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"content": "\u003cp>The first room is entirely white, including white floors so glossy you feel you should take your shoes off. A semicircle of white leather lounge chairs surrounds a stage screened off with a see-through white curtain. My first reaction? It looks like a nail salon run by Barbarella.\u003c/p>\n\u003cp>“That’s it. Yes, yes!” laughs \u003ca href=\"http://www.davidbyrne.com\" target=\"_blank\" rel=\"noopener\">David Byrne\u003c/a>, my tour guide through this surreal space. Then he adds, “We don’t do nails. You get embodied in the body of a doll in this room.”\u003c/p>\n\u003cp>Byrne — yes, of Talking Heads fame and many other creative achievements — is walking me through his latest project, \u003cem>\u003ca href=\"https://www.eventbrite.com/e/the-institute-presents-neurosociety-tickets-27792285474\" target=\"_blank\" rel=\"noopener\">The Institute Presents: Neurosociety\u003c/a>. \u003c/em>It’s an immersive, participatory theater performance at Pace Art + Technology in Menlo Park, one of three Silicon Valley-based art spaces occupied by the New York-based Pace art gallery chain. The multi-room installation makes you, the visitor, a participant in a series of “scientific experiments” focused on how the human brain perceives what it senses, comes to conclusions, and then acts.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/302366505″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003ch3>‘What you see might not actually be what’s out there’\u003c/h3>\n\u003cp>In the room we’re standing in, the doll is topped by two cameras instead of a head. When you don a virtual reality headset, you can see what the doll sees. This has the effect of fooling your brain into adopting the doll’s perspective. The idea for this trick comes from \u003ca href=\"http://www.ehrssonlab.se/\" target=\"_blank\" rel=\"noopener\">Group Ehrsson\u003c/a>, a neuroscience research firm based in Sweden, which did the very same thing in a lab much less sexy than this space.\u003c/p>\n\u003cfigure id=\"attachment_12236391\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12236391\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-800x450.jpg\" alt=\"Based on research from the Ehrsson Lab in Sweden, this set up has visitors don virtual reality headsets to test the way their brains' body awareness can be manipulated.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Based on research from the Ehrsson lab in Sweden, this set up has visitors don virtual reality headsets to test the way their brains’ body awareness can be manipulated. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Byrne is an avid fan of science. “I’d read about certain experiments that labs had done, and my immediate thought was ‘I want to do that,'” he says. “I want to be the subject. I want to see what that’s like.’”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Together with his friend, technology investor\u003cstrong> \u003c/strong>Mala Gaonkar, Byrne visited 35 research labs around the world to hear about the latest developments in cognitive neuroscience. Their conversations ranged from how your brain figures out where it is in space, to more complicated questions about how your sense of affinity with other human beings affects your moral judgement.\u003c/p>\n\u003cp>“What you see might not actually be what’s out there,” says Gaonkar. “And what you feel, including your deepest sense of identity, might not actually be what’s out there.”\u003c/p>\n\u003cfigure id=\"attachment_12236393\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12236393\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-800x450.jpg\" alt=\"Perhaps the most disturbed experiment happens in a room set up like a TV game show.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Perhaps the most disturbed experiment happens in a room set up like a TV game show. \u003ccite>(Photo: Courtesy of Kenny Komer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Neural Science Professor Paul Glimcher leads the \u003ca href=\"http://kavlihumanproject.org\" target=\"_blank\" rel=\"noopener\">Kavli HUMAN Project\u003c/a> at New York University, an interdisciplinary research group focused on decision-making in humans from a public policy perspective. He was among the scientists interviewed by Byrne and Gaonkar as they sought to educate themselves about cognitive neuroscience for their art project.\u003c/p>\n\u003cp>“David and Mala have designed a set of experiences that really lay bare the nature of our human experiences in areas ranging from perception to decision-making,” Glimcher says.\u003c/p>\n\u003ch3>What if you were a drone pilot?\u003c/h3>\n\u003cp>In another part of the installation, Byrne and Gaonkar have visitors watch a scene from the movie \u003ca href=\"https://www.youtube.com/watch?v=MBCeP_i9BxI\" target=\"_blank\" rel=\"noopener\">\u003cem>Eye in the Sky\u003c/em>\u003c/a>. In it, military commanders tell a drone pilot there are terrorists in a particular house, plotting a suicide bombing. He must blow the building up.\u003c/p>\n\u003cp>“You are cleared to engage, lieutenant,” says Colonel Katherine Powell, played by British actor Helen Mirren. But outside, there appears to be an innocent civilian, a woman preparing to sell bread. The drone pilot hesitates.\u003c/p>\n\u003cp>“Those men are about to disperse. Engage now!” Colonel Powell barks.\u003c/p>\n\u003cp>It’s a disturbing scene, and Byrne and Gaonkar want you to imagine yourself as that drone pilot, making that awful, split-second decision of life and death.\u003c/p>\n\u003cp>They also want to play with the nature of the moral dilemma.\u003c/p>\n\u003cfigure id=\"attachment_12250032\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12250032\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-800x450.jpg\" alt=\"David Byrne (of Talking Heads fame) seeks to spark a discussion about our cognitive biases - without being preachy about it.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Byrne (of Talking Heads fame) seeks to spark a discussion about our cognitive biases – without being preachy about it. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We start bringing it closer and closer and closer,” explains Byrne. Finally, the scene morphs so that we see a kid selling lemonade in front of a house on University Avenue in Palo Alto, instead of the bread seller in some far-off country. What fascinates Byrne is that people will change their response as to whether they’d blow up the building, and then retroactively search for justifications to explain why.\u003c/p>\n\u003ch3>Had this been a real science experiment…\u003c/h3>\n\u003cp>While the “experiments” at Pace draw on real research, this is theater, first and foremost. The situations don’t attach in lock step to specific studies Byrne and Gaonkar explored. Rather, the pair used their explorations to come up with something that evokes the same sense of wonder and surprise you might have as a study subject in an actual science lab.\u003c/p>\n\u003cp>At the end of their visit, visitors will get the results of these experiments, and the information will be shared with participating labs — though the labs have no plans to use the data. “This is really about sparking a discussion, as opposed to hardcore science,” Goankar says.\u003c/p>\n\u003cfigure id=\"attachment_12236394\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12236394\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-800x450.jpg\" alt='David Byrne and Mala Gaonkar in the TV game show room. Byrne says the process of participating in these quasi-scientific studies \"really does change how you think about things. How you think about what we are and how we react and how make decisions and how we are in the world.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Byrne and Mala Gaonkar in the TV game show room. Byrne says the process of participating in these quasi-scientific studies “really does change how you think about things. How you think about what we are and how we react and how make decisions and how we are in the world.” \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Byrne is convinced the installation will be transformative. “It really does change how you think about things, how you think about what we are and how we react and how make decisions and how we are in the world,” Byrne says. “It’s a bit pretentious to imagine that’s going to happen for everybody who goes through this, but it certainly happened to us.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘The Institute Presents: Neurosociety’ continues through March 31, 2017, at Pace Art+Technology in Menlo Park. See \u003ca href=\"https://www.eventbrite.com/e/the-institute-presents-neurosociety-tickets-27792285474\" target=\"_blank\" rel=\"noopener\">here \u003c/a>for tickets and more information.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The Talking Heads frontman develops immersive theater at Pace Menlo Park to make cognitive science come alive for civilians.",
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"title": "David Byrne's Theatrical Thought Experiment in Silicon Valley | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first room is entirely white, including white floors so glossy you feel you should take your shoes off. A semicircle of white leather lounge chairs surrounds a stage screened off with a see-through white curtain. My first reaction? It looks like a nail salon run by Barbarella.\u003c/p>\n\u003cp>“That’s it. Yes, yes!” laughs \u003ca href=\"http://www.davidbyrne.com\" target=\"_blank\" rel=\"noopener\">David Byrne\u003c/a>, my tour guide through this surreal space. Then he adds, “We don’t do nails. You get embodied in the body of a doll in this room.”\u003c/p>\n\u003cp>Byrne — yes, of Talking Heads fame and many other creative achievements — is walking me through his latest project, \u003cem>\u003ca href=\"https://www.eventbrite.com/e/the-institute-presents-neurosociety-tickets-27792285474\" target=\"_blank\" rel=\"noopener\">The Institute Presents: Neurosociety\u003c/a>. \u003c/em>It’s an immersive, participatory theater performance at Pace Art + Technology in Menlo Park, one of three Silicon Valley-based art spaces occupied by the New York-based Pace art gallery chain. The multi-room installation makes you, the visitor, a participant in a series of “scientific experiments” focused on how the human brain perceives what it senses, comes to conclusions, and then acts.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/302366505″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/302366505″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003ch3>‘What you see might not actually be what’s out there’\u003c/h3>\n\u003cp>In the room we’re standing in, the doll is topped by two cameras instead of a head. When you don a virtual reality headset, you can see what the doll sees. This has the effect of fooling your brain into adopting the doll’s perspective. The idea for this trick comes from \u003ca href=\"http://www.ehrssonlab.se/\" target=\"_blank\" rel=\"noopener\">Group Ehrsson\u003c/a>, a neuroscience research firm based in Sweden, which did the very same thing in a lab much less sexy than this space.\u003c/p>\n\u003cfigure id=\"attachment_12236391\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12236391\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-800x450.jpg\" alt=\"Based on research from the Ehrsson Lab in Sweden, this set up has visitors don virtual reality headsets to test the way their brains' body awareness can be manipulated.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21601_IMG_2453-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Based on research from the Ehrsson lab in Sweden, this set up has visitors don virtual reality headsets to test the way their brains’ body awareness can be manipulated. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Byrne is an avid fan of science. “I’d read about certain experiments that labs had done, and my immediate thought was ‘I want to do that,'” he says. “I want to be the subject. I want to see what that’s like.’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Together with his friend, technology investor\u003cstrong> \u003c/strong>Mala Gaonkar, Byrne visited 35 research labs around the world to hear about the latest developments in cognitive neuroscience. Their conversations ranged from how your brain figures out where it is in space, to more complicated questions about how your sense of affinity with other human beings affects your moral judgement.\u003c/p>\n\u003cp>“What you see might not actually be what’s out there,” says Gaonkar. “And what you feel, including your deepest sense of identity, might not actually be what’s out there.”\u003c/p>\n\u003cfigure id=\"attachment_12236393\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12236393\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-800x450.jpg\" alt=\"Perhaps the most disturbed experiment happens in a room set up like a TV game show.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21602_Game_Show_Business_Card_credit_Kenny_Komer-qut-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Perhaps the most disturbed experiment happens in a room set up like a TV game show. \u003ccite>(Photo: Courtesy of Kenny Komer)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Neural Science Professor Paul Glimcher leads the \u003ca href=\"http://kavlihumanproject.org\" target=\"_blank\" rel=\"noopener\">Kavli HUMAN Project\u003c/a> at New York University, an interdisciplinary research group focused on decision-making in humans from a public policy perspective. He was among the scientists interviewed by Byrne and Gaonkar as they sought to educate themselves about cognitive neuroscience for their art project.\u003c/p>\n\u003cp>“David and Mala have designed a set of experiences that really lay bare the nature of our human experiences in areas ranging from perception to decision-making,” Glimcher says.\u003c/p>\n\u003ch3>What if you were a drone pilot?\u003c/h3>\n\u003cp>In another part of the installation, Byrne and Gaonkar have visitors watch a scene from the movie \u003ca href=\"https://www.youtube.com/watch?v=MBCeP_i9BxI\" target=\"_blank\" rel=\"noopener\">\u003cem>Eye in the Sky\u003c/em>\u003c/a>. In it, military commanders tell a drone pilot there are terrorists in a particular house, plotting a suicide bombing. He must blow the building up.\u003c/p>\n\u003cp>“You are cleared to engage, lieutenant,” says Colonel Katherine Powell, played by British actor Helen Mirren. But outside, there appears to be an innocent civilian, a woman preparing to sell bread. The drone pilot hesitates.\u003c/p>\n\u003cp>“Those men are about to disperse. Engage now!” Colonel Powell barks.\u003c/p>\n\u003cp>It’s a disturbing scene, and Byrne and Gaonkar want you to imagine yourself as that drone pilot, making that awful, split-second decision of life and death.\u003c/p>\n\u003cp>They also want to play with the nature of the moral dilemma.\u003c/p>\n\u003cfigure id=\"attachment_12250032\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12250032\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-800x450.jpg\" alt=\"David Byrne (of Talking Heads fame) seeks to spark a discussion about our cognitive biases - without being preachy about it.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21618_IMG_2444-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Byrne (of Talking Heads fame) seeks to spark a discussion about our cognitive biases – without being preachy about it. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We start bringing it closer and closer and closer,” explains Byrne. Finally, the scene morphs so that we see a kid selling lemonade in front of a house on University Avenue in Palo Alto, instead of the bread seller in some far-off country. What fascinates Byrne is that people will change their response as to whether they’d blow up the building, and then retroactively search for justifications to explain why.\u003c/p>\n\u003ch3>Had this been a real science experiment…\u003c/h3>\n\u003cp>While the “experiments” at Pace draw on real research, this is theater, first and foremost. The situations don’t attach in lock step to specific studies Byrne and Gaonkar explored. Rather, the pair used their explorations to come up with something that evokes the same sense of wonder and surprise you might have as a study subject in an actual science lab.\u003c/p>\n\u003cp>At the end of their visit, visitors will get the results of these experiments, and the information will be shared with participating labs — though the labs have no plans to use the data. “This is really about sparking a discussion, as opposed to hardcore science,” Goankar says.\u003c/p>\n\u003cfigure id=\"attachment_12236394\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12236394\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-800x450.jpg\" alt='David Byrne and Mala Gaonkar in the TV game show room. Byrne says the process of participating in these quasi-scientific studies \"really does change how you think about things. How you think about what we are and how we react and how make decisions and how we are in the world.\"' width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/RS21600_IMG_2445-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Byrne and Mala Gaonkar in the TV game show room. Byrne says the process of participating in these quasi-scientific studies “really does change how you think about things. How you think about what we are and how we react and how make decisions and how we are in the world.” \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Byrne is convinced the installation will be transformative. “It really does change how you think about things, how you think about what we are and how we react and how make decisions and how we are in the world,” Byrne says. “It’s a bit pretentious to imagine that’s going to happen for everybody who goes through this, but it certainly happened to us.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Institute Presents: Neurosociety’ continues through March 31, 2017, at Pace Art+Technology in Menlo Park. See \u003ca href=\"https://www.eventbrite.com/e/the-institute-presents-neurosociety-tickets-27792285474\" target=\"_blank\" rel=\"noopener\">here \u003c/a>for tickets and more information.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Christopher Marlowe Officially Credited as Co-Author of 3 Shakespeare Plays",
"headTitle": "Christopher Marlowe Officially Credited as Co-Author of 3 Shakespeare Plays | KQED",
"content": "\u003cp>Oxford University Press has announced that its new edition of the complete works of William Shakespeare will credit Christopher Marlowe as a co-author on the three \u003cem>Henry VI \u003c/em>plays.\u003c/p>\n\u003cp>Despite years of controversy about the authorship of some of Shakespeare’s work, this is the first time a major publishing house has formally named Marlowe as a co-author.\u003c/p>\n\u003cp>\u003ca href=\"http://guides.nyu.edu/c.php?g=276645&p=1848338\" target=\"_blank\" rel=\"noopener\">Christopher Marlowe\u003c/a> is a 16th century British poet and playwright. The extent of his possible influence on (or even collaboration with) William Shakespeare is the subject of much academic scholarship, \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=92142217\" target=\"_blank\" rel=\"noopener\">as NPR has reported\u003c/a>, but for many years, mainstream academics had mostly derided efforts of independent scholars who challenged the authorship of plays attributed to Shakespeare.\u003c/p>\n\u003cp>The \u003ca href=\"https://global.oup.com/academic/product/the-new-oxford-shakespeare-modern-critical-edition-9780199591152?cc=us&lang=en&\" target=\"_blank\" rel=\"noopener\">new Oxford edition\u003c/a>, which will be available in November, was edited by four Shakespeare scholars: Gary Taylor of Florida State University, John Jowett of the University of Birmingham, Terri Bourus of Indiana University and Gabriel Egan of De Montfort University.\u003c/p>\n\u003cp>Taylor tells NPR the conclusion that Marlowe should be credited as co-author is partly based on a combination of new and old research. In particular, Taylor cited \u003ca href=\"https://www.documentcloud.org/documents/3171247-14104-32558-1-PB.html\" target=\"_blank\" rel=\"noopener\">2009 research\u003c/a> by Hugh Craig and Arthur Kinney that analyzed vocabulary from the \u003cem>Henry VI\u003c/em> plays and compared it to plays known to have been written by Marlowe, and \u003ca href=\"http://www.tandfonline.com/doi/full/10.1080/17450918.2015.1102166\" target=\"_blank\" rel=\"noopener\">a 2015 article\u003c/a> by John Nance analyzing the prose of Part 2 of \u003cem>Henry VI\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Taylor himself has published scholarly work on Marlowe and Shakespeare, \u003ca href=\"https://www.cambridge.org/core/books/shakespeare-survey/imitation-or-collaboration-marlowe-and-the-early-shakespeare-canon/2C00942D8A046D2AD2BC94ED9E4F4B53\" target=\"_blank\" rel=\"noopener\">including work from last year\u003c/a> titled \u003cem>Imitation or Collaboration? Marlowe and the Early Shakespeare Canon, \u003c/em>on which he collaborated with Nance.\u003c/p>\n\u003cp>“All these publications have been subjected to rigorous peer-review,” Taylor told NPR in an email.\u003c/p>\n\u003cp>He said there is also new work by Craig and another Shakespeare scholar, John Burrow, that is specifically on \u003cem>Henry VI, Part 3,\u003c/em> and will be published in a \u003ca href=\"https://global.oup.com/academic/product/the-new-oxford-shakespeare-authorship-companion-9780199591169?cc=us&lang=en&\" target=\"_blank\" rel=\"noopener\">companion text devoted entirely to research on the authorship\u003c/a> of work attributed to Shakespeare. The chapter on the third part of \u003cem>Henry VI\u003c/em> is one of 25 chapters on authorship, written by 18 scholars in five countries, according to Taylor.\u003c/p>\n\u003cp>Oxford University Press \u003ca href=\"https://www.washingtonpost.com/entertainment/oxford-says-shakespeare-will-share-credit-for-henry-vi/2016/10/24/69912bea-99db-11e6-b552-b1f85e484086_story.html\" target=\"_blank\" rel=\"noopener\">told The Associated Press\u003c/a> that “identifying Marlowe’s hand in the \u003cem>Henry VI\u003c/em> plays is just one of the fresh features of this project.”\u003c/p>\n\u003cp>Much of the authorship analysis is quite technical because it involves analyzing every word of entire plays, looking for patterns and clues. For example, an article on Marlowe’s presence in the \u003cem>Henry VI\u003c/em> plays, due to be published in the next issue of \u003cem>Shakespeare Quarterly\u003c/em>, is a collaboration between another of the Oxford project editors, Gabriel Egan, and a team of mathematicians from the University of Pennsylvania.\u003c/p>\n\u003cp>The addition of Marlowe’s name to the \u003cem>Henry VI\u003c/em> plays does not settle the question of Shakespearean authorship. Carol Rutter, a professor of Shakespeare and performance studies at the University of Warwick, \u003ca href=\"http://www.bbc.com/news/entertainment-arts-37750558\" target=\"_blank\" rel=\"noopener\">told the BBC\u003c/a>, “It will still be open for people to make up their own minds. I don’t think [Oxford University Press] putting their brand mark on an attribution settles the issue for most people.”\u003c/p>\n\u003cp>Rutter told the BBC, “I believe Shakespeare collaborated with all kinds of people … but I would be very surprised if Marlowe was one of them.”\u003c/p>\n\u003cp>As for how Marlowe’s vocabulary and style could have made it into Shakespeare’s work without direct collaboration, Rutter said: “It’s much more likely that he started his career working for a company where he was already an actor, and collaborated not with another playwright but with the actors — who will have had Marlowe very much in their heads, on the stage, in their voices. … They were the ones putting Marlowe’s influence into the plays.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Although she disagrees with the conclusion reached by Taylor and his co-editors, she told the BBC she thinks the discussion of authorship is good for Shakespearean scholarship. “We have really stopped thinking about the richness of the writing experience in the early modern theater, and by crediting Marlowe, people like Gary Taylor are making us attend to that,” she said. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Christopher+Marlowe+Officially+Credited+As+Co-Author+Of+3+Shakespeare+Plays+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oxford University Press has announced that its new edition of the complete works of William Shakespeare will credit Christopher Marlowe as a co-author on the three \u003cem>Henry VI \u003c/em>plays.\u003c/p>\n\u003cp>Despite years of controversy about the authorship of some of Shakespeare’s work, this is the first time a major publishing house has formally named Marlowe as a co-author.\u003c/p>\n\u003cp>\u003ca href=\"http://guides.nyu.edu/c.php?g=276645&p=1848338\" target=\"_blank\" rel=\"noopener\">Christopher Marlowe\u003c/a> is a 16th century British poet and playwright. The extent of his possible influence on (or even collaboration with) William Shakespeare is the subject of much academic scholarship, \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=92142217\" target=\"_blank\" rel=\"noopener\">as NPR has reported\u003c/a>, but for many years, mainstream academics had mostly derided efforts of independent scholars who challenged the authorship of plays attributed to Shakespeare.\u003c/p>\n\u003cp>The \u003ca href=\"https://global.oup.com/academic/product/the-new-oxford-shakespeare-modern-critical-edition-9780199591152?cc=us&lang=en&\" target=\"_blank\" rel=\"noopener\">new Oxford edition\u003c/a>, which will be available in November, was edited by four Shakespeare scholars: Gary Taylor of Florida State University, John Jowett of the University of Birmingham, Terri Bourus of Indiana University and Gabriel Egan of De Montfort University.\u003c/p>\n\u003cp>Taylor tells NPR the conclusion that Marlowe should be credited as co-author is partly based on a combination of new and old research. In particular, Taylor cited \u003ca href=\"https://www.documentcloud.org/documents/3171247-14104-32558-1-PB.html\" target=\"_blank\" rel=\"noopener\">2009 research\u003c/a> by Hugh Craig and Arthur Kinney that analyzed vocabulary from the \u003cem>Henry VI\u003c/em> plays and compared it to plays known to have been written by Marlowe, and \u003ca href=\"http://www.tandfonline.com/doi/full/10.1080/17450918.2015.1102166\" target=\"_blank\" rel=\"noopener\">a 2015 article\u003c/a> by John Nance analyzing the prose of Part 2 of \u003cem>Henry VI\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Taylor himself has published scholarly work on Marlowe and Shakespeare, \u003ca href=\"https://www.cambridge.org/core/books/shakespeare-survey/imitation-or-collaboration-marlowe-and-the-early-shakespeare-canon/2C00942D8A046D2AD2BC94ED9E4F4B53\" target=\"_blank\" rel=\"noopener\">including work from last year\u003c/a> titled \u003cem>Imitation or Collaboration? Marlowe and the Early Shakespeare Canon, \u003c/em>on which he collaborated with Nance.\u003c/p>\n\u003cp>“All these publications have been subjected to rigorous peer-review,” Taylor told NPR in an email.\u003c/p>\n\u003cp>He said there is also new work by Craig and another Shakespeare scholar, John Burrow, that is specifically on \u003cem>Henry VI, Part 3,\u003c/em> and will be published in a \u003ca href=\"https://global.oup.com/academic/product/the-new-oxford-shakespeare-authorship-companion-9780199591169?cc=us&lang=en&\" target=\"_blank\" rel=\"noopener\">companion text devoted entirely to research on the authorship\u003c/a> of work attributed to Shakespeare. The chapter on the third part of \u003cem>Henry VI\u003c/em> is one of 25 chapters on authorship, written by 18 scholars in five countries, according to Taylor.\u003c/p>\n\u003cp>Oxford University Press \u003ca href=\"https://www.washingtonpost.com/entertainment/oxford-says-shakespeare-will-share-credit-for-henry-vi/2016/10/24/69912bea-99db-11e6-b552-b1f85e484086_story.html\" target=\"_blank\" rel=\"noopener\">told The Associated Press\u003c/a> that “identifying Marlowe’s hand in the \u003cem>Henry VI\u003c/em> plays is just one of the fresh features of this project.”\u003c/p>\n\u003cp>Much of the authorship analysis is quite technical because it involves analyzing every word of entire plays, looking for patterns and clues. For example, an article on Marlowe’s presence in the \u003cem>Henry VI\u003c/em> plays, due to be published in the next issue of \u003cem>Shakespeare Quarterly\u003c/em>, is a collaboration between another of the Oxford project editors, Gabriel Egan, and a team of mathematicians from the University of Pennsylvania.\u003c/p>\n\u003cp>The addition of Marlowe’s name to the \u003cem>Henry VI\u003c/em> plays does not settle the question of Shakespearean authorship. Carol Rutter, a professor of Shakespeare and performance studies at the University of Warwick, \u003ca href=\"http://www.bbc.com/news/entertainment-arts-37750558\" target=\"_blank\" rel=\"noopener\">told the BBC\u003c/a>, “It will still be open for people to make up their own minds. I don’t think [Oxford University Press] putting their brand mark on an attribution settles the issue for most people.”\u003c/p>\n\u003cp>Rutter told the BBC, “I believe Shakespeare collaborated with all kinds of people … but I would be very surprised if Marlowe was one of them.”\u003c/p>\n\u003cp>As for how Marlowe’s vocabulary and style could have made it into Shakespeare’s work without direct collaboration, Rutter said: “It’s much more likely that he started his career working for a company where he was already an actor, and collaborated not with another playwright but with the actors — who will have had Marlowe very much in their heads, on the stage, in their voices. … They were the ones putting Marlowe’s influence into the plays.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Although she disagrees with the conclusion reached by Taylor and his co-editors, she told the BBC she thinks the discussion of authorship is good for Shakespearean scholarship. “We have really stopped thinking about the richness of the writing experience in the early modern theater, and by crediting Marlowe, people like Gary Taylor are making us attend to that,” she said. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Christopher+Marlowe+Officially+Credited+As+Co-Author+Of+3+Shakespeare+Plays+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "youth-drama-on-the-hill-offers-possibilities-after-nieto-killing",
"title": "Youth Drama 'On The Hill' Offers Possibilities After Nieto Killing",
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"content": "\u003cp>In a small classroom-turned-theater space at San Francisco’s City College, Nataly Ortiz and Stephanie Tomasulo are in the throes of rehearsing Paul S. Flores’ new play, \u003cem>On the Hill\u003c/em>.\u003c/p>\n\u003cp>Ortiz plays Tomasulo’s great grandmother, who is grieving for the loss of her daughter. She’s a few words into the scene, script tightly in hand, when Flores interrupts her.\u003c/p>\n\u003cp>“‘We are \u003ci>Guerreros\u003c/i>,’” Flores says, repeating the actor’s line back at her to emphasize the rolling r’s. “You have to say it right.”\u003c/p>\n\u003cp>Adherence to a script is more than just professional practice. In \u003cem>On The Hill\u003c/em>, staged by local youth performing arts organization Loco Bloco, Flores takes his cues from a tragedy close to home.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7jSGy-BnX-U\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The play is part documentary theater, part interpretative piece. It explores the impact of gentrification and police violence, framed by the killing of Alex Nieto, the young man who was shot to death by four cops in San Francisco’s Bernal Heights neighborhood on Mar. 21, 2014. The title of the play refers to Bernal Hill, the park where Nieto was sitting when he was attacked.\u003c/p>\n\u003cp>Flores and his actors spent months interviewing sources close to Nieto as part of the script development process. The process also included conversations after workshop performances earlier this year to get audience feedback.\u003c/p>\n\u003cfigure id=\"attachment_12232029\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12232029\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/onthehill4.jpg\" alt='Actress Stephanie Tomasulo reads her monologue off her script as the ensemble chants along for \"On The Hill.\"' width=\"1024\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-520x293.jpg 520w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Actress Stephanie Tomasulo reads her monologue off her script as the ensemble chants along for ‘On The Hill.’ \u003ccite>(Photo: Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to Nieto’s story, the piece also includes real-life narratives from the play’s own young actors. Flores and his cast ran a series of writing workshops exploring the themes brought up in Nieto’s case — loss, gentrification, and the role translation plays in the lives of immigrants and their children — as a jumping-off point from which to craft their own stories for the stage.\u003c/p>\n\u003cp>In the workshop, Tomasulo shared a story about her ailing grandmother’s final moments. The young bilingual woman spoke about how difficult it was to translate messages between her Spanish-speaking family and her grandmother’s English-speaking nurse.\u003c/p>\n\u003cfigure id=\"attachment_12232027\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12232027\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/onthehill1.jpg\" alt=\"Cast members turn to Paul S. Flores for direction during rehearsal.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-520x347.jpg 520w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Cast members turn to Paul S. Flores for direction during rehearsal. \u003ccite>(Photo: Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was deeply personal, and Paul wanted it in because it was such a powerful moment,” Tomasulo says. “From there it really just became a way of coping for me.”\u003c/p>\n\u003cp>Since the workshop and preview performances, Flores decided to refocus the piece in the wake of the hunger strike mounted by a group of artists and activists known as the \u003ca href=\"https://ww2.kqed.org/arts/2016/05/12/the-frisco-five-protest-moves-bay-area-artists-to-action/\" target=\"_blank\" rel=\"noopener\">Frisco Five \u003c/a>this summer, who were protesting increased police shootings in the city. The resignation of San Francisco Police Department (SFPD) chief Greg Suhr days later also impacted Flores’ approach to the work.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">The previews were just us cultivating interviews and feeling out the piece,” Flores says. “This second part is our anger about the lack of justice the Nietos got. Now the movement forces people to memorialize Alex and his case.”\u003c/span>\u003c/p>\n\u003cp>The latest version of the show, which opens at \u003ca href=\"http://www.brava.org/\">Brava Theater\u003c/a> in San Francisco’s Mission neighborhood on Thursday, Oct. 27, has been expanded to include both an interrogation of injustice in cases like Nieto’s, as well as a broader coming-of-age piece for youth growing up in gentrifying spaces.\u003c/p>\n\u003cfigure id=\"attachment_12232034\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12232034\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/onthehill13.jpg\" alt='Actors Melissa Gomez, Luis Ramirez Martinez and Nikki Nutterfield rehearse a scene from \"On The Hill.\"' width=\"1024\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-520x293.jpg 520w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Actors Melissa Gomez, Luis Ramirez Martinez and Nikki Nutterfield rehearse a scene from ‘On The Hill.’ \u003ccite>(Photo: Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The play is particularly relevant, especially with the current climate between police and communities of color in the city,” says cast member Nikki Nutterfield.\u003c/p>\n\u003cp>\u003cem>On The Hill\u003c/em> also juxtaposes real events with imagined situations, such as Nieto coming back to life to speak to supporters fighting for his cause. These moments of “magical realism” serve as a means of offering alternative outcomes, Flores says, especially considering that all of the SFPD officers involved in the Nieto shooting were \u003ca href=\"https://ww2.kqed.org/news/2016/03/10/jury-clears-s-f-police-officers-of-wrongdoing-in-nieto-shooting/\" target=\"_blank\" rel=\"noopener\">exonerated\u003c/a> of all wrongdoing when the case went before a jury.\u003c/p>\n\u003cp>“You have to let these events unfold and not be satisfied by what people think is the end,” Flores says. “You have to be more suspicious about what people do to wrap it up, especially when it comes to justice.”\u003c/p>\n\u003cfigure id=\"attachment_12232028\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12232028 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/onthehill2.jpg\" alt='Director and playwright Paul S. Flores watches intently as his cast rehearses scenes from \"On The Hill.\"' width=\"1024\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-520x293.jpg 520w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Director and playwright Paul S. Flores watches intently as his cast rehearses scenes from ‘On The Hill.’ \u003ccite>(Photo: Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Flores says that weaving together Nieto’s story with those of the cast members is his way of helping them understand not only the importance of the story they’re telling, but also the power each individual has in creating social change.\u003c/p>\n\u003cp>“I’m marking a piece of history with this piece of theater, and I feel honored to do that,” Flores says. “I’m also honored to build consciousness and affirm the voices of these young people in San Francisco.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘On The Hill’ plays Thursday, Oct. 27–Sunday, Oct. 30, at Brava Theater in San Francisco. For more information and tickets, visit \u003ca href=\"http://www.brava.org/current-shows/current-shows/hill/#.WAauUhIrJTY\" target=\"_blank\" rel=\"noopener\">Brava.org\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Developed in conjunction with a cast of talented, young, Bay Area actors, Paul Flores' new play addresses loss, gentrification, and the role translation plays in the lives of immigrants and their children.",
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"title": "Youth Drama 'On The Hill' Offers Possibilities After Nieto Killing | KQED",
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"headline": "Youth Drama 'On The Hill' Offers Possibilities After Nieto Killing",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a small classroom-turned-theater space at San Francisco’s City College, Nataly Ortiz and Stephanie Tomasulo are in the throes of rehearsing Paul S. Flores’ new play, \u003cem>On the Hill\u003c/em>.\u003c/p>\n\u003cp>Ortiz plays Tomasulo’s great grandmother, who is grieving for the loss of her daughter. She’s a few words into the scene, script tightly in hand, when Flores interrupts her.\u003c/p>\n\u003cp>“‘We are \u003ci>Guerreros\u003c/i>,’” Flores says, repeating the actor’s line back at her to emphasize the rolling r’s. “You have to say it right.”\u003c/p>\n\u003cp>Adherence to a script is more than just professional practice. In \u003cem>On The Hill\u003c/em>, staged by local youth performing arts organization Loco Bloco, Flores takes his cues from a tragedy close to home.\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/7jSGy-BnX-U'\n title='//www.youtube.com/embed/7jSGy-BnX-U'\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>The play is part documentary theater, part interpretative piece. It explores the impact of gentrification and police violence, framed by the killing of Alex Nieto, the young man who was shot to death by four cops in San Francisco’s Bernal Heights neighborhood on Mar. 21, 2014. The title of the play refers to Bernal Hill, the park where Nieto was sitting when he was attacked.\u003c/p>\n\u003cp>Flores and his actors spent months interviewing sources close to Nieto as part of the script development process. The process also included conversations after workshop performances earlier this year to get audience feedback.\u003c/p>\n\u003cfigure id=\"attachment_12232029\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12232029\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/onthehill4.jpg\" alt='Actress Stephanie Tomasulo reads her monologue off her script as the ensemble chants along for \"On The Hill.\"' width=\"1024\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill4-520x293.jpg 520w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Actress Stephanie Tomasulo reads her monologue off her script as the ensemble chants along for ‘On The Hill.’ \u003ccite>(Photo: Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to Nieto’s story, the piece also includes real-life narratives from the play’s own young actors. Flores and his cast ran a series of writing workshops exploring the themes brought up in Nieto’s case — loss, gentrification, and the role translation plays in the lives of immigrants and their children — as a jumping-off point from which to craft their own stories for the stage.\u003c/p>\n\u003cp>In the workshop, Tomasulo shared a story about her ailing grandmother’s final moments. The young bilingual woman spoke about how difficult it was to translate messages between her Spanish-speaking family and her grandmother’s English-speaking nurse.\u003c/p>\n\u003cfigure id=\"attachment_12232027\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12232027\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/onthehill1.jpg\" alt=\"Cast members turn to Paul S. Flores for direction during rehearsal.\" width=\"1024\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill1-520x347.jpg 520w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Cast members turn to Paul S. Flores for direction during rehearsal. \u003ccite>(Photo: Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It was deeply personal, and Paul wanted it in because it was such a powerful moment,” Tomasulo says. “From there it really just became a way of coping for me.”\u003c/p>\n\u003cp>Since the workshop and preview performances, Flores decided to refocus the piece in the wake of the hunger strike mounted by a group of artists and activists known as the \u003ca href=\"https://ww2.kqed.org/arts/2016/05/12/the-frisco-five-protest-moves-bay-area-artists-to-action/\" target=\"_blank\" rel=\"noopener\">Frisco Five \u003c/a>this summer, who were protesting increased police shootings in the city. The resignation of San Francisco Police Department (SFPD) chief Greg Suhr days later also impacted Flores’ approach to the work.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">The previews were just us cultivating interviews and feeling out the piece,” Flores says. “This second part is our anger about the lack of justice the Nietos got. Now the movement forces people to memorialize Alex and his case.”\u003c/span>\u003c/p>\n\u003cp>The latest version of the show, which opens at \u003ca href=\"http://www.brava.org/\">Brava Theater\u003c/a> in San Francisco’s Mission neighborhood on Thursday, Oct. 27, has been expanded to include both an interrogation of injustice in cases like Nieto’s, as well as a broader coming-of-age piece for youth growing up in gentrifying spaces.\u003c/p>\n\u003cfigure id=\"attachment_12232034\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12232034\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/onthehill13.jpg\" alt='Actors Melissa Gomez, Luis Ramirez Martinez and Nikki Nutterfield rehearse a scene from \"On The Hill.\"' width=\"1024\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill13-520x293.jpg 520w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Actors Melissa Gomez, Luis Ramirez Martinez and Nikki Nutterfield rehearse a scene from ‘On The Hill.’ \u003ccite>(Photo: Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The play is particularly relevant, especially with the current climate between police and communities of color in the city,” says cast member Nikki Nutterfield.\u003c/p>\n\u003cp>\u003cem>On The Hill\u003c/em> also juxtaposes real events with imagined situations, such as Nieto coming back to life to speak to supporters fighting for his cause. These moments of “magical realism” serve as a means of offering alternative outcomes, Flores says, especially considering that all of the SFPD officers involved in the Nieto shooting were \u003ca href=\"https://ww2.kqed.org/news/2016/03/10/jury-clears-s-f-police-officers-of-wrongdoing-in-nieto-shooting/\" target=\"_blank\" rel=\"noopener\">exonerated\u003c/a> of all wrongdoing when the case went before a jury.\u003c/p>\n\u003cp>“You have to let these events unfold and not be satisfied by what people think is the end,” Flores says. “You have to be more suspicious about what people do to wrap it up, especially when it comes to justice.”\u003c/p>\n\u003cfigure id=\"attachment_12232028\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12232028 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/onthehill2.jpg\" alt='Director and playwright Paul S. Flores watches intently as his cast rehearses scenes from \"On The Hill.\"' width=\"1024\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/onthehill2-520x293.jpg 520w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Director and playwright Paul S. Flores watches intently as his cast rehearses scenes from ‘On The Hill.’ \u003ccite>(Photo: Creo Noveno/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Flores says that weaving together Nieto’s story with those of the cast members is his way of helping them understand not only the importance of the story they’re telling, but also the power each individual has in creating social change.\u003c/p>\n\u003cp>“I’m marking a piece of history with this piece of theater, and I feel honored to do that,” Flores says. “I’m also honored to build consciousness and affirm the voices of these young people in San Francisco.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘On The Hill’ plays Thursday, Oct. 27–Sunday, Oct. 30, at Brava Theater in San Francisco. For more information and tickets, visit \u003ca href=\"http://www.brava.org/current-shows/current-shows/hill/#.WAauUhIrJTY\" target=\"_blank\" rel=\"noopener\">Brava.org\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Thrillpeddlers' Annual Theatrical Bloodbath High on Guts, Low on Art",
"headTitle": "Thrillpeddlers’ Annual Theatrical Bloodbath High on Guts, Low on Art | KQED",
"content": "\u003cp>San Francisco is a city of glistening surfaces — a mad display of wealth, talent, and inspiration. Thrillpeddlers theater company, which produces its own crazed vision of the “Grand Guignol” style — think of Hammer Studios at its kitschy goriest, only on stage — possesses a similar brashness to the city the 17-year-old company calls home, though in a kind of underground theater way. What connects this city and this company is a commitment to the sensational, a belief in the outlandish gesture, and a headlong rush to the spectacular ending that negates everything that comes before it.\u003c/p>\n\u003cp>It’s an aesthetic that’s meant to disgust and please, and the four one-act plays Thrillpeddlers presents in the latest edition of its annual Halloween celebration of the sick and depraved, \u003cem>Shocktoberfest 17: Pyramid of Freaks\u003c/em>, do so with varying degrees of success.\u003c/p>\n\u003cp>Yet, all four works are remarkably similar in effect. The first two, \u003cem>The Haunted House\u003c/em> and \u003cem>The Hellgrammite Method,\u003c/em> aren’t much as plays: the former is just a few sketchily written scenes on its way to a violent, bloody end; and the latter, originally written for the revival of \u003cem>The Twilight Zone\u003c/em> television series, makes an awkward transition to the stage.\u003c/p>\n\u003cfigure id=\"attachment_12224091\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12224091\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Shock-5-drunk-e1476851298648-800x450.jpg\" alt=\"(L to R) Dan Foley as an out of control alcoholic and CJ Smith as his mysterious doctor in the Thrillpeddlers' production of 'The Hellgrammite Method' by William Selby.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shock-5-drunk-e1476851298648-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shock-5-drunk-e1476851298648-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shock-5-drunk-e1476851298648-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shock-5-drunk-e1476851298648-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shock-5-drunk-e1476851298648-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shock-5-drunk-e1476851298648-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Dan Foley as an out of control alcoholic and CJ Smith as his mysterious doctor in the Thrillpeddlers’ production of ‘The Hellgrammite Method’ by William Selby. \u003ccite>(Photo: David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What’s surprising is that the leads in both of the first two plays, James Jeske in \u003cem>The Haunted House\u003c/em> and Dan Foley in \u003cem>The Hellgrammite Method\u003c/em>, are tremendous. They rise above the unconvincing writing and shaky supporting casts to take on every single moment as if it were of the most vital importance. One might say that it’s the consolation of excellence no matter where it might appear. And the effect — the balance between the slipshod and the inspired — both haunts and damns the entire evening.\u003c/p>\n\u003cp>Thrillpeddlers has a terrific reputation. Audiences and critics at \u003cem>The San Francisco Chronicle\u003c/em>, \u003cem>SF Weekly\u003c/em>, and \u003cem>KQED Arts\u003c/em> find the company’s mixture of louche horror and high-octane camp a delight. I’m not so sure. And the issues, at least for me, become a great deal murkier in the second half of the program. The plays, \u003cem>Demon Train to Sodom\u003c/em> and \u003cem>Pyramid of Freaks\u003c/em>, are much better. The overall acting is much more consistent, but the failures of production and execution veer into real nastiness.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Scrumbly Koldewyn, an original founder of the legendary theatrical pranksters the Cockettes and a regular Thrillpeddlers collaborator, has more than a few tricks up his sleeve. His play, \u003cem>Demon Train to Sodom,\u003c/em> liberally sprinkles bits of the Cockettes’ musical lampoons, French sex farces, and Charles Ludlam’s Theater of the Ridiculous into what the program describes as a “\u003cem>Pulp Fiction\u003c/em> Musical.”\u003c/p>\n\u003cp>You can’t help but admire the way the author slips from the “don’t stop at that farm even though there’s a sexy girl waving at you” routine to a full-scale musical revue with a chorus of demons ready to show our hero, Michael, the joys of hell and sinful living. Conceptually, the invention here is a delight, but it’s undermined by an insistent laziness.\u003c/p>\n\u003cfigure id=\"attachment_12224286\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12224286\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Shock-4-farm-e1476852019592-800x447.jpg\" alt=\"(L to R) A farmer (James Jeske) takes possession of the innocent Michael (Earl Alfred Paus) in more ways than one in the Thrillpeddlers' 'Demon Train to Sodom' by Scrumbly Kodewyn.\" width=\"800\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shock-4-farm-e1476852019592-800x447.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shock-4-farm-e1476852019592-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shock-4-farm-e1476852019592-768x429.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shock-4-farm-e1476852019592-1180x659.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shock-4-farm-e1476852019592-960x537.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shock-4-farm-e1476852019592.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) A farmer (James Jeske) takes possession of the innocent Michael (Earl Alfred Paus) in more ways than one in the Thrillpeddlers’ ‘Demon Train to Sodom’ by Scrumbly Kodewyn. \u003ccite>(Photo: David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the play, Michael is sexually assaulted a number of times. Each assault is so poorly executed — both in the writing and in the production — that the whole enterprise starts to feel ethically suspect. The perfunctory nature of the blocking, the way Michael’s shorts are lazily pulled down to reveal his bare ass, is a problem. It’s not that it happens. It’s that it doesn’t seem to matter to the writer, the director, the actors, or the company. It’s just one more random event among many.\u003c/p>\n\u003cp>We know that there are no limits to art or entertainment. Yet still debasement (Thrillpeddlers’ metier) is only as interesting as the care with which it’s depicted. It reminds me of Black Francis of the Pixies screaming that he wants to grow “up to be / be a debaser.” But in the fractured logic of \u003ca href=\"https://www.youtube.com/watch?v=hWYVGiPEEpc\">the song\u003c/a>, Francis comes to that conclusion only after seeing a work of incredible art, \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=054OIVlmjUM\">Un Chien Andalou\u003c/a>, \u003c/em>that is almost perfect in its execution — as opposed to the multiple assaults in \u003cem>Demon Train to Sodom\u003c/em>, which along with a great deal more in the production are sloughed off with a cavalier amateurishness.\u003c/p>\n\u003cp>And that leaves us with Rob Keefe’s \u003cem>Pyramid of Freaks\u003c/em>, a symptom of — and possible antidote to — what feels like an addiction to pure sensation on the part of the ‘peddlers. Director Noah Haydon gives the production a loose-leafed rhythm that underplays the jokes and allows Keefe’s tale of a circus strongman who murders roustabouts and eats their hearts to find its own sense, no matter how odd and degraded the action on stage might be.\u003c/p>\n\u003cp>The play has a sharp sense of the everyday. Freaks, roustabouts, and management go about their business, play cards, bicker, and gripe about work. Even the murderous Tozzini, an excellent David Bicha, has a difficult home life with his wife and their two half-dog, half-human children. The detective who’s after him is like everyone else, just trying to do his job.\u003c/p>\n\u003cfigure id=\"attachment_12224288\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12224288\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Shock-2-family-e1476852588235-800x450.jpg\" alt=\"(L to R) Madame Banga (Zelda Koznofski) and Tozzini (David Bicha) share some time with their dog children (Alix Feinsod and Earl Alfred Paus) in the Thrillpeddlers' production of 'Pyramid of Freaks' by Rob Keefe.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shock-2-family-e1476852588235-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shock-2-family-e1476852588235-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shock-2-family-e1476852588235-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shock-2-family-e1476852588235-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shock-2-family-e1476852588235-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shock-2-family-e1476852588235-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Madame Banga (Zelda Koznofski) and Tozzini (David Bicha) share some time with their dog children (Alix Feinsod and Earl Alfred Paus) in the Thrillpeddlers’ production of ‘Pyramid of Freaks’ by Rob Keefe. \u003ccite>(Photo: David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unfortunately, Keefe loses grip of the ordinary, or seems to lose patience with the joys of a nightmare that slowly unfolds. Instead, he speeds his way to the end and gives the audience the blood bath they’ve come for. So I guess it’s true that haste makes waste. It’s not the blood and violence that fails, of which there is plenty. It’s the rush to get to it against any kind of sense, dramatic rhythm, or care. You feel that Keefe loses interest in his own talent and is just happy to disgust us, where with greater care he could have made that disgust brilliant.\u003c/p>\n\u003cp>So we’re in a tiny theater South of Market and here’s a small company that’s thriving amidst the chaos of the voracious San Francisco scene. And yet its success, which is admirable, seems less a case of survival and more one of parasitic adaption, as neither the company nor city seems especially interested in human beings, or how the world has suddenly become so astounding and ugly at the same time. Art should care about completing itself, as a city should care about more than its glossy exteriors. The life we live and depict should aways exceed its shiny, bloody end.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Shocktoberfest 17: Pyramid of Freaks’ runs through Monday, Oct. 31, at The Hypnodrome in San Francisco. Tickets and information \u003ca href=\"http://thrillpeddlers.com\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The four one-act plays in the San Francisco company's latest annual Halloween show, 'Shocktoberfest 17: Pyramid of Freaks,' feature some great acting, but mostly disappointing writing and staging.",
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"description": "The four one-act plays in the San Francisco company's latest annual Halloween show, 'Shocktoberfest 17: Pyramid of Freaks,' feature some great acting, but mostly disappointing writing and staging.",
"title": "Thrillpeddlers' Annual Theatrical Bloodbath High on Guts, Low on Art | KQED",
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"headline": "Thrillpeddlers' Annual Theatrical Bloodbath High on Guts, Low on Art",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco is a city of glistening surfaces — a mad display of wealth, talent, and inspiration. Thrillpeddlers theater company, which produces its own crazed vision of the “Grand Guignol” style — think of Hammer Studios at its kitschy goriest, only on stage — possesses a similar brashness to the city the 17-year-old company calls home, though in a kind of underground theater way. What connects this city and this company is a commitment to the sensational, a belief in the outlandish gesture, and a headlong rush to the spectacular ending that negates everything that comes before it.\u003c/p>\n\u003cp>It’s an aesthetic that’s meant to disgust and please, and the four one-act plays Thrillpeddlers presents in the latest edition of its annual Halloween celebration of the sick and depraved, \u003cem>Shocktoberfest 17: Pyramid of Freaks\u003c/em>, do so with varying degrees of success.\u003c/p>\n\u003cp>Yet, all four works are remarkably similar in effect. The first two, \u003cem>The Haunted House\u003c/em> and \u003cem>The Hellgrammite Method,\u003c/em> aren’t much as plays: the former is just a few sketchily written scenes on its way to a violent, bloody end; and the latter, originally written for the revival of \u003cem>The Twilight Zone\u003c/em> television series, makes an awkward transition to the stage.\u003c/p>\n\u003cfigure id=\"attachment_12224091\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12224091\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Shock-5-drunk-e1476851298648-800x450.jpg\" alt=\"(L to R) Dan Foley as an out of control alcoholic and CJ Smith as his mysterious doctor in the Thrillpeddlers' production of 'The Hellgrammite Method' by William Selby.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shock-5-drunk-e1476851298648-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shock-5-drunk-e1476851298648-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shock-5-drunk-e1476851298648-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shock-5-drunk-e1476851298648-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shock-5-drunk-e1476851298648-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shock-5-drunk-e1476851298648-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Dan Foley as an out of control alcoholic and CJ Smith as his mysterious doctor in the Thrillpeddlers’ production of ‘The Hellgrammite Method’ by William Selby. \u003ccite>(Photo: David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What’s surprising is that the leads in both of the first two plays, James Jeske in \u003cem>The Haunted House\u003c/em> and Dan Foley in \u003cem>The Hellgrammite Method\u003c/em>, are tremendous. They rise above the unconvincing writing and shaky supporting casts to take on every single moment as if it were of the most vital importance. One might say that it’s the consolation of excellence no matter where it might appear. And the effect — the balance between the slipshod and the inspired — both haunts and damns the entire evening.\u003c/p>\n\u003cp>Thrillpeddlers has a terrific reputation. Audiences and critics at \u003cem>The San Francisco Chronicle\u003c/em>, \u003cem>SF Weekly\u003c/em>, and \u003cem>KQED Arts\u003c/em> find the company’s mixture of louche horror and high-octane camp a delight. I’m not so sure. And the issues, at least for me, become a great deal murkier in the second half of the program. The plays, \u003cem>Demon Train to Sodom\u003c/em> and \u003cem>Pyramid of Freaks\u003c/em>, are much better. The overall acting is much more consistent, but the failures of production and execution veer into real nastiness.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Scrumbly Koldewyn, an original founder of the legendary theatrical pranksters the Cockettes and a regular Thrillpeddlers collaborator, has more than a few tricks up his sleeve. His play, \u003cem>Demon Train to Sodom,\u003c/em> liberally sprinkles bits of the Cockettes’ musical lampoons, French sex farces, and Charles Ludlam’s Theater of the Ridiculous into what the program describes as a “\u003cem>Pulp Fiction\u003c/em> Musical.”\u003c/p>\n\u003cp>You can’t help but admire the way the author slips from the “don’t stop at that farm even though there’s a sexy girl waving at you” routine to a full-scale musical revue with a chorus of demons ready to show our hero, Michael, the joys of hell and sinful living. Conceptually, the invention here is a delight, but it’s undermined by an insistent laziness.\u003c/p>\n\u003cfigure id=\"attachment_12224286\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12224286\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Shock-4-farm-e1476852019592-800x447.jpg\" alt=\"(L to R) A farmer (James Jeske) takes possession of the innocent Michael (Earl Alfred Paus) in more ways than one in the Thrillpeddlers' 'Demon Train to Sodom' by Scrumbly Kodewyn.\" width=\"800\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shock-4-farm-e1476852019592-800x447.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shock-4-farm-e1476852019592-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shock-4-farm-e1476852019592-768x429.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shock-4-farm-e1476852019592-1180x659.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shock-4-farm-e1476852019592-960x537.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shock-4-farm-e1476852019592.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) A farmer (James Jeske) takes possession of the innocent Michael (Earl Alfred Paus) in more ways than one in the Thrillpeddlers’ ‘Demon Train to Sodom’ by Scrumbly Kodewyn. \u003ccite>(Photo: David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the play, Michael is sexually assaulted a number of times. Each assault is so poorly executed — both in the writing and in the production — that the whole enterprise starts to feel ethically suspect. The perfunctory nature of the blocking, the way Michael’s shorts are lazily pulled down to reveal his bare ass, is a problem. It’s not that it happens. It’s that it doesn’t seem to matter to the writer, the director, the actors, or the company. It’s just one more random event among many.\u003c/p>\n\u003cp>We know that there are no limits to art or entertainment. Yet still debasement (Thrillpeddlers’ metier) is only as interesting as the care with which it’s depicted. It reminds me of Black Francis of the Pixies screaming that he wants to grow “up to be / be a debaser.” But in the fractured logic of \u003ca href=\"https://www.youtube.com/watch?v=hWYVGiPEEpc\">the song\u003c/a>, Francis comes to that conclusion only after seeing a work of incredible art, \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=054OIVlmjUM\">Un Chien Andalou\u003c/a>, \u003c/em>that is almost perfect in its execution — as opposed to the multiple assaults in \u003cem>Demon Train to Sodom\u003c/em>, which along with a great deal more in the production are sloughed off with a cavalier amateurishness.\u003c/p>\n\u003cp>And that leaves us with Rob Keefe’s \u003cem>Pyramid of Freaks\u003c/em>, a symptom of — and possible antidote to — what feels like an addiction to pure sensation on the part of the ‘peddlers. Director Noah Haydon gives the production a loose-leafed rhythm that underplays the jokes and allows Keefe’s tale of a circus strongman who murders roustabouts and eats their hearts to find its own sense, no matter how odd and degraded the action on stage might be.\u003c/p>\n\u003cp>The play has a sharp sense of the everyday. Freaks, roustabouts, and management go about their business, play cards, bicker, and gripe about work. Even the murderous Tozzini, an excellent David Bicha, has a difficult home life with his wife and their two half-dog, half-human children. The detective who’s after him is like everyone else, just trying to do his job.\u003c/p>\n\u003cfigure id=\"attachment_12224288\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12224288\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Shock-2-family-e1476852588235-800x450.jpg\" alt=\"(L to R) Madame Banga (Zelda Koznofski) and Tozzini (David Bicha) share some time with their dog children (Alix Feinsod and Earl Alfred Paus) in the Thrillpeddlers' production of 'Pyramid of Freaks' by Rob Keefe.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shock-2-family-e1476852588235-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shock-2-family-e1476852588235-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shock-2-family-e1476852588235-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shock-2-family-e1476852588235-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shock-2-family-e1476852588235-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shock-2-family-e1476852588235-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Madame Banga (Zelda Koznofski) and Tozzini (David Bicha) share some time with their dog children (Alix Feinsod and Earl Alfred Paus) in the Thrillpeddlers’ production of ‘Pyramid of Freaks’ by Rob Keefe. \u003ccite>(Photo: David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unfortunately, Keefe loses grip of the ordinary, or seems to lose patience with the joys of a nightmare that slowly unfolds. Instead, he speeds his way to the end and gives the audience the blood bath they’ve come for. So I guess it’s true that haste makes waste. It’s not the blood and violence that fails, of which there is plenty. It’s the rush to get to it against any kind of sense, dramatic rhythm, or care. You feel that Keefe loses interest in his own talent and is just happy to disgust us, where with greater care he could have made that disgust brilliant.\u003c/p>\n\u003cp>So we’re in a tiny theater South of Market and here’s a small company that’s thriving amidst the chaos of the voracious San Francisco scene. And yet its success, which is admirable, seems less a case of survival and more one of parasitic adaption, as neither the company nor city seems especially interested in human beings, or how the world has suddenly become so astounding and ugly at the same time. Art should care about completing itself, as a city should care about more than its glossy exteriors. The life we live and depict should aways exceed its shiny, bloody end.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Shocktoberfest 17: Pyramid of Freaks’ runs through Monday, Oct. 31, at The Hypnodrome in San Francisco. Tickets and information \u003ca href=\"http://thrillpeddlers.com\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cy-and-davids-picks-tribute-to-a-vibraphonist-unraveling-a-hard-problem-and-what-is-beauty",
"title": "Cy and David's Picks: Tribute to a Vibraphonist, Unraveling a Hard Problem, and What is Beauty",
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"content": "\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/289227316″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”165″ iframe=”true” /]\u003c/p>\n\u003cp>It’s another full week with tough choices at the Do List. We had room for just a shoutout to Oakland band \u003ca href=\"http://www.theseshen.com/\" target=\"_blank\" rel=\"noopener\">The Seshen’s \u003c/a>new album and record-release concert on \u003ca href=\"http://www.theuctheatre.org/event/1284767-seshen-berkeley/\" target=\"_blank\" rel=\"noopener\">Saturday, Oct. 22 at the UC Theatre\u003c/a> (such heartfelt R&B) with our friends \u003ca href=\"http://bellsatlas.com/\" target=\"_blank\" rel=\"noopener\">Bells Atlas\u003c/a> opening; and a shoutout for Brava Theatre’s presentation of \u003ca href=\"http://www.brava.org/current-shows/current-shows/hill/#.WAkQZfkrKJA\" target=\"_blank\" rel=\"noopener\">\u003cem>On the Hill, I Am Alex Nieto\u003c/em> (Oct. 27–30) \u003c/a>about the young man killed by San Francisco police. \u003ca href=\"https://ww2.kqed.org/arts/2016/04/25/alex-nieto-police-shooting-spurs-young-actors-to-reclaim-their-neighborhood-identity/\" target=\"_blank\" rel=\"noopener\">(See our KQED Arts video here)\u003c/a>. Plus please take \u003ca href=\"https://ww2.kqed.org/arts/2016/10/11/take-the-do-list-survey-you-might-win-kqed-swag/\" target=\"_blank\" rel=\"noopener\">The Do List Survey\u003c/a>, and help us make our show better. Enough. It’s a great list, so read (or listen) on.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DqEseMoPZ-o\u003c/p>\n\u003cp>\u003cstrong>Oct. 23\u003c/strong>: The late Bobby Hutcherson played vibraphones with warmth even in his most experimental work (check \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Out_to_Lunch!\" target=\"_blank\" rel=\"noopener\">Out to Lunch\u003c/a> \u003c/em>with Eric Dolphy). Over six decades, he led bands and worked with greats like Dolphy, Jackie McLean, McCoy Tyner, Billy Higgins, Joe Chambers, and Herbie Hancock. He was an inaugural member of the \u003ca href=\"https://www.sfjazz.org/sfjazzcollective\" target=\"_blank\" rel=\"noopener\">SFJAZZ Collective\u003c/a>, and on Oct. 23, SFJAZZ honors him with a concert featuring former collaborators like McCoy Tyner, George Cables, Hubert Laws, John Handy and more. Hutcherson died of chronic obstructive pulmonary disease — he always had an oxygen tank onstage during his final performances — and proceeds will go to pay for medical expenses for the Hutcherson family. \u003ca href=\"https://www.sfjazz.org/bobbyhutchersonmemorial\" target=\"_blank\" rel=\"noopener\">Details are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12231620\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12231620\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-800x546.jpg\" alt=\"Work by the LA based furnishing makers Nikolai and Simon Haas, part of the show 'Beauty' at the San Jose Museum of Art\" width=\"800\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-1020x696.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-960x655.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-520x355.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art.jpg 1050w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Work by the LA based furnishing makers Nikolai and Simon Haas, part of the show ‘Beauty’ at the San Jose Museum of Art \u003ccite>(Photo: Joe Kramm/R & Company and SJ Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Feb. 19\u003c/strong>: What is beauty? You’ll find a few good theories at the show \u003ca href=\"http://sjmusart.org/exhibition/beauty-cooper-hewitt-design-triennial\" target=\"_blank\" rel=\"noopener\">\u003cem>Beauty \u003c/em>\u003c/a>that’s now running at the San Jose Museum of Art. This is the design triennial curated by the \u003ca href=\"http://www.cooperhewitt.org/\" target=\"_blank\" rel=\"noopener\">Cooper Hewitt Museum\u003c/a> in New York City, and a perfect match for\u003cbr>\nSilicon Valley, since there are more digital and tech-product designers working in the Bay Area than anywhere else in the world.\u003cbr>\nThe exhibit features everything from experimental prototypes and interactive games to tech, fashion and architecture. I love this definition for beauty from the designer \u003ca href=\"http://www.cristinagrajalesinc.com/artists/hechizoo-textiles\" target=\"_blank\" rel=\"noopener\">Hechizoo\u003c/a> (who’s in the show): “When you see beauty, you have this moment of silence, of stillness.” Details are \u003ca href=\"http://sjmusart.org/exhibition/beauty-cooper-hewitt-design-triennial\" target=\"_blank\" rel=\"noopener\">here. \u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=O2K0ptoYpuc\u003c/p>\n\u003cp>\u003cstrong>Oct. 26 and Oct. 30\u003c/strong>: Tabla master and Bay Area resident \u003ca href=\"http://www.zakirhussain.com/\" target=\"_blank\" rel=\"noopener\">Zakir Hussain\u003c/a>’s fingers fly on the tabla (Indian drums similar to bongo drums), but it’s always in the service of telling a story. He loves collaborating with younger performers, and on this tour, Hussain is working with sitarist \u003ca href=\"http://www.niladrikumar.com/\" target=\"_blank\" rel=\"noopener\">Niladri Kumar\u003c/a>, whose father Hussain played with years ago. Playing with younger musicians, Hussain said recently, “stokes the fire under me and gets me going more.” Hussain is a longtime Deadhead, and he and Kumar will be joined at the Cal Performances show by former Grateful Dead drummer Micky Hart as a guest. Details for their \u003ca href=\"https://calperformances.org/performances/2016-17/world-stage/zakir-hussain-niladri-kumar.php\" target=\"_blank\" rel=\"noopener\">Zellerbach Hall show on Oct. 26 are here\u003c/a>, and for their their \u003ca href=\"http://gmc.sonoma.edu/event/3123035-zakir-hussain-niladri-kumar\" target=\"_blank\" rel=\"noopener\">Oct. 30 show at the Green Music Center here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12231819\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12231819\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/070_THP-800x533.jpg\" alt=\"Brenda Meaney and Vandit Bhatt in Tom Stoppard's 'The Hard Problem' continues at the American Conservatory Theater through Nov. 13\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brenda Meaney and Vandit Bhatt in Tom Stoppard’s ‘The Hard Problem’ continues at the American Conservatory Theater through Nov. 13 \u003ccite>(Photo: Kevin Berne/ACT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Nov. 13\u003c/strong>: Tom Stoppard writes dense, smart plays chock full of ideas. His newest is no exception. \u003cem>The Hard Problem\u003c/em> is about a young scientist, a psychologist, exploring the nature of consciousness and altruism — of goodness. This is Stoppard’s 11th time working with director Carey Perloff, artistic director for \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">American Conservatory Theater\u003c/a>, and Stoppard told me they make a terrific team. “The great thing about Carey,” said Stoppard during a break in rehearsal, “is she never puts a fence up around herself. She likes her writer to be involved. And above all, she likes my kind of theater. She’s in love with words and ideas. And we just blend very well.” The plays can demand that audiences drink more coffee than cocktails at intermission, but Stoppard is often deft at storytelling too. In this case, there’s a plot involving a lost baby and a wealthy hedge-fund manager. And Stoppard was most flattering about San Francisco audiences and how keen they are to be challenged. “There are cities, no doubt, where some of the audience might say: ‘Listen, you lost me, goodbye.’ In San Francisco, they might say: ‘Listen, you lost me. I’ll come again.’” Details for the show are \u003ca href=\"http://www.act-sf.org/home/box_office/1617_season/the_hard_problem.html\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BgqAmZHkkTg\u003cbr>\n\u003cstrong>Oct. 21 and 22\u003c/strong>: You can see \u003ca href=\"http://www.kishibashi.com/#intro\" target=\"_blank\" rel=\"noopener\">Kishi Bashi\u003c/a> in his one-man band, live-looping like crazy in the NPR Tiny Desk Concert show above. But he worked more collaboratively (with producer Chris Taylor, engineer Pat Dillet, and drummer Matt Chamberlain) on his new album \u003cem>Sonderlust, \u003c/em>that is “straight from my soul.” The new work is still trademark Kishi Bashi, with lush synths and strings, but with an edge of sadness and loss that sneaks up on you. Kishi Bashi says the songs are about heartbreak, after his success and touring schedule put strains on his marriage. Details for Kishi Bashi’s shows at the \u003ca href=\"http://thefillmore.com/event/kishi-bashi-with-busmans-holiday/\" target=\"_blank\" rel=\"noopener\">Fillmore tonight\u003c/a> \u003ca href=\"http://thefillmore.com/event/kishi-bashi-with-busmans-holiday/\" target=\"_blank\" rel=\"noopener\">are here\u003c/a> and his show at \u003ca href=\"http://www.catalystclub.com/event/1251401-kishi-bashi-santa-cruz/\" target=\"_blank\" rel=\"noopener\">Catalyst in Santa Cruz here.\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”165″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/289227316″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/289227316″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It’s another full week with tough choices at the Do List. We had room for just a shoutout to Oakland band \u003ca href=\"http://www.theseshen.com/\" target=\"_blank\" rel=\"noopener\">The Seshen’s \u003c/a>new album and record-release concert on \u003ca href=\"http://www.theuctheatre.org/event/1284767-seshen-berkeley/\" target=\"_blank\" rel=\"noopener\">Saturday, Oct. 22 at the UC Theatre\u003c/a> (such heartfelt R&B) with our friends \u003ca href=\"http://bellsatlas.com/\" target=\"_blank\" rel=\"noopener\">Bells Atlas\u003c/a> opening; and a shoutout for Brava Theatre’s presentation of \u003ca href=\"http://www.brava.org/current-shows/current-shows/hill/#.WAkQZfkrKJA\" target=\"_blank\" rel=\"noopener\">\u003cem>On the Hill, I Am Alex Nieto\u003c/em> (Oct. 27–30) \u003c/a>about the young man killed by San Francisco police. \u003ca href=\"https://ww2.kqed.org/arts/2016/04/25/alex-nieto-police-shooting-spurs-young-actors-to-reclaim-their-neighborhood-identity/\" target=\"_blank\" rel=\"noopener\">(See our KQED Arts video here)\u003c/a>. Plus please take \u003ca href=\"https://ww2.kqed.org/arts/2016/10/11/take-the-do-list-survey-you-might-win-kqed-swag/\" target=\"_blank\" rel=\"noopener\">The Do List Survey\u003c/a>, and help us make our show better. Enough. It’s a great list, so read (or listen) on.\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/DqEseMoPZ-o'\n title='//www.youtube.com/embed/DqEseMoPZ-o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Oct. 23\u003c/strong>: The late Bobby Hutcherson played vibraphones with warmth even in his most experimental work (check \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Out_to_Lunch!\" target=\"_blank\" rel=\"noopener\">Out to Lunch\u003c/a> \u003c/em>with Eric Dolphy). Over six decades, he led bands and worked with greats like Dolphy, Jackie McLean, McCoy Tyner, Billy Higgins, Joe Chambers, and Herbie Hancock. He was an inaugural member of the \u003ca href=\"https://www.sfjazz.org/sfjazzcollective\" target=\"_blank\" rel=\"noopener\">SFJAZZ Collective\u003c/a>, and on Oct. 23, SFJAZZ honors him with a concert featuring former collaborators like McCoy Tyner, George Cables, Hubert Laws, John Handy and more. Hutcherson died of chronic obstructive pulmonary disease — he always had an oxygen tank onstage during his final performances — and proceeds will go to pay for medical expenses for the Hutcherson family. \u003ca href=\"https://www.sfjazz.org/bobbyhutchersonmemorial\" target=\"_blank\" rel=\"noopener\">Details are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12231620\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12231620\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-800x546.jpg\" alt=\"Work by the LA based furnishing makers Nikolai and Simon Haas, part of the show 'Beauty' at the San Jose Museum of Art\" width=\"800\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-1020x696.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-960x655.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art-520x355.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Beauty-at-SJ-Museum-of-Art.jpg 1050w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Work by the LA based furnishing makers Nikolai and Simon Haas, part of the show ‘Beauty’ at the San Jose Museum of Art \u003ccite>(Photo: Joe Kramm/R & Company and SJ Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Feb. 19\u003c/strong>: What is beauty? You’ll find a few good theories at the show \u003ca href=\"http://sjmusart.org/exhibition/beauty-cooper-hewitt-design-triennial\" target=\"_blank\" rel=\"noopener\">\u003cem>Beauty \u003c/em>\u003c/a>that’s now running at the San Jose Museum of Art. This is the design triennial curated by the \u003ca href=\"http://www.cooperhewitt.org/\" target=\"_blank\" rel=\"noopener\">Cooper Hewitt Museum\u003c/a> in New York City, and a perfect match for\u003cbr>\nSilicon Valley, since there are more digital and tech-product designers working in the Bay Area than anywhere else in the world.\u003cbr>\nThe exhibit features everything from experimental prototypes and interactive games to tech, fashion and architecture. I love this definition for beauty from the designer \u003ca href=\"http://www.cristinagrajalesinc.com/artists/hechizoo-textiles\" target=\"_blank\" rel=\"noopener\">Hechizoo\u003c/a> (who’s in the show): “When you see beauty, you have this moment of silence, of stillness.” Details are \u003ca href=\"http://sjmusart.org/exhibition/beauty-cooper-hewitt-design-triennial\" target=\"_blank\" rel=\"noopener\">here. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\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/O2K0ptoYpuc'\n title='//www.youtube.com/embed/O2K0ptoYpuc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Oct. 26 and Oct. 30\u003c/strong>: Tabla master and Bay Area resident \u003ca href=\"http://www.zakirhussain.com/\" target=\"_blank\" rel=\"noopener\">Zakir Hussain\u003c/a>’s fingers fly on the tabla (Indian drums similar to bongo drums), but it’s always in the service of telling a story. He loves collaborating with younger performers, and on this tour, Hussain is working with sitarist \u003ca href=\"http://www.niladrikumar.com/\" target=\"_blank\" rel=\"noopener\">Niladri Kumar\u003c/a>, whose father Hussain played with years ago. Playing with younger musicians, Hussain said recently, “stokes the fire under me and gets me going more.” Hussain is a longtime Deadhead, and he and Kumar will be joined at the Cal Performances show by former Grateful Dead drummer Micky Hart as a guest. Details for their \u003ca href=\"https://calperformances.org/performances/2016-17/world-stage/zakir-hussain-niladri-kumar.php\" target=\"_blank\" rel=\"noopener\">Zellerbach Hall show on Oct. 26 are here\u003c/a>, and for their their \u003ca href=\"http://gmc.sonoma.edu/event/3123035-zakir-hussain-niladri-kumar\" target=\"_blank\" rel=\"noopener\">Oct. 30 show at the Green Music Center here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12231819\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12231819\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/070_THP-800x533.jpg\" alt=\"Brenda Meaney and Vandit Bhatt in Tom Stoppard's 'The Hard Problem' continues at the American Conservatory Theater through Nov. 13\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/070_THP-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brenda Meaney and Vandit Bhatt in Tom Stoppard’s ‘The Hard Problem’ continues at the American Conservatory Theater through Nov. 13 \u003ccite>(Photo: Kevin Berne/ACT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Nov. 13\u003c/strong>: Tom Stoppard writes dense, smart plays chock full of ideas. His newest is no exception. \u003cem>The Hard Problem\u003c/em> is about a young scientist, a psychologist, exploring the nature of consciousness and altruism — of goodness. This is Stoppard’s 11th time working with director Carey Perloff, artistic director for \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">American Conservatory Theater\u003c/a>, and Stoppard told me they make a terrific team. “The great thing about Carey,” said Stoppard during a break in rehearsal, “is she never puts a fence up around herself. She likes her writer to be involved. And above all, she likes my kind of theater. She’s in love with words and ideas. And we just blend very well.” The plays can demand that audiences drink more coffee than cocktails at intermission, but Stoppard is often deft at storytelling too. In this case, there’s a plot involving a lost baby and a wealthy hedge-fund manager. And Stoppard was most flattering about San Francisco audiences and how keen they are to be challenged. “There are cities, no doubt, where some of the audience might say: ‘Listen, you lost me, goodbye.’ In San Francisco, they might say: ‘Listen, you lost me. I’ll come again.’” Details for the show are \u003ca href=\"http://www.act-sf.org/home/box_office/1617_season/the_hard_problem.html\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BgqAmZHkkTg\u003cbr>\n\u003cstrong>Oct. 21 and 22\u003c/strong>: You can see \u003ca href=\"http://www.kishibashi.com/#intro\" target=\"_blank\" rel=\"noopener\">Kishi Bashi\u003c/a> in his one-man band, live-looping like crazy in the NPR Tiny Desk Concert show above. But he worked more collaboratively (with producer Chris Taylor, engineer Pat Dillet, and drummer Matt Chamberlain) on his new album \u003cem>Sonderlust, \u003c/em>that is “straight from my soul.” The new work is still trademark Kishi Bashi, with lush synths and strings, but with an edge of sadness and loss that sneaks up on you. Kishi Bashi says the songs are about heartbreak, after his success and touring schedule put strains on his marriage. Details for Kishi Bashi’s shows at the \u003ca href=\"http://thefillmore.com/event/kishi-bashi-with-busmans-holiday/\" target=\"_blank\" rel=\"noopener\">Fillmore tonight\u003c/a> \u003ca href=\"http://thefillmore.com/event/kishi-bashi-with-busmans-holiday/\" target=\"_blank\" rel=\"noopener\">are here\u003c/a> and his show at \u003ca href=\"http://www.catalystclub.com/event/1251401-kishi-bashi-santa-cruz/\" target=\"_blank\" rel=\"noopener\">Catalyst in Santa Cruz here.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For decades San Francisco has embraced drag performance, while most of America shunned it as perverse. Now, drag is veering into the mainstream with the TV show “RuPaul’s Drag Race” earning an Emmy and a recent Fox remake of “The Rocky Horror Picture Show.” But in San Francisco, drag has remained subversive with a new wave of queens, to whom drag is more like punk performance art than glam dress-up. We’ll talk with San Francisco Chronicle style reporter Tony Bravo and local drag queens about the past and present of San Francisco’s drag scene.\u003c/p>\n\u003cp>\u003cstrong>Mentioned on Air:\u003c/strong>\u003c/p>\n\u003cp class=\"headline\">\u003ca href=\"http://www.sfchronicle.com/style/article/SF-s-new-wave-of-drag-queens-rebel-against-glam-8379061.php\">SF’s New Wave of Drag Queens Rebel Against Glam\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "The Startling Daring of Shotgun Players' 25th Season",
"headTitle": "The Startling Daring of Shotgun Players’ 25th Season | KQED",
"content": "\u003cp>Often the best is over before we know it. This is especially true of theater and dance, where astounding productions will vanish after two or three performances, lost but for the lucky few who took a chance on the unknown. Even the well-publicized and reviewed eventually fade away. It’s a brutal equation, and works against art’s power to gain traction over time. A novel, film, or poem will wait for you, but the theater waits for no one.\u003c/p>\n\u003cp>At Shotgun Players this month, there are such things as second chances.\u003c/p>\n\u003cp>In a normal year, Shotgun Players’ 2016 season would be a fantastic memory: five great productions, three of them — \u003ca href=\"https://ww2.kqed.org/arts/2016/04/28/what-happens-when-you-cast-hamlet-by-pulling-names-out-of-yoricks-skull/\">\u003cem>Hamlet\u003c/em>\u003c/a>, \u003ca href=\"https://ww2.kqed.org/arts/2016/06/10/shotgun-players-the-village-bike-is-a-reckless-obscene-wild-ride/\">\u003cem>The Village Bike\u003c/em>\u003c/a>, \u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2016/10/27/shotgun-players-whos-afraid-raises-edward-albee-from-the-dead/\">Who’s Afraid of Virginia Woolf?\u003c/a> — \u003c/em>sharp takes on superb, daring plays. But starting Nov. 25, Shotgun reprises these productions and more in true repertory fashion, with the company rotating between the season’s plays — sometimes up to five in one week.\u003c/p>\n\u003cfigure id=\"attachment_12345289\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12345289\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Goreview1-e1479159965417-800x448.jpg\" alt=\"(L to R) Becky (Elissa Stebbins) and Oliver (Kevin Clarke) place their faith in live over fidelity in The Shotgun Players' production of 'The Village Bike' by Penelope Skinner.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Goreview1-e1479159965417-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Goreview1-e1479159965417-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Goreview1-e1479159965417-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Goreview1-e1479159965417-1020x571.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Goreview1-e1479159965417-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Goreview1-e1479159965417-960x538.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Goreview1-e1479159965417-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Goreview1-e1479159965417-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Goreview1-e1479159965417-520x291.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Goreview1-e1479159965417.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Becky (Elissa Stebbins) and Oliver (Kevin Clarke) place their faith in life over fidelity in The Shotgun Players’ production of ‘The Village Bike’ by Penelope Skinner. \u003ccite>(Photo: Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Instead of casting from play to play, artistic director Patrick Dooley has assembled an excellent group of actors, many of them Shotgun veterans, and created a true ensemble. This is an audacious and unusual move in today’s performing arts climate where the repertory theater model, once vital, has mostly become a thing of the past. It’s ridiculously demanding of the actors — many of whom will play several different roles in the course of a few days — not to mention everyone behind the scenes.\u003c/p>\n\u003cp>Shotgun’s present season is not just a trick or a dazzling stunt of acting and production. It is, more importantly, a way of thinking about what a season of theater means. We always look back and reflect, and yet that distance filters and distorts. Shotgun has narrowed the gap so that we can feel the logic and organization of the company’s choices in the most visceral way possible.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Is Penelope Skinner’s profane and obscene \u003cem>The Village Bike\u003c/em> a rebuke to the sturdy melodrama of Heidi Schreck’s \u003cem>The Grand Concourse\u003c/em>? Or are both plays just different paths to the same awful conclusion about our vast desires?\u003c/p>\n\u003cfigure id=\"attachment_12345288\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12345288\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Goreview2-e1479160255736-800x450.jpg\" alt=\"George (David Sinaiko) thinks of rodents and humans as Nick (Josh Schell) stays drunk in The Shotgun Players' production of 'Who's Afraid of Virginia Woolf?' by Edward Albee.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Goreview2-e1479160255736-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Goreview2-e1479160255736-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Goreview2-e1479160255736-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Goreview2-e1479160255736-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Goreview2-e1479160255736-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Goreview2-e1479160255736-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Goreview2-e1479160255736-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Goreview2-e1479160255736-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Goreview2-e1479160255736-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Goreview2-e1479160255736.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">George (David Sinaiko) thinks of rodents and humans as Nick (Josh Schell) stays drunk in The Shotgun Players’ production of ‘Who’s Afraid of Virginia Woolf?’ by Edward Albee. \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Are the post-modern hijinks of Christopher Chen’s \u003ca href=\"https://ww2.kqed.org/arts/2016/09/16/shotgun-players-clever-caught-gets-caught-up-in-its-own-lies/\">\u003cem>Caught\u003c/em>\u003c/a> an extension, a riff, or a pale imitation of the meta-theatrical aspects of Shakespeare’s \u003cem>Hamlet\u003c/em>, a reloading of the famous “mousetrap” that might “catch the conscience of a king” and perhaps an audience? And isn’t Edward Albee’s \u003cem>Who’s Afraid of Virginia Woolf?\u003c/em> one nasty rat trap of a play, loaded with enough tricks and illusions to snap the neck of any rodent that might pass it by?\u003c/p>\n\u003cp>This is a chance that you shouldn’t miss; a season of carnage and caring. After all, a theater company is not one production, but many. Here is Shotgun in the multitude, its strengths and weaknesses right out in the open, daring us to take them all in. And so you should take that dare, greedily, knowing that what this company is doing is rare, special, and will soon become — as all theater is destined to be — a memory.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" 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>The Shotgun Players’ 2016 season runs from Friday, Nov. 25, through Sunday, Jan. 22, at the Ashby Stage in Berkeley. For tickets and information, \u003ca href=\"https://shotgunplayers.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Read John Wilkins’ individual reviews of ‘\u003ca href=\"https://ww2.kqed.org/arts/2016/04/28/what-happens-when-you-cast-hamlet-by-pulling-names-out-of-yoricks-skull/\">Hamlet\u003c/a>,’ ‘\u003ca href=\"https://ww2.kqed.org/arts/2016/06/10/shotgun-players-the-village-bike-is-a-reckless-obscene-wild-ride/\">The Village Bike\u003c/a>,’ ‘\u003ca href=\"https://ww2.kqed.org/arts/2016/09/16/shotgun-players-clever-caught-gets-caught-up-in-its-own-lies/\">Caught\u003c/a>,’ and ‘\u003ca href=\"https://ww2.kqed.org/arts/2016/10/27/shotgun-players-whos-afraid-raises-edward-albee-from-the-dead/\">Who’s Afraid of Virginia Woolf?\u003c/a>‘ by clicking on the title.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Starting later this month, theatergoers will be able to experience a true repertory theater experience at its best, with the company rotating between up to five plays in one week. ",
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"description": "Starting later this month, theatergoers will be able to experience a true repertory theater experience at its best, with the company rotating between up to five plays in one week. ",
"title": "The Startling Daring of Shotgun Players' 25th Season | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Often the best is over before we know it. This is especially true of theater and dance, where astounding productions will vanish after two or three performances, lost but for the lucky few who took a chance on the unknown. Even the well-publicized and reviewed eventually fade away. It’s a brutal equation, and works against art’s power to gain traction over time. A novel, film, or poem will wait for you, but the theater waits for no one.\u003c/p>\n\u003cp>At Shotgun Players this month, there are such things as second chances.\u003c/p>\n\u003cp>In a normal year, Shotgun Players’ 2016 season would be a fantastic memory: five great productions, three of them — \u003ca href=\"https://ww2.kqed.org/arts/2016/04/28/what-happens-when-you-cast-hamlet-by-pulling-names-out-of-yoricks-skull/\">\u003cem>Hamlet\u003c/em>\u003c/a>, \u003ca href=\"https://ww2.kqed.org/arts/2016/06/10/shotgun-players-the-village-bike-is-a-reckless-obscene-wild-ride/\">\u003cem>The Village Bike\u003c/em>\u003c/a>, \u003cem>\u003ca href=\"https://ww2.kqed.org/arts/2016/10/27/shotgun-players-whos-afraid-raises-edward-albee-from-the-dead/\">Who’s Afraid of Virginia Woolf?\u003c/a> — \u003c/em>sharp takes on superb, daring plays. But starting Nov. 25, Shotgun reprises these productions and more in true repertory fashion, with the company rotating between the season’s plays — sometimes up to five in one week.\u003c/p>\n\u003cfigure id=\"attachment_12345289\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12345289\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Goreview1-e1479159965417-800x448.jpg\" alt=\"(L to R) Becky (Elissa Stebbins) and Oliver (Kevin Clarke) place their faith in live over fidelity in The Shotgun Players' production of 'The Village Bike' by Penelope Skinner.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Goreview1-e1479159965417-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Goreview1-e1479159965417-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Goreview1-e1479159965417-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Goreview1-e1479159965417-1020x571.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Goreview1-e1479159965417-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Goreview1-e1479159965417-960x538.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Goreview1-e1479159965417-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Goreview1-e1479159965417-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Goreview1-e1479159965417-520x291.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Goreview1-e1479159965417.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Becky (Elissa Stebbins) and Oliver (Kevin Clarke) place their faith in life over fidelity in The Shotgun Players’ production of ‘The Village Bike’ by Penelope Skinner. \u003ccite>(Photo: Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Instead of casting from play to play, artistic director Patrick Dooley has assembled an excellent group of actors, many of them Shotgun veterans, and created a true ensemble. This is an audacious and unusual move in today’s performing arts climate where the repertory theater model, once vital, has mostly become a thing of the past. It’s ridiculously demanding of the actors — many of whom will play several different roles in the course of a few days — not to mention everyone behind the scenes.\u003c/p>\n\u003cp>Shotgun’s present season is not just a trick or a dazzling stunt of acting and production. It is, more importantly, a way of thinking about what a season of theater means. We always look back and reflect, and yet that distance filters and distorts. Shotgun has narrowed the gap so that we can feel the logic and organization of the company’s choices in the most visceral way possible.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Is Penelope Skinner’s profane and obscene \u003cem>The Village Bike\u003c/em> a rebuke to the sturdy melodrama of Heidi Schreck’s \u003cem>The Grand Concourse\u003c/em>? Or are both plays just different paths to the same awful conclusion about our vast desires?\u003c/p>\n\u003cfigure id=\"attachment_12345288\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12345288\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Goreview2-e1479160255736-800x450.jpg\" alt=\"George (David Sinaiko) thinks of rodents and humans as Nick (Josh Schell) stays drunk in The Shotgun Players' production of 'Who's Afraid of Virginia Woolf?' by Edward Albee.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Goreview2-e1479160255736-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Goreview2-e1479160255736-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Goreview2-e1479160255736-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Goreview2-e1479160255736-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Goreview2-e1479160255736-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Goreview2-e1479160255736-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Goreview2-e1479160255736-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Goreview2-e1479160255736-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Goreview2-e1479160255736-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Goreview2-e1479160255736.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">George (David Sinaiko) thinks of rodents and humans as Nick (Josh Schell) stays drunk in The Shotgun Players’ production of ‘Who’s Afraid of Virginia Woolf?’ by Edward Albee. \u003ccite>(Photo: Jessica Palopoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Are the post-modern hijinks of Christopher Chen’s \u003ca href=\"https://ww2.kqed.org/arts/2016/09/16/shotgun-players-clever-caught-gets-caught-up-in-its-own-lies/\">\u003cem>Caught\u003c/em>\u003c/a> an extension, a riff, or a pale imitation of the meta-theatrical aspects of Shakespeare’s \u003cem>Hamlet\u003c/em>, a reloading of the famous “mousetrap” that might “catch the conscience of a king” and perhaps an audience? And isn’t Edward Albee’s \u003cem>Who’s Afraid of Virginia Woolf?\u003c/em> one nasty rat trap of a play, loaded with enough tricks and illusions to snap the neck of any rodent that might pass it by?\u003c/p>\n\u003cp>This is a chance that you shouldn’t miss; a season of carnage and caring. After all, a theater company is not one production, but many. Here is Shotgun in the multitude, its strengths and weaknesses right out in the open, daring us to take them all in. And so you should take that dare, greedily, knowing that what this company is doing is rare, special, and will soon become — as all theater is destined to be — a memory.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" 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>The Shotgun Players’ 2016 season runs from Friday, Nov. 25, through Sunday, Jan. 22, at the Ashby Stage in Berkeley. For tickets and information, \u003ca href=\"https://shotgunplayers.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Read John Wilkins’ individual reviews of ‘\u003ca href=\"https://ww2.kqed.org/arts/2016/04/28/what-happens-when-you-cast-hamlet-by-pulling-names-out-of-yoricks-skull/\">Hamlet\u003c/a>,’ ‘\u003ca href=\"https://ww2.kqed.org/arts/2016/06/10/shotgun-players-the-village-bike-is-a-reckless-obscene-wild-ride/\">The Village Bike\u003c/a>,’ ‘\u003ca href=\"https://ww2.kqed.org/arts/2016/09/16/shotgun-players-clever-caught-gets-caught-up-in-its-own-lies/\">Caught\u003c/a>,’ and ‘\u003ca href=\"https://ww2.kqed.org/arts/2016/10/27/shotgun-players-whos-afraid-raises-edward-albee-from-the-dead/\">Who’s Afraid of Virginia Woolf?\u003c/a>‘ by clicking on the title.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "knight-foundation-funding-several-new-art-projects-in-san-jose",
"title": "Knight Foundation Funding Several New Art Projects in San Jose",
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"headTitle": "Knight Foundation Funding Several New Art Projects in San Jose | KQED",
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"content": "\u003cp>The \u003ca href=\"http://www.knightfoundation.org/\" target=\"_blank\" rel=\"noopener\">John S. and James L. Knight Foundation\u003c/a> announced Friday that it awarded 16 organizations in San Jose grants for a range of projects, including a play about Frankenstein that uses virtual reality and a new mobile radio station.\u003c/p>\n\u003cp>For the past six years, the foundation has awarded arts organizations in San Jose and seven other cities millions of dollars in grants for community projects.\u003c/p>\n\u003cp>“We work with grantees and discuss a number projects that we can narrow down to what they’re excited about and what best fits our strategy,” Amanda Thompson, the Knight Foundation’s officer of the arts, said.\u003c/p>\n\u003cp>Thompson says the foundation focuses on cities where they have offices, so they can choose organizations they feel can be most helpful to their local communities. Thompson adds Knight does not accept grant applications, choosing to reach out to local groups instead.\u003c/p>\n\u003cp>This year, the Knight Foundation is providing a total of $400,000 to arts organizations in San Jose, with many of the grants going to projects focused on San Jose’s diverse communities. For example, the Firebird Youth Chinese Orchestra got $10,000 to provide master classes on traditional Chinese music and instruments, with the goal producing more teachers to work with children interested in the tradition.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But the main goal of the Knight Foundation, Thompson says, is to support local art, because “if you care about art, it makes you care about your community.”\u003c/p>\n\u003cp>“We’re not importing anything,” Thompson said. “There’s already a lot of great art that reflects the community.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Below are the 2016 grant recipients and a summary of their grants, as provided by the Knight Foundation:\u003c/strong>\u003c/em>\u003cbr>\n\u003cstrong>\u003cbr>\nSymphony Silicon Valley \u003c/strong>($20,000): To experiment with new ways to draw younger audiences by launching a digital marketing campaign for the symphony’s major film score series, including its first performance of the Harry Potter film score this month.\u003cbr>\n\u003cstrong>\u003cbr>\nSan Jose State University School of Music and Dance\u003c/strong> ($10,000): To engage audiences with a semi-staged version of Mendelssohn’s great oratorio “Elijah,” remaining faithful to the composer’s music and updated with live action and digitally generated media that challenge the audience to experience the biblical story in the context of some of the pressing issues of modern life.\u003c/p>\n\u003cp>\u003cstrong>Firebird Chamber Orchestra\u003c/strong> ($10,000): To improve instruction of traditional Chinese music and instruments through master classes for teachers, so that in particular young Chinese-American musicians born in the United States, many of whom participate in local youth orchestras, can gain knowledge of traditional instruments such as the ehru, pipa or ruan.\u003cbr>\n\u003cstrong>\u003cbr>\nSchool of Visual Philosophy\u003c/strong> ($30,000) To help artists expand their practice and spark new ideas by bringing in artists and experts in science, technology and the humanities to teach collaborative courses. These classes will allow instructors to view their own field with a new perspective and introduce students to an interdisciplinary practice.\u003cbr>\n\u003cstrong>\u003cbr>\nSchool of Arts and Culture \u003c/strong>($25,000): To strengthen the capacity of arts leaders of color through the year-long Multicultural Arts Leadership Initiative Change Makers fellowship.\u003c/p>\n\u003cp>\u003cstrong>School of Arts and Culture\u003c/strong> ($20,000): To enhance cultural offerings in East San Jose by enabling local artists and arts agencies to use the production facilities at the Mexican Heritage Plaza at a reduced cost, and to receive technical assistance to operate the facilities and reach out to local audiences.\u003c/p>\n\u003cp>\u003cstrong>Exhibition District\u003c/strong> ($40,000): To transform a central alleyway from a blighted, unused space into a place-based landmark by orchestrating 100 artists to paint 100 murals arranged into a mosaic.\u003c/p>\n\u003cp>\u003cstrong>San Jose Taiko Group\u003c/strong> ($30,000): To plan for and produce a series of immersive events that convey the rich history and vibrant present of San Jose Japantown through a blending of San Jose Taiko’s drumming with Epic Immersive’s theatrical and production expertise.\u003c/p>\n\u003cp>\u003cstrong>Naatak\u003c/strong> ($10,000): To engage audiences in a new main-stage production in 2017 that combines ideas from India’s past and America’s present, with an emphasis on how the two come together for the local Indian-American community.\u003c/p>\n\u003cp>\u003cstrong>Teatro Vision de San Jose\u003c/strong> ($25,000): To develop a bilingual play – in concert with the local residents – that combines source material from classic Mexican and Chicano literature in addition to personal stories and objects from the local Latino community.\u003c/p>\n\u003cp>\u003cstrong>San Jose Jazz\u003c/strong> ($25,000): To bring more local, cultural programming to neighborhoods through the KSJZ Low Power FM “pirate radio” project – a mobile radio broadcasting station that travels to neighborhoods and highlights local musicians from the SJZ Boom Box mobile stage.\u003cbr>\n\u003cstrong>\u003cbr>\nCity Lights Performance Group of San Jose\u003c/strong> ($75,000): To experiment with technological innovation in the theater by supporting an immersive adaptation of Mary Shelley’s \u003cem>Frankenstein\u003c/em>, using projection mapping and first-person video tools to visually surround the audience with Frankenstein’s point of view.\u003cbr>\n\u003cstrong>\u003cbr>\nBackwater Arts | Anne & Marks Art Party\u003c/strong> ($25,000): To promote San Jose as a hub for innovative visual and performance art by expanding the art and cultural festival – Anne and Mark’s Art Party- to include a juried competition and full week of programming.\u003c/p>\n\u003cp>\u003cstrong>San Jose Museum of Art Association\u003c/strong> ($20,000): To engage new audiences by tapping into mindfulness with a new exhibition that presents contemporary works of art as objects of meditation, within an innovative exhibition design and accompanied by guided meditations, tea ceremonies on the museum’s sky bridge, and related programs that encourage restorative quietude and the practice of attention.\u003cbr>\n\u003cstrong>\u003cbr>\nSan Jose Stage Company\u003c/strong> ($30,000): To raise San Jose’s artistic profile internationally with a new co-production and co-commission of a play titled \u003cem>The Memory Stick\u003c/em>, which commemorates Ireland’s centenary of the 1916 Easter Rising. The play will be presented jointly with Dublin’s City Arts Office, Irish Theatre Institute and Dublin Theatre Festival.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>San Jose Poetry Festival\u003c/strong> ($5,000): To bring local and national literary talent together during the second annual San José Poetry Festival in September, 2016 through readings by poet laureates, writer workshops and literary reviews.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://www.knightfoundation.org/\" target=\"_blank\" rel=\"noopener\">John S. and James L. Knight Foundation\u003c/a> announced Friday that it awarded 16 organizations in San Jose grants for a range of projects, including a play about Frankenstein that uses virtual reality and a new mobile radio station.\u003c/p>\n\u003cp>For the past six years, the foundation has awarded arts organizations in San Jose and seven other cities millions of dollars in grants for community projects.\u003c/p>\n\u003cp>“We work with grantees and discuss a number projects that we can narrow down to what they’re excited about and what best fits our strategy,” Amanda Thompson, the Knight Foundation’s officer of the arts, said.\u003c/p>\n\u003cp>Thompson says the foundation focuses on cities where they have offices, so they can choose organizations they feel can be most helpful to their local communities. Thompson adds Knight does not accept grant applications, choosing to reach out to local groups instead.\u003c/p>\n\u003cp>This year, the Knight Foundation is providing a total of $400,000 to arts organizations in San Jose, with many of the grants going to projects focused on San Jose’s diverse communities. For example, the Firebird Youth Chinese Orchestra got $10,000 to provide master classes on traditional Chinese music and instruments, with the goal producing more teachers to work with children interested in the tradition.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the main goal of the Knight Foundation, Thompson says, is to support local art, because “if you care about art, it makes you care about your community.”\u003c/p>\n\u003cp>“We’re not importing anything,” Thompson said. “There’s already a lot of great art that reflects the community.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Below are the 2016 grant recipients and a summary of their grants, as provided by the Knight Foundation:\u003c/strong>\u003c/em>\u003cbr>\n\u003cstrong>\u003cbr>\nSymphony Silicon Valley \u003c/strong>($20,000): To experiment with new ways to draw younger audiences by launching a digital marketing campaign for the symphony’s major film score series, including its first performance of the Harry Potter film score this month.\u003cbr>\n\u003cstrong>\u003cbr>\nSan Jose State University School of Music and Dance\u003c/strong> ($10,000): To engage audiences with a semi-staged version of Mendelssohn’s great oratorio “Elijah,” remaining faithful to the composer’s music and updated with live action and digitally generated media that challenge the audience to experience the biblical story in the context of some of the pressing issues of modern life.\u003c/p>\n\u003cp>\u003cstrong>Firebird Chamber Orchestra\u003c/strong> ($10,000): To improve instruction of traditional Chinese music and instruments through master classes for teachers, so that in particular young Chinese-American musicians born in the United States, many of whom participate in local youth orchestras, can gain knowledge of traditional instruments such as the ehru, pipa or ruan.\u003cbr>\n\u003cstrong>\u003cbr>\nSchool of Visual Philosophy\u003c/strong> ($30,000) To help artists expand their practice and spark new ideas by bringing in artists and experts in science, technology and the humanities to teach collaborative courses. These classes will allow instructors to view their own field with a new perspective and introduce students to an interdisciplinary practice.\u003cbr>\n\u003cstrong>\u003cbr>\nSchool of Arts and Culture \u003c/strong>($25,000): To strengthen the capacity of arts leaders of color through the year-long Multicultural Arts Leadership Initiative Change Makers fellowship.\u003c/p>\n\u003cp>\u003cstrong>School of Arts and Culture\u003c/strong> ($20,000): To enhance cultural offerings in East San Jose by enabling local artists and arts agencies to use the production facilities at the Mexican Heritage Plaza at a reduced cost, and to receive technical assistance to operate the facilities and reach out to local audiences.\u003c/p>\n\u003cp>\u003cstrong>Exhibition District\u003c/strong> ($40,000): To transform a central alleyway from a blighted, unused space into a place-based landmark by orchestrating 100 artists to paint 100 murals arranged into a mosaic.\u003c/p>\n\u003cp>\u003cstrong>San Jose Taiko Group\u003c/strong> ($30,000): To plan for and produce a series of immersive events that convey the rich history and vibrant present of San Jose Japantown through a blending of San Jose Taiko’s drumming with Epic Immersive’s theatrical and production expertise.\u003c/p>\n\u003cp>\u003cstrong>Naatak\u003c/strong> ($10,000): To engage audiences in a new main-stage production in 2017 that combines ideas from India’s past and America’s present, with an emphasis on how the two come together for the local Indian-American community.\u003c/p>\n\u003cp>\u003cstrong>Teatro Vision de San Jose\u003c/strong> ($25,000): To develop a bilingual play – in concert with the local residents – that combines source material from classic Mexican and Chicano literature in addition to personal stories and objects from the local Latino community.\u003c/p>\n\u003cp>\u003cstrong>San Jose Jazz\u003c/strong> ($25,000): To bring more local, cultural programming to neighborhoods through the KSJZ Low Power FM “pirate radio” project – a mobile radio broadcasting station that travels to neighborhoods and highlights local musicians from the SJZ Boom Box mobile stage.\u003cbr>\n\u003cstrong>\u003cbr>\nCity Lights Performance Group of San Jose\u003c/strong> ($75,000): To experiment with technological innovation in the theater by supporting an immersive adaptation of Mary Shelley’s \u003cem>Frankenstein\u003c/em>, using projection mapping and first-person video tools to visually surround the audience with Frankenstein’s point of view.\u003cbr>\n\u003cstrong>\u003cbr>\nBackwater Arts | Anne & Marks Art Party\u003c/strong> ($25,000): To promote San Jose as a hub for innovative visual and performance art by expanding the art and cultural festival – Anne and Mark’s Art Party- to include a juried competition and full week of programming.\u003c/p>\n\u003cp>\u003cstrong>San Jose Museum of Art Association\u003c/strong> ($20,000): To engage new audiences by tapping into mindfulness with a new exhibition that presents contemporary works of art as objects of meditation, within an innovative exhibition design and accompanied by guided meditations, tea ceremonies on the museum’s sky bridge, and related programs that encourage restorative quietude and the practice of attention.\u003cbr>\n\u003cstrong>\u003cbr>\nSan Jose Stage Company\u003c/strong> ($30,000): To raise San Jose’s artistic profile internationally with a new co-production and co-commission of a play titled \u003cem>The Memory Stick\u003c/em>, which commemorates Ireland’s centenary of the 1916 Easter Rising. The play will be presented jointly with Dublin’s City Arts Office, Irish Theatre Institute and Dublin Theatre Festival.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>San Jose Poetry Festival\u003c/strong> ($5,000): To bring local and national literary talent together during the second annual San José Poetry Festival in September, 2016 through readings by poet laureates, writer workshops and literary reviews.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cy-and-davids-picks-electioneering-at-the-symphony-dancing-in-san-jose-and-rocking-on-treasure-island-for-the-last-time",
"title": "Cy and David's Picks: Electioneering at the Symphony, Dancing in San Jose, and Rocking on Treasure Island for the Last Time",
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"headTitle": "Cy and David’s Picks: Electioneering at the Symphony, Dancing in San Jose, and Rocking on Treasure Island for the Last Time | KQED",
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"content": "\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/287543463″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>This is such a rich week for picks, I wanted to start by noting a few items we couldn’t fit on the show: It’s the final weekend for \u003ca href=\"http://www.litquake.org/2016-litquake-festival\" target=\"_blank\" rel=\"noopener\">Litquake\u003c/a>; the terrific R&B band \u003ca href=\"http://www.thebandconbrio.com/home/\" target=\"_blank\" rel=\"noopener\">Con Brio\u003c/a> is celebrating a new record with a concert Friday (10/14) at the \u003ca href=\"http://www.theuctheatre.org/event/1293891-con-brio-berkeley/\" target=\"_blank\" rel=\"noopener\">UC Theatre\u003c/a>; \u003ca href=\"http://naleihulu.org/\" target=\"_blank\" rel=\"noopener\">Patrick Makuakāne’s Na Lei Hulu dance company\u003c/a> revives his \u003cem>The Natives are Restless\u003c/em> for two weekends at the Palace of Fine Arts Theatre; and there’s a \u003ca href=\"http://stmarksberkeley.org/event/fccb-fire-benefit-concert/\" target=\"_blank\" rel=\"noopener\">fundraiser on Tuesday (10/18)\u003c/a> for the fire damaged First Congregational Church in Berkeley and the music groups that played there.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=czmaR4wVqoQ\u003c/p>\n\u003cp>\u003cstrong>Oct. 18 & 19\u003c/strong>: \u003ca href=\"http://leylamccalla.com\" target=\"_blank\" rel=\"noopener\">Leyla McCalla\u003c/a>, who explored the African American roots of folk music with the terrific Carolina Chocolate Drops, is now working solo, and finding fresh inspiration for her songs from her Haitian and family history (not to mention the fight for social justice). The songs on the album \u003cem>Day\u003c/em> are so intriguing and her cello playing is terrific. She’s touring with former band mate \u003ca href=\"https://theamericansongster.com/\" target=\"_blank\" rel=\"noopener\">Dom Flemons\u003c/a>, a terrific harp and banjo player with who brings a fresh touch to delta blues. It’s not clear who’s opening for whom, but it doesn’t matter — they’re both amazing. Check details for their shows at Felton’s \u003ca href=\"http://www.donquixotesmusic.info/\" target=\"_blank\" rel=\"noopener\">Don Quixote’s\u003c/a> \u003ca href=\"http://www.donquixotesmusic.info/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and their show at Berkeley’s \u003ca href=\"http://thefreight.org/161019\" target=\"_blank\" rel=\"noopener\">Freight and Salvage here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zXvJqiyiMqQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Oct. 16 & 17\u003c/strong>: \u003ca href=\"http://hannibalburess.com/\" target=\"_blank\" rel=\"noopener\">Hannibal Buress \u003c/a>is a very funny guy. He’s one of the regulars on \u003ca href=\"http://www.cc.com/shows/broad-city\" target=\"_blank\" rel=\"noopener\">\u003cem>Broad City\u003c/em>\u003c/a>, and a former writer for \u003cem>SNL\u003c/em> (just one sketch in a year’s work, but who’s counting) and \u003cem>30 Rock\u003c/em>. He was also an early voice calling out Bill Cosby for abusing women. We have two chances to see Burress: at the Fox in Oakland on Sunday night and the Nourse Theatre in San Francisco on Monday. Details for both shows are \u003ca href=\"http://hannibalburess.com/calendar/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-7xaHUHyq4s\u003c/p>\n\u003cp>\u003cstrong>Oct. 14:\u003c/strong> Music Director and Conductor Michael Morgan always packs \u003ca href=\"http://www.oaklandsymphony.org/\" target=\"_blank\" rel=\"noopener\">Oakland Symphony\u003c/a> concerts with delights. For this season opener, the cupboard is overflowing. Start with Hadleigh Adams (named by \u003ca href=\"https://www.queerty.com/top-ten-hottest-opera-hunks-who-sing-us-love-songs-in-our-dreams-20151010\" target=\"_blank\" rel=\"noopener\">Queerty as one of ten hottest opera hunks \u003c/a>in the world) singing Mahler’s hyper-romantic “Rückert Lieder,” the award-winning \u003ca href=\"http://thedelphitrio.com/\" target=\"_blank\" rel=\"noopener\">Delphi Trio \u003c/a>performing a piece by \u003ca href=\"http://www.juon.org/\" target=\"_blank\" rel=\"noopener\">Paul Juon\u003c/a>, plus Berkeley composer \u003ca href=\"http://www.famousbrandmusic.com/bio.html\" target=\"_blank\" rel=\"noopener\">Clark Suprynowicz’s \u003c/a>election piece \u003ca href=\"http://www.sfgate.com/music/article/Red-States-Blue-States-to-open-Oakland-9301861.php\" target=\"_blank\" rel=\"noopener\">\u003cem>Red State Blue State\u003c/em> \u003c/a>written two election cycles ago. Details for the show at the Paramount Theater in Oakland are \u003ca href=\"http://www.oaklandsymphony.org/event/hadleigh-adams-sings-mahler/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12199966\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12199966\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/sjDANCEco-Feet-e1476395933651-800x446.jpg\" alt=\"The graceful feet of (l-r) Maria Basile, Karen Gabay, and Rasika Kumar in a new dance at sjDANCEco\" width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/sjDANCEco-Feet-e1476395933651-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/sjDANCEco-Feet-e1476395933651-400x223.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/sjDANCEco-Feet-e1476395933651-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/sjDANCEco-Feet-e1476395933651-1180x657.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/sjDANCEco-Feet-e1476395933651-1920x1070.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/sjDANCEco-Feet-e1476395933651-960x535.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The graceful feet of (l-r) Maria Basile, Karen Gabay, and Rasika Kumar in a new dance at sjDANCEco \u003ccite>(Photo: Courtesy of sjDANCEco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Oct. 14 & 15\u003c/strong>: Dance is still alive and well in San Jose, despite the death early this year of \u003ca href=\"https://ww2.kqed.org/arts/2016/03/08/silicon-valley-ballet-closing-its-doors/\" target=\"_blank\" rel=\"noopener\">Silicon Valley Ballet\u003c/a>. \u003ca href=\"http://www.sjdanceco.org/\" target=\"_blank\" rel=\"noopener\">sjDANCEco, \u003c/a> celebrating its 14th season, is bringing its co-artistic director \u003ca href=\"http://www.sjsu.edu/dance/faculty_staff/faculty_staff_directory/basile_maria/\" target=\"_blank\" rel=\"noopener\">Maria Basile\u003c/a>, together with former San Jose Ballet (SVB’s predecessor) Principal Dancer \u003ca href=\"http://www.mercurynews.com/2013/04/15/ballet-san-joses-karen-gabay-retires-as-dancer/\" target=\"_blank\" rel=\"noopener\">Karen Gabay\u003c/a> and \u003ca href=\"http://abhinaya.org/\" target=\"_blank\" rel=\"noopener\">Abhinaya Dance \u003c/a>Co. member Rasika Kumar. So modern meets, classical European, meets classical Indian dance in a piece called \u003cem>Goddesses and…\u003c/em> There’s also live music from the \u003ca href=\"http://www.sjco.org/SJCO/index.html\" target=\"_blank\" rel=\"noopener\">San Jose Chamber Orchestra\u003c/a>. Details for the California Theater performances are \u003ca href=\"http://www.sjdanceco.org/tickets.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dChTBCOiPKo\u003c/p>\n\u003cp>\u003cstrong>Oct. 18-Nov. 12\u003c/strong>: Every 28 hours a black man is killed in the US by a police officer or someone using a stand your ground law. That statistic has been challenged, but it gets at the essential truth — that black and brown men and women are often treated very differently than whites by police. Last year the \u003ca href=\"http://www.oneminuteplayfestival.com/\" target=\"_blank\" rel=\"noopener\">One Minute Play Festival\u003c/a> and \u003ca href=\"https://www.osfashland.org/en.aspx\" target=\"_blank\" rel=\"noopener\">Oregon Shakespeare Festival\u003c/a> staged an evening of 70 or so one minute plays about race and policing in America called \u003cem>Every 28 Hours,\u003c/em> and now a coalition of Bay Area theater companies are doing the same, including \u003ca href=\"http://www.faultlinetheater.com/\" target=\"_blank\" rel=\"noopener\">Faultline\u003c/a>, A.C.T., Berkeley Rep, Crowded Fire, Campo Santo and Lorraine Hansberry, where Steven Anthony Jones is artistic director. Jones told me that working with this material reminded him a lot of the lectures he used to give his sons:\u003c/p>\n\u003cp>“During that period in their lives when they were younger, saying to them, ‘make sure the taillights work,’ etc. etc. and ‘don’t speed,’ and you hope your kids don’t get stopped. Because it can go very wrong, from the most routine kind of a circumstance.” \u003ca href=\"https://www.eventbrite.com/e/every-28-hours-a-bay-area-collaboration-tickets-27847954983\" target=\"_blank\" rel=\"noopener\">Details for Every 28 Hours are here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9C5F5JYjYGM\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct. 15 & 16\u003c/strong>: There are lots of good reasons to go to the Treasure Island Music Festival (TIMF) this weekend: a chance to hear Ice Cube singing “Life in California”(it’s not the Fred Rogers version), or Mura Masa, or Oakland rapper \u003ca href=\"https://www.facebook.com/itskamaiyah/\" target=\"_blank\" rel=\"noopener\">Kamaiyah\u003c/a>, or Car Seat Headrest, or just to ride on the ferris wheel with those grand views of the Bay. This year it’ll be a different view, from the east side looking at Oakland, where you could try to guess at the festival’s future home. San Francisco’s plans to develop the island mean that TIMF is looking for a new home. Do take public transit. Details \u003ca href=\"http://treasureislandfestival.com/2016/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n",
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"excerpt": "KQED's Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week, including Philip Glass, Young Jean Lee, the Paul Dresher Ensemble, Dead Prez and more.",
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"title": "Cy and David's Picks: Electioneering at the Symphony, Dancing in San Jose, and Rocking on Treasure Island for the Last Time | KQED",
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"headline": "Cy and David's Picks: Electioneering at the Symphony, Dancing in San Jose, and Rocking on Treasure Island for the Last Time",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/287543463″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/287543463″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>This is such a rich week for picks, I wanted to start by noting a few items we couldn’t fit on the show: It’s the final weekend for \u003ca href=\"http://www.litquake.org/2016-litquake-festival\" target=\"_blank\" rel=\"noopener\">Litquake\u003c/a>; the terrific R&B band \u003ca href=\"http://www.thebandconbrio.com/home/\" target=\"_blank\" rel=\"noopener\">Con Brio\u003c/a> is celebrating a new record with a concert Friday (10/14) at the \u003ca href=\"http://www.theuctheatre.org/event/1293891-con-brio-berkeley/\" target=\"_blank\" rel=\"noopener\">UC Theatre\u003c/a>; \u003ca href=\"http://naleihulu.org/\" target=\"_blank\" rel=\"noopener\">Patrick Makuakāne’s Na Lei Hulu dance company\u003c/a> revives his \u003cem>The Natives are Restless\u003c/em> for two weekends at the Palace of Fine Arts Theatre; and there’s a \u003ca href=\"http://stmarksberkeley.org/event/fccb-fire-benefit-concert/\" target=\"_blank\" rel=\"noopener\">fundraiser on Tuesday (10/18)\u003c/a> for the fire damaged First Congregational Church in Berkeley and the music groups that played there.\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/czmaR4wVqoQ'\n title='//www.youtube.com/embed/czmaR4wVqoQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Oct. 18 & 19\u003c/strong>: \u003ca href=\"http://leylamccalla.com\" target=\"_blank\" rel=\"noopener\">Leyla McCalla\u003c/a>, who explored the African American roots of folk music with the terrific Carolina Chocolate Drops, is now working solo, and finding fresh inspiration for her songs from her Haitian and family history (not to mention the fight for social justice). The songs on the album \u003cem>Day\u003c/em> are so intriguing and her cello playing is terrific. She’s touring with former band mate \u003ca href=\"https://theamericansongster.com/\" target=\"_blank\" rel=\"noopener\">Dom Flemons\u003c/a>, a terrific harp and banjo player with who brings a fresh touch to delta blues. It’s not clear who’s opening for whom, but it doesn’t matter — they’re both amazing. Check details for their shows at Felton’s \u003ca href=\"http://www.donquixotesmusic.info/\" target=\"_blank\" rel=\"noopener\">Don Quixote’s\u003c/a> \u003ca href=\"http://www.donquixotesmusic.info/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, and their show at Berkeley’s \u003ca href=\"http://thefreight.org/161019\" target=\"_blank\" rel=\"noopener\">Freight and Salvage 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/zXvJqiyiMqQ'\n title='//www.youtube.com/embed/zXvJqiyiMqQ'\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>Oct. 16 & 17\u003c/strong>: \u003ca href=\"http://hannibalburess.com/\" target=\"_blank\" rel=\"noopener\">Hannibal Buress \u003c/a>is a very funny guy. He’s one of the regulars on \u003ca href=\"http://www.cc.com/shows/broad-city\" target=\"_blank\" rel=\"noopener\">\u003cem>Broad City\u003c/em>\u003c/a>, and a former writer for \u003cem>SNL\u003c/em> (just one sketch in a year’s work, but who’s counting) and \u003cem>30 Rock\u003c/em>. He was also an early voice calling out Bill Cosby for abusing women. We have two chances to see Burress: at the Fox in Oakland on Sunday night and the Nourse Theatre in San Francisco on Monday. Details for both shows are \u003ca href=\"http://hannibalburess.com/calendar/\" target=\"_blank\" rel=\"noopener\">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/-7xaHUHyq4s'\n title='//www.youtube.com/embed/-7xaHUHyq4s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Oct. 14:\u003c/strong> Music Director and Conductor Michael Morgan always packs \u003ca href=\"http://www.oaklandsymphony.org/\" target=\"_blank\" rel=\"noopener\">Oakland Symphony\u003c/a> concerts with delights. For this season opener, the cupboard is overflowing. Start with Hadleigh Adams (named by \u003ca href=\"https://www.queerty.com/top-ten-hottest-opera-hunks-who-sing-us-love-songs-in-our-dreams-20151010\" target=\"_blank\" rel=\"noopener\">Queerty as one of ten hottest opera hunks \u003c/a>in the world) singing Mahler’s hyper-romantic “Rückert Lieder,” the award-winning \u003ca href=\"http://thedelphitrio.com/\" target=\"_blank\" rel=\"noopener\">Delphi Trio \u003c/a>performing a piece by \u003ca href=\"http://www.juon.org/\" target=\"_blank\" rel=\"noopener\">Paul Juon\u003c/a>, plus Berkeley composer \u003ca href=\"http://www.famousbrandmusic.com/bio.html\" target=\"_blank\" rel=\"noopener\">Clark Suprynowicz’s \u003c/a>election piece \u003ca href=\"http://www.sfgate.com/music/article/Red-States-Blue-States-to-open-Oakland-9301861.php\" target=\"_blank\" rel=\"noopener\">\u003cem>Red State Blue State\u003c/em> \u003c/a>written two election cycles ago. Details for the show at the Paramount Theater in Oakland are \u003ca href=\"http://www.oaklandsymphony.org/event/hadleigh-adams-sings-mahler/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12199966\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12199966\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/sjDANCEco-Feet-e1476395933651-800x446.jpg\" alt=\"The graceful feet of (l-r) Maria Basile, Karen Gabay, and Rasika Kumar in a new dance at sjDANCEco\" width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/sjDANCEco-Feet-e1476395933651-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/sjDANCEco-Feet-e1476395933651-400x223.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/sjDANCEco-Feet-e1476395933651-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/sjDANCEco-Feet-e1476395933651-1180x657.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/sjDANCEco-Feet-e1476395933651-1920x1070.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/sjDANCEco-Feet-e1476395933651-960x535.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The graceful feet of (l-r) Maria Basile, Karen Gabay, and Rasika Kumar in a new dance at sjDANCEco \u003ccite>(Photo: Courtesy of sjDANCEco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Oct. 14 & 15\u003c/strong>: Dance is still alive and well in San Jose, despite the death early this year of \u003ca href=\"https://ww2.kqed.org/arts/2016/03/08/silicon-valley-ballet-closing-its-doors/\" target=\"_blank\" rel=\"noopener\">Silicon Valley Ballet\u003c/a>. \u003ca href=\"http://www.sjdanceco.org/\" target=\"_blank\" rel=\"noopener\">sjDANCEco, \u003c/a> celebrating its 14th season, is bringing its co-artistic director \u003ca href=\"http://www.sjsu.edu/dance/faculty_staff/faculty_staff_directory/basile_maria/\" target=\"_blank\" rel=\"noopener\">Maria Basile\u003c/a>, together with former San Jose Ballet (SVB’s predecessor) Principal Dancer \u003ca href=\"http://www.mercurynews.com/2013/04/15/ballet-san-joses-karen-gabay-retires-as-dancer/\" target=\"_blank\" rel=\"noopener\">Karen Gabay\u003c/a> and \u003ca href=\"http://abhinaya.org/\" target=\"_blank\" rel=\"noopener\">Abhinaya Dance \u003c/a>Co. member Rasika Kumar. So modern meets, classical European, meets classical Indian dance in a piece called \u003cem>Goddesses and…\u003c/em> There’s also live music from the \u003ca href=\"http://www.sjco.org/SJCO/index.html\" target=\"_blank\" rel=\"noopener\">San Jose Chamber Orchestra\u003c/a>. Details for the California Theater performances are \u003ca href=\"http://www.sjdanceco.org/tickets.html\" target=\"_blank\" rel=\"noopener\">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/dChTBCOiPKo'\n title='//www.youtube.com/embed/dChTBCOiPKo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Oct. 18-Nov. 12\u003c/strong>: Every 28 hours a black man is killed in the US by a police officer or someone using a stand your ground law. That statistic has been challenged, but it gets at the essential truth — that black and brown men and women are often treated very differently than whites by police. Last year the \u003ca href=\"http://www.oneminuteplayfestival.com/\" target=\"_blank\" rel=\"noopener\">One Minute Play Festival\u003c/a> and \u003ca href=\"https://www.osfashland.org/en.aspx\" target=\"_blank\" rel=\"noopener\">Oregon Shakespeare Festival\u003c/a> staged an evening of 70 or so one minute plays about race and policing in America called \u003cem>Every 28 Hours,\u003c/em> and now a coalition of Bay Area theater companies are doing the same, including \u003ca href=\"http://www.faultlinetheater.com/\" target=\"_blank\" rel=\"noopener\">Faultline\u003c/a>, A.C.T., Berkeley Rep, Crowded Fire, Campo Santo and Lorraine Hansberry, where Steven Anthony Jones is artistic director. Jones told me that working with this material reminded him a lot of the lectures he used to give his sons:\u003c/p>\n\u003cp>“During that period in their lives when they were younger, saying to them, ‘make sure the taillights work,’ etc. etc. and ‘don’t speed,’ and you hope your kids don’t get stopped. Because it can go very wrong, from the most routine kind of a circumstance.” \u003ca href=\"https://www.eventbrite.com/e/every-28-hours-a-bay-area-collaboration-tickets-27847954983\" target=\"_blank\" rel=\"noopener\">Details for Every 28 Hours are 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/9C5F5JYjYGM'\n title='//www.youtube.com/embed/9C5F5JYjYGM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Oct. 15 & 16\u003c/strong>: There are lots of good reasons to go to the Treasure Island Music Festival (TIMF) this weekend: a chance to hear Ice Cube singing “Life in California”(it’s not the Fred Rogers version), or Mura Masa, or Oakland rapper \u003ca href=\"https://www.facebook.com/itskamaiyah/\" target=\"_blank\" rel=\"noopener\">Kamaiyah\u003c/a>, or Car Seat Headrest, or just to ride on the ferris wheel with those grand views of the Bay. This year it’ll be a different view, from the east side looking at Oakland, where you could try to guess at the festival’s future home. San Francisco’s plans to develop the island mean that TIMF is looking for a new home. Do take public transit. Details \u003ca href=\"http://treasureislandfestival.com/2016/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "berkeley-reps-it-cant-happen-here-is-all-play-and-no-politics",
"title": "Berkeley Rep's 'It Can't Happen Here' is All Play and No Politics",
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"headTitle": "Berkeley Rep’s ‘It Can’t Happen Here’ is All Play and No Politics | KQED",
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"content": "\u003cp>The Berkeley Repertory Theatre’s artistic director Tony Taccone reminds us in his program notes that he works for a not-for-profit organization, and that he is “forbidden, by law, to take political positions.” Though he quickly assures us that he and Berkeley Rep can overcome these limitations, “in the work we produce and the culture we create,” and rather wistfully adds, “there’s nothing to stop you from imagining my opinion.”\u003c/p>\n\u003cp>Since the Rep is opening its season with the premiere of Taccone and Bennett S. Cohen’s adaption of Sinclair Lewis’ 1935 anti-fascist novel, \u003ca href=\"http://www.berkeleyrep.org/season/1617/10650.asp\">\u003cem>It Can’t Happen Here\u003c/em>\u003c/a>, it seems impossible not to “imagine” what Taccone, the theater, Berkeley, or anyone else in the Bay Area thinks. Yet in raising that question, Taccone inadvertently uncovers a hornet’s nest of political assumptions that the production leaves unattended and unanswered.\u003c/p>\n\u003cp>The play begins with the actors prepping us on how to behave, respond, and think. We will be expected to perform the role of crowd energetically, no matter our true political feelings. We are told that the casting is not historically accurate in case anyone has “a problem with this,” and that “any resemblance in the play to current events is purely coincidental.” There are many winking asides after this last comment.\u003c/p>\n\u003cfigure id=\"attachment_12192308\" class=\"wp-caption aligncenter\" style=\"max-width: 560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12192308 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/It-Cant-4-e1476248809102.jpg\" alt=\"Doremus Jessup (Tom Nelis) surrounded by his family and the community of Fort Beulah, Vermont in 'It Can't Happen Here' at the Berkeley Rep.\" width=\"560\" height=\"315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/It-Cant-4-e1476248809102.jpg 560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/It-Cant-4-e1476248809102-400x225.jpg 400w\" sizes=\"(max-width: 560px) 100vw, 560px\">\u003cfigcaption class=\"wp-caption-text\">Doremus Jessup (Tom Nelis) surrounded by his family and the community of Fort Beulah, Vermont in ‘It Can’t Happen Here’ at the Berkeley Rep. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s clear that the writers and the company have no idea of how to approach the material, and it speaks to the paucity of their theatrical imagination that their first move is an attempt at a faux-Brechtian engagement with the audience. Why bother to break the fourth wall to merely comfort and assure us that we all really understand what’s going on, that we all get the connections, and that we’re all in this together? I’m not even sure that’s a position from which you can think in a political manner.\u003c/p>\n\u003cp>From there, the play shifts registers to a rather old-fashioned mode of presentation, where everything is about the set-up, or, in the parlance of television show runners, “world building.” We meet our hero, the liberal, free-thinking journalist Doremus Jessup, his large family (almost impossible to keep track of or care for), and his community of extended family members and civic leaders. And we learn what might constitute a normal day in Fort Beulah, Vermont — a Fourth of July picnic — all the while catching glimpses (through a political meeting, a radio broadcast and other vignettes) of the rise of right-wing populist Buzz Windrip (a terrific David Kelly). It’s a long and laborsome slog to get to the beginnings of anything approaching drama.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Drama arrives at last, if only for a moment, about 25\u003cstrong> \u003c/strong>minutes into the play, when Jessup’s eldest son Phillip argues that Windrip and his “lost man” movement are addressing real problems. Phillip uses his father’s handyman, Shad, as a ready example. It’s the first time in the play we get an inkling of real political stakes.\u003c/p>\n\u003cp>But sadly, Taccone and Cohen shut it down. Neither Phillip nor Shad are dramatically significant, and yet both are unnecessarily vile: Phillip treats his brother-in-law’s murder with a high-handed disdain, and Shad is portrayed as nothing more than a jack-booted thug. What the play fears most is not the rise of fascism, but rather the presence of any idea that might discomfort a moderately wealthy liberal.\u003c/p>\n\u003cp>Perhaps Taccone and Cohen are unconsciously feeling the influence of the glut of Young Adult comics, novels, and movies depicting dystopian worlds. Like the teenage mind they’re produced for, these fantasies of rebellion are quick to equate rules and authority with corruption. That’s equally true of \u003cem>It Can’t Happen Here, \u003c/em>a work that’s not truly interested in eliciting debate, confrontation or thinking — only the fantasy of what it might feel like to play at politics.\u003c/p>\n\u003cp>Without any real countervailing positions, all we’re left with is left-wing melodrama: the crusading journalist fighting an emergent fascist state. To say that Jessup suffers and fights is essentially to say that that’s what the fantasy requires. He must speak out, he must be threatened, he must be arrested, he must be tortured, he must survive, he must join the resistance, and he must go on. It’s a well-worn dream, and not anything close to political thought or critique.\u003c/p>\n\u003cfigure id=\"attachment_12192307\" class=\"wp-caption aligncenter\" style=\"max-width: 560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12192307\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/It-Cant-3-e1476248097372.jpg\" alt=\"(L to R) Buck Titus (David Kelly), Karl Pascal (Gerardo Rodriguez), Doremus Jessup (Tom Nelis), and John Pollikop (Mark Kenneth Smaltz) are political prisoners in 'It Can't Happen Here' at the Berkeley Rep.\" width=\"560\" height=\"319\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/It-Cant-3-e1476248097372.jpg 560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/It-Cant-3-e1476248097372-400x228.jpg 400w\" sizes=\"(max-width: 560px) 100vw, 560px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Buck Titus (David Kelly), Karl Pascal (Gerardo Rodriguez), Doremus Jessup (Tom Nelis), and John Pollikop (Mark Kenneth Smaltz) are political prisoners in ‘It Can’t Happen Here’ at the Berkeley Rep. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In producing \u003cem>It Can’t Happen Here\u003c/em>, the Rep is, of course, warning that it very well could happen here. If you view Donald Trump as an existential threat to American democracy, then the warning is true enough; it could happen here and we should be worried. Yet the threat, as the play presents it, is an unconvincing jumble of clichés, and its politics no more than a desire to play hero in a disaster. As such, it falls in line with all those aforementioned teenage dystopias — \u003cem>The Hunger Games\u003c/em>, \u003cem>The Giver\u003c/em>, \u003cem>Divergent — \u003c/em>that require fascist regimes in order for their young heroes and the audiences who applaud them to feel alive, real, and significant.\u003c/p>\n\u003cp>The last line of the Berkeley Rep’s mission statement says: “Berkeley Rep aspires to use theater as a means to challenge, thrill, and galvanize what is best in the human spirit.” The question is: whose human spirit? In this play, the answer is self-congratulatory: We are selfless heroes who see the unique threats to the American Republic, and those who might feel otherwise are monsters. For all the dangers that Trump poses, Berkeley Rep’s response feels equally dangerous and just as much a fantasy.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘It Can’t Happen Here’ runs through Sunday, Nov. 6 at the Berkeley Repertory Theatre in Berkeley. For tickets and information, \u003ca href=\"http://www.berkeleyrep.org/season/1617/10650.asp\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Tony Taccone and Bennett S. Cohen’s stage adaption of Sinclair Lewis’ anti-fascist novel, 'It Can’t Happen Here,' lazily reinforces anti-Trump feelings instead of engaging in meaningful political debate.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Berkeley Repertory Theatre’s artistic director Tony Taccone reminds us in his program notes that he works for a not-for-profit organization, and that he is “forbidden, by law, to take political positions.” Though he quickly assures us that he and Berkeley Rep can overcome these limitations, “in the work we produce and the culture we create,” and rather wistfully adds, “there’s nothing to stop you from imagining my opinion.”\u003c/p>\n\u003cp>Since the Rep is opening its season with the premiere of Taccone and Bennett S. Cohen’s adaption of Sinclair Lewis’ 1935 anti-fascist novel, \u003ca href=\"http://www.berkeleyrep.org/season/1617/10650.asp\">\u003cem>It Can’t Happen Here\u003c/em>\u003c/a>, it seems impossible not to “imagine” what Taccone, the theater, Berkeley, or anyone else in the Bay Area thinks. Yet in raising that question, Taccone inadvertently uncovers a hornet’s nest of political assumptions that the production leaves unattended and unanswered.\u003c/p>\n\u003cp>The play begins with the actors prepping us on how to behave, respond, and think. We will be expected to perform the role of crowd energetically, no matter our true political feelings. We are told that the casting is not historically accurate in case anyone has “a problem with this,” and that “any resemblance in the play to current events is purely coincidental.” There are many winking asides after this last comment.\u003c/p>\n\u003cfigure id=\"attachment_12192308\" class=\"wp-caption aligncenter\" style=\"max-width: 560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12192308 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/It-Cant-4-e1476248809102.jpg\" alt=\"Doremus Jessup (Tom Nelis) surrounded by his family and the community of Fort Beulah, Vermont in 'It Can't Happen Here' at the Berkeley Rep.\" width=\"560\" height=\"315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/It-Cant-4-e1476248809102.jpg 560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/It-Cant-4-e1476248809102-400x225.jpg 400w\" sizes=\"(max-width: 560px) 100vw, 560px\">\u003cfigcaption class=\"wp-caption-text\">Doremus Jessup (Tom Nelis) surrounded by his family and the community of Fort Beulah, Vermont in ‘It Can’t Happen Here’ at the Berkeley Rep. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s clear that the writers and the company have no idea of how to approach the material, and it speaks to the paucity of their theatrical imagination that their first move is an attempt at a faux-Brechtian engagement with the audience. Why bother to break the fourth wall to merely comfort and assure us that we all really understand what’s going on, that we all get the connections, and that we’re all in this together? I’m not even sure that’s a position from which you can think in a political manner.\u003c/p>\n\u003cp>From there, the play shifts registers to a rather old-fashioned mode of presentation, where everything is about the set-up, or, in the parlance of television show runners, “world building.” We meet our hero, the liberal, free-thinking journalist Doremus Jessup, his large family (almost impossible to keep track of or care for), and his community of extended family members and civic leaders. And we learn what might constitute a normal day in Fort Beulah, Vermont — a Fourth of July picnic — all the while catching glimpses (through a political meeting, a radio broadcast and other vignettes) of the rise of right-wing populist Buzz Windrip (a terrific David Kelly). It’s a long and laborsome slog to get to the beginnings of anything approaching drama.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Drama arrives at last, if only for a moment, about 25\u003cstrong> \u003c/strong>minutes into the play, when Jessup’s eldest son Phillip argues that Windrip and his “lost man” movement are addressing real problems. Phillip uses his father’s handyman, Shad, as a ready example. It’s the first time in the play we get an inkling of real political stakes.\u003c/p>\n\u003cp>But sadly, Taccone and Cohen shut it down. Neither Phillip nor Shad are dramatically significant, and yet both are unnecessarily vile: Phillip treats his brother-in-law’s murder with a high-handed disdain, and Shad is portrayed as nothing more than a jack-booted thug. What the play fears most is not the rise of fascism, but rather the presence of any idea that might discomfort a moderately wealthy liberal.\u003c/p>\n\u003cp>Perhaps Taccone and Cohen are unconsciously feeling the influence of the glut of Young Adult comics, novels, and movies depicting dystopian worlds. Like the teenage mind they’re produced for, these fantasies of rebellion are quick to equate rules and authority with corruption. That’s equally true of \u003cem>It Can’t Happen Here, \u003c/em>a work that’s not truly interested in eliciting debate, confrontation or thinking — only the fantasy of what it might feel like to play at politics.\u003c/p>\n\u003cp>Without any real countervailing positions, all we’re left with is left-wing melodrama: the crusading journalist fighting an emergent fascist state. To say that Jessup suffers and fights is essentially to say that that’s what the fantasy requires. He must speak out, he must be threatened, he must be arrested, he must be tortured, he must survive, he must join the resistance, and he must go on. It’s a well-worn dream, and not anything close to political thought or critique.\u003c/p>\n\u003cfigure id=\"attachment_12192307\" class=\"wp-caption aligncenter\" style=\"max-width: 560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12192307\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/It-Cant-3-e1476248097372.jpg\" alt=\"(L to R) Buck Titus (David Kelly), Karl Pascal (Gerardo Rodriguez), Doremus Jessup (Tom Nelis), and John Pollikop (Mark Kenneth Smaltz) are political prisoners in 'It Can't Happen Here' at the Berkeley Rep.\" width=\"560\" height=\"319\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/It-Cant-3-e1476248097372.jpg 560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/It-Cant-3-e1476248097372-400x228.jpg 400w\" sizes=\"(max-width: 560px) 100vw, 560px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Buck Titus (David Kelly), Karl Pascal (Gerardo Rodriguez), Doremus Jessup (Tom Nelis), and John Pollikop (Mark Kenneth Smaltz) are political prisoners in ‘It Can’t Happen Here’ at the Berkeley Rep. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In producing \u003cem>It Can’t Happen Here\u003c/em>, the Rep is, of course, warning that it very well could happen here. If you view Donald Trump as an existential threat to American democracy, then the warning is true enough; it could happen here and we should be worried. Yet the threat, as the play presents it, is an unconvincing jumble of clichés, and its politics no more than a desire to play hero in a disaster. As such, it falls in line with all those aforementioned teenage dystopias — \u003cem>The Hunger Games\u003c/em>, \u003cem>The Giver\u003c/em>, \u003cem>Divergent — \u003c/em>that require fascist regimes in order for their young heroes and the audiences who applaud them to feel alive, real, and significant.\u003c/p>\n\u003cp>The last line of the Berkeley Rep’s mission statement says: “Berkeley Rep aspires to use theater as a means to challenge, thrill, and galvanize what is best in the human spirit.” The question is: whose human spirit? In this play, the answer is self-congratulatory: We are selfless heroes who see the unique threats to the American Republic, and those who might feel otherwise are monsters. For all the dangers that Trump poses, Berkeley Rep’s response feels equally dangerous and just as much a fantasy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘It Can’t Happen Here’ runs through Sunday, Nov. 6 at the Berkeley Repertory Theatre in Berkeley. For tickets and information, \u003ca href=\"http://www.berkeleyrep.org/season/1617/10650.asp\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>So it turns out that Mowgli may be a girl.\u003c/p>\n\u003cp>Mowgli is the hero of \u003cem>The Jungle Book\u003c/em>, Rudyard Kipling’s story collection about a wild boy raised by wolves in India. Most people are familiar with the story from Disney’s 1967 animated movie, for which child actor Bruce Reitherman voiced the role, or the live action Disney remake from last spring. Both of those Mowglis are male.\u003c/p>\n\u003cp>But the \u003ca href=\"http://www.marintheatre.org/productions/the-jungle-book\">Marin Theatre Company\u003c/a> (MTC) has cast the young, local actress Sango Tajima as Mowgli in its Family Series Production of \u003cem>Jungle Book\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jqmUoteadZI\u003c/p>\n\u003cp>The idea for the gender switch came from the play’s director Login Ellis. MTC got approval to cast a female in the lead role Wednesday from Greg Banks, the author of this adaptation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kipling’s stories, written in the 1890’s, are in the public domain.\u003c/p>\n\u003cp>“We just thought it was right time to do it and the right cast to do it with,” says Jason Minadakis, artistic director for MTC. “With everything that is going on today, we thought it was really important to re-envision [the work] with a female hero at the center of the play, one that has always been so male-centric.”\u003c/p>\n\u003cfigure id=\"attachment_12196028\" class=\"wp-caption alignright\" style=\"max-width: 298px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12196028\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Sango-Tajima-Mowgli-in-MTCs-Jungle-Book-1-e1476320846672.jpg\" alt=\"Sango Tajima plays Mowgli in MTC's Jungle Book\" width=\"298\" height=\"218\">\u003cfigcaption class=\"wp-caption-text\">Sango Tajima plays Mowgli in MTC’s Jungle Book \u003ccite>(Photo: Courtesy of Sango Tajima)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By “everything going on today,” Minadakis says he means the Presidential campaign that could result in the election of Hillary Clinton as the first woman U.S. President, as well as the growing awareness of gender inequities throughout society.\u003c/p>\n\u003cp>“It just seems like we need to be re-envisioning stories that we hold as cultural touchstones, and letting the power of those stories apply to women and people of color who may have felt left out before,” Minadakis says.\u003c/p>\n\u003cp>Minadakis says the show’s director and dramaturg went through the script carefully to ensure all the gender references were correct for a woman in the role of Mowgli.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But there was no need to tweak the name itself. Kipling made up the name, claiming that Mowgli was a wolf word for a smooth-skinned creature like a frog.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>So it turns out that Mowgli may be a girl.\u003c/p>\n\u003cp>Mowgli is the hero of \u003cem>The Jungle Book\u003c/em>, Rudyard Kipling’s story collection about a wild boy raised by wolves in India. Most people are familiar with the story from Disney’s 1967 animated movie, for which child actor Bruce Reitherman voiced the role, or the live action Disney remake from last spring. Both of those Mowglis are male.\u003c/p>\n\u003cp>But the \u003ca href=\"http://www.marintheatre.org/productions/the-jungle-book\">Marin Theatre Company\u003c/a> (MTC) has cast the young, local actress Sango Tajima as Mowgli in its Family Series Production of \u003cem>Jungle Book\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/jqmUoteadZI'\n title='//www.youtube.com/embed/jqmUoteadZI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The idea for the gender switch came from the play’s director Login Ellis. MTC got approval to cast a female in the lead role Wednesday from Greg Banks, the author of this adaptation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kipling’s stories, written in the 1890’s, are in the public domain.\u003c/p>\n\u003cp>“We just thought it was right time to do it and the right cast to do it with,” says Jason Minadakis, artistic director for MTC. “With everything that is going on today, we thought it was really important to re-envision [the work] with a female hero at the center of the play, one that has always been so male-centric.”\u003c/p>\n\u003cfigure id=\"attachment_12196028\" class=\"wp-caption alignright\" style=\"max-width: 298px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12196028\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Sango-Tajima-Mowgli-in-MTCs-Jungle-Book-1-e1476320846672.jpg\" alt=\"Sango Tajima plays Mowgli in MTC's Jungle Book\" width=\"298\" height=\"218\">\u003cfigcaption class=\"wp-caption-text\">Sango Tajima plays Mowgli in MTC’s Jungle Book \u003ccite>(Photo: Courtesy of Sango Tajima)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By “everything going on today,” Minadakis says he means the Presidential campaign that could result in the election of Hillary Clinton as the first woman U.S. President, as well as the growing awareness of gender inequities throughout society.\u003c/p>\n\u003cp>“It just seems like we need to be re-envisioning stories that we hold as cultural touchstones, and letting the power of those stories apply to women and people of color who may have felt left out before,” Minadakis says.\u003c/p>\n\u003cp>Minadakis says the show’s director and dramaturg went through the script carefully to ensure all the gender references were correct for a woman in the role of Mowgli.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But there was no need to tweak the name itself. Kipling made up the name, claiming that Mowgli was a wolf word for a smooth-skinned creature like a frog.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">In the annals of marathon concert experiences, Taylor Mac’s \u003c/span>\u003ca href=\"http://www.taylormac.org/portfolio_page/24-decade/\">\u003ci>\u003cspan style=\"font-weight: 400\">A 24-Decade History of Popular Music\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> is right up there with legendarily lengthy sets played the likes of the Grateful Dead, Bruce Springsteen and Chilly Gonzales. The acclaimed New York drag performance artist and Stockton native appeared at St. Ann’s Warehouse in Brooklyn, New York over the weekend, presenting a one-off, 24-hour-long musical journey through U.S. history comprising of no less than 246 songs. And I was determined to stay awake for every one of them.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12186884\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12186884\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/credit-Ves-Pitts-e1476143027447-800x451.jpg\" alt=\"Performer Taylor Mac and music director Matt Ray.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/credit-Ves-Pitts-e1476143027447-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/credit-Ves-Pitts-e1476143027447-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/credit-Ves-Pitts-e1476143027447-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/credit-Ves-Pitts-e1476143027447-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/credit-Ves-Pitts-e1476143027447-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/credit-Ves-Pitts-e1476143027447-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Performer Taylor Mac and music director Matt Ray. \u003ccite>(Photo: Ves Pitts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Mac brought the first six hours of his magnum opus to San Francisco’s Curran Theatre last January, covering songs that were popular from the years 1776 to 1836, \u003ca href=\"https://ww2.kqed.org/arts/2016/01/25/taylor-mac-preps-for-24-hour-singing-marathon/\" target=\"_blank\" rel=\"noopener\">I barely noticed the time shimmy by\u003c/a>. Still, I approached the full 24-hour extravaganza with trepidation. It’s been years since I pulled an all-nighter; these days, if I fail to get my full quota of zzz’s, well, I’m just not very nice.\u003c/p>\n\u003cp>So I asked my friend Matt Walker, a U.C. Berkeley neuroscientist who studies sleep, for advice. “After 16 hours of continued wakefulness, the functionality of your brain and the health of your body start to degrade rapidly,” he said. “Stay away from coffee and alcohol. Do not do operate heavy machinery or drive.”\u003c/p>\n\u003cp>Okey dokey, then.\u003c/p>\n\u003cp>In the run-up to the performance, Mac \u003ca href=\"http://www.bbc.co.uk/programmes/articles/1NnZ168S8fQGQBKG9NHJbqt/frock-around-the-clock-drag-cabaret-show-fits-24-decades-of-music-into-24-hours\" target=\"_blank\" rel=\"noopener\">shared with me his own survival plans\u003c/a>, which included consuming Japanese rice balls, electrolyte water and apples, and every so often, giving his feet a break. “I’ve learned that changing shoes after every decade is very helpful,” Mac said. “And there are a few decades where I am not in heels.”\u003c/p>\n\u003cfigure id=\"attachment_12186888\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12186888\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/IMG_5173-e1476143548801-800x459.jpg\" alt=\"The crowd settles down before the start of 'A 24-Decade History of Popular Music', a one-off, marathon performance at St. Ann's warehouse, Brooklyn, NY on Oct. 8-9, 2016\" width=\"800\" height=\"459\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/IMG_5173-e1476143548801-800x459.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/IMG_5173-e1476143548801-400x230.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/IMG_5173-e1476143548801-768x441.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/IMG_5173-e1476143548801-1180x678.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/IMG_5173-e1476143548801-1920x1103.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/IMG_5173-e1476143548801-960x551.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd settles down before the start of ‘A 24-Decade History of Popular Music,’ a one-off, marathon performance at St. Ann’s warehouse, Brooklyn, NY on Oct. 8–9, 2016. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just shy of noon last Saturday, I showed up at St. Ann’s, in flats. The cavernous space on the Brooklyn waterfront was decked out for the occasion with hammocks, a medical tent and a kiosk offering snacks. I settled into my seat with a notebook and pen. What follows are my impressions of one of the longest — and greatest — feats ever to have unfolded on the American concert stage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Take heed; it’s long. Believe me, I know.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" 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\u003ch3>1776–1786: Act I\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">After making a public apology and offering his grandmother’s beat-up ukulele to a Native American person for the way in which the early settlers and their descendants screwed over the indigenous people of North America, Mac begins the first of his eight, three-hour-long acts with a discussion about the core values upon which our great nation is based. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11273115\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11273115 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Taylor-Mac-2-c-Jim-Norrena-e1453676397992-800x503.jpg\" alt=\"Taylor Mac in 'A 24-Decade History of Popular Music: 1776-1806' as part of Curran: Under Construction\" width=\"800\" height=\"503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-2-c-Jim-Norrena-e1453676397992-800x503.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-2-c-Jim-Norrena-e1453676397992-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-2-c-Jim-Norrena-e1453676397992-768x483.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-2-c-Jim-Norrena-e1453676397992-1180x742.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-2-c-Jim-Norrena-e1453676397992-1920x1207.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-2-c-Jim-Norrena-e1453676397992-960x603.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac in ‘A 24-Decade History of Popular Music.’ \u003ccite>(Photo: Jim Norrena )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The performer takes us through spirited versions of “Amazing Grace,” “Black is the Color of My True Love’s Hair,” “Yankee Doodle” and other period favorites charismatically arranged by the production’s formidable music director, arranger and pianist Matt Ray. (“Only 245 songs left to go!” Mac says after finishing the first one. Ray grins.) From these, Mac deduces that the United States’ founding principles, among others, include “hating Congress,” “liking black hair,” and “making things.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There are several people knitting on stage throughout to underscore his point about maker culture. Mac’s getup sets the tone that will mark nearly all of the costumes for the show: he’s in a beribboned periwig and hoop skirt contraption that I imagine is what Marie Antoinette would look like if she lost her head at a karaoke bar. \u003c/span>\u003c/p>\n\u003ch3>1786–1796\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">A section on women’s lib involving a dress encrusted with disembodied doll’s heads, framed by a couple of smoking wooden chimneys — an homage to the decade in which steam-power was invented. Matthew Flower (a.k.a. Machine Dazzle) is Mac’s costume designer, and truly a mad genius. The man stands about seven feet tall in stilettos and has as many costume changes as the principal performer.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11280233\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11280233\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Taylor-Mac_cropped-e1454024086184-800x396.jpg\" alt=\"Taylor Mac’s smokestack dress.\" width=\"800\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac_cropped-e1454024086184-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac_cropped-e1454024086184-400x198.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac_cropped-e1454024086184-768x380.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac_cropped-e1454024086184-1180x583.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac_cropped-e1454024086184-1920x949.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac_cropped-e1454024086184-960x475.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac’s smokestack dress. \u003ccite>(Photo: Jim Norrena)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">In this decade, Mac tells a long yarn about an unhappy love triangle that stops along the way for a feminist take on the tune “God Save the Queen,” as well as “Oh Dear, What Can the Matter Be?” and a lovely harp solo-infused version of the ballad “10,000 Miles.”\u003c/span>\u003c/p>\n\u003ch3>1796–1806\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">A memorable decade, playing ribald drinking songs (“Nine Inch Will Please a Lady”) off against hymns performed by a sniffy, bonneted temperance choir (“Drink to Me Only with Thine Eyes”) to provoke a discussion about the often strained coexistence between the puritanical and debauched in American society. Mac appears in an outfit shaped like a barrel with a headdress made of barley sheaths and wine bottle corks. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12186889\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12186889\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Taylor-Mac-Quick-17-1-e1476143797575-800x450.jpg\" alt=\"Taylor Mac explores 18th century drinking culture in Act 1 of ‘A 24-Decade History of Popular Music’\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Taylor-Mac-Quick-17-1-e1476143797575-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Taylor-Mac-Quick-17-1-e1476143797575-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Taylor-Mac-Quick-17-1-e1476143797575-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Taylor-Mac-Quick-17-1-e1476143797575-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Taylor-Mac-Quick-17-1-e1476143797575-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Taylor-Mac-Quick-17-1-e1476143797575-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac explores 18th century drinking culture in Act 1 of ‘A 24-Decade History of Popular Music.’ \u003ccite>(Photo: Teddy Wolff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">He has us drinking ginger ale (the venue’s license won’t allow booze unless it’s bought from the bar in the lobby) and passing ping-pong balls mouth-to-mouth with our neighbors. I could have used an actual beer to get through this part. But once I had plucked up the courage to pop a ball between the lips of the nice, young woman sitting to my right, and she had returned the favor, I knew Mac could ask me to do almost anything and I would probably comply. \u003c/span>\u003c/p>\n\u003cp>During the hour, Mac asks audience members to share their their favorite puke stories. There’s also a gorgeous choral version of “Shenandoah.” Oh, and Mac’s monologue, about a performance artist who repeatedly pulls chicken legs out of her vagina, eats the meat and then throws the bones out to the audience, will likely stay with me for a long time.\u003c/p>\n\u003ch3>1806–1816: Act II\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you haven’t already guessed, Mac takes audience participation in his shows seriously, and the floor is already a mess of ripped up paper, ping-pong balls, apple cores and empty ginger beer cans from the various antics of the previous three hours. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12186890\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12186890 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/the-floor-e1476144050654-800x450.jpg\" alt=\"The floor of St. Ann’s Warehouse, just a few hours into the show.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/the-floor-e1476144050654-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/the-floor-e1476144050654-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/the-floor-e1476144050654-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/the-floor-e1476144050654-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/the-floor-e1476144050654-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/the-floor-e1476144050654-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The floor of St. Ann’s Warehouse, just a few hours into the show. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’m gratified to see how many Bay Area people are in the house. A few are involved in the production, including cellist El Beh, singer Brian Rosen and Sister of Perpetual Indulgence Rose Mary Chicken, and many more of us are in the audience.\u003c/p>\n\u003cp>Mac devotes this section to staging what he calls a “heteronormative jukebox musical about colonization.” A lot of the songs over the hour sound boringly similar to the drinking songs in the last — they go “oom-pah-pah-oom-pah-pah” — and the story about young Irish lovers Harry and Jane separated in the old country and reunited in the new goes on for way too long.\u003c/p>\n\u003cp>But we get to sing along with the band for a bit, and Beh gets to perform a beautiful duet with Mac, “Bonnie Irish Maid.” As for the costuming, Mac looks like an ostrich had a collision with a candelabra.\u003c/p>\n\u003cfigure id=\"attachment_12186892\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12186892\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Taylor-Mac-Act-2-30-e1476144868704-800x451.jpg\" alt=\"Taylor Mac looks like an ostrich had a collision with a candelabra.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Taylor-Mac-Act-2-30-e1476144868704-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Taylor-Mac-Act-2-30-e1476144868704-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Taylor-Mac-Act-2-30-e1476144868704-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Taylor-Mac-Act-2-30-e1476144868704-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Taylor-Mac-Act-2-30-e1476144868704-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Taylor-Mac-Act-2-30-e1476144868704-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac looks like an ostrich had a collision with a candelabra as he involves an audience member in a scene from Act 2 of his show. \u003ccite>(Photo: Teddy Wolff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1816–1826\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">Mac’s helpers — whom he refers to as his “Dandy Minions”; Rose Mary Chicken is one of them — pass out eye masks. We dutifully move several hundred chairs to the side. The entire audience then spends the next hour stumbling about in the dark. Why? That’s the decade braille was invented. Also, Mac wants us to rely less on our sense of sight. So he has us feed each other grapes, smell carnations, and play a giant game of blind man’s bluff. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I sit in more laps than I care to recall and exchange grapes with a large person with a bushy beard. All the while, Mac tickles our ears with songs. “Cherry Ripe” is a melodious thing. So is “Coal Black Rose,” or at least until Mac tells us it’s about a bunch of sailors looking forward to ending their shift so they can go gang-rape a black female slave. \u003c/span>\u003c/p>\n\u003ch3>1826–1836\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a relief to get the blindfold off, though I had more fun going sightless for an hour than I thought I would. The next decade deals with the Indian Removal Act. Mac wears a cartoonish milkmaid dress with what looks like small plastic figurines protruding from it. He’s lost a sparkly eyebrow somewhere along the way. As we learn about the Trail of Tears and one poor Native American orphan’s journey from Cherokee lands in Georgia towards Christian salvation in Oklahoma, the cast performs hillbilly, washboard-infused renditions of children’s songs like “Turkey in the Straw” and “Goosey Goosey Gander.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12186894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12186894\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Taylor-Mac-Act-2-93-e1476145277832-800x452.jpg\" alt=\"Taylor Mac and the band perform 19th century children’s songs a cappella.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Taylor-Mac-Act-2-93-e1476145277832-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Taylor-Mac-Act-2-93-e1476145277832-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Taylor-Mac-Act-2-93-e1476145277832-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Taylor-Mac-Act-2-93-e1476145277832-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Taylor-Mac-Act-2-93-e1476145277832-1920x1085.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Taylor-Mac-Act-2-93-e1476145277832-960x542.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac and the band perform 19th century children’s songs a cappella. \u003ccite>(Photo: Teddy Wolff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">When we reach our destination, Mac throws on the hideous white house lights (he says the lighting in Oklahoma is so bad, it’s “like shopping at Duane Reade”) and throws off his country bumpkin attire. Now he’s singing a murder ballad — “Banks of the Ohio” — in nothing but a pair of sequined crimson panties and a feathered headdress topped with a pair of angry-looking stuffed cockerels. I am in awe.\u003c/span>\u003c/p>\n\u003ch3>1836–1846: Act III\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Dandy Minions erect a runway from the stage that cuts the space in two. What follows is perhaps the most pensive and dream-like of all of the show’s sections, dealing with the subject of slavery and the underground railroad that brought captives to freedom. As Mac and his band perform songs like “I’ve Been in the Storm So Long,” “Wade in the Water” and “No More Auction Block for Me,” puppeteers illustrate the spirit of the music with ghostly shadow puppet, marionette, and mannequin sequences. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12187078\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12187078\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/puppets-e1476145553718-800x452.jpg\" alt=\"Puppeteers provide haunting visual storytelling to the section of Taylor Mac’s show that deals with slavery.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/puppets-e1476145553718-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/puppets-e1476145553718-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/puppets-e1476145553718-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/puppets-e1476145553718-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/puppets-e1476145553718-1920x1084.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/puppets-e1476145553718-960x542.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Puppeteers provide haunting visual storytelling to the section of Taylor Mac’s show that deals with slavery. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1846–1856\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">The decades are all starting to blur into each other. I go to the bathroom, get some hummus and veggies from the snack bar and return to the fray. There I find Mac, dressed in another voluminous gown adorned with empty potato-chip packets (to mark the decade of the invention of the potato chip), cut-outs from gay porn magazines, and chess pieces, announcing an epic, lucha libre-style smackdown between Walt Whitman and Stephen Foster for the title of “Father of American Song.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Mac doesn’t much like Foster, whom he feels is basically a good old boy, entrenched in the ideals of the Old South and undeserving of the musicological adulation he receives today. Whitman, Mac says, is much more progressive a voice. There’s now a boxing ring at one end of the runway. Mac hoists a befuddled young man from the audience to stand in for Foster.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12187081\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12187081\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/smackdown-e1476145834477-800x451.jpg\" alt=\"Taylor Mac prepares for an epic smackdown between Stephen Foster and Walt Whitman to decide which of them is the true Father of American Song.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/smackdown-e1476145834477-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/smackdown-e1476145834477-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/smackdown-e1476145834477-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/smackdown-e1476145834477-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/smackdown-e1476145834477-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/smackdown-e1476145834477-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac prepares for an epic smackdown between Stephen Foster and Walt Whitman to decide which is the true Father of American Song. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Then Mac pits chestnuts by the composer like “Camptown Races” and “Massar in the Cold, Cold Ground” against eloquently delivered samples of Whitman’s verse. We’re to yell “Oh Captain, My Captain” if we want Whitman to win, and the flaccid “doo dah, doo dah” for Foster. Of course, the Captain wins every round of the fight, and the audience collectively pelts poor Foster with more ping-pong balls. Still, when Mac performs one of Foster’s most beautiful and socially conscious songs, “Hard Times,” most of us vote in the composer’s favor. \u003c/span>\u003c/p>\n\u003ch3>1856–1866\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m sitting by the runway, minding my own business, when I suddenly hear a booming voice above me saying, “You. Up on stage. Now.” It takes me a few seconds to realize the man is pointing at me. Before I know what’s going on, I’m up there, under the lights, in front of around 650 people, with the show’s makeup artist busily applying gobs of black makeup to my upper lip. A Dandy Minion plants a Union soldier’s cap on my head. And there are I am, in sweatpants, Chuck Taylors and a prize handlebar moustache, representing, Mac says, all the women who had to disguise themselves as men to join the army. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12187082\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12187082\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/selfie-as-soldier-e1476146006718-800x450.jpg\" alt=\"Selfie, shortly after being hoisted on stage and made up to look like a cross-dressed Union soldier.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/selfie-as-soldier-e1476146006718-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/selfie-as-soldier-e1476146006718-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/selfie-as-soldier-e1476146006718-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/selfie-as-soldier-e1476146006718-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/selfie-as-soldier-e1476146006718-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/selfie-as-soldier-e1476146006718-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Selfie, shortly after being hoisted on stage and made up to look like a cross-dressed Union soldier. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">There are lots of spunky war songs in this section, from both the Union and Confederate sides, including “When Johnny Comes Marching Home” and that sickly-nostalgic idyll to the South, “Dixie,” which causes half the audience to hiss in disgust. I consider wiping the makeup off right away. But strangers keep telling me how great I look in a ‘stache, so I wear it for a few hours, with a mixed sense of pride and embarrassment. \u003c/span>\u003c/p>\n\u003ch3>1866–1876: Act IV\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">Somehow 650 people manage to turn St. Ann’s into a dining room complete with long tables and chairs and delicious food, all because Mac has decided it’s time for us all to have a “family dinner.” As we munch on delicacies culled from Catherine Beecher’s 1871 cookbook, Mac treats us to ditties of the era, like “Home on the Range” (done in a moody, Dave Brubeck jazz style), while a bunch of women circus performers make human pyramids and perform other tricks on stage — and even on the dining tables. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12187084\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12187084\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/dinner-e1476146541107-800x450.jpg\" alt=\"Dinner, 19th century style.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/dinner-e1476146541107-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/dinner-e1476146541107-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/dinner-e1476146541107-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/dinner-e1476146541107-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/dinner-e1476146541107-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/dinner-e1476146541107-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dinner, 19th century style. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1876–1886\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">After our civilized family meal, things start to get really weird. We’re in the Gilded Age, and Mac decides to spend an hour performing an homage to Gilbert & Sullivan, who were as popular in the U.S. in the late 19th century as they were in their native England. Only he sets his abridged and thoroughly hilarious version of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Mikado\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, in which England’s famous operetta composers covertly satirized British politics, on Mars. Why? Because the appropriation of Japanese culture — or indeed any culture other than one’s own — is tricky territory today. (For more on this, take a look at \u003ca href=\"https://ww2.kqed.org/arts/2016/08/23/the-end-of-yellowface-and-blackface-or-not/\" target=\"_blank\" rel=\"noopener\">Cy Musiker’s story\u003c/a> about how the Bay Area’s Lamplighters’ theater company tried to solve the problem for its recent production of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Mikado\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">).\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12187085\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12187085\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/mikado-on-mars-e1476146955438-800x452.jpg\" alt=\"Cast members play martians in Taylor Mac’s totally surreal but strangely effective version of ‘The Mikado’ set on Mars.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/mikado-on-mars-e1476146955438-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/mikado-on-mars-e1476146955438-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/mikado-on-mars-e1476146955438-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/mikado-on-mars-e1476146955438-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/mikado-on-mars-e1476146955438-1920x1084.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/mikado-on-mars-e1476146955438-960x542.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cast members play martians in Taylor Mac’s totally surreal but strangely effective version of ‘The Mikado’ set on Mars. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Mac’s martian \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Mikado\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is full of amazing glow-in-the-dark costumes and makeup, a spaceship, and reggae-style production numbers. Also, Mac and company sound like Teletubbies. I’ve never heard “Three Little Maids from School are We” and “Willow, Tit Willow” processed through Autotune before. It kinda works. \u003c/span>\u003c/p>\n\u003ch3>1886–1896\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">This section deals with the Oklahoma Land Rush of 1889. I watch it all unfold from the safe distance of the upstairs balcony. It’s a relief to take a break from the shop floor, frankly. From my safe haven, I watch as the Dandy Minions release a cloud of colorful, helium-filled balloons into the space. Mac instructs the audience to make a run for the balloons, grab them, and then use them to stake out their turf. There aren’t enough balloons to go around, so those left without have to negotiate with the new “landowners” for space in their domain. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12187086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12187086\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/land-rush-e1476147064156-800x450.jpg\" alt=\"The Oklahoma Land Rush scene, observed from a balcony at a safe distance from the scramble.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/land-rush-e1476147064156-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/land-rush-e1476147064156-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/land-rush-e1476147064156-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/land-rush-e1476147064156-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/land-rush-e1476147064156-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/land-rush-e1476147064156-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Oklahoma Land Rush scene, observed from a balcony at a safe distance from the scramble. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Some of the musical selections in this decade are instrumentals, including Claude Debussy’s “Clair de Lune,” to which one of the Dandy Minions performs a striptease. Only he’s already completely starkers to begin with; the garments he removes are invisible. The connection between the privatization of land and this case of “The Emperor’s New Clothes” isn’t lost on me, even though I’ve been in the theater for around 12 hours at this point and am starting to feel it. \u003c/span>\u003c/p>\n\u003ch3>1896–1906: Act V\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s midnight, or thereabouts. We’ve officially reached the halfway point and are entering unchartered territory for cast and crew; the longest performance of the show they’ve given to date is 12 hours (at Vassar College, in the summer). I return downstairs, to the sound of energetic Eastern European music from the band. Mac is wearing his most beautiful dress yet, a figure-hugging, Gustav Klimt-inspired creation of black and gold. It’s festooned with Stars of David and other Jewish symbology. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We’re exploring what it means to be a newly arrived immigrant to these shores. Over the next hour, we flop about on mattresses and think about what it’s like to have sex in a tenement within earshot of dozens of family members, while Mac performs tuneful renditions of popular songs by New York Jews of the time, like Irving Berlin’s ironical “All Alone.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12187088\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12187088\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/matt-ray-e1476147411896-800x501.jpg\" alt=\"As the night wears on, musical director Matt Ray dons a beanie to keep himself warm.\" width=\"800\" height=\"501\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/matt-ray-e1476147411896-800x501.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/matt-ray-e1476147411896-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/matt-ray-e1476147411896-768x481.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/matt-ray-e1476147411896-1180x740.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/matt-ray-e1476147411896-1920x1203.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/matt-ray-e1476147411896-960x602.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">As the night wears on, musical director Matt Ray dons a beanie to keep himself warm. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1906–1916\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now we’re in the trenches. Mac, who is wearing a headdress with a gas mask incorporated in its design, invites all the men in the house aged 14 to 40 up on stage, to represent the demographic of soldiers who fought in the Great War. There are a lot of bodies up there. Mac gives several female audience members bandages and they go around wrapping the men up as if treating their wounds. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Mac’s songs about life during wartime include a terrific feminist take on “Keep the Home Fires Burning.” I am trying to get comfy on the mattress I’m sharing with several people and am finding it hard to concentrate. Even Mac is starting to show tiny signs of wear and tear. For the first time in the show, the performer has a memory lapse and asks his musical director for a cue. \u003c/span>\u003c/p>\n\u003ch3>1916–1926\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">In this section about the Roaring Twenties, Mac, ever the upender, chooses to view the hedonistic excesses of the era not as victorious jollity in the wake of wartime deprivations, but rather as post-war trauma.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12187281\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12187281\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/ulysses-e1476149574574-800x451.jpg\" alt=\"A surreal dance-off between a group of ukulele-strumming Tiny Tims and a bunch of tap-dancers dressed in robes in a fanciful homage to James Joyce’s ‘Ulysses’.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ulysses-e1476149574574-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ulysses-e1476149574574-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ulysses-e1476149574574-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ulysses-e1476149574574-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ulysses-e1476149574574-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ulysses-e1476149574574-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A surreal dance-off between a group of ukulele-strumming Tiny Tims and a bunch of tap-dancers dressed in robes in a fanciful homage to James Joyce’s ‘Ulysses.’ \u003ccite>(Photo: Chloe Veltman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Even though the hour is a loopy cocktail of balloons, good-time numbers like “Happy Days Are Here Again,” a conga line, and a surreal dance-off between a group of ukulele-strumming Tiny Tims and a bunch of tap-dancers dressed in Grecian robes in a fanciful homage to James Joyce’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Ulysses\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, Mac keeps reminding us that 16.5 million people died in the war. \u003c/span>\u003c/p>\n\u003ch3>1926–1936: Act VI\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">The act begins with a doctor joining the performer on stage to give him a vitamin B shot in his behind to help keep his energy levels up. That’s surely got to be a first for a public performance. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now we’re in the Depression Era. Americans across the land suffered. But musically, those times were certainly inspiring. In a tight black velvet romper, blue silk cape and sparkling bathing cap à la Esther Williams, Mac feeds our souls with “Minnie the Moocher,” “It Don’t Mean a Thing (If it Ain’t Got That Swing)” and other hits.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12187091\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12187091\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/soup-e1476147896533-800x450.jpg\" alt=\"Dandy Minions prepare to dole out soup to the tired, poor, huddled masses.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/soup-e1476147896533-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/soup-e1476147896533-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/soup-e1476147896533-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/soup-e1476147896533-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/soup-e1476147896533-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/soup-e1476147896533-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dandy Minions prepare to dole out soup to the tired, poor, huddled masses. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">He also feeds our bodies: The Dandy Minions emerge with huge vats of delicious split pea soup and bread rolls. We get into snaking soup lines and gratefully accept this well-past-midnight snack.\u003c/span>\u003c/p>\n\u003ch3>1936–1946\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">At some point during this act — I’m a little hazy on which decade exactly it happens, but it’s the conclusion of a monologue about Mac’s dumpster diving days — the performer transforms himself into a walking chocolate-vanilla ice-cream cone with sprinkles. A cherry-topped headdress provides the finishing touch. Only it isn’t a cherry at all, but a glittery red human skull. Nice touch. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m a bit lost though. “What decade are we in?” I ask a couple of couple of fellow audience members. No one seems to know. “It’s at that time when it all slips away,” I hear Mac say from the stage. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I listen to “Tea for Two” while sprawled out on a mattress with my eyes shut. I open my eyes to the sight of a couple of massive inflatable fish being gently tossed up and down in the air around the space and a scary narrative about the easy-listening favorite “By the Sleepy Lagoon” concerning the corpse of a dead baby. By the time Mac gets to a monologue about World War II Japanese internment camps and sings the song “Don’t Fence Me In,” I’m wide awake.\u003c/span>\u003c/p>\n\u003ch3>1946–1956\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">This decade is all about the white flight to the suburbs and the threat of the atomic bomb. Mac wrenches the mattresses away from us, and we bring back the chairs. Then he orders all the white people sitting in the center of the room to find a seat — or, if there are no seats left, someone’s lap — to the sides of the room. That’s when I realize that the audience, though diverse in terms of sexuality, gender and age, isn’t so diverse from a racial perspective.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12187092\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12187092\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/3d-glasses-e1476148029524-800x451.jpg\" alt=\"Taylor Mac as a Stepford-Wife-on-crack.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/3d-glasses-e1476148029524-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/3d-glasses-e1476148029524-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/3d-glasses-e1476148029524-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/3d-glasses-e1476148029524-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/3d-glasses-e1476148029524-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/3d-glasses-e1476148029524-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac in 1950s-inspired garb. \u003ccite>(Photo: Teddy Wolff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mac now resembles a Stepford-Wife-on-acid, with a wig made out of cardboard 3D glasses and a shawl in the shape of a white picket fence. The songs are starting to become more recognizable to 21st century ears, ranging from Roy Orbison’s “Pretty Woman” to The Platters’ “Only You.”\u003c/p>\n\u003cp>I’m really tired. Wondering: can I get a vitamin B shot too?\u003c/p>\n\u003ch3>1956–1966: Act VII\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">Only five more to go! Powerful guest singers from Detroit, Stephanie Christi’an and Thornetta Davis, join Mac for this section about the Civil Rights era and the March on Washington. Rambunctious performances of Nina Simone songs keep me going. When they get to “Mississippi Goddam,” I start to cry. Someone hands me a boxed breakfast. I gratefully dig in, with salty tears pelting my yogurt. \u003c/span>\u003c/p>\n\u003ch3>1966–1976\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">An hour devoted to the disco era and the rise of gay activism, kicked off by an energetic rendition of Curtis Mayfield’s “Move On Up.” Then Mac brings on an entire marching band from Brooklyn comprised entirely of young black men. The performer now has an enormous peace sign on his back and an oversized, tie-dye-effect macram\u003c/span>\u003cspan style=\"font-weight: 400\">é\u003c/span>\u003cspan style=\"font-weight: 400\"> “bib” on his front. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12187093\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12187093\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/peace-sign-e1476148222315-800x452.jpg\" alt=\"There’s no mistaking we’re in the 1970s with this getup.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/peace-sign-e1476148222315-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/peace-sign-e1476148222315-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/peace-sign-e1476148222315-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/peace-sign-e1476148222315-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/peace-sign-e1476148222315-1920x1084.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/peace-sign-e1476148222315-960x542.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">There’s no mistaking we’re in the 1970s with this getup. \u003ccite>(Photo: Teddy Wolff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">As the company stage manager dances in roller skates and a purple wig to David Bowie’s “Oh You Pretty Things,” there can be no doubt that we’re in the 1970s. We cycle through hits by Elton John, The Rolling Stones and The Clash. And I realize two things: one, just how much American pop music is actually British; and two, that we haven’t heard a squeak about The Beatles. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In a sly act of genius, Mac re-appropriates the homophobic Ted Nugent hit “Snakeskin Cowboys” as a gay prom song. Mac instructs us to find a partner of the same gender, and I find myself slow-dancing with \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">New York Times\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> arts reporter, Jennifer Schuessler\u003c/span>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003ch3>1976–1986\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">This one’s all about a backroom sex party. It involves “Purple Rain” (which Mac, in a momentary but totally forgivable memory lapse, almost forgets to sing) among other great let’s-get-it-on tracks. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At some point I nod off for five minutes and wake to find rose petals strewn over the floor. My prom date \u003c/span>\u003cspan style=\"font-weight: 400\">tells me someone tried to give me petals to throw, but I was unresponsive. Am glad to be wide awake again for Mac’s mesmerizing rendition of Laurie Anderson’s “O Superman,” for which the entire audience provides the backing track by chanting a staccato “ha ha ha ha” for the duration of the song.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12187094\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12187094\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/goth-outfit-e1476148803948-800x450.jpg\" alt=\"Taylor Mac in his goth pop outfit, festooned with cassette tapes. Guitarist Viva DeConcini looks on.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/goth-outfit-e1476148803948-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/goth-outfit-e1476148803948-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/goth-outfit-e1476148803948-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/goth-outfit-e1476148803948-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/goth-outfit-e1476148803948-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/goth-outfit-e1476148803948-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac in his goth pop outfit, festooned with cassette tapes. Guitarist Viva DeConcini looks on. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1986–1996: Act VIII\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">Can’t believe we’ve come this far. My notes are almost illegible. In fact, my notebook is falling apart. I keep the pages together with an elastic band I find on the floor. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We’re diving into the AIDS crisis. Mac is wearing a dress covered in cassette tapes. The music is a mad mixtape of goth-pop hits like “Blood Makes Noise” and “Addicted to Love,” with tracks like Whitney’s Houston’s “I Wanna Dance With Somebody” mixed in to throw us off, I guess.\u003c/span>\u003c/p>\n\u003ch3>1996–2006\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">This decade, devoted to radical lesbian songs, is a bit of a struggle for me. I’m exhausted. And I’m just not all that into “The Pussy Manifesto” and K.D. Lang. That said, I appreciate Mac turning this decade into a “lesbian tailgate party” complete with vagina decorations, mimosas, hot dogs cooked up on a George Foreman grill, lawn chairs, and several happy-looking dykes. I eat two bags of popcorn in solidarity. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12187095\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12187095\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/tailgate-e1476148928123-800x460.jpg\" alt=\"The lesbian tailgating party in the final act of ‘A 24 Decade History of Popular Music’.\" width=\"800\" height=\"460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/tailgate-e1476148928123-800x460.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/tailgate-e1476148928123-400x230.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/tailgate-e1476148928123-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/tailgate-e1476148928123-1180x679.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/tailgate-e1476148928123-1920x1104.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/tailgate-e1476148928123-960x552.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The lesbian tailgate party in the final act of ‘A 24 Decade History of Popular Music.’ \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2006–2016\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">I forgot to mention that Mac has been steadily hemorrhaging musicians for 23 hours, at a rate of around one an hour. Now there’s no one on stage but him. Showing clear signs of exhaustion, with a hoarse voice and almost slurred speech, Mac performs the last part of his musical journey solo, accompanying himself at different times on the piano, banjo, and ukulele. \u003c/span>\u003c/p>\n\u003cp>The songs are alternately angry and funny, and consistently moving. Mac composed them all himself. One track is dedicated to the recent bloodbath at the gay club in Orlando; another, to the life of a “Rank and File Queer.”\u003c/p>\n\u003cp>The 24-hour act of heroism ends quietly. Then the room erupts.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" 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>\u003cspan style=\"font-weight: 400\">“Perfection is for assholes,” Mac told me in the run-up to the show. \u003c/span>\u003cspan style=\"font-weight: 400\">That’s certainly a useful mantra to live by when you’ve got 240 years of pop music history to pull off. But it’s also not a bad way to approach life in general.\u003c/span>\u003c/p>\n\u003cp>What Taylor Mac teaches us above all else with his exhausting, brilliant marathon of history and song is how a total breakdown can bring people together. \u003cspan style=\"font-weight: 400\">“I’m going to be falling apart and the audience is going to be falling apart,” Mac said in an \u003ca href=\"https://ww2.kqed.org/forum/2016/01/19/taylor-macs-a-24-decade-history-of-popular-music-comes-to-san-francisco/\" target=\"_blank\" rel=\"noopener\">interview with Rachael Myrow on KQED Forum\u003c/a> last January, expressing what he hoped would be the outcome of this weekend’s theatrical-anthropological experiment. “But as a result, we’re going to be able to create bonds and build connection.”\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>He wasn’t wrong.\u003c/p>\n\u003cfigure id=\"attachment_12187278\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12187278 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/curtain-call-e1476149640443-800x450.jpg\" alt=\"After performing for 24 hours straight, the cast and crew of ‘A 24 Decade History of Popular Music’ take a bow.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/curtain-call-e1476149640443-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/curtain-call-e1476149640443-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/curtain-call-e1476149640443-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/curtain-call-e1476149640443-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/curtain-call-e1476149640443-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/curtain-call-e1476149640443-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After performing for 24 hours straight, the cast and crew of ‘A 24 Decade History of Popular Music’ take a bow. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "The Stockton-raised, New York-based drag performance artist undertook a heroic feat over the weekend, performing 246 songs covering 240 years of U.S. history.",
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"title": "How I Survived Taylor Mac's 24-Hour-Long Musical History Lesson | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">In the annals of marathon concert experiences, Taylor Mac’s \u003c/span>\u003ca href=\"http://www.taylormac.org/portfolio_page/24-decade/\">\u003ci>\u003cspan style=\"font-weight: 400\">A 24-Decade History of Popular Music\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\"> is right up there with legendarily lengthy sets played the likes of the Grateful Dead, Bruce Springsteen and Chilly Gonzales. The acclaimed New York drag performance artist and Stockton native appeared at St. Ann’s Warehouse in Brooklyn, New York over the weekend, presenting a one-off, 24-hour-long musical journey through U.S. history comprising of no less than 246 songs. And I was determined to stay awake for every one of them.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12186884\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12186884\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/credit-Ves-Pitts-e1476143027447-800x451.jpg\" alt=\"Performer Taylor Mac and music director Matt Ray.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/credit-Ves-Pitts-e1476143027447-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/credit-Ves-Pitts-e1476143027447-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/credit-Ves-Pitts-e1476143027447-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/credit-Ves-Pitts-e1476143027447-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/credit-Ves-Pitts-e1476143027447-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/credit-Ves-Pitts-e1476143027447-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Performer Taylor Mac and music director Matt Ray. \u003ccite>(Photo: Ves Pitts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Mac brought the first six hours of his magnum opus to San Francisco’s Curran Theatre last January, covering songs that were popular from the years 1776 to 1836, \u003ca href=\"https://ww2.kqed.org/arts/2016/01/25/taylor-mac-preps-for-24-hour-singing-marathon/\" target=\"_blank\" rel=\"noopener\">I barely noticed the time shimmy by\u003c/a>. Still, I approached the full 24-hour extravaganza with trepidation. It’s been years since I pulled an all-nighter; these days, if I fail to get my full quota of zzz’s, well, I’m just not very nice.\u003c/p>\n\u003cp>So I asked my friend Matt Walker, a U.C. Berkeley neuroscientist who studies sleep, for advice. “After 16 hours of continued wakefulness, the functionality of your brain and the health of your body start to degrade rapidly,” he said. “Stay away from coffee and alcohol. Do not do operate heavy machinery or drive.”\u003c/p>\n\u003cp>Okey dokey, then.\u003c/p>\n\u003cp>In the run-up to the performance, Mac \u003ca href=\"http://www.bbc.co.uk/programmes/articles/1NnZ168S8fQGQBKG9NHJbqt/frock-around-the-clock-drag-cabaret-show-fits-24-decades-of-music-into-24-hours\" target=\"_blank\" rel=\"noopener\">shared with me his own survival plans\u003c/a>, which included consuming Japanese rice balls, electrolyte water and apples, and every so often, giving his feet a break. “I’ve learned that changing shoes after every decade is very helpful,” Mac said. “And there are a few decades where I am not in heels.”\u003c/p>\n\u003cfigure id=\"attachment_12186888\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12186888\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/IMG_5173-e1476143548801-800x459.jpg\" alt=\"The crowd settles down before the start of 'A 24-Decade History of Popular Music', a one-off, marathon performance at St. Ann's warehouse, Brooklyn, NY on Oct. 8-9, 2016\" width=\"800\" height=\"459\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/IMG_5173-e1476143548801-800x459.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/IMG_5173-e1476143548801-400x230.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/IMG_5173-e1476143548801-768x441.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/IMG_5173-e1476143548801-1180x678.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/IMG_5173-e1476143548801-1920x1103.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/IMG_5173-e1476143548801-960x551.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd settles down before the start of ‘A 24-Decade History of Popular Music,’ a one-off, marathon performance at St. Ann’s warehouse, Brooklyn, NY on Oct. 8–9, 2016. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Just shy of noon last Saturday, I showed up at St. Ann’s, in flats. The cavernous space on the Brooklyn waterfront was decked out for the occasion with hammocks, a medical tent and a kiosk offering snacks. I settled into my seat with a notebook and pen. What follows are my impressions of one of the longest — and greatest — feats ever to have unfolded on the American concert stage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Take heed; it’s long. Believe me, I know.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" 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\u003ch3>1776–1786: Act I\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">After making a public apology and offering his grandmother’s beat-up ukulele to a Native American person for the way in which the early settlers and their descendants screwed over the indigenous people of North America, Mac begins the first of his eight, three-hour-long acts with a discussion about the core values upon which our great nation is based. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11273115\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11273115 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Taylor-Mac-2-c-Jim-Norrena-e1453676397992-800x503.jpg\" alt=\"Taylor Mac in 'A 24-Decade History of Popular Music: 1776-1806' as part of Curran: Under Construction\" width=\"800\" height=\"503\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-2-c-Jim-Norrena-e1453676397992-800x503.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-2-c-Jim-Norrena-e1453676397992-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-2-c-Jim-Norrena-e1453676397992-768x483.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-2-c-Jim-Norrena-e1453676397992-1180x742.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-2-c-Jim-Norrena-e1453676397992-1920x1207.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac-2-c-Jim-Norrena-e1453676397992-960x603.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac in ‘A 24-Decade History of Popular Music.’ \u003ccite>(Photo: Jim Norrena )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The performer takes us through spirited versions of “Amazing Grace,” “Black is the Color of My True Love’s Hair,” “Yankee Doodle” and other period favorites charismatically arranged by the production’s formidable music director, arranger and pianist Matt Ray. (“Only 245 songs left to go!” Mac says after finishing the first one. Ray grins.) From these, Mac deduces that the United States’ founding principles, among others, include “hating Congress,” “liking black hair,” and “making things.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There are several people knitting on stage throughout to underscore his point about maker culture. Mac’s getup sets the tone that will mark nearly all of the costumes for the show: he’s in a beribboned periwig and hoop skirt contraption that I imagine is what Marie Antoinette would look like if she lost her head at a karaoke bar. \u003c/span>\u003c/p>\n\u003ch3>1786–1796\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">A section on women’s lib involving a dress encrusted with disembodied doll’s heads, framed by a couple of smoking wooden chimneys — an homage to the decade in which steam-power was invented. Matthew Flower (a.k.a. Machine Dazzle) is Mac’s costume designer, and truly a mad genius. The man stands about seven feet tall in stilettos and has as many costume changes as the principal performer.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11280233\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11280233\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/Taylor-Mac_cropped-e1454024086184-800x396.jpg\" alt=\"Taylor Mac’s smokestack dress.\" width=\"800\" height=\"396\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac_cropped-e1454024086184-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac_cropped-e1454024086184-400x198.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac_cropped-e1454024086184-768x380.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac_cropped-e1454024086184-1180x583.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac_cropped-e1454024086184-1920x949.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/Taylor-Mac_cropped-e1454024086184-960x475.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac’s smokestack dress. \u003ccite>(Photo: Jim Norrena)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">In this decade, Mac tells a long yarn about an unhappy love triangle that stops along the way for a feminist take on the tune “God Save the Queen,” as well as “Oh Dear, What Can the Matter Be?” and a lovely harp solo-infused version of the ballad “10,000 Miles.”\u003c/span>\u003c/p>\n\u003ch3>1796–1806\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">A memorable decade, playing ribald drinking songs (“Nine Inch Will Please a Lady”) off against hymns performed by a sniffy, bonneted temperance choir (“Drink to Me Only with Thine Eyes”) to provoke a discussion about the often strained coexistence between the puritanical and debauched in American society. Mac appears in an outfit shaped like a barrel with a headdress made of barley sheaths and wine bottle corks. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12186889\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12186889\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Taylor-Mac-Quick-17-1-e1476143797575-800x450.jpg\" alt=\"Taylor Mac explores 18th century drinking culture in Act 1 of ‘A 24-Decade History of Popular Music’\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Taylor-Mac-Quick-17-1-e1476143797575-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Taylor-Mac-Quick-17-1-e1476143797575-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Taylor-Mac-Quick-17-1-e1476143797575-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Taylor-Mac-Quick-17-1-e1476143797575-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Taylor-Mac-Quick-17-1-e1476143797575-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Taylor-Mac-Quick-17-1-e1476143797575-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac explores 18th century drinking culture in Act 1 of ‘A 24-Decade History of Popular Music.’ \u003ccite>(Photo: Teddy Wolff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">He has us drinking ginger ale (the venue’s license won’t allow booze unless it’s bought from the bar in the lobby) and passing ping-pong balls mouth-to-mouth with our neighbors. I could have used an actual beer to get through this part. But once I had plucked up the courage to pop a ball between the lips of the nice, young woman sitting to my right, and she had returned the favor, I knew Mac could ask me to do almost anything and I would probably comply. \u003c/span>\u003c/p>\n\u003cp>During the hour, Mac asks audience members to share their their favorite puke stories. There’s also a gorgeous choral version of “Shenandoah.” Oh, and Mac’s monologue, about a performance artist who repeatedly pulls chicken legs out of her vagina, eats the meat and then throws the bones out to the audience, will likely stay with me for a long time.\u003c/p>\n\u003ch3>1806–1816: Act II\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you haven’t already guessed, Mac takes audience participation in his shows seriously, and the floor is already a mess of ripped up paper, ping-pong balls, apple cores and empty ginger beer cans from the various antics of the previous three hours. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12186890\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12186890 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/the-floor-e1476144050654-800x450.jpg\" alt=\"The floor of St. Ann’s Warehouse, just a few hours into the show.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/the-floor-e1476144050654-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/the-floor-e1476144050654-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/the-floor-e1476144050654-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/the-floor-e1476144050654-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/the-floor-e1476144050654-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/the-floor-e1476144050654-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The floor of St. Ann’s Warehouse, just a few hours into the show. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’m gratified to see how many Bay Area people are in the house. A few are involved in the production, including cellist El Beh, singer Brian Rosen and Sister of Perpetual Indulgence Rose Mary Chicken, and many more of us are in the audience.\u003c/p>\n\u003cp>Mac devotes this section to staging what he calls a “heteronormative jukebox musical about colonization.” A lot of the songs over the hour sound boringly similar to the drinking songs in the last — they go “oom-pah-pah-oom-pah-pah” — and the story about young Irish lovers Harry and Jane separated in the old country and reunited in the new goes on for way too long.\u003c/p>\n\u003cp>But we get to sing along with the band for a bit, and Beh gets to perform a beautiful duet with Mac, “Bonnie Irish Maid.” As for the costuming, Mac looks like an ostrich had a collision with a candelabra.\u003c/p>\n\u003cfigure id=\"attachment_12186892\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12186892\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Taylor-Mac-Act-2-30-e1476144868704-800x451.jpg\" alt=\"Taylor Mac looks like an ostrich had a collision with a candelabra.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Taylor-Mac-Act-2-30-e1476144868704-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Taylor-Mac-Act-2-30-e1476144868704-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Taylor-Mac-Act-2-30-e1476144868704-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Taylor-Mac-Act-2-30-e1476144868704-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Taylor-Mac-Act-2-30-e1476144868704-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Taylor-Mac-Act-2-30-e1476144868704-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac looks like an ostrich had a collision with a candelabra as he involves an audience member in a scene from Act 2 of his show. \u003ccite>(Photo: Teddy Wolff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1816–1826\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">Mac’s helpers — whom he refers to as his “Dandy Minions”; Rose Mary Chicken is one of them — pass out eye masks. We dutifully move several hundred chairs to the side. The entire audience then spends the next hour stumbling about in the dark. Why? That’s the decade braille was invented. Also, Mac wants us to rely less on our sense of sight. So he has us feed each other grapes, smell carnations, and play a giant game of blind man’s bluff. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I sit in more laps than I care to recall and exchange grapes with a large person with a bushy beard. All the while, Mac tickles our ears with songs. “Cherry Ripe” is a melodious thing. So is “Coal Black Rose,” or at least until Mac tells us it’s about a bunch of sailors looking forward to ending their shift so they can go gang-rape a black female slave. \u003c/span>\u003c/p>\n\u003ch3>1826–1836\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s a relief to get the blindfold off, though I had more fun going sightless for an hour than I thought I would. The next decade deals with the Indian Removal Act. Mac wears a cartoonish milkmaid dress with what looks like small plastic figurines protruding from it. He’s lost a sparkly eyebrow somewhere along the way. As we learn about the Trail of Tears and one poor Native American orphan’s journey from Cherokee lands in Georgia towards Christian salvation in Oklahoma, the cast performs hillbilly, washboard-infused renditions of children’s songs like “Turkey in the Straw” and “Goosey Goosey Gander.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12186894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12186894\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Taylor-Mac-Act-2-93-e1476145277832-800x452.jpg\" alt=\"Taylor Mac and the band perform 19th century children’s songs a cappella.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Taylor-Mac-Act-2-93-e1476145277832-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Taylor-Mac-Act-2-93-e1476145277832-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Taylor-Mac-Act-2-93-e1476145277832-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Taylor-Mac-Act-2-93-e1476145277832-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Taylor-Mac-Act-2-93-e1476145277832-1920x1085.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Taylor-Mac-Act-2-93-e1476145277832-960x542.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac and the band perform 19th century children’s songs a cappella. \u003ccite>(Photo: Teddy Wolff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">When we reach our destination, Mac throws on the hideous white house lights (he says the lighting in Oklahoma is so bad, it’s “like shopping at Duane Reade”) and throws off his country bumpkin attire. Now he’s singing a murder ballad — “Banks of the Ohio” — in nothing but a pair of sequined crimson panties and a feathered headdress topped with a pair of angry-looking stuffed cockerels. I am in awe.\u003c/span>\u003c/p>\n\u003ch3>1836–1846: Act III\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">The Dandy Minions erect a runway from the stage that cuts the space in two. What follows is perhaps the most pensive and dream-like of all of the show’s sections, dealing with the subject of slavery and the underground railroad that brought captives to freedom. As Mac and his band perform songs like “I’ve Been in the Storm So Long,” “Wade in the Water” and “No More Auction Block for Me,” puppeteers illustrate the spirit of the music with ghostly shadow puppet, marionette, and mannequin sequences. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12187078\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12187078\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/puppets-e1476145553718-800x452.jpg\" alt=\"Puppeteers provide haunting visual storytelling to the section of Taylor Mac’s show that deals with slavery.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/puppets-e1476145553718-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/puppets-e1476145553718-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/puppets-e1476145553718-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/puppets-e1476145553718-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/puppets-e1476145553718-1920x1084.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/puppets-e1476145553718-960x542.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Puppeteers provide haunting visual storytelling to the section of Taylor Mac’s show that deals with slavery. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1846–1856\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">The decades are all starting to blur into each other. I go to the bathroom, get some hummus and veggies from the snack bar and return to the fray. There I find Mac, dressed in another voluminous gown adorned with empty potato-chip packets (to mark the decade of the invention of the potato chip), cut-outs from gay porn magazines, and chess pieces, announcing an epic, lucha libre-style smackdown between Walt Whitman and Stephen Foster for the title of “Father of American Song.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Mac doesn’t much like Foster, whom he feels is basically a good old boy, entrenched in the ideals of the Old South and undeserving of the musicological adulation he receives today. Whitman, Mac says, is much more progressive a voice. There’s now a boxing ring at one end of the runway. Mac hoists a befuddled young man from the audience to stand in for Foster.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12187081\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12187081\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/smackdown-e1476145834477-800x451.jpg\" alt=\"Taylor Mac prepares for an epic smackdown between Stephen Foster and Walt Whitman to decide which of them is the true Father of American Song.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/smackdown-e1476145834477-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/smackdown-e1476145834477-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/smackdown-e1476145834477-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/smackdown-e1476145834477-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/smackdown-e1476145834477-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/smackdown-e1476145834477-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac prepares for an epic smackdown between Stephen Foster and Walt Whitman to decide which is the true Father of American Song. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Then Mac pits chestnuts by the composer like “Camptown Races” and “Massar in the Cold, Cold Ground” against eloquently delivered samples of Whitman’s verse. We’re to yell “Oh Captain, My Captain” if we want Whitman to win, and the flaccid “doo dah, doo dah” for Foster. Of course, the Captain wins every round of the fight, and the audience collectively pelts poor Foster with more ping-pong balls. Still, when Mac performs one of Foster’s most beautiful and socially conscious songs, “Hard Times,” most of us vote in the composer’s favor. \u003c/span>\u003c/p>\n\u003ch3>1856–1866\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m sitting by the runway, minding my own business, when I suddenly hear a booming voice above me saying, “You. Up on stage. Now.” It takes me a few seconds to realize the man is pointing at me. Before I know what’s going on, I’m up there, under the lights, in front of around 650 people, with the show’s makeup artist busily applying gobs of black makeup to my upper lip. A Dandy Minion plants a Union soldier’s cap on my head. And there are I am, in sweatpants, Chuck Taylors and a prize handlebar moustache, representing, Mac says, all the women who had to disguise themselves as men to join the army. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12187082\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12187082\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/selfie-as-soldier-e1476146006718-800x450.jpg\" alt=\"Selfie, shortly after being hoisted on stage and made up to look like a cross-dressed Union soldier.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/selfie-as-soldier-e1476146006718-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/selfie-as-soldier-e1476146006718-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/selfie-as-soldier-e1476146006718-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/selfie-as-soldier-e1476146006718-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/selfie-as-soldier-e1476146006718-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/selfie-as-soldier-e1476146006718-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Selfie, shortly after being hoisted on stage and made up to look like a cross-dressed Union soldier. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">There are lots of spunky war songs in this section, from both the Union and Confederate sides, including “When Johnny Comes Marching Home” and that sickly-nostalgic idyll to the South, “Dixie,” which causes half the audience to hiss in disgust. I consider wiping the makeup off right away. But strangers keep telling me how great I look in a ‘stache, so I wear it for a few hours, with a mixed sense of pride and embarrassment. \u003c/span>\u003c/p>\n\u003ch3>1866–1876: Act IV\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">Somehow 650 people manage to turn St. Ann’s into a dining room complete with long tables and chairs and delicious food, all because Mac has decided it’s time for us all to have a “family dinner.” As we munch on delicacies culled from Catherine Beecher’s 1871 cookbook, Mac treats us to ditties of the era, like “Home on the Range” (done in a moody, Dave Brubeck jazz style), while a bunch of women circus performers make human pyramids and perform other tricks on stage — and even on the dining tables. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12187084\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12187084\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/dinner-e1476146541107-800x450.jpg\" alt=\"Dinner, 19th century style.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/dinner-e1476146541107-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/dinner-e1476146541107-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/dinner-e1476146541107-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/dinner-e1476146541107-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/dinner-e1476146541107-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/dinner-e1476146541107-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dinner, 19th century style. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1876–1886\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">After our civilized family meal, things start to get really weird. We’re in the Gilded Age, and Mac decides to spend an hour performing an homage to Gilbert & Sullivan, who were as popular in the U.S. in the late 19th century as they were in their native England. Only he sets his abridged and thoroughly hilarious version of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Mikado\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, in which England’s famous operetta composers covertly satirized British politics, on Mars. Why? Because the appropriation of Japanese culture — or indeed any culture other than one’s own — is tricky territory today. (For more on this, take a look at \u003ca href=\"https://ww2.kqed.org/arts/2016/08/23/the-end-of-yellowface-and-blackface-or-not/\" target=\"_blank\" rel=\"noopener\">Cy Musiker’s story\u003c/a> about how the Bay Area’s Lamplighters’ theater company tried to solve the problem for its recent production of \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Mikado\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">).\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12187085\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12187085\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/mikado-on-mars-e1476146955438-800x452.jpg\" alt=\"Cast members play martians in Taylor Mac’s totally surreal but strangely effective version of ‘The Mikado’ set on Mars.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/mikado-on-mars-e1476146955438-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/mikado-on-mars-e1476146955438-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/mikado-on-mars-e1476146955438-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/mikado-on-mars-e1476146955438-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/mikado-on-mars-e1476146955438-1920x1084.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/mikado-on-mars-e1476146955438-960x542.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cast members play martians in Taylor Mac’s totally surreal but strangely effective version of ‘The Mikado’ set on Mars. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Mac’s martian \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Mikado\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> is full of amazing glow-in-the-dark costumes and makeup, a spaceship, and reggae-style production numbers. Also, Mac and company sound like Teletubbies. I’ve never heard “Three Little Maids from School are We” and “Willow, Tit Willow” processed through Autotune before. It kinda works. \u003c/span>\u003c/p>\n\u003ch3>1886–1896\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">This section deals with the Oklahoma Land Rush of 1889. I watch it all unfold from the safe distance of the upstairs balcony. It’s a relief to take a break from the shop floor, frankly. From my safe haven, I watch as the Dandy Minions release a cloud of colorful, helium-filled balloons into the space. Mac instructs the audience to make a run for the balloons, grab them, and then use them to stake out their turf. There aren’t enough balloons to go around, so those left without have to negotiate with the new “landowners” for space in their domain. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12187086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12187086\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/land-rush-e1476147064156-800x450.jpg\" alt=\"The Oklahoma Land Rush scene, observed from a balcony at a safe distance from the scramble.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/land-rush-e1476147064156-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/land-rush-e1476147064156-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/land-rush-e1476147064156-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/land-rush-e1476147064156-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/land-rush-e1476147064156-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/land-rush-e1476147064156-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Oklahoma Land Rush scene, observed from a balcony at a safe distance from the scramble. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Some of the musical selections in this decade are instrumentals, including Claude Debussy’s “Clair de Lune,” to which one of the Dandy Minions performs a striptease. Only he’s already completely starkers to begin with; the garments he removes are invisible. The connection between the privatization of land and this case of “The Emperor’s New Clothes” isn’t lost on me, even though I’ve been in the theater for around 12 hours at this point and am starting to feel it. \u003c/span>\u003c/p>\n\u003ch3>1896–1906: Act V\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s midnight, or thereabouts. We’ve officially reached the halfway point and are entering unchartered territory for cast and crew; the longest performance of the show they’ve given to date is 12 hours (at Vassar College, in the summer). I return downstairs, to the sound of energetic Eastern European music from the band. Mac is wearing his most beautiful dress yet, a figure-hugging, Gustav Klimt-inspired creation of black and gold. It’s festooned with Stars of David and other Jewish symbology. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We’re exploring what it means to be a newly arrived immigrant to these shores. Over the next hour, we flop about on mattresses and think about what it’s like to have sex in a tenement within earshot of dozens of family members, while Mac performs tuneful renditions of popular songs by New York Jews of the time, like Irving Berlin’s ironical “All Alone.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12187088\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12187088\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/matt-ray-e1476147411896-800x501.jpg\" alt=\"As the night wears on, musical director Matt Ray dons a beanie to keep himself warm.\" width=\"800\" height=\"501\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/matt-ray-e1476147411896-800x501.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/matt-ray-e1476147411896-400x251.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/matt-ray-e1476147411896-768x481.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/matt-ray-e1476147411896-1180x740.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/matt-ray-e1476147411896-1920x1203.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/matt-ray-e1476147411896-960x602.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">As the night wears on, musical director Matt Ray dons a beanie to keep himself warm. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1906–1916\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now we’re in the trenches. Mac, who is wearing a headdress with a gas mask incorporated in its design, invites all the men in the house aged 14 to 40 up on stage, to represent the demographic of soldiers who fought in the Great War. There are a lot of bodies up there. Mac gives several female audience members bandages and they go around wrapping the men up as if treating their wounds. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Mac’s songs about life during wartime include a terrific feminist take on “Keep the Home Fires Burning.” I am trying to get comfy on the mattress I’m sharing with several people and am finding it hard to concentrate. Even Mac is starting to show tiny signs of wear and tear. For the first time in the show, the performer has a memory lapse and asks his musical director for a cue. \u003c/span>\u003c/p>\n\u003ch3>1916–1926\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">In this section about the Roaring Twenties, Mac, ever the upender, chooses to view the hedonistic excesses of the era not as victorious jollity in the wake of wartime deprivations, but rather as post-war trauma.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12187281\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12187281\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/ulysses-e1476149574574-800x451.jpg\" alt=\"A surreal dance-off between a group of ukulele-strumming Tiny Tims and a bunch of tap-dancers dressed in robes in a fanciful homage to James Joyce’s ‘Ulysses’.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ulysses-e1476149574574-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ulysses-e1476149574574-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ulysses-e1476149574574-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ulysses-e1476149574574-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ulysses-e1476149574574-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/ulysses-e1476149574574-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A surreal dance-off between a group of ukulele-strumming Tiny Tims and a bunch of tap-dancers dressed in robes in a fanciful homage to James Joyce’s ‘Ulysses.’ \u003ccite>(Photo: Chloe Veltman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Even though the hour is a loopy cocktail of balloons, good-time numbers like “Happy Days Are Here Again,” a conga line, and a surreal dance-off between a group of ukulele-strumming Tiny Tims and a bunch of tap-dancers dressed in Grecian robes in a fanciful homage to James Joyce’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Ulysses\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, Mac keeps reminding us that 16.5 million people died in the war. \u003c/span>\u003c/p>\n\u003ch3>1926–1936: Act VI\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">The act begins with a doctor joining the performer on stage to give him a vitamin B shot in his behind to help keep his energy levels up. That’s surely got to be a first for a public performance. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now we’re in the Depression Era. Americans across the land suffered. But musically, those times were certainly inspiring. In a tight black velvet romper, blue silk cape and sparkling bathing cap à la Esther Williams, Mac feeds our souls with “Minnie the Moocher,” “It Don’t Mean a Thing (If it Ain’t Got That Swing)” and other hits.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12187091\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12187091\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/soup-e1476147896533-800x450.jpg\" alt=\"Dandy Minions prepare to dole out soup to the tired, poor, huddled masses.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/soup-e1476147896533-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/soup-e1476147896533-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/soup-e1476147896533-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/soup-e1476147896533-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/soup-e1476147896533-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/soup-e1476147896533-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dandy Minions prepare to dole out soup to the tired, poor, huddled masses. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">He also feeds our bodies: The Dandy Minions emerge with huge vats of delicious split pea soup and bread rolls. We get into snaking soup lines and gratefully accept this well-past-midnight snack.\u003c/span>\u003c/p>\n\u003ch3>1936–1946\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">At some point during this act — I’m a little hazy on which decade exactly it happens, but it’s the conclusion of a monologue about Mac’s dumpster diving days — the performer transforms himself into a walking chocolate-vanilla ice-cream cone with sprinkles. A cherry-topped headdress provides the finishing touch. Only it isn’t a cherry at all, but a glittery red human skull. Nice touch. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I’m a bit lost though. “What decade are we in?” I ask a couple of couple of fellow audience members. No one seems to know. “It’s at that time when it all slips away,” I hear Mac say from the stage. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I listen to “Tea for Two” while sprawled out on a mattress with my eyes shut. I open my eyes to the sight of a couple of massive inflatable fish being gently tossed up and down in the air around the space and a scary narrative about the easy-listening favorite “By the Sleepy Lagoon” concerning the corpse of a dead baby. By the time Mac gets to a monologue about World War II Japanese internment camps and sings the song “Don’t Fence Me In,” I’m wide awake.\u003c/span>\u003c/p>\n\u003ch3>1946–1956\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">This decade is all about the white flight to the suburbs and the threat of the atomic bomb. Mac wrenches the mattresses away from us, and we bring back the chairs. Then he orders all the white people sitting in the center of the room to find a seat — or, if there are no seats left, someone’s lap — to the sides of the room. That’s when I realize that the audience, though diverse in terms of sexuality, gender and age, isn’t so diverse from a racial perspective.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12187092\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12187092\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/3d-glasses-e1476148029524-800x451.jpg\" alt=\"Taylor Mac as a Stepford-Wife-on-crack.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/3d-glasses-e1476148029524-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/3d-glasses-e1476148029524-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/3d-glasses-e1476148029524-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/3d-glasses-e1476148029524-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/3d-glasses-e1476148029524-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/3d-glasses-e1476148029524-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac in 1950s-inspired garb. \u003ccite>(Photo: Teddy Wolff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mac now resembles a Stepford-Wife-on-acid, with a wig made out of cardboard 3D glasses and a shawl in the shape of a white picket fence. The songs are starting to become more recognizable to 21st century ears, ranging from Roy Orbison’s “Pretty Woman” to The Platters’ “Only You.”\u003c/p>\n\u003cp>I’m really tired. Wondering: can I get a vitamin B shot too?\u003c/p>\n\u003ch3>1956–1966: Act VII\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">Only five more to go! Powerful guest singers from Detroit, Stephanie Christi’an and Thornetta Davis, join Mac for this section about the Civil Rights era and the March on Washington. Rambunctious performances of Nina Simone songs keep me going. When they get to “Mississippi Goddam,” I start to cry. Someone hands me a boxed breakfast. I gratefully dig in, with salty tears pelting my yogurt. \u003c/span>\u003c/p>\n\u003ch3>1966–1976\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">An hour devoted to the disco era and the rise of gay activism, kicked off by an energetic rendition of Curtis Mayfield’s “Move On Up.” Then Mac brings on an entire marching band from Brooklyn comprised entirely of young black men. The performer now has an enormous peace sign on his back and an oversized, tie-dye-effect macram\u003c/span>\u003cspan style=\"font-weight: 400\">é\u003c/span>\u003cspan style=\"font-weight: 400\"> “bib” on his front. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12187093\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12187093\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/peace-sign-e1476148222315-800x452.jpg\" alt=\"There’s no mistaking we’re in the 1970s with this getup.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/peace-sign-e1476148222315-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/peace-sign-e1476148222315-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/peace-sign-e1476148222315-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/peace-sign-e1476148222315-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/peace-sign-e1476148222315-1920x1084.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/peace-sign-e1476148222315-960x542.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">There’s no mistaking we’re in the 1970s with this getup. \u003ccite>(Photo: Teddy Wolff)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">As the company stage manager dances in roller skates and a purple wig to David Bowie’s “Oh You Pretty Things,” there can be no doubt that we’re in the 1970s. We cycle through hits by Elton John, The Rolling Stones and The Clash. And I realize two things: one, just how much American pop music is actually British; and two, that we haven’t heard a squeak about The Beatles. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In a sly act of genius, Mac re-appropriates the homophobic Ted Nugent hit “Snakeskin Cowboys” as a gay prom song. Mac instructs us to find a partner of the same gender, and I find myself slow-dancing with \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">New York Times\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> arts reporter, Jennifer Schuessler\u003c/span>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003ch3>1976–1986\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">This one’s all about a backroom sex party. It involves “Purple Rain” (which Mac, in a momentary but totally forgivable memory lapse, almost forgets to sing) among other great let’s-get-it-on tracks. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At some point I nod off for five minutes and wake to find rose petals strewn over the floor. My prom date \u003c/span>\u003cspan style=\"font-weight: 400\">tells me someone tried to give me petals to throw, but I was unresponsive. Am glad to be wide awake again for Mac’s mesmerizing rendition of Laurie Anderson’s “O Superman,” for which the entire audience provides the backing track by chanting a staccato “ha ha ha ha” for the duration of the song.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12187094\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12187094\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/goth-outfit-e1476148803948-800x450.jpg\" alt=\"Taylor Mac in his goth pop outfit, festooned with cassette tapes. Guitarist Viva DeConcini looks on.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/goth-outfit-e1476148803948-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/goth-outfit-e1476148803948-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/goth-outfit-e1476148803948-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/goth-outfit-e1476148803948-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/goth-outfit-e1476148803948-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/goth-outfit-e1476148803948-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Mac in his goth pop outfit, festooned with cassette tapes. Guitarist Viva DeConcini looks on. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>1986–1996: Act VIII\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">Can’t believe we’ve come this far. My notes are almost illegible. In fact, my notebook is falling apart. I keep the pages together with an elastic band I find on the floor. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">We’re diving into the AIDS crisis. Mac is wearing a dress covered in cassette tapes. The music is a mad mixtape of goth-pop hits like “Blood Makes Noise” and “Addicted to Love,” with tracks like Whitney’s Houston’s “I Wanna Dance With Somebody” mixed in to throw us off, I guess.\u003c/span>\u003c/p>\n\u003ch3>1996–2006\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">This decade, devoted to radical lesbian songs, is a bit of a struggle for me. I’m exhausted. And I’m just not all that into “The Pussy Manifesto” and K.D. Lang. That said, I appreciate Mac turning this decade into a “lesbian tailgate party” complete with vagina decorations, mimosas, hot dogs cooked up on a George Foreman grill, lawn chairs, and several happy-looking dykes. I eat two bags of popcorn in solidarity. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12187095\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12187095\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/tailgate-e1476148928123-800x460.jpg\" alt=\"The lesbian tailgating party in the final act of ‘A 24 Decade History of Popular Music’.\" width=\"800\" height=\"460\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/tailgate-e1476148928123-800x460.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/tailgate-e1476148928123-400x230.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/tailgate-e1476148928123-768x442.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/tailgate-e1476148928123-1180x679.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/tailgate-e1476148928123-1920x1104.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/tailgate-e1476148928123-960x552.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The lesbian tailgate party in the final act of ‘A 24 Decade History of Popular Music.’ \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>2006–2016\u003c/h3>\n\u003cp>\u003cspan style=\"font-weight: 400\">I forgot to mention that Mac has been steadily hemorrhaging musicians for 23 hours, at a rate of around one an hour. Now there’s no one on stage but him. Showing clear signs of exhaustion, with a hoarse voice and almost slurred speech, Mac performs the last part of his musical journey solo, accompanying himself at different times on the piano, banjo, and ukulele. \u003c/span>\u003c/p>\n\u003cp>The songs are alternately angry and funny, and consistently moving. Mac composed them all himself. One track is dedicated to the recent bloodbath at the gay club in Orlando; another, to the life of a “Rank and File Queer.”\u003c/p>\n\u003cp>The 24-hour act of heroism ends quietly. Then the room erupts.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" 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>\u003cspan style=\"font-weight: 400\">“Perfection is for assholes,” Mac told me in the run-up to the show. \u003c/span>\u003cspan style=\"font-weight: 400\">That’s certainly a useful mantra to live by when you’ve got 240 years of pop music history to pull off. But it’s also not a bad way to approach life in general.\u003c/span>\u003c/p>\n\u003cp>What Taylor Mac teaches us above all else with his exhausting, brilliant marathon of history and song is how a total breakdown can bring people together. \u003cspan style=\"font-weight: 400\">“I’m going to be falling apart and the audience is going to be falling apart,” Mac said in an \u003ca href=\"https://ww2.kqed.org/forum/2016/01/19/taylor-macs-a-24-decade-history-of-popular-music-comes-to-san-francisco/\" target=\"_blank\" rel=\"noopener\">interview with Rachael Myrow on KQED Forum\u003c/a> last January, expressing what he hoped would be the outcome of this weekend’s theatrical-anthropological experiment. “But as a result, we’re going to be able to create bonds and build connection.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He wasn’t wrong.\u003c/p>\n\u003cfigure id=\"attachment_12187278\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12187278 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/curtain-call-e1476149640443-800x450.jpg\" alt=\"After performing for 24 hours straight, the cast and crew of ‘A 24 Decade History of Popular Music’ take a bow.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/curtain-call-e1476149640443-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/curtain-call-e1476149640443-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/curtain-call-e1476149640443-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/curtain-call-e1476149640443-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/curtain-call-e1476149640443-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/curtain-call-e1476149640443-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After performing for 24 hours straight, the cast and crew of ‘A 24 Decade History of Popular Music’ take a bow. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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