x420.jpg\" alt=\"Marc Bamuthi Joseph takes notes during one of the event's discussions.\" width=\"800\" height=\"420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-800x420.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-768x403.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-1020x535.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-1180x619.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-960x504.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-240x126.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-375x197.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited2-520x273.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marc Bamuthi Joseph takes notes during one of the event’s discussions. \u003ccite>(Shelby Pope)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m so nervous,” Rankine-Landers said before the event, tapping at a laptop. “I hope that they’re piqued.” The Rise Up! Curriculum encourages educators to have their students tie their personal experiences, their own revolutions, to the American Revolution. To model that, Rankine-Landers and Joesph had to ask the teachers deep, uncomfortable questions about their lived experiences. One of Rankine-Landers’ goals for the day was encourage educators to become comfortable with the uncomfortable.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After an opening prayer wherein the group agreed to acknowledge their past and move toward a future of more inclusive narratives, Rankine-Landers introduced handshake shapes, which she demonstrated with Jessa Brie Moreno (the friend who originally introduced Rankine-Landers to \u003cem>Hamilton\u003c/em>, and one of the leaders of Rise Up!). Partners started with a handshake or fist bump. Then, one partner broke away to establish a new point of contact, while the other partner remained in the original position. The process repeated until partners were tangled around each other, any awkwardness forgotten. For some, the result was a floundering waltz, or a choppy yoga routine. “That’s too much, I’m not trying to fall right now,” one woman warned her partner. Others ended up on the floor. “So good to get into the body,” Joseph enthused.\u003c/p>\n\u003cfigure id=\"attachment_13531206\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-800x450.jpg\" alt=\"Participants in the Rise Up! workshop at the Museum of the African Diaspora run an exercise on June 24, 2017.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13531206\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MoAD.Exercise-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Participants in the Rise Up! workshop at the Museum of the African Diaspora run an exercise on June 24, 2017. \u003ccite>(Shelby Pope)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Attendees then went through a series of exercises where they were asked to interrogate themselves. Think of a memory or experience you’ve had, instructors asked, that you’d like to plant in the brain of of our 45th president (the class’ preferred way of referring to Trump). During other exercises, they were asked to examine their memories and definitions of the world, as well as those of their personal relationships: \u003cem>Who are the five people you’re most accountable to? Who are you engaged with? Who are you not close with?\u003c/em>\u003c/p>\n\u003cp>This excavation helped teachers develop a framework that would allow them to incorporate their students’ personal narratives into the study of history, to “think about personal experiences and connect them to traditional paradigms of power,” as Joseph said. “Where does accountability to one another come up in history? Who are you responsible for throughout history? How does compassion play into the American revolution?” Joseph asked, eliciting approving snaps from the crowd.\u003c/p>\n\u003cfigure id=\"attachment_13516262\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/edited1-800x342.jpg\" alt=\"Attendees at the Museum of the African Diaspora's Saturday event, Rise Up! An American Curriculum.\" width=\"800\" height=\"342\" class=\"size-medium wp-image-13516262\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-800x342.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-160x68.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-768x328.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-1020x436.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-1180x505.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-960x411.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-240x103.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-375x160.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/edited1-520x222.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Attendees at the Museum of the African Diaspora’s Saturday event, Rise Up! An American Curriculum. \u003ccite>(Shelby Pope)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But before they could pose those questions to their students, the teachers had to ask themselves the questions first. Rankine-Landers’ goal wasn’t to provide didactic instructions about how to teach \u003cem>Hamilton\u003c/em>, but to create a space where teachers could be vulnerable, a place to address the complex emotions that Hamilton — and teaching — can provoke. \u003c/p>\n\u003cp>In that regard, the class had been a success, she said afterward, as she watched attendees mingling after three hours of sharing stories, challenges and tears. “My favorite part is creating this community,” she said. “They walked in as strangers, and now they’re hugging.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.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\n\u003c/div>\u003c/p>",
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"headTitle": "‘1984’ Comes To Broadway and ‘It’s Not An Easy Evening’ | KQED",
"content": "\u003cp>Ignorance is Strength, War is Peace, Freedom is Slavery, Big Brother is Watching: \u003cem>1984 \u003c/em>has come to Broadway. George Orwell’s dystopian novel tells the story of a man who works at the Ministry of Truth creating fake news for a totalitarian regime. The stage adaptation opens in New York on Friday.\u003c/p>\n\u003cp>After a recent performance of \u003cem>1984\u003c/em>, Dorit Friedman, a doctor from Great Neck, N.Y., says she was stuck by how contemporary the story feels. “Big Brother is watching us, that’s for sure …” she says. “Little did we know that that was going to be reality.”\u003c/p>\n\u003cp>Facebook and Amazon know what you like. Orwell wrote his novel in reaction to the fascism and totalitarianism that had engulfed the globe during and after World War II. The novel has always been a steady seller, but since the election e-book sales spiked.\u003c/p>\n\u003cp>“So far this year we sold over 200,000 copies, just in five months and I don’t think that’s going to slow down,” says Bruce Nichols, the book’s current publisher at Houghton Mifflin Harcourt. “\u003cem>1984\u003c/em> holds up because Orwell’s political incisiveness, when he talks about newspeak, it applies to all kinds of spin which we see every day. And it seems to only ever get worse.”\u003c/p>\n\u003cp>Two days after Donald Trump’s inauguration, Kellyanne Conway coined the phrase “alternative facts” on \u003cem>Meet the Press. \u003c/em>Around that same time, \u003cem>1984\u003c/em> shot up to No. 1 on Amazon.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s quite something to bring it to New York now, in this political climate,” says Duncan Macmillan, who co-authored and co-directed the Broadway adaptation. He points to one moment in the book when protagonist Winston Smith says, “Freedom is the freedom to say that two plus two makes four.”\u003c/p>\n\u003cp>The audience reaction changes nightly, depending on the current news cycle.\u003c/p>\n\u003cp>“Last night was like a sort of volatile town hall meeting,” Macmillan says, of a preview performance that took place the same day that Trump announced the U.S. withdrawal from the Paris Climate Accords. “People were shouting out ‘resist!’ People were arguing with characters and applauding certain sentiments. And it wasn’t just, you know, a liberal audience. It was little pockets around the room sort of debating with each other. And that felt really live and exciting.”\u003c/p>\n\u003cp>The actors feel it, too.\u003cem> \u003c/em>\u003c/p>\n\u003cp>“We’re all in this room together, we’re all experiencing this together,” says Tom Sturridge, who plays Winston Smith. “We influence each other. The way you react, shout out in this play, which is extraordinary, makes you enormously complicit in the evening that we have together.\u003c/p>\n\u003cp>Olivia Wilde, who plays Winston’s lover, Julia (people have a tendency to forget there’s a love story at the center of \u003cem>1984)\u003c/em> says the stage adaptation messes with the audience’s heads, much like reading the book. Winston Smith is willing to do anything to bring down the government for which he works, even when pressed by a duplicitous character.\u003cem>\u003c/em>\u003c/p>\n\u003cp>“We can feel the audience slowly falling into line behind Winston; they embrace him as their hero,” she says. “They root for him and then [when the antagonist,] O’Brien says, ‘If it would help the party, would you throw acid in a small child’s face?’ And we can hear this gasp from the audience. And he says, ‘Yes.’ And suddenly we question, ‘Well, hang on a minute. Am I Winston? I thought I was Winston. Am I willing to go that far? I don’t think I am.’ ”\u003c/p>\n\u003cp>The adaptation forthrightly deals with the novel’s concepts — who controls information and language to assert power, living in a perpetual present, the concept of doublethink — keeping two opposing thoughts in one’s mind, while genuinely believing both. But it’s the visceral nature of the production, with graphic images of torture, which has made some audience members walk out.\u003c/p>\n\u003cp>“It’s not an easy evening, I should warn people,” Macmillan says. “It doesn’t give you any conclusions, actually. And it leaves you with something, I hope, if it works properly, to resolve in yourself and with each other to try and work out what the hell it is you’ve just been exposed to, as it is with the novel.”\u003c/p>\n\u003cp>Amanda Bias, a high school English teacher from New Jersey who came with a group of co-workers, teaches the book to her seniors.\u003c/p>\n\u003cp>“I don’t think kids necessarily know what they’re always getting as a source, in the information they’re getting,” she says. “And we have to teach them what’s right and what’s wrong and, at least, what’s credible. And I think that’s a pretty good message.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Especially, she says, in the world we live in now, where two plus two can sometimes equal five. \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=%271984%27+Comes+To+Broadway+And+%27It%27s+Not+An+Easy+Evening%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ignorance is Strength, War is Peace, Freedom is Slavery, Big Brother is Watching: \u003cem>1984 \u003c/em>has come to Broadway. George Orwell’s dystopian novel tells the story of a man who works at the Ministry of Truth creating fake news for a totalitarian regime. The stage adaptation opens in New York on Friday.\u003c/p>\n\u003cp>After a recent performance of \u003cem>1984\u003c/em>, Dorit Friedman, a doctor from Great Neck, N.Y., says she was stuck by how contemporary the story feels. “Big Brother is watching us, that’s for sure …” she says. “Little did we know that that was going to be reality.”\u003c/p>\n\u003cp>Facebook and Amazon know what you like. Orwell wrote his novel in reaction to the fascism and totalitarianism that had engulfed the globe during and after World War II. The novel has always been a steady seller, but since the election e-book sales spiked.\u003c/p>\n\u003cp>“So far this year we sold over 200,000 copies, just in five months and I don’t think that’s going to slow down,” says Bruce Nichols, the book’s current publisher at Houghton Mifflin Harcourt. “\u003cem>1984\u003c/em> holds up because Orwell’s political incisiveness, when he talks about newspeak, it applies to all kinds of spin which we see every day. And it seems to only ever get worse.”\u003c/p>\n\u003cp>Two days after Donald Trump’s inauguration, Kellyanne Conway coined the phrase “alternative facts” on \u003cem>Meet the Press. \u003c/em>Around that same time, \u003cem>1984\u003c/em> shot up to No. 1 on Amazon.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s quite something to bring it to New York now, in this political climate,” says Duncan Macmillan, who co-authored and co-directed the Broadway adaptation. He points to one moment in the book when protagonist Winston Smith says, “Freedom is the freedom to say that two plus two makes four.”\u003c/p>\n\u003cp>The audience reaction changes nightly, depending on the current news cycle.\u003c/p>\n\u003cp>“Last night was like a sort of volatile town hall meeting,” Macmillan says, of a preview performance that took place the same day that Trump announced the U.S. withdrawal from the Paris Climate Accords. “People were shouting out ‘resist!’ People were arguing with characters and applauding certain sentiments. And it wasn’t just, you know, a liberal audience. It was little pockets around the room sort of debating with each other. And that felt really live and exciting.”\u003c/p>\n\u003cp>The actors feel it, too.\u003cem> \u003c/em>\u003c/p>\n\u003cp>“We’re all in this room together, we’re all experiencing this together,” says Tom Sturridge, who plays Winston Smith. “We influence each other. The way you react, shout out in this play, which is extraordinary, makes you enormously complicit in the evening that we have together.\u003c/p>\n\u003cp>Olivia Wilde, who plays Winston’s lover, Julia (people have a tendency to forget there’s a love story at the center of \u003cem>1984)\u003c/em> says the stage adaptation messes with the audience’s heads, much like reading the book. Winston Smith is willing to do anything to bring down the government for which he works, even when pressed by a duplicitous character.\u003cem>\u003c/em>\u003c/p>\n\u003cp>“We can feel the audience slowly falling into line behind Winston; they embrace him as their hero,” she says. “They root for him and then [when the antagonist,] O’Brien says, ‘If it would help the party, would you throw acid in a small child’s face?’ And we can hear this gasp from the audience. And he says, ‘Yes.’ And suddenly we question, ‘Well, hang on a minute. Am I Winston? I thought I was Winston. Am I willing to go that far? I don’t think I am.’ ”\u003c/p>\n\u003cp>The adaptation forthrightly deals with the novel’s concepts — who controls information and language to assert power, living in a perpetual present, the concept of doublethink — keeping two opposing thoughts in one’s mind, while genuinely believing both. But it’s the visceral nature of the production, with graphic images of torture, which has made some audience members walk out.\u003c/p>\n\u003cp>“It’s not an easy evening, I should warn people,” Macmillan says. “It doesn’t give you any conclusions, actually. And it leaves you with something, I hope, if it works properly, to resolve in yourself and with each other to try and work out what the hell it is you’ve just been exposed to, as it is with the novel.”\u003c/p>\n\u003cp>Amanda Bias, a high school English teacher from New Jersey who came with a group of co-workers, teaches the book to her seniors.\u003c/p>\n\u003cp>“I don’t think kids necessarily know what they’re always getting as a source, in the information they’re getting,” she says. “And we have to teach them what’s right and what’s wrong and, at least, what’s credible. And I think that’s a pretty good message.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Especially, she says, in the world we live in now, where two plus two can sometimes equal five. \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=%271984%27+Comes+To+Broadway+And+%27It%27s+Not+An+Easy+Evening%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This week my co-host \u003ca href=\"https://www.poetryfoundation.org/poems-and-poets/poets/detail/erica-lewis\" target=\"_blank\" rel=\"noopener noreferrer\">Erica Lewis\u003c/a> takes us to North Beach, a neighborhood famous for literature and music, and she reads a poem from her new collection \u003cem>Mary Wants to Be a Superwoman\u003c/em> about her black, white and Cherokee heritage. Somehow we couldn’t fit in the fact that \u003ca href=\"http://sfbotanicalgarden.org/flowerpiano/\" target=\"_blank\" rel=\"noopener noreferrer\">Flower Piano\u003c/a> is back at the San Francisco Botanical Garden, or that this week sees the return of two film festivals: The \u003ca href=\"https://ww2.kqed.org/arts/2017/06/12/now-playing-danny-glover-delivers-at-the-sf-black-film-festival/\" target=\"_blank\" rel=\"noopener noreferrer\">SF Black Film Festival\u003c/a> (with an appearance from Danny Glover), and the \u003ca href=\"https://www.frameline.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco International LGBTQ Film Festival (Frameline)\u003c/a>, providing essential viewing for communities that often get short shrift in Hollywood. Now on with the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xNrygTqx0FA\u003cbr>\n\u003cstrong>June 16–18:\u003c/strong> The Monterey International Pop Festival is back, 50 years after it set the standard for the modern rock festival. In many ways, the Summer of Love in San Francisco was a rather dreary few months, but the bands and the hippies made for an inspiring musical event at the Monterey County Fairgrounds. Monterey Pop made the reputations for so many bands: Jimi Hendrix, Steve Miller, Janis Joplin and Big Brother and the Holding Company, Jefferson Airplane, Country Joe and the Fish and the Grateful Dead.\u003cbr>\nMany of the artists appearing this year are doing tributes to the great performers of 50 years ago: Leon Bridges is channeling Otis Redding (who was riveting), blues guitarist Gary Clark Jr stands in for Jimi Hendrix (though no word on whether he’s going to immolate his guitar as Hendrix did), and the Head and the Heart fill in for the Mamas and the Papas. If you can’t go, stream the classic D. A. Pennebaker film \u003cem>Monterey Pop\u003c/em> and look for Otis Redding singing “I’ve Been Loving You Too Long.” \u003ca href=\"https://montereypopfestival50.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437198\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437198\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Surrealistic-Conservatory-of-Flower-800x400.jpg\" alt=\"The San Francisco Conservatory of Flowers all dressed up for a city sponsored Summer of Love concert\" width=\"800\" height=\"400\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Conservatory of Flowers all dressed up for a city-sponsored Summer of Love concert.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 21\u003c/strong>: The city of San Francisco is putting on its own Summer of Love concert (despite the legal fight with a promoter trying to do the same) at the Conservatory of Flowers in Golden Gate Park, with a free concert with former members of the Jefferson Airplane, the Chambers Brothers, Moonalice and others. Just in time for solstice. Details \u003ca href=\"https://www.eventbrite.com/e/surrealistic-summer-solstice-concert-and-grand-lighting-tickets-34076313170\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437199\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13437199\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/HeLa.jpg\" alt=\"Khary Moye and Jeunée Simon play Day and Henrietta Lacks in the TheatreFIRST world premiere of Lauren Gunderson and Geetha Reddy’s HeLa at Berkeley’s Black Oak Theatre\" width=\"500\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa-375x250.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Khary Moye and Jeunée Simon play Day and Henrietta Lacks in the TheatreFIRST world premiere of Lauren Gunderson and Geetha Reddy’s HeLa at Berkeley’s Black Oak Theatre. \u003ccite>(Photo: Cheshire Isaacs/TheatreFIRST)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through June 17\u003c/strong>: \u003cem>HeLa\u003c/em> is a world premiere play by Lauren Gunderson and Geetha Reddy, playwrights who often write about women and science. HeLa is about Henrietta Lacks, the African American woman (profiled in a \u003ca href=\"http://rebeccaskloot.com/the-immortal-life/\" target=\"_blank\" rel=\"noopener noreferrer\">Rebecca Skloot\u003c/a> book and \u003ca href=\"http://www.hbo.com/movies/the-immortal-life-of-henrietta-lacks\" target=\"_blank\" rel=\"noopener noreferrer\">HBO film\u003c/a>) who died of cervical cancer in 1951, but whose cells have lived on, and been exploited by scientists without permission from the family. \u003ca href=\"http://theatrefirst.com/about/mission/\" target=\"_blank\" rel=\"noopener noreferrer\">TheatreFIRST\u003c/a> Artistic Director Jon Tracy has pledged that at least half of the shows the company will produce will be by female-identified authors, with a majority written by people of color. Good start. \u003ca href=\"http://theatrefirst.com/hela/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=C_HEU68f96w\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>June 17\u003c/strong>: \u003cem>Bless Me Ultima, \u003c/em>by Rudolfo Anaya, is the quintessential Mexican-American novel and perhaps soon the quintessential Mexican American opera, or so its producers are hoping. Composer and librettist Héctor Armienta at San Jose’s \u003ca href=\"http://www.operacultura.org/calendar/Bless-Me-Ultima_2017\" target=\"_blank\" rel=\"noopener noreferrer\">Opera Cultura\u003c/a> has been working for some years now on a musical version of this story set in New Mexico. It’s the tale of Antonio and the story of his coming of age in rural New Mexico under the care of a spiritual guide and healer named Ultima. Details for the workshop performance at San Jose’s Movimiento de Arte y Cultura Latino Americana, better known as MACLA, \u003ca href=\"http://www.operacultura.org/calendar/Bless-Me-Ultima_2017\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437219\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-800x437.jpg\" alt=\"Emcee Infinite presents a rap opera with Opera Cultura\" width=\"800\" height=\"437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-800x437.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-768x420.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-1020x558.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-960x525.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-240x131.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-375x205.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-520x284.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947.jpg 1136w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emcee Infinite presents a rap opera with Opera Cultura. \u003ccite>(Photo: Courtesy of Emcee Infinite)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 24\u003c/strong>:Opera Cultura has another intriguing project. Rapper Carlos Aguirre, known as Infinite, has teamed up with singer Alexandra Sessler to work with San Jose youth, including kids at juvenile hall. They’ve been creating a rap opera, and Aguirre and Sessler have shaped the kids’ songs into \u003cem>The Rap Opera Project. \u003c/em>\u003ca href=\"http://www.operacultura.org/calendar/The-Rap-Opera-Project_2017\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cLsWHq3U7n0\u003cbr>\n\u003cstrong>June 22–24\u003c/strong>: Joe Goode is celebrating his 30th anniversary making dances for his own company. He’s a choreographer whose work can resemble dance plays, with dialogue and characters addressing the audience. This celebration at the Yerba Buena Center for the Arts features \u003cem>Nobody Lives Here Now, \u003c/em>about the aging process for a dancer, and how fragile our bodies are. That concern about our failing bodies is a preoccupation for Goode and many Baby Boomers (speaking from personal experience). Erica noted this dance is about the unglamorized body, a welcome break from the artificial standards we all fail to live by. Details for the Joe Goode Performance Group show \u003ca href=\"https://ybca.org/whats-on/joe-goode\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437270\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437270\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-800x491.jpeg\" alt=\"Cy Musiker and Poet Erica Lewis at the Comstock Saloon\" width=\"800\" height=\"491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-800x491.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-160x98.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-768x472.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-1020x627.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-1920x1180.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-1180x725.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-960x590.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-240x147.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-375x230.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-520x319.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cy Musiker and Poet Erica Lewis at the Comstock Saloon. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To fully appreciate these next items, you’ll have to listen along with the Do List episode (the podcast is above; go ahead and click “play”). Erica and I met for a drink and a talk about San Francisco’s literary history at the \u003ca href=\"https://comstocksaloon.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Comstock Saloon\u003c/a>, a bar and restaurant in North Beach.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KabkFfwJK3E\u003c/p>\n\u003cp>\u003cstrong>June 18 & 20:\u003c/strong> First, we talked about the prolific trombonist Adam Theis and his upcoming show with a big band at Doc’s Lab in North Beach (the former home of the Purple Onion, where Woody Allen and Richard Pryor got their starts). \u003ca href=\"http://www.docslabsf.com/event/1469660-electric-squeezebox-orchestra-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. And we had to mention Theis’ other gig at the Black Cat, not far away in the Tenderloin, on June 20. \u003ca href=\"http://www.blackcatsf.com/event/jazz-mafia-accomplices-3-2/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x4tGJLqZ4-k\u003c/p>\n\u003cp>\u003cstrong>June 18\u003c/strong>: And then Erica read from her new collection of poems \u003ca href=\"https://thirdmanbooks.com/books/mary-wants-to-be-a-superwoman-tmb015-isbn978-0-9964016-1-6/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mary Wants to Be a Superwoman\u003c/em>\u003c/a>, about her family and her black, white and Cherokee heritage. Details for her reading Sunday at \u003ca href=\"http://www.birdbeckett.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bird and Becket Books and Records\u003c/a> in San Francisco’s Glen Park neighborhood on Sunday afternoon \u003ca href=\"http://www.birdbeckett.com/triple-header-erica-lewis-the-erik-jekabson-quintet-with-john-santos-the-grant-levin-trio/\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Erica — thanks so much for being the Do List co-host this week!\u003c/p>\n\u003cfigure id=\"attachment_13437284\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437284\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-800x600.jpg\" alt=\"Cy Musiker and Erica Lewis in KQED's Studio B\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cy Musiker and Erica Lewis in KQED’s Studio B. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "KQED's Cy Musiker follows poet Erica Lewis for a journey through North Beach — and a host of hot picks for this week.",
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"title": "Cy and Erica's Picks: Monterey Pop, Bless Me Ultima: The Opera, and a Visit to North Beach | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week my co-host \u003ca href=\"https://www.poetryfoundation.org/poems-and-poets/poets/detail/erica-lewis\" target=\"_blank\" rel=\"noopener noreferrer\">Erica Lewis\u003c/a> takes us to North Beach, a neighborhood famous for literature and music, and she reads a poem from her new collection \u003cem>Mary Wants to Be a Superwoman\u003c/em> about her black, white and Cherokee heritage. Somehow we couldn’t fit in the fact that \u003ca href=\"http://sfbotanicalgarden.org/flowerpiano/\" target=\"_blank\" rel=\"noopener noreferrer\">Flower Piano\u003c/a> is back at the San Francisco Botanical Garden, or that this week sees the return of two film festivals: The \u003ca href=\"https://ww2.kqed.org/arts/2017/06/12/now-playing-danny-glover-delivers-at-the-sf-black-film-festival/\" target=\"_blank\" rel=\"noopener noreferrer\">SF Black Film Festival\u003c/a> (with an appearance from Danny Glover), and the \u003ca href=\"https://www.frameline.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco International LGBTQ Film Festival (Frameline)\u003c/a>, providing essential viewing for communities that often get short shrift in Hollywood. Now on with the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xNrygTqx0FA\u003cbr>\n\u003cstrong>June 16–18:\u003c/strong> The Monterey International Pop Festival is back, 50 years after it set the standard for the modern rock festival. In many ways, the Summer of Love in San Francisco was a rather dreary few months, but the bands and the hippies made for an inspiring musical event at the Monterey County Fairgrounds. Monterey Pop made the reputations for so many bands: Jimi Hendrix, Steve Miller, Janis Joplin and Big Brother and the Holding Company, Jefferson Airplane, Country Joe and the Fish and the Grateful Dead.\u003cbr>\nMany of the artists appearing this year are doing tributes to the great performers of 50 years ago: Leon Bridges is channeling Otis Redding (who was riveting), blues guitarist Gary Clark Jr stands in for Jimi Hendrix (though no word on whether he’s going to immolate his guitar as Hendrix did), and the Head and the Heart fill in for the Mamas and the Papas. If you can’t go, stream the classic D. A. Pennebaker film \u003cem>Monterey Pop\u003c/em> and look for Otis Redding singing “I’ve Been Loving You Too Long.” \u003ca href=\"https://montereypopfestival50.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437198\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437198\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Surrealistic-Conservatory-of-Flower-800x400.jpg\" alt=\"The San Francisco Conservatory of Flowers all dressed up for a city sponsored Summer of Love concert\" width=\"800\" height=\"400\">\u003cfigcaption class=\"wp-caption-text\">The San Francisco Conservatory of Flowers all dressed up for a city-sponsored Summer of Love concert.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 21\u003c/strong>: The city of San Francisco is putting on its own Summer of Love concert (despite the legal fight with a promoter trying to do the same) at the Conservatory of Flowers in Golden Gate Park, with a free concert with former members of the Jefferson Airplane, the Chambers Brothers, Moonalice and others. Just in time for solstice. Details \u003ca href=\"https://www.eventbrite.com/e/surrealistic-summer-solstice-concert-and-grand-lighting-tickets-34076313170\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437199\" class=\"wp-caption aligncenter\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13437199\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/HeLa.jpg\" alt=\"Khary Moye and Jeunée Simon play Day and Henrietta Lacks in the TheatreFIRST world premiere of Lauren Gunderson and Geetha Reddy’s HeLa at Berkeley’s Black Oak Theatre\" width=\"500\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/HeLa-375x250.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Khary Moye and Jeunée Simon play Day and Henrietta Lacks in the TheatreFIRST world premiere of Lauren Gunderson and Geetha Reddy’s HeLa at Berkeley’s Black Oak Theatre. \u003ccite>(Photo: Cheshire Isaacs/TheatreFIRST)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through June 17\u003c/strong>: \u003cem>HeLa\u003c/em> is a world premiere play by Lauren Gunderson and Geetha Reddy, playwrights who often write about women and science. HeLa is about Henrietta Lacks, the African American woman (profiled in a \u003ca href=\"http://rebeccaskloot.com/the-immortal-life/\" target=\"_blank\" rel=\"noopener noreferrer\">Rebecca Skloot\u003c/a> book and \u003ca href=\"http://www.hbo.com/movies/the-immortal-life-of-henrietta-lacks\" target=\"_blank\" rel=\"noopener noreferrer\">HBO film\u003c/a>) who died of cervical cancer in 1951, but whose cells have lived on, and been exploited by scientists without permission from the family. \u003ca href=\"http://theatrefirst.com/about/mission/\" target=\"_blank\" rel=\"noopener noreferrer\">TheatreFIRST\u003c/a> Artistic Director Jon Tracy has pledged that at least half of the shows the company will produce will be by female-identified authors, with a majority written by people of color. Good start. \u003ca href=\"http://theatrefirst.com/hela/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/C_HEU68f96w'\n title='//www.youtube.com/embed/C_HEU68f96w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>June 17\u003c/strong>: \u003cem>Bless Me Ultima, \u003c/em>by Rudolfo Anaya, is the quintessential Mexican-American novel and perhaps soon the quintessential Mexican American opera, or so its producers are hoping. Composer and librettist Héctor Armienta at San Jose’s \u003ca href=\"http://www.operacultura.org/calendar/Bless-Me-Ultima_2017\" target=\"_blank\" rel=\"noopener noreferrer\">Opera Cultura\u003c/a> has been working for some years now on a musical version of this story set in New Mexico. It’s the tale of Antonio and the story of his coming of age in rural New Mexico under the care of a spiritual guide and healer named Ultima. Details for the workshop performance at San Jose’s Movimiento de Arte y Cultura Latino Americana, better known as MACLA, \u003ca href=\"http://www.operacultura.org/calendar/Bless-Me-Ultima_2017\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437219\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-800x437.jpg\" alt=\"Emcee Infinite presents a rap opera with Opera Cultura\" width=\"800\" height=\"437\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-800x437.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-768x420.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-1020x558.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-960x525.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-240x131.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-375x205.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947-520x284.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Infinite-e1497479268947.jpg 1136w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emcee Infinite presents a rap opera with Opera Cultura. \u003ccite>(Photo: Courtesy of Emcee Infinite)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 24\u003c/strong>:Opera Cultura has another intriguing project. Rapper Carlos Aguirre, known as Infinite, has teamed up with singer Alexandra Sessler to work with San Jose youth, including kids at juvenile hall. They’ve been creating a rap opera, and Aguirre and Sessler have shaped the kids’ songs into \u003cem>The Rap Opera Project. \u003c/em>\u003ca href=\"http://www.operacultura.org/calendar/The-Rap-Opera-Project_2017\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cLsWHq3U7n0\u003cbr>\n\u003cstrong>June 22–24\u003c/strong>: Joe Goode is celebrating his 30th anniversary making dances for his own company. He’s a choreographer whose work can resemble dance plays, with dialogue and characters addressing the audience. This celebration at the Yerba Buena Center for the Arts features \u003cem>Nobody Lives Here Now, \u003c/em>about the aging process for a dancer, and how fragile our bodies are. That concern about our failing bodies is a preoccupation for Goode and many Baby Boomers (speaking from personal experience). Erica noted this dance is about the unglamorized body, a welcome break from the artificial standards we all fail to live by. Details for the Joe Goode Performance Group show \u003ca href=\"https://ybca.org/whats-on/joe-goode\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13437270\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437270\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-800x491.jpeg\" alt=\"Cy Musiker and Poet Erica Lewis at the Comstock Saloon\" width=\"800\" height=\"491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-800x491.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-160x98.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-768x472.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-1020x627.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-1920x1180.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-1180x725.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-960x590.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-240x147.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-375x230.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Poet-Erica-Lewis-at-the-Comstock-Saloon-520x319.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cy Musiker and Poet Erica Lewis at the Comstock Saloon. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To fully appreciate these next items, you’ll have to listen along with the Do List episode (the podcast is above; go ahead and click “play”). Erica and I met for a drink and a talk about San Francisco’s literary history at the \u003ca href=\"https://comstocksaloon.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Comstock Saloon\u003c/a>, a bar and restaurant in North Beach.\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/KabkFfwJK3E'\n title='//www.youtube.com/embed/KabkFfwJK3E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 18 & 20:\u003c/strong> First, we talked about the prolific trombonist Adam Theis and his upcoming show with a big band at Doc’s Lab in North Beach (the former home of the Purple Onion, where Woody Allen and Richard Pryor got their starts). \u003ca href=\"http://www.docslabsf.com/event/1469660-electric-squeezebox-orchestra-san-francisco/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. And we had to mention Theis’ other gig at the Black Cat, not far away in the Tenderloin, on June 20. \u003ca href=\"http://www.blackcatsf.com/event/jazz-mafia-accomplices-3-2/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/x4tGJLqZ4-k'\n title='//www.youtube.com/embed/x4tGJLqZ4-k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 18\u003c/strong>: And then Erica read from her new collection of poems \u003ca href=\"https://thirdmanbooks.com/books/mary-wants-to-be-a-superwoman-tmb015-isbn978-0-9964016-1-6/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Mary Wants to Be a Superwoman\u003c/em>\u003c/a>, about her family and her black, white and Cherokee heritage. Details for her reading Sunday at \u003ca href=\"http://www.birdbeckett.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Bird and Becket Books and Records\u003c/a> in San Francisco’s Glen Park neighborhood on Sunday afternoon \u003ca href=\"http://www.birdbeckett.com/triple-header-erica-lewis-the-erik-jekabson-quintet-with-john-santos-the-grant-levin-trio/\" target=\"_blank\" rel=\"noopener noreferrer\">are 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>Erica — thanks so much for being the Do List co-host this week!\u003c/p>\n\u003cfigure id=\"attachment_13437284\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13437284\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-800x600.jpg\" alt=\"Cy Musiker and Erica Lewis in KQED's Studio B\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Cy-Musiker-and-Erica-Lewis-in-KQEDs-Studio-B-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cy Musiker and Erica Lewis in KQED’s Studio B. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "A Trump-Tinged ‘Julius Caesar’: What Now?",
"headTitle": "A Trump-Tinged ‘Julius Caesar’: What Now? | KQED",
"content": "\u003cp>In Act III of \u003cem>Hamlet\u003c/em>, when the skirt-chasing, king-killing, crown-usurping villain Claudius watches a play entitled \u003cem>The Murder of Gonzago\u003c/em> about a similarly skirt-chasing, king-killing, crown-usurping villain, he recoils at seeing himself portrayed and runs screaming from the theater: “Give me some light, away!”\u003c/p>\n\u003cp>So it’s been no surprise over the past few days to witness the knee-jerk reactions from the Trump team, the right-wing media and two major corporations to the Public Theater’s latest production of \u003cem>Julius Caesar\u003c/em>, which depicts the murder of a Trump-esque Caesar in gory fashion. Over the weekend, the president’s own son performed a wounded sparrow act on Twitter, Breitbart and Fox acted suitably scandalized and Delta Airlines and Bank of America withdrew financial support of the show.\u003c/p>\n\u003cp>https://twitter.com/DonaldJTrumpJr/status/873916847191724033\u003c/p>\n\u003cp>Meanwhile, on the other side of the political fence, the media has been aflame with defenses of Shakespeare’s 1599 political drama (Shakespeare makes it clear that the murder of Julius Caesar isn’t a good thing) as well as Oskar Eustis’ production for the Public (the director’s production notes include a warning: “Those who attempt to defend democracy by undemocratic methods pay a terrible price and destroy their republic.”)\u003c/p>\n\u003cp>At a time when stage productions outside of \u003cem>Hamilton\u003c/em> rarely make headlines, it’s been edifying to see the art form do what it was set up to do since back in the days of Aristophanes and Aeschylus: make trouble. But because we’re not used to theater having this kind of impact, we’re left wondering, what now? “People talk about what theater does, but it’s rare that it actually hits a nerve,” says theater director and Yerba Buena Center for the Arts’ Jonathan Moscone. “Here we are in a situation where theater is hitting a nerve and we don’t know what to do with it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But there are several things art can do in the face of such an assault on the freedom of creative expression. The most important is to stick up for itself.\u003c/p>\n\u003cp>Moscone has an interesting cautionary tale about the time he produced a production of \u003cem>Julius Caesar\u003c/em> for the California Shakespeare Theater that speaks to this necessity. It was in 2003, when Moscone was near the start of his tenure as artistic director of the company. His take on \u003cem>Caesar\u003c/em> — like all productions of this play — was politically charged, referencing the 1978 slaying of his father, San Francisco mayor George Moscone.\u003c/p>\n\u003cp>In preview performances, Moscone had the actor playing Brutus pull a gun and shoot Caesar, instead of stabbing him. This theatrical glance at real-life events — the death of the mayor — caused consternation among audience members in previews, Moscone says. “The thing that triggered this was literally a trigger,” Moscone says. “I had people run up to me and yell at me for doing that.”\u003c/p>\n\u003cp>Still relatively young in his role with the company, Moscone decided to replace the gun with a knife. “It was a decision I made at the time as a new artistic director,” Moscone says. “Would I do that now? No.”\u003c/p>\n\u003cfigure id=\"attachment_13423011\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13423011\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Julius.Inline-800x500.jpg\" alt=\"A 2003 production of 'Julius Ceasar' at Cal Shakes, directed by Jonathan Moscone, featured L. Peter Callender as a Ceasar that recalled the director's father, the late George Moscone.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A 2003 production of ‘Julius Caesar’ at Cal Shakes, directed by Jonathan Moscone, featured L. Peter Callender as a Caesar that recalled the director’s father, the late George Moscone. \u003ccite>(Jay Yamada/Courtesy Cal Shakes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later in that same season, when audiences complained about a Cal Shakes staging of \u003cem>Measure for Measure\u003c/em> which included an executioner wearing a George W. Bush mask, Moscone didn’t change course. “It’s a dangerous place to be,” Moscone says. “We should be doing this all the time.”\u003c/p>\n\u003cp>But there’s a certain peril in staging productions that make obvious political parallels between Shakespeare’s world and our own. Should they end up failing in their mission to get the message across, they fail all the more spectacularly. Which brings me to the second important thing theater should do at this moment, which is to more carefully consider its tactics.\u003c/p>\n\u003cp>When the Oregon Shakespeare Festival produced \u003cem>Julius Caesar\u003c/em> in 2011 with a woman in the title role — Vilma Silva — you couldn’t help but have to balance Silva’s brilliant portrayal of a leader drunk on power with the murder of a female premier destroyed by the men around her. The production brought out all the complexities of Shakespeare’s play while making a strong feminist political statement without needing to resort to putting Silva in a Hillary Clinton pantsuit or Queen Victoria pearls.\u003c/p>\n\u003cp>The reason we keep coming back to Shakespeare and other great dramatists like him is because their messages about power, leadership and its undoing transcend the moment. They endure. So whether a director puts Caesar in a toga or a red tie ultimately doesn’t matter. If it’s a strong production, its resonance to today’s world should be loud and clear.\u003c/p>\n\u003cp>Sigh.\u003c/p>\n\u003cp>If only that were really the case. In the din of today’s media landscape, where many people draw their conclusions based on a headline or an opinion expressed in 140 characters or less, it makes sense, at one level, for a theater director who wants to make an impression beyond the confines of an auditorium to go for the bleeding obvious — and put Trump, complete with gold bathtub and Slavic-accented wife, right there up on stage. After all, great art is subtle and rarely easy on the brain; understanding it requires patience, and who the hell has time for that? “Shakespeare demands breathing room and we as a nation are not breathing,” Moscone says. “We’re choking and everything is crisis responding.”\u003c/p>\n\u003cp>This reality causes Eric Ting, who took over from Moscone as artistic director of Cal Shakes in 2015, a great deal of concern. He notes that the problems for the Public arose when people took the one epic moment in the company’s production of \u003cem>Julius Caesar\u003c/em> — the grisly murder scene of the Trump-like Caesar figure — out of context, unable to see the larger and more nuanced message of the whole play. “This is a single moment in a production of a great, classical drama,” Ting says. “What is missed is the context of that moment: that \u003cem>Julius Caesar\u003c/em> is a play that says ‘violent means beget violent ends.’”\u003c/p>\n\u003cp>https://twitter.com/BofA_News/status/874079447909052417\u003c/p>\n\u003cp>What’s a theater director to do? By presenting Shakespeare (or for that matter Bertolt Brecht, Suzan-Lori Parks or Caryl Churchill) in all its depth and subtlety, one risks reaching only fans of the performing arts, and the show tip-toeing quietly into oblivion. But when trying to grab the public’s attention with some kind of shock tactic that causes less than a moment of thought prior to eliciting a reaction, there’s every chance it will be misinterpreted.\u003c/p>\n\u003cp>Which brings me to my third and final thing that theater can do: It should never give up. What the hoopla surrounding the Public’s \u003cem>Julius Caesar\u003c/em> teaches us is that this art form can make a great noise and send the corporate overlords into a tailspin. As I write, I wouldn’t be surprised if others among the Public’s sponsors stepped up to redouble their support of the company in the wake of Delta Airlines’ and Bank of America’s withdrawal.\u003c/p>\n\u003cp>And if the day should come when we end up in a nuclear wasteland, where all power is down and none of our electronic devices work, at least there’ll still be theater — a few actors walking across a stage — to bear witness, tell the important stories of our times, and spread hope.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "A three-point game plan for the theater as our senior arts editor weighs in on the Public Theater controversy.\r\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Act III of \u003cem>Hamlet\u003c/em>, when the skirt-chasing, king-killing, crown-usurping villain Claudius watches a play entitled \u003cem>The Murder of Gonzago\u003c/em> about a similarly skirt-chasing, king-killing, crown-usurping villain, he recoils at seeing himself portrayed and runs screaming from the theater: “Give me some light, away!”\u003c/p>\n\u003cp>So it’s been no surprise over the past few days to witness the knee-jerk reactions from the Trump team, the right-wing media and two major corporations to the Public Theater’s latest production of \u003cem>Julius Caesar\u003c/em>, which depicts the murder of a Trump-esque Caesar in gory fashion. Over the weekend, the president’s own son performed a wounded sparrow act on Twitter, Breitbart and Fox acted suitably scandalized and Delta Airlines and Bank of America withdrew financial support of the show.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Meanwhile, on the other side of the political fence, the media has been aflame with defenses of Shakespeare’s 1599 political drama (Shakespeare makes it clear that the murder of Julius Caesar isn’t a good thing) as well as Oskar Eustis’ production for the Public (the director’s production notes include a warning: “Those who attempt to defend democracy by undemocratic methods pay a terrible price and destroy their republic.”)\u003c/p>\n\u003cp>At a time when stage productions outside of \u003cem>Hamilton\u003c/em> rarely make headlines, it’s been edifying to see the art form do what it was set up to do since back in the days of Aristophanes and Aeschylus: make trouble. But because we’re not used to theater having this kind of impact, we’re left wondering, what now? “People talk about what theater does, but it’s rare that it actually hits a nerve,” says theater director and Yerba Buena Center for the Arts’ Jonathan Moscone. “Here we are in a situation where theater is hitting a nerve and we don’t know what to do with it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But there are several things art can do in the face of such an assault on the freedom of creative expression. The most important is to stick up for itself.\u003c/p>\n\u003cp>Moscone has an interesting cautionary tale about the time he produced a production of \u003cem>Julius Caesar\u003c/em> for the California Shakespeare Theater that speaks to this necessity. It was in 2003, when Moscone was near the start of his tenure as artistic director of the company. His take on \u003cem>Caesar\u003c/em> — like all productions of this play — was politically charged, referencing the 1978 slaying of his father, San Francisco mayor George Moscone.\u003c/p>\n\u003cp>In preview performances, Moscone had the actor playing Brutus pull a gun and shoot Caesar, instead of stabbing him. This theatrical glance at real-life events — the death of the mayor — caused consternation among audience members in previews, Moscone says. “The thing that triggered this was literally a trigger,” Moscone says. “I had people run up to me and yell at me for doing that.”\u003c/p>\n\u003cp>Still relatively young in his role with the company, Moscone decided to replace the gun with a knife. “It was a decision I made at the time as a new artistic director,” Moscone says. “Would I do that now? No.”\u003c/p>\n\u003cfigure id=\"attachment_13423011\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13423011\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Julius.Inline-800x500.jpg\" alt=\"A 2003 production of 'Julius Ceasar' at Cal Shakes, directed by Jonathan Moscone, featured L. Peter Callender as a Ceasar that recalled the director's father, the late George Moscone.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Julius.Inline-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A 2003 production of ‘Julius Caesar’ at Cal Shakes, directed by Jonathan Moscone, featured L. Peter Callender as a Caesar that recalled the director’s father, the late George Moscone. \u003ccite>(Jay Yamada/Courtesy Cal Shakes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Later in that same season, when audiences complained about a Cal Shakes staging of \u003cem>Measure for Measure\u003c/em> which included an executioner wearing a George W. Bush mask, Moscone didn’t change course. “It’s a dangerous place to be,” Moscone says. “We should be doing this all the time.”\u003c/p>\n\u003cp>But there’s a certain peril in staging productions that make obvious political parallels between Shakespeare’s world and our own. Should they end up failing in their mission to get the message across, they fail all the more spectacularly. Which brings me to the second important thing theater should do at this moment, which is to more carefully consider its tactics.\u003c/p>\n\u003cp>When the Oregon Shakespeare Festival produced \u003cem>Julius Caesar\u003c/em> in 2011 with a woman in the title role — Vilma Silva — you couldn’t help but have to balance Silva’s brilliant portrayal of a leader drunk on power with the murder of a female premier destroyed by the men around her. The production brought out all the complexities of Shakespeare’s play while making a strong feminist political statement without needing to resort to putting Silva in a Hillary Clinton pantsuit or Queen Victoria pearls.\u003c/p>\n\u003cp>The reason we keep coming back to Shakespeare and other great dramatists like him is because their messages about power, leadership and its undoing transcend the moment. They endure. So whether a director puts Caesar in a toga or a red tie ultimately doesn’t matter. If it’s a strong production, its resonance to today’s world should be loud and clear.\u003c/p>\n\u003cp>Sigh.\u003c/p>\n\u003cp>If only that were really the case. In the din of today’s media landscape, where many people draw their conclusions based on a headline or an opinion expressed in 140 characters or less, it makes sense, at one level, for a theater director who wants to make an impression beyond the confines of an auditorium to go for the bleeding obvious — and put Trump, complete with gold bathtub and Slavic-accented wife, right there up on stage. After all, great art is subtle and rarely easy on the brain; understanding it requires patience, and who the hell has time for that? “Shakespeare demands breathing room and we as a nation are not breathing,” Moscone says. “We’re choking and everything is crisis responding.”\u003c/p>\n\u003cp>This reality causes Eric Ting, who took over from Moscone as artistic director of Cal Shakes in 2015, a great deal of concern. He notes that the problems for the Public arose when people took the one epic moment in the company’s production of \u003cem>Julius Caesar\u003c/em> — the grisly murder scene of the Trump-like Caesar figure — out of context, unable to see the larger and more nuanced message of the whole play. “This is a single moment in a production of a great, classical drama,” Ting says. “What is missed is the context of that moment: that \u003cem>Julius Caesar\u003c/em> is a play that says ‘violent means beget violent ends.’”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>What’s a theater director to do? By presenting Shakespeare (or for that matter Bertolt Brecht, Suzan-Lori Parks or Caryl Churchill) in all its depth and subtlety, one risks reaching only fans of the performing arts, and the show tip-toeing quietly into oblivion. But when trying to grab the public’s attention with some kind of shock tactic that causes less than a moment of thought prior to eliciting a reaction, there’s every chance it will be misinterpreted.\u003c/p>\n\u003cp>Which brings me to my third and final thing that theater can do: It should never give up. What the hoopla surrounding the Public’s \u003cem>Julius Caesar\u003c/em> teaches us is that this art form can make a great noise and send the corporate overlords into a tailspin. As I write, I wouldn’t be surprised if others among the Public’s sponsors stepped up to redouble their support of the company in the wake of Delta Airlines’ and Bank of America’s withdrawal.\u003c/p>\n\u003cp>And if the day should come when we end up in a nuclear wasteland, where all power is down and none of our electronic devices work, at least there’ll still be theater — a few actors walking across a stage — to bear witness, tell the important stories of our times, and spread hope.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Delta, BofA Drop Support For 'Julius Caesar' That Looks Too Much Like Trump",
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"content": "\u003cp>Two major corporate sponsors have pulled their support for a New York City production of \u003cem>Julius Caesar. \u003c/em>At issue: The titular role has an unmistakably Trumpian air. And, um, spoiler alert: He gets assassinated.\u003c/p>\n\u003cp>The Julius Caesar in the The Public Theater’s production “has blond hair, a fondness for long ties and a fashionable wife who speaks with a Slavic accent,” as NPR’s Jeff Lunden reports. Conspirators stab him to death on stage, making for some \u003ca href=\"http://www.npr.org/2017/05/31/530799564/kathy-griffin-apologizes-for-disturbing-depiction-of-trumps-head\">Kathy Griffin-like gore\u003c/a>.\u003c/p>\n\u003cp>In the funeral scene, according to a review in the \u003cem>\u003ca href=\"https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&ved=0ahUKEwimv66r67jUAhVGKWMKHfsjC00QFggoMAA&url=https%3A%2F%2Fwww.nytimes.com%2F2017%2F06%2F09%2Ftheater%2Freview-julius-caesar-delacorte-theater-donald-trump.html&usg=AFQjCNEzdtUkt6ymWQQjCYbZ8pzPfRu96A&sig2=rJ51KPuoTF5tWmC2b6a_2w\" target=\"_blank\" rel=\"noopener\">New York Times\u003c/a>\u003c/em>, “Marc Antony exposes not just Caesar’s sliced-up garment, as Shakespeare indicates, but also his bare, wound-ripped flesh.”\u003c/p>\n\u003cp>Delta and Bank of America both pulled their sponsorship over the production, which has been the target of criticism in recent days from right-leaning outlets such as \u003ca href=\"http://www.breitbart.com/big-hollywood/2017/06/06/trump-stabbed-death-central-park-performance-julius-caesar/\">Breitbart\u003c/a> and \u003ca href=\"http://insider.foxnews.com/2017/06/11/donald-trump-julius-caesar-stabbed-death-women-minorities-shakespeare-central-park\">Fox News\u003c/a>, as well as from President Trump’s son Donald Trump Jr.\u003c/p>\n\u003cp>https://twitter.com/DonaldJTrumpJr/status/873916847191724033\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“No matter what your political stance may be, the graphic staging of \u003cem>Julius Caesar\u003c/em> at this summer’s Free Shakespeare in the Park does not reflect Delta Air Lines’ values,” Delta \u003ca href=\"http://deadline.com/2017/06/delta-airlines-ends-sponsorship-of-public-theater-over-trump-like-julius-caesar-assassination-in-central-park-report-1202111395/\">said in a statement\u003c/a> to Deadline Hollywood.\u003c/p>\n\u003cp>“Their artistic and creative direction crossed the line on the standards of good taste. We have notified them of our decision to end our sponsorship as the official airline of The Public Theater effective immediately.”\u003c/p>\n\u003cp>Bank of America also terminated support for the production, though it will continue its relationship with the theater. “The Public Theater chose to present \u003cem>Julius Caesar\u003c/em> in a way that was intended to provoke and offend,” the bank said in a statement to Deadline. “Had this intention been made known to us, we would have decided not to sponsor it.”\u003c/p>\n\u003cp>\u003cem>The New York Times’\u003c/em> \u003ca href=\"https://www.nytimes.com/2017/06/09/theater/review-julius-caesar-delacorte-theater-donald-trump.html\">review\u003c/a> says the play “takes onstage Trump-trolling to a startling new level.”\u003c/p>\n\u003cp>On Sunday, Donald Trump Jr. \u003ca href=\"https://twitter.com/DonaldJTrumpJr/status/873916847191724033?ref_src=twsrc%5Etfw&ref_url=https%3A%2F%2Fwww.nytimes.com%2F2017%2F06%2F11%2Farts%2Fdelta-airline-trump-public-theater-julius-ceasar.html\">tweeted\u003c/a> a link to a Fox News story that described the production this way: “A New York City play appears to depict President Trump being brutally stabbed to death by women and minorities.”\u003c/p>\n\u003cp>Pointing to the play’s complex characters and consequences, the production’s director, Oskar Eustis, \u003ca href=\"https://www.publictheater.org/Tickets/Calendar/PlayDetailsCollection/SITP/Julius-Caesar/\">wrote\u003c/a> on the theater’s website, “Julius Caesar can be read as a warning parable to those who try to fight for democracy by undemocratic means. To fight the tyrant does not mean imitating him.”\u003c/p>\n\u003cp>It’s not unusual for productions of very old plays to use modern dress and current political references. A 2012 New York production of \u003cem>Julius Caesar\u003c/em> by The Acting Company was set “at our precise historical moment, in Obama’s Washington, D.C. The capital is rocked by ‘Occupy Rome’ protests,” \u003ca href=\"http://www.theamericanconservative.com/shakesblog/obamas-ides-of-march/\">wrote\u003c/a> Noah Hillman in \u003cem>The American Conservative\u003c/em>, noting that this Caesar was “a tall, charismatic African-American politician; he doesn’t look or sound much like Obama (he more closely recalls Michael Jordan), but the audience is unquestionably going to read him as an Obama stand-in nonetheless.”\u003c/p>\n\u003cp>Gregg Henry, who plays Caesar in the Public Theatre production, made the Trump connection overt. “I have great costumes and wigs that show you that this could be Trump. But I’m also trying to bring in the larger knowledge of tyrants,” he \u003ca href=\"https://www.backstage.com/interview/shakespeare-parks-gregg-henry-playing-very-trumpian-julius-caesar/\">told\u003c/a> \u003cem>Backstage\u003c/em>. “Hopefully, I’m able to sort of show what’s happening with this president, tweak this president for kind of what he is in a lot of ways and also show the dangers of dealing with a tyrant or possible tyrant in our country.”\u003c/p>\n\u003cp>As anyone who knows the play can attest, the killing of Caesar is complicated, and the tragedy has no clear protagonist.\u003c/p>\n\u003cp>“This puts the moral burden where I imagine Mr. Eustis wants it: on the audience,” the \u003cem>Times\u003c/em> wrote in its review. “We are asked to consider how far citizens may go in removing a destructive leader, and we are warned about unforeseen consequences. Dressing Caesar as Trump gives that agenda its juice but leaves the production a bit desiccated and incoherent thereafter. To be fair, this is a problem built into the play, which like all of Shakespeare’s tragedies begins with astonishing rhetoric and ends as an abattoir.”\u003c/p>\n\u003cp>But for Eustis, \u003cem>Caesar\u003c/em>’s ambiguity is a defining factor:\u003c/p>\n\u003cblockquote>\n\u003cp>“\u003cem>Julius Caesar\u003c/em> is about how fragile democracy is. The institutions that we have grown up with, that we have inherited from the struggle of many generations of our ancestors, can be swept away in no time at all. The difficulty in determining the protagonist of \u003cem>Julius Caesar\u003c/em> — there are at least four credible candidates – is not a formal weakness of the play, but rather essential to its structure. When history is happening, when the ground is slipping away under us and all that is solid melts into air, leadership is as transitory and flawed as the times.”\u003c/p>\n\u003cp>…\u003c/p>\n\u003cp>“And in case you were wondering: no, we didn’t write any new lines. It’s all Shakespeare.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>The production, which has been in previews since May 23, opens Monday night. \u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>\u003c/em>. \u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Delta%2C+BofA+Drop+Support+For+%27Julius+Caesar%27+That+Looks+Too+Much+Like+Trump&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two major corporate sponsors have pulled their support for a New York City production of \u003cem>Julius Caesar. \u003c/em>At issue: The titular role has an unmistakably Trumpian air. And, um, spoiler alert: He gets assassinated.\u003c/p>\n\u003cp>The Julius Caesar in the The Public Theater’s production “has blond hair, a fondness for long ties and a fashionable wife who speaks with a Slavic accent,” as NPR’s Jeff Lunden reports. Conspirators stab him to death on stage, making for some \u003ca href=\"http://www.npr.org/2017/05/31/530799564/kathy-griffin-apologizes-for-disturbing-depiction-of-trumps-head\">Kathy Griffin-like gore\u003c/a>.\u003c/p>\n\u003cp>In the funeral scene, according to a review in the \u003cem>\u003ca href=\"https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&ved=0ahUKEwimv66r67jUAhVGKWMKHfsjC00QFggoMAA&url=https%3A%2F%2Fwww.nytimes.com%2F2017%2F06%2F09%2Ftheater%2Freview-julius-caesar-delacorte-theater-donald-trump.html&usg=AFQjCNEzdtUkt6ymWQQjCYbZ8pzPfRu96A&sig2=rJ51KPuoTF5tWmC2b6a_2w\" target=\"_blank\" rel=\"noopener\">New York Times\u003c/a>\u003c/em>, “Marc Antony exposes not just Caesar’s sliced-up garment, as Shakespeare indicates, but also his bare, wound-ripped flesh.”\u003c/p>\n\u003cp>Delta and Bank of America both pulled their sponsorship over the production, which has been the target of criticism in recent days from right-leaning outlets such as \u003ca href=\"http://www.breitbart.com/big-hollywood/2017/06/06/trump-stabbed-death-central-park-performance-julius-caesar/\">Breitbart\u003c/a> and \u003ca href=\"http://insider.foxnews.com/2017/06/11/donald-trump-julius-caesar-stabbed-death-women-minorities-shakespeare-central-park\">Fox News\u003c/a>, as well as from President Trump’s son Donald Trump Jr.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“No matter what your political stance may be, the graphic staging of \u003cem>Julius Caesar\u003c/em> at this summer’s Free Shakespeare in the Park does not reflect Delta Air Lines’ values,” Delta \u003ca href=\"http://deadline.com/2017/06/delta-airlines-ends-sponsorship-of-public-theater-over-trump-like-julius-caesar-assassination-in-central-park-report-1202111395/\">said in a statement\u003c/a> to Deadline Hollywood.\u003c/p>\n\u003cp>“Their artistic and creative direction crossed the line on the standards of good taste. We have notified them of our decision to end our sponsorship as the official airline of The Public Theater effective immediately.”\u003c/p>\n\u003cp>Bank of America also terminated support for the production, though it will continue its relationship with the theater. “The Public Theater chose to present \u003cem>Julius Caesar\u003c/em> in a way that was intended to provoke and offend,” the bank said in a statement to Deadline. “Had this intention been made known to us, we would have decided not to sponsor it.”\u003c/p>\n\u003cp>\u003cem>The New York Times’\u003c/em> \u003ca href=\"https://www.nytimes.com/2017/06/09/theater/review-julius-caesar-delacorte-theater-donald-trump.html\">review\u003c/a> says the play “takes onstage Trump-trolling to a startling new level.”\u003c/p>\n\u003cp>On Sunday, Donald Trump Jr. \u003ca href=\"https://twitter.com/DonaldJTrumpJr/status/873916847191724033?ref_src=twsrc%5Etfw&ref_url=https%3A%2F%2Fwww.nytimes.com%2F2017%2F06%2F11%2Farts%2Fdelta-airline-trump-public-theater-julius-ceasar.html\">tweeted\u003c/a> a link to a Fox News story that described the production this way: “A New York City play appears to depict President Trump being brutally stabbed to death by women and minorities.”\u003c/p>\n\u003cp>Pointing to the play’s complex characters and consequences, the production’s director, Oskar Eustis, \u003ca href=\"https://www.publictheater.org/Tickets/Calendar/PlayDetailsCollection/SITP/Julius-Caesar/\">wrote\u003c/a> on the theater’s website, “Julius Caesar can be read as a warning parable to those who try to fight for democracy by undemocratic means. To fight the tyrant does not mean imitating him.”\u003c/p>\n\u003cp>It’s not unusual for productions of very old plays to use modern dress and current political references. A 2012 New York production of \u003cem>Julius Caesar\u003c/em> by The Acting Company was set “at our precise historical moment, in Obama’s Washington, D.C. The capital is rocked by ‘Occupy Rome’ protests,” \u003ca href=\"http://www.theamericanconservative.com/shakesblog/obamas-ides-of-march/\">wrote\u003c/a> Noah Hillman in \u003cem>The American Conservative\u003c/em>, noting that this Caesar was “a tall, charismatic African-American politician; he doesn’t look or sound much like Obama (he more closely recalls Michael Jordan), but the audience is unquestionably going to read him as an Obama stand-in nonetheless.”\u003c/p>\n\u003cp>Gregg Henry, who plays Caesar in the Public Theatre production, made the Trump connection overt. “I have great costumes and wigs that show you that this could be Trump. But I’m also trying to bring in the larger knowledge of tyrants,” he \u003ca href=\"https://www.backstage.com/interview/shakespeare-parks-gregg-henry-playing-very-trumpian-julius-caesar/\">told\u003c/a> \u003cem>Backstage\u003c/em>. “Hopefully, I’m able to sort of show what’s happening with this president, tweak this president for kind of what he is in a lot of ways and also show the dangers of dealing with a tyrant or possible tyrant in our country.”\u003c/p>\n\u003cp>As anyone who knows the play can attest, the killing of Caesar is complicated, and the tragedy has no clear protagonist.\u003c/p>\n\u003cp>“This puts the moral burden where I imagine Mr. Eustis wants it: on the audience,” the \u003cem>Times\u003c/em> wrote in its review. “We are asked to consider how far citizens may go in removing a destructive leader, and we are warned about unforeseen consequences. Dressing Caesar as Trump gives that agenda its juice but leaves the production a bit desiccated and incoherent thereafter. To be fair, this is a problem built into the play, which like all of Shakespeare’s tragedies begins with astonishing rhetoric and ends as an abattoir.”\u003c/p>\n\u003cp>But for Eustis, \u003cem>Caesar\u003c/em>’s ambiguity is a defining factor:\u003c/p>\n\u003cblockquote>\n\u003cp>“\u003cem>Julius Caesar\u003c/em> is about how fragile democracy is. The institutions that we have grown up with, that we have inherited from the struggle of many generations of our ancestors, can be swept away in no time at all. The difficulty in determining the protagonist of \u003cem>Julius Caesar\u003c/em> — there are at least four credible candidates – is not a formal weakness of the play, but rather essential to its structure. When history is happening, when the ground is slipping away under us and all that is solid melts into air, leadership is as transitory and flawed as the times.”\u003c/p>\n\u003cp>…\u003c/p>\n\u003cp>“And in case you were wondering: no, we didn’t write any new lines. It’s all Shakespeare.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>The production, which has been in previews since May 23, opens Monday night. \u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>\u003c/em>. \u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Delta%2C+BofA+Drop+Support+For+%27Julius+Caesar%27+That+Looks+Too+Much+Like+Trump&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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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": "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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"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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},
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"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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