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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",
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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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"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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"title": "Berkeley Rep's 'It Can't Happen Here' is All Play and No Politics",
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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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"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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"title": "Marin Theatre Company to Cast Female as Mowgli in 'Jungle Book'",
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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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"excerpt": "The Mill Valley-based company is breaking with tradition by casting local actress Sango Tajima in the lead role.",
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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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"slug": "how-i-survived-taylor-macs-24-hour-long-musical-history-lesson",
"title": "How I Survived Taylor Mac's 24-Hour-Long Musical History Lesson",
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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": "\u003cp>\u003ca title=\"The Moth\" href=\"http://themoth.org/about\" target=\"_blank\">The Moth\u003c/a> is an acclaimed not-for-profit organization dedicated to the art and craft of storytelling, with public StorySLAM events that are \u003ca title=\"The Moth on KQED Public Radio\" href=\"http://www.kqed.org/radio/programs/index.jsp?pgmid=RD96\" target=\"_blank\">broadcast each Saturday at 10pm on KQED Public Radio (88.5.)\u003c/a> \u003cstrong>Their next \u003ca title=\"San Francisco GrandSLAM\" href=\"https://themoth.org/events/grandslam-championship-san-francisco\" target=\"_blank\">GrandSLAM\u003c/a> is at the historic \u003ca title=\"SF GrandSLAM\" href=\"http://www.castrotheatre.com/\" target=\"_blank\">Castro Theatre\u003c/a> in San Francisco on Tuesday, October 18 and we’ve got four pairs of tickets to give away to this guaranteed-sell-out night!\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>To be in with a chance of winning them, just send an email to \u003ca href=\"mailto:giveaway@kqed.org\">giveaway@kqed.org\u003c/a> with the subject “Grand SLAM\" that contains your full name and phone number.\u003c/strong>\u003c/p>\n\u003cp>From all entries we’ll randomly select four winners for a pair of tickets (worth $50 per pair.) \u003cstrong>Deadline to enter is Sunday, October 16 at 11:59 pm.\u003c/strong> Winners will be notified by e-mail on Monday, and tickets will be held at Will Call. You must be a California resident and 18 years or older to participate. Employees of KQED are not eligible to enter.\u003c/p>\n\u003cp style=\"color: #000000\">\u003cstrong>\u003cem>\u003ca href=\"https://themoth.org/events/grandslam-championship-san-francisco\" target=\"_blank\">The Moth GrandSLAM\u003c/a>\u003ca style=\"color: #114999\" href=\"https://deyoung.famsf.org/exhibitions/modernism-national-gallery-art-robert-jane-meyerhoff-collection?utm_source=kqed&utm_medium=promo&utm_campaign=meyerhoff\" target=\"_blank\">\u003cbr>\n\u003c/a>\u003c/em>\u003c/strong>\u003cb>Doors 7:00 pm, Tuesday, Oct 18\u003cbr>\n\u003c/b>\u003cstrong>\u003ca title=\"SF GrandSLAM\" href=\"http://www.castrotheatre.com/\" target=\"_blank\">Castro Theatre\u003c/a>\u003c/strong>\u003cbr>\n\u003cstrong>429 Castro St, San Francisco, CA 94114\u003c/strong>\u003cbr>\n\u003cstrong>(415) 621-6350\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"description": "The Moth is an acclaimed not-for-profit organization dedicated to the art and craft of storytelling, with public StorySLAM events that are broadcast each Saturday at 10pm on KQED Public Radio (88.5.) Their next GrandSLAM is at the historic Castro Theatre in San Francisco on Tuesday, October 18 and we’ve got four pairs of tickets to give away",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca title=\"The Moth\" href=\"http://themoth.org/about\" target=\"_blank\">The Moth\u003c/a> is an acclaimed not-for-profit organization dedicated to the art and craft of storytelling, with public StorySLAM events that are \u003ca title=\"The Moth on KQED Public Radio\" href=\"http://www.kqed.org/radio/programs/index.jsp?pgmid=RD96\" target=\"_blank\">broadcast each Saturday at 10pm on KQED Public Radio (88.5.)\u003c/a> \u003cstrong>Their next \u003ca title=\"San Francisco GrandSLAM\" href=\"https://themoth.org/events/grandslam-championship-san-francisco\" target=\"_blank\">GrandSLAM\u003c/a> is at the historic \u003ca title=\"SF GrandSLAM\" href=\"http://www.castrotheatre.com/\" target=\"_blank\">Castro Theatre\u003c/a> in San Francisco on Tuesday, October 18 and we’ve got four pairs of tickets to give away to this guaranteed-sell-out night!\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>To be in with a chance of winning them, just send an email to \u003ca href=\"mailto:giveaway@kqed.org\">giveaway@kqed.org\u003c/a> with the subject “Grand SLAM\" that contains your full name and phone number.\u003c/strong>\u003c/p>\n\u003cp>From all entries we’ll randomly select four winners for a pair of tickets (worth $50 per pair.) \u003cstrong>Deadline to enter is Sunday, October 16 at 11:59 pm.\u003c/strong> Winners will be notified by e-mail on Monday, and tickets will be held at Will Call. You must be a California resident and 18 years or older to participate. Employees of KQED are not eligible to enter.\u003c/p>\n\u003cp style=\"color: #000000\">\u003cstrong>\u003cem>\u003ca href=\"https://themoth.org/events/grandslam-championship-san-francisco\" target=\"_blank\">The Moth GrandSLAM\u003c/a>\u003ca style=\"color: #114999\" href=\"https://deyoung.famsf.org/exhibitions/modernism-national-gallery-art-robert-jane-meyerhoff-collection?utm_source=kqed&utm_medium=promo&utm_campaign=meyerhoff\" target=\"_blank\">\u003cbr>\n\u003c/a>\u003c/em>\u003c/strong>\u003cb>Doors 7:00 pm, Tuesday, Oct 18\u003cbr>\n\u003c/b>\u003cstrong>\u003ca title=\"SF GrandSLAM\" href=\"http://www.castrotheatre.com/\" target=\"_blank\">Castro Theatre\u003c/a>\u003c/strong>\u003cbr>\n\u003cstrong>429 Castro St, San Francisco, CA 94114\u003c/strong>\u003cbr>\n\u003cstrong>(415) 621-6350\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Crowded Fire’s ‘The Shipment’ Explores Race Through Minstrelsy",
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"content": "\u003cp>Korean-American playwright and provocateur Young Jean Lee’s \u003ca href=\"http://www.crowdedfire.org/2016-the-shipment/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Shipment\u003c/em>\u003c/a> begins with a minstrel routine. The two dancers in Crowded Fire’s excellent production, played by William Hartfield and a riotously funny Nican Robinson, aren’t that good. Or they might be good at being bad. It’s hard to tell.\u003c/p>\n\u003cp>But when they collapse on the floor in exhaustion, you think maybe “good” and “bad” aren’t what Lee’s after. The beauty of the opening is that it doesn’t catch us off-guard, so much as hint at what we’ve always known. Here is the cost of America’s racial drama: two exhausted African-American men, sprawled on stage and staring into space.\u003c/p>\n\u003cp>And so we’re off and running with \u003cem>The Shipment\u003c/em>, a work that’s part minstrel show and part drawing-room social satire. Lee, a rising star in the American theater and the foremost practitioner of great bad writing, loves faulty thinking and barren aesthetics. In our country’s ongoing racial psycho-drama, she has an abundance of available material. Careful never to fall into the trap of the exposé — the “oh my God, if we had only known” surprise of white liberal outrage — Lee chooses to embrace the methodical, frantic pace of the variety show with this work. The question becomes not what the show is about, but rather the ease with which we miss all the human pain that produces it.\u003c/p>\n\u003cfigure id=\"attachment_12161292\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12161292\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Shipment-3-e1475652958897-800x448.jpg\" alt=\"Howard Johnson is a shock comic in Crowded Fire's 'The Shipment' by Young Jean Lee.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-3-e1475652958897-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-3-e1475652958897-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-3-e1475652958897-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-3-e1475652958897-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-3-e1475652958897-1920x1075.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-3-e1475652958897-960x538.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Howard Johnson is a shock comic in Crowded Fire’s ‘The Shipment’ by Young Jean Lee. \u003ccite>(Photo: Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When an obscene nightclub comic (played by Howard Johnson channeling Chris Rock) takes the stage, his over-the-top offensiveness is so uninspired it comes off as sweet. Yet, like the minstrels before him, his show is a ruse. What matters is the performance of the performance. Not what he says, but what it takes to say what he says. Who is the man behind the act? How does he do it night after night? And, most importantly, at what cost?\u003c/p>\n\u003cp>\u003cem>The Shipment\u003c/em> reaches a dizzying high in stripping bare that question in the next “act” of the show when the cast performs the tale of “Omar the Rapper.” The winding narrative follows the fortunes of a young man (an effervescent Michael Wayne Turner III) who dreams of fame, loses his best friend “Sidekick Michael” to a drive-by shooting, falls in with “Drug Dealer Desmond,” ends up in jail, picks up a spiritual mentor, meets a record producer, becomes famous and then miserable, and finally finds true guidance from his dead grandmother.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even moreso than the exhausted dance of the minstrels and faux outrage of the shock comic, the actual content of “Omar the Rapper,” as presented, is empty of meaning. The actors that animate them, though, are striking. The cast sloughs off and races through the lines with an off-handed aplomb, in a startling mixture of skill and boredom. As Omar’s rise and fall becomes more and more ridiculous, we start to pay attention to the only meaningful thing on stage — the performances.\u003c/p>\n\u003cp>Not the performances of the actual cast — who are all terrific — but the performances of the shadow cast, the fictional actors who take on these ridiculous, iconic roles: the black minstrels, the black comic, the black rapper, the black grandmother, the gay black hairdresser, the black gangster. Are they the puppet masters or the puppets? No matter how arresting the action is on stage, Lee keeps reminding us that the real action is off to the side.\u003c/p>\n\u003cp>One might say that somewhere off stage there are human beings striving for hope and dignity. But under Lee’s relentless assault on racial conventions, even dignity is a game, as the cast comes out, stares at the audience for an uncomfortable amount of time, and launches into a spiritually tinged, a cappella rendition of Modest Mouse’s “Dark Center of the Universe.”\u003c/p>\n\u003cp>Hearing white indie-rock sensitivity mixed with a we-shall-overcome African-American aesthetic makes for a sharp primer on the limitations of dignity and bearing witness. The lyrics from Modest Mouse’s Isaac Brock are not only bad — “I might disintegrate into thin air if you’d like / I’m the dark center of the universe you thought” — but they’re also leaden as an anthem. Lee takes us to the damaged end of protest and forces us to see that it’s as hollow a commodity as an obscene joke, ghetto melodrama, or razzle-dazzle minstrel show. It’s a relief when two white male stagehands, bored and lifeless, come out to change the set for the last scene.\u003c/p>\n\u003cfigure id=\"attachment_12161291\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12161291\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Shipment-2-800x533.jpg\" alt=\"(L to R) William Hartfield, Nican Robinson, Howard Johnson Jr., Nkechie Emeruwa, and Michael Wayne Turner III in Crowded Fire's 'The Shipment' by Young Jean Lee.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-2-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-2-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) William Hartfield, Nican Robinson, Howard Johnson Jr., Nkechie Emeruwa, and Michael Wayne Turner III in Crowded Fire’s ‘The Shipment’ by Young Jean Lee. They’re relaxed because magically racism disappeared. \u003ccite>(Photo: Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the play continues, something strange has happened. We’re watching the same cast, but they’ve somehow unburdened themselves of race. We’re at a dinner party in a swanky apartment and everyone is pretty and swell. It’s the kind of scene Noël Coward would have enjoyed. This is what black life would look like if black life didn’t matter; if it were, say, exactly like white life. There’s still drama — drugs, suicide, murder — but it’s devoid of sting and significance.\u003c/p>\n\u003cp>Is this freedom? It qualifies as a version of freedom, I guess. By the play’s conclusion, Lee makes sure that we understand that it is. Without ruining the ending, I’ll just say that it’s a stage trick worthy of the complement: somewhat magical, and a smart end to Lee’s vicious and entertaining smackdown of all our precious conventions.\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>\n\u003cp>\u003cem>‘The Shipment’ runs through Saturday, Oct. 15, at The Thick House in San Francisco. For tickets and information, \u003ca href=\"http://www.crowdedfire.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Korean-American playwright and provocateur Young Jean Lee’s \u003ca href=\"http://www.crowdedfire.org/2016-the-shipment/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Shipment\u003c/em>\u003c/a> begins with a minstrel routine. The two dancers in Crowded Fire’s excellent production, played by William Hartfield and a riotously funny Nican Robinson, aren’t that good. Or they might be good at being bad. It’s hard to tell.\u003c/p>\n\u003cp>But when they collapse on the floor in exhaustion, you think maybe “good” and “bad” aren’t what Lee’s after. The beauty of the opening is that it doesn’t catch us off-guard, so much as hint at what we’ve always known. Here is the cost of America’s racial drama: two exhausted African-American men, sprawled on stage and staring into space.\u003c/p>\n\u003cp>And so we’re off and running with \u003cem>The Shipment\u003c/em>, a work that’s part minstrel show and part drawing-room social satire. Lee, a rising star in the American theater and the foremost practitioner of great bad writing, loves faulty thinking and barren aesthetics. In our country’s ongoing racial psycho-drama, she has an abundance of available material. Careful never to fall into the trap of the exposé — the “oh my God, if we had only known” surprise of white liberal outrage — Lee chooses to embrace the methodical, frantic pace of the variety show with this work. The question becomes not what the show is about, but rather the ease with which we miss all the human pain that produces it.\u003c/p>\n\u003cfigure id=\"attachment_12161292\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12161292\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Shipment-3-e1475652958897-800x448.jpg\" alt=\"Howard Johnson is a shock comic in Crowded Fire's 'The Shipment' by Young Jean Lee.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-3-e1475652958897-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-3-e1475652958897-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-3-e1475652958897-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-3-e1475652958897-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-3-e1475652958897-1920x1075.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-3-e1475652958897-960x538.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Howard Johnson is a shock comic in Crowded Fire’s ‘The Shipment’ by Young Jean Lee. \u003ccite>(Photo: Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When an obscene nightclub comic (played by Howard Johnson channeling Chris Rock) takes the stage, his over-the-top offensiveness is so uninspired it comes off as sweet. Yet, like the minstrels before him, his show is a ruse. What matters is the performance of the performance. Not what he says, but what it takes to say what he says. Who is the man behind the act? How does he do it night after night? And, most importantly, at what cost?\u003c/p>\n\u003cp>\u003cem>The Shipment\u003c/em> reaches a dizzying high in stripping bare that question in the next “act” of the show when the cast performs the tale of “Omar the Rapper.” The winding narrative follows the fortunes of a young man (an effervescent Michael Wayne Turner III) who dreams of fame, loses his best friend “Sidekick Michael” to a drive-by shooting, falls in with “Drug Dealer Desmond,” ends up in jail, picks up a spiritual mentor, meets a record producer, becomes famous and then miserable, and finally finds true guidance from his dead grandmother.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even moreso than the exhausted dance of the minstrels and faux outrage of the shock comic, the actual content of “Omar the Rapper,” as presented, is empty of meaning. The actors that animate them, though, are striking. The cast sloughs off and races through the lines with an off-handed aplomb, in a startling mixture of skill and boredom. As Omar’s rise and fall becomes more and more ridiculous, we start to pay attention to the only meaningful thing on stage — the performances.\u003c/p>\n\u003cp>Not the performances of the actual cast — who are all terrific — but the performances of the shadow cast, the fictional actors who take on these ridiculous, iconic roles: the black minstrels, the black comic, the black rapper, the black grandmother, the gay black hairdresser, the black gangster. Are they the puppet masters or the puppets? No matter how arresting the action is on stage, Lee keeps reminding us that the real action is off to the side.\u003c/p>\n\u003cp>One might say that somewhere off stage there are human beings striving for hope and dignity. But under Lee’s relentless assault on racial conventions, even dignity is a game, as the cast comes out, stares at the audience for an uncomfortable amount of time, and launches into a spiritually tinged, a cappella rendition of Modest Mouse’s “Dark Center of the Universe.”\u003c/p>\n\u003cp>Hearing white indie-rock sensitivity mixed with a we-shall-overcome African-American aesthetic makes for a sharp primer on the limitations of dignity and bearing witness. The lyrics from Modest Mouse’s Isaac Brock are not only bad — “I might disintegrate into thin air if you’d like / I’m the dark center of the universe you thought” — but they’re also leaden as an anthem. Lee takes us to the damaged end of protest and forces us to see that it’s as hollow a commodity as an obscene joke, ghetto melodrama, or razzle-dazzle minstrel show. It’s a relief when two white male stagehands, bored and lifeless, come out to change the set for the last scene.\u003c/p>\n\u003cfigure id=\"attachment_12161291\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12161291\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/Shipment-2-800x533.jpg\" alt=\"(L to R) William Hartfield, Nican Robinson, Howard Johnson Jr., Nkechie Emeruwa, and Michael Wayne Turner III in Crowded Fire's 'The Shipment' by Young Jean Lee.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-2-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/Shipment-2-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) William Hartfield, Nican Robinson, Howard Johnson Jr., Nkechie Emeruwa, and Michael Wayne Turner III in Crowded Fire’s ‘The Shipment’ by Young Jean Lee. They’re relaxed because magically racism disappeared. \u003ccite>(Photo: Pak Han)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When the play continues, something strange has happened. We’re watching the same cast, but they’ve somehow unburdened themselves of race. We’re at a dinner party in a swanky apartment and everyone is pretty and swell. It’s the kind of scene Noël Coward would have enjoyed. This is what black life would look like if black life didn’t matter; if it were, say, exactly like white life. There’s still drama — drugs, suicide, murder — but it’s devoid of sting and significance.\u003c/p>\n\u003cp>Is this freedom? It qualifies as a version of freedom, I guess. By the play’s conclusion, Lee makes sure that we understand that it is. Without ruining the ending, I’ll just say that it’s a stage trick worthy of the complement: somewhat magical, and a smart end to Lee’s vicious and entertaining smackdown of all our precious conventions.\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>\n\u003cp>\u003cem>‘The Shipment’ runs through Saturday, Oct. 15, at The Thick House in San Francisco. For tickets and information, \u003ca href=\"http://www.crowdedfire.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Tom Ammiano isn’t your garden-variety politician. The former state assemblyman and San Francisco district supervisor was the city’s first openly gay teacher, worked closely with Harvey Milk and has been a standup comic since 1980. Ammiano, the self-described “Mother of Gay Comedy,” has used humor as a weapon throughout his long political career. We’ll talk with him about “Mincing Words,” his new autobiographical one-man show at San Francisco’s Marsh Theater.\u003c/p>\n\u003cp>\u003ca href=\"http://themarsh.org/mincing_words/tom-ammiano/\">More Information on “Mincing Words” (TheMarsh.org)\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Cy and David's Picks: Walking Deep in the Bluegrass, Flipping our Wigs, and Dying of Laughter",
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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>https://soundcloud.com/kqed/the-do-list-bluegrass-hedwigs-wigs-belly-laughs\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5TCMpA5TfHc\u003c/p>\n\u003cp>\u003cstrong>Sept. 30 – Oct. 2: \u003c/strong>It’s still our favorite Cheap Thrill of the year. \u003ca href=\"http://www.hardlystrictlybluegrass.com/2016/\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass\u003c/a> is worth every minute (or hour) it takes to get to Golden Gate Park in San Francisco, because Producer Dawn Holliday always books an esteemed and eclectic lineup of bluegrass, country, rock, gospel, blues, and pop stars. This year she’s offering Dave Alvin’s tribute to Merle Haggard, Poor Man’s Whiskey, Buddy Miller, Steve Earle, Mary Chapin Carpenter, San Pablo’s Los Cenzontles, Roseanne Cash, T-Bone Burnett, Mavis Staples, Boz Scags, and Cyndi Lauper for goodness sake, and more. All for free. Just take your bike, or public transit, and don’t forget warm clothes. Details \u003ca href=\"http://www.hardlystrictlybluegrass.com/2016/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bhBNlpRjdnE\u003c/p>\n\u003cp>\u003cstrong>Sept. 30:\u003c/strong> \u003ca href=\"http://www.funnyordie.com/\" target=\"_blank\" rel=\"noopener\">Funny or Die\u003c/a> is back at the Shoreline for the fourth year with its \u003ca href=\"http://www.oddballfest.com/\" target=\"_blank\" rel=\"noopener\">Oddball Comedy and Curiosity Festival\u003c/a>, and whoever you like (or hate) for the Presidency, you know they’ll get thrashed. That could be a draw in this anhedonic election year. We’re not keen on everyone in the lineup, but you can’t miss with \u003ca href=\"http://roastmastergeneral.com/\" target=\"_blank\" rel=\"noopener\">Roastmaster General\u003c/a> Jeff Ross, \u003ca href=\"http://www.iliza.com/tour\" target=\"_blank\" rel=\"noopener\">Iliza Schlesinger\u003c/a> (featured above and the star of the TV series \u003ca href=\"http://abc.go.com/shows/forever-31\" target=\"_blank\" rel=\"noopener\">Forever 31\u003c/a>), or the offbeat humor of Tom Segura.\u003cbr>\nDetails for the Oddball Comedy and Curiosity Festival at Shoreline Amphitheatre are \u003ca href=\"http://www.livenation.com/artists/129534/oddball-comedy-curiosity-festival\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12132078\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12132078\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Darren-Criss-as-Hedwig-800x600.jpg\" alt=\"Tony Award winning musical Hedwig and the Angry Inch comes to San Francisco with the city's own Darren Criss as Hedwig\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Darren-Criss-as-Hedwig-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Darren-Criss-as-Hedwig-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Darren-Criss-as-Hedwig-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Darren-Criss-as-Hedwig-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Darren-Criss-as-Hedwig-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Darren-Criss-as-Hedwig-960x719.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tony Award winning musical Hedwig and the Angry Inch comes to San Francisco with the city’s own Darren Criss as Hedwig \u003ccite>(Photo: Courtesy of SHNSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Oct. 2 – 30\u003c/strong>: \u003cem>\u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=hedwigandtheangryinch&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">Hedwig and the Angry Inch\u003c/a>\u003c/em> kicks off its national tour in San Francisco. But the big news about this musical featuring a gender-queer rock and rolling East German during the cold war, is that the two stars were born and raised in San Francisco. \u003ca href=\"https://www.facebook.com/darrencriss/\" target=\"_blank\" rel=\"noopener\">Darren Criss\u003c/a> of Glee fame is reprising his performance as Hedwig. Criss grew up in San Francisco. He told me on the phone he’s so into the character of Hedwig, and not just for the wigs and the eye glitter. “It’s one of the great roles of the American theater,” Criss said. “It is an extraordinarily grand arc of character, trying to find oneself, and the struggle of what it is to know who you are.” Criss added that his parents have been really supportive of the show business careers he and his musician brother have carved out. “It’s a big deal,” he said, “when they’re happy for you even when you’re performing in a club that smells of beer and pot.” The other connection:\u003ca href=\"http://www.lenahall.com/\" target=\"_blank\" rel=\"noopener\"> Lena Hall\u003c/a> is a graduate of the Ruth Asawa School for the Arts in San Francisco. She won a Tony as Hedwig’s husband, Yitzhak, a Jewish drag queen from Zagreb. Details for Hedwig’s run in San Francisco at the SHN Golden Gate Theatre are \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=hedwigandtheangryinch&BOparam::WScontent::loadArticle::context_id=&menu_id=D8B581C0-D57E-44FF-A27B-4336DDA81A9D\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=o0YUdrvIWTg\u003c/p>\n\u003cp>\u003cstrong>Continuing through Jan. 15:\u003c/strong> We’re off to Jupiter’s moon Europa, now, with conceptual artist Tom Sachs. His new installation Space Program: Europa is a wacky and fascinating combination of a Japanese tea ceremony with a NASA mission. It all looks very real until you notice that his spacesuits and the 20 X 20 foot landing module are made of found materials. Sachs apparently chose YBCA as a “launch pad” because he regards it as “the punk rock institution of San Francisco.” You at least have to see the Winnebago/Mobile Quarantine Facility parked outside the YBCA galleries. There’s a nice r\u003ca href=\"https://ww2.kqed.org/arts/2016/09/22/tom-sachs-leads-space-mission-to-jupiters-europa-without-leaving-earth/\" target=\"_blank\" rel=\"noopener\">eview on our KQED Arts website,\u003c/a> and a chance to see a live performance of the mission on the closing weekend. Details \u003ca href=\"https://www.ybca.org/whats-on/space-program-europa\" target=\"_blank\" rel=\"noopener\">here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bxWxXncl53U\u003c/p>\n\u003cp>\u003cstrong>Oct 3 & 4:\u003c/strong>\u003ca href=\"http://bombaestereo.com/\" target=\"_blank\" rel=\"noopener\"> Bomba Estereo\u003c/a> means stereo bomb, a slang term in Colombia for awesome. And they are just that good. This band from Bogota, founded by Simon Mejia, plays a kind of “psychedelic cumbia” that is just irrisistible. NPR’s \u003ca href=\"http://www.npr.org/2016/09/18/494382862/in-soy-yo-video-bomba-est-reo-pays-tribute-to-whats-inside-of-you\" target=\"_blank\" rel=\"noopener\">Rachel Martin interviewed Mejia a few weeks\u003c/a> ago, so check that out if you want to learn more about them. Details for their two night stand at the Independent in San Francisco on Monday and Tuesday are \u003ca href=\"http://www.theindependentsf.com/event/1271191-bomba-estereo-san-francisco/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>A few shoutouts:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=s-K6vj12-Tc\u003c/p>\n\u003cp>\u003cstrong>Sept. 30 & Oct. 1\u003c/strong>: I’m excited about Farruquito, the beautiful and talented flamenco dancer, who’s leading a flash mob at 6pm at UN Plaza in San Francisco, and then performing tomorrow night at Herbst Theater for the Bay Area Flamenco Festival. Details \u003ca href=\"http://www.bayareaflamencofestival.org/Home.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oMqutKBS5iE\u003c/p>\n\u003cp>\u003cstrong>Sept. 30 – Oct. 8: \u003c/strong>David wanted to shout out to the comedy troupe Killing My Lobster and its new show KML The Musical, in which the sketch group mocks musical theater from Fosse to Fiddler (and probably Hedwig too). Details \u003ca href=\"http://www.killingmylobster.com/next-up/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \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>https://soundcloud.com/kqed/the-do-list-bluegrass-hedwigs-wigs-belly-laughs\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/5TCMpA5TfHc'\n title='//www.youtube.com/embed/5TCMpA5TfHc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Sept. 30 – Oct. 2: \u003c/strong>It’s still our favorite Cheap Thrill of the year. \u003ca href=\"http://www.hardlystrictlybluegrass.com/2016/\" target=\"_blank\" rel=\"noopener\">Hardly Strictly Bluegrass\u003c/a> is worth every minute (or hour) it takes to get to Golden Gate Park in San Francisco, because Producer Dawn Holliday always books an esteemed and eclectic lineup of bluegrass, country, rock, gospel, blues, and pop stars. This year she’s offering Dave Alvin’s tribute to Merle Haggard, Poor Man’s Whiskey, Buddy Miller, Steve Earle, Mary Chapin Carpenter, San Pablo’s Los Cenzontles, Roseanne Cash, T-Bone Burnett, Mavis Staples, Boz Scags, and Cyndi Lauper for goodness sake, and more. All for free. Just take your bike, or public transit, and don’t forget warm clothes. Details \u003ca href=\"http://www.hardlystrictlybluegrass.com/2016/\" 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/bhBNlpRjdnE'\n title='//www.youtube.com/embed/bhBNlpRjdnE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Sept. 30:\u003c/strong> \u003ca href=\"http://www.funnyordie.com/\" target=\"_blank\" rel=\"noopener\">Funny or Die\u003c/a> is back at the Shoreline for the fourth year with its \u003ca href=\"http://www.oddballfest.com/\" target=\"_blank\" rel=\"noopener\">Oddball Comedy and Curiosity Festival\u003c/a>, and whoever you like (or hate) for the Presidency, you know they’ll get thrashed. That could be a draw in this anhedonic election year. We’re not keen on everyone in the lineup, but you can’t miss with \u003ca href=\"http://roastmastergeneral.com/\" target=\"_blank\" rel=\"noopener\">Roastmaster General\u003c/a> Jeff Ross, \u003ca href=\"http://www.iliza.com/tour\" target=\"_blank\" rel=\"noopener\">Iliza Schlesinger\u003c/a> (featured above and the star of the TV series \u003ca href=\"http://abc.go.com/shows/forever-31\" target=\"_blank\" rel=\"noopener\">Forever 31\u003c/a>), or the offbeat humor of Tom Segura.\u003cbr>\nDetails for the Oddball Comedy and Curiosity Festival at Shoreline Amphitheatre are \u003ca href=\"http://www.livenation.com/artists/129534/oddball-comedy-curiosity-festival\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12132078\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12132078\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Darren-Criss-as-Hedwig-800x600.jpg\" alt=\"Tony Award winning musical Hedwig and the Angry Inch comes to San Francisco with the city's own Darren Criss as Hedwig\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Darren-Criss-as-Hedwig-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Darren-Criss-as-Hedwig-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Darren-Criss-as-Hedwig-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Darren-Criss-as-Hedwig-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Darren-Criss-as-Hedwig-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Darren-Criss-as-Hedwig-960x719.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tony Award winning musical Hedwig and the Angry Inch comes to San Francisco with the city’s own Darren Criss as Hedwig \u003ccite>(Photo: Courtesy of SHNSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Oct. 2 – 30\u003c/strong>: \u003cem>\u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=hedwigandtheangryinch&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">Hedwig and the Angry Inch\u003c/a>\u003c/em> kicks off its national tour in San Francisco. But the big news about this musical featuring a gender-queer rock and rolling East German during the cold war, is that the two stars were born and raised in San Francisco. \u003ca href=\"https://www.facebook.com/darrencriss/\" target=\"_blank\" rel=\"noopener\">Darren Criss\u003c/a> of Glee fame is reprising his performance as Hedwig. Criss grew up in San Francisco. He told me on the phone he’s so into the character of Hedwig, and not just for the wigs and the eye glitter. “It’s one of the great roles of the American theater,” Criss said. “It is an extraordinarily grand arc of character, trying to find oneself, and the struggle of what it is to know who you are.” Criss added that his parents have been really supportive of the show business careers he and his musician brother have carved out. “It’s a big deal,” he said, “when they’re happy for you even when you’re performing in a club that smells of beer and pot.” The other connection:\u003ca href=\"http://www.lenahall.com/\" target=\"_blank\" rel=\"noopener\"> Lena Hall\u003c/a> is a graduate of the Ruth Asawa School for the Arts in San Francisco. She won a Tony as Hedwig’s husband, Yitzhak, a Jewish drag queen from Zagreb. Details for Hedwig’s run in San Francisco at the SHN Golden Gate Theatre are \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=hedwigandtheangryinch&BOparam::WScontent::loadArticle::context_id=&menu_id=D8B581C0-D57E-44FF-A27B-4336DDA81A9D\" 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/o0YUdrvIWTg'\n title='//www.youtube.com/embed/o0YUdrvIWTg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Continuing through Jan. 15:\u003c/strong> We’re off to Jupiter’s moon Europa, now, with conceptual artist Tom Sachs. His new installation Space Program: Europa is a wacky and fascinating combination of a Japanese tea ceremony with a NASA mission. It all looks very real until you notice that his spacesuits and the 20 X 20 foot landing module are made of found materials. Sachs apparently chose YBCA as a “launch pad” because he regards it as “the punk rock institution of San Francisco.” You at least have to see the Winnebago/Mobile Quarantine Facility parked outside the YBCA galleries. There’s a nice r\u003ca href=\"https://ww2.kqed.org/arts/2016/09/22/tom-sachs-leads-space-mission-to-jupiters-europa-without-leaving-earth/\" target=\"_blank\" rel=\"noopener\">eview on our KQED Arts website,\u003c/a> and a chance to see a live performance of the mission on the closing weekend. Details \u003ca href=\"https://www.ybca.org/whats-on/space-program-europa\" 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/bxWxXncl53U'\n title='//www.youtube.com/embed/bxWxXncl53U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Oct 3 & 4:\u003c/strong>\u003ca href=\"http://bombaestereo.com/\" target=\"_blank\" rel=\"noopener\"> Bomba Estereo\u003c/a> means stereo bomb, a slang term in Colombia for awesome. And they are just that good. This band from Bogota, founded by Simon Mejia, plays a kind of “psychedelic cumbia” that is just irrisistible. NPR’s \u003ca href=\"http://www.npr.org/2016/09/18/494382862/in-soy-yo-video-bomba-est-reo-pays-tribute-to-whats-inside-of-you\" target=\"_blank\" rel=\"noopener\">Rachel Martin interviewed Mejia a few weeks\u003c/a> ago, so check that out if you want to learn more about them. Details for their two night stand at the Independent in San Francisco on Monday and Tuesday are \u003ca href=\"http://www.theindependentsf.com/event/1271191-bomba-estereo-san-francisco/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>A few shoutouts:\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/s-K6vj12-Tc'\n title='//www.youtube.com/embed/s-K6vj12-Tc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Sept. 30 & Oct. 1\u003c/strong>: I’m excited about Farruquito, the beautiful and talented flamenco dancer, who’s leading a flash mob at 6pm at UN Plaza in San Francisco, and then performing tomorrow night at Herbst Theater for the Bay Area Flamenco Festival. Details \u003ca href=\"http://www.bayareaflamencofestival.org/Home.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/oMqutKBS5iE'\n title='//www.youtube.com/embed/oMqutKBS5iE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Sept. 30 – Oct. 8: \u003c/strong>David wanted to shout out to the comedy troupe Killing My Lobster and its new show KML The Musical, in which the sketch group mocks musical theater from Fosse to Fiddler (and probably Hedwig too). Details \u003ca href=\"http://www.killingmylobster.com/next-up/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Most opera singers start training seriously when they’re still in pigtails and kneesocks. But one rising star in the classical singing world got a late start because she was headed for a career as a professional basketball player.\u003c/p>\n\u003cp>When \u003ca href=\"http://jnaibridgesmezzo.com/\" target=\"_blank\" rel=\"noopener\">J’Nai Bridges\u003c/a>’ pro sports ambitions suddenly fell apart following a disagreement with her team’s coach, the high school senior started focusing intently on developing her voice.\u003c/p>\n\u003cp>Now, at the age of 29, the American mezzo-soprano is performing major roles for some of the world’s most renowned companies including the Lyric Opera of Chicago, the Los Angeles Opera, and the Bavarian State Opera.\u003c/p>\n\u003cp>This season, she’s making her San Francisco Opera debut at the War Memorial Opera House as Bersi in \u003ca href=\"http://sfopera.com/discover-opera/201617-season/andrea-chenier/\" target=\"_blank\" rel=\"noopener\">\u003cem>Andrea Chenier\u003c/em>\u003c/a> — and shooting hoops in her spare time.\u003c/p>\n\u003cp>You can still catch Bridges at SF Opera this Friday, Sep. 30. But don’t worry if you miss her this time around; she’ll be back again next year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>To find out more about SF Opera’s production of \u003cem>Andrea Chenier\u003c/em>, click \u003ca href=\"http://sfopera.com/discover-opera/201617-season/andrea-chenier/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Most opera singers start training seriously when they’re still in pigtails and kneesocks. But one rising star in the classical singing world got a late start because she was headed for a career as a professional basketball player.\u003c/p>\n\u003cp>When \u003ca href=\"http://jnaibridgesmezzo.com/\" target=\"_blank\" rel=\"noopener\">J’Nai Bridges\u003c/a>’ pro sports ambitions suddenly fell apart following a disagreement with her team’s coach, the high school senior started focusing intently on developing her voice.\u003c/p>\n\u003cp>Now, at the age of 29, the American mezzo-soprano is performing major roles for some of the world’s most renowned companies including the Lyric Opera of Chicago, the Los Angeles Opera, and the Bavarian State Opera.\u003c/p>\n\u003cp>This season, she’s making her San Francisco Opera debut at the War Memorial Opera House as Bersi in \u003ca href=\"http://sfopera.com/discover-opera/201617-season/andrea-chenier/\" target=\"_blank\" rel=\"noopener\">\u003cem>Andrea Chenier\u003c/em>\u003c/a> — and shooting hoops in her spare time.\u003c/p>\n\u003cp>You can still catch Bridges at SF Opera this Friday, Sep. 30. But don’t worry if you miss her this time around; she’ll be back again next year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>As I was wandering through Chinatown on my way to Lenora Lee’s haunting multimedia dance piece, \u003ca href=\"http://www.lenoraleedance.com/2016/07/the-eye-of-compassion-premiering-924-10216-at-cameron-house/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Eye of Compassion\u003c/em>\u003c/a>, I couldn’t help but feel nostalgic. I haven’t been to San Francisco’s Chinatown in years — like Fisherman’s Wharf, it seems made for tourists, not locals. But as dusk set on Grant Street and the red paper lanterns lit up, I realized how much I missed going there and how much it felt like a real neighborhood.\u003c/p>\n\u003cp>The Cameron House, the majestic brick building on Sacramento Street where the performance unfolds, was founded in 1874 to protect and shelter young Chinese women. Its architecture and the way it rests on the hill has the feel of a sanctuary. The space still functions as a Chinese-American community center and when you walk in you can’t help but be struck by both its beauty and the day-to-day business of any social service non-profit.\u003c/p>\n\u003cp>What’s funny is that the setting seems at odds with the type of immersive theater and dance performances we’re used to at San Francisco venues that most often present this type of work, such as Z Space, Yerba Buena Center for the Arts, and CounterPulse. Yet it turns out that the Cameron House’s lack of pretense allows for a slightly different kind of immersive performance, one more radically attuned to place and community. Yes, there are theatrical lights and an audience, but it feels more like a meeting than an event.\u003c/p>\n\u003cp>Lee gets up in front of the audience — the lights don’t change — and speaking from notes, relates a bit of history about the House. She warns us that the dancers will be splitting up (I saw the performance twice so that I could catch most of it), that the performance is fast, and we’d have to chase after the cast members to keep up with them.\u003c/p>\n\u003cfigure id=\"attachment_12127068\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12127068 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-800x452.jpg\" alt=\"(L to R) SanSan Kwan and Wei-Shan Lai dance from room to room in Lenora Lee's 'The Eye of Compassion' at Cameron House.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-960x542.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) SanSan Kwan and Wei-Shan Lai dance from room to room in Lenora Lee’s ‘The Eye of Compassion’ at Cameron House. \u003ccite>(Photo: Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then that’s what we’re doing. Two terrified women run through the hall, and we hurry after them, or with them? It’s hard to tell. They split up: follow one and you run through the basement, hallways, and many hidden rooms of Cameron House; follow the other and you’re in an alley facing a parking lot and a 30-foot high retaining wall on which a film of the dancers running through Cameron House is projected. It’s a disconcerting effect, as if there is no temporal difference between the nightmare and the reality from which it springs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The parking lot dance is especially striking. It starts with one dancer and eventually blooms to six and looks as if the dancers are exploding out of the film and into the world. Lee prizes fluidity and static poses in her choreography. And so she simultaneously conveys a sense of escape and entrapment. When the dancers finish a series of movements, they do so with both arms straight and angled towards the horizon, and when they freeze they stand erect and grab their throats.\u003c/p>\n\u003cp>Then the dancers disperse and we’re off again. Instead of escape, we’re in the midst of trauma. In a side room off the lobby stairwell, a doctor and nurse calm a frightened woman. Here, Lee’s choreography is explosive and precise — quite a feat considering the lack of space — and catches how feral and animal a person can be when terrified. The dance between doctor and patient is one of the highlights of the evening, a celebration of the healing powers of service to and care for a community.\u003c/p>\n\u003cp>At the same time, you can follow two women up the stairs to the second floor. There, standing in the hallway between opposite bedrooms, you can watch both of them attempt to imagine different ways to freedom and psychic relief.\u003c/p>\n\u003cp>One dances with a bible, curling up on a sky blue comforter, and then springing up again to hold the book out in front of her in a series of repeated gestures. It’s rare in the Bay Area dance and performance scene, which is so enamored with transgression and disruption, to find artistically sophisticated expressions of faith.\u003c/p>\n\u003cfigure id=\"attachment_12126476\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12126476 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-800x434.jpg\" alt=\"The Lenora Lee dancers (L to R), Yi-Ting Hsu, Yao Dang, Peter Cheng, and Chloe Luo take to the upper deck court in her multimedia, immersive dance 'The Eye of Compassion' at the Cameron House.\" width=\"800\" height=\"434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-800x434.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-400x217.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-768x417.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-1180x640.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-960x521.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845.jpg 1910w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Lenora Lee dancers (L to R), Yi-Ting Hsu, Yao Dang, Peter Cheng, and Chloe Luo take to the upper deck court in her multimedia, immersive dance ‘The Eye of Compassion’ at the Cameron House. \u003ccite>(Photo: Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For a 75-minute piece, Lee covers an impressive amount of ground: a beautiful duet on a deck with Chinatown and the bay in the background; a dance on an outside stairwell ascending three stories up; and the final section on an elevated court, framed by a chain link fence and — projected on the side of the apartment across the street — a film of the dancers submerged in water.\u003c/p>\n\u003cp>Are they drowning or free? I think mostly free, as \u003cem>The Eye of Compassion\u003c/em> begins on the ground floor, descends to the basement, and ends up floating in the sky. Though unsettling to watch the performers place their hands on their throats, more often and with greater force their arms slowly ascend from their bodies and reach towards the stars. It’s a mesmerizing ending.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Eye of Compassion\u003c/em> runs through Sunday, Oct. 2 at the Cameron House in San Francisco. For tickets and information please \u003ca href=\"http://www.lenoraleedance.com/2016/07/the-eye-of-compassion-premiering-924-10216-at-cameron-house/\">click here\u003c/a>.\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As I was wandering through Chinatown on my way to Lenora Lee’s haunting multimedia dance piece, \u003ca href=\"http://www.lenoraleedance.com/2016/07/the-eye-of-compassion-premiering-924-10216-at-cameron-house/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Eye of Compassion\u003c/em>\u003c/a>, I couldn’t help but feel nostalgic. I haven’t been to San Francisco’s Chinatown in years — like Fisherman’s Wharf, it seems made for tourists, not locals. But as dusk set on Grant Street and the red paper lanterns lit up, I realized how much I missed going there and how much it felt like a real neighborhood.\u003c/p>\n\u003cp>The Cameron House, the majestic brick building on Sacramento Street where the performance unfolds, was founded in 1874 to protect and shelter young Chinese women. Its architecture and the way it rests on the hill has the feel of a sanctuary. The space still functions as a Chinese-American community center and when you walk in you can’t help but be struck by both its beauty and the day-to-day business of any social service non-profit.\u003c/p>\n\u003cp>What’s funny is that the setting seems at odds with the type of immersive theater and dance performances we’re used to at San Francisco venues that most often present this type of work, such as Z Space, Yerba Buena Center for the Arts, and CounterPulse. Yet it turns out that the Cameron House’s lack of pretense allows for a slightly different kind of immersive performance, one more radically attuned to place and community. Yes, there are theatrical lights and an audience, but it feels more like a meeting than an event.\u003c/p>\n\u003cp>Lee gets up in front of the audience — the lights don’t change — and speaking from notes, relates a bit of history about the House. She warns us that the dancers will be splitting up (I saw the performance twice so that I could catch most of it), that the performance is fast, and we’d have to chase after the cast members to keep up with them.\u003c/p>\n\u003cfigure id=\"attachment_12127068\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12127068 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-800x452.jpg\" alt=\"(L to R) SanSan Kwan and Wei-Shan Lai dance from room to room in Lenora Lee's 'The Eye of Compassion' at Cameron House.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/eye3-e1475013053826-960x542.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) SanSan Kwan and Wei-Shan Lai dance from room to room in Lenora Lee’s ‘The Eye of Compassion’ at Cameron House. \u003ccite>(Photo: Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then that’s what we’re doing. Two terrified women run through the hall, and we hurry after them, or with them? It’s hard to tell. They split up: follow one and you run through the basement, hallways, and many hidden rooms of Cameron House; follow the other and you’re in an alley facing a parking lot and a 30-foot high retaining wall on which a film of the dancers running through Cameron House is projected. It’s a disconcerting effect, as if there is no temporal difference between the nightmare and the reality from which it springs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The parking lot dance is especially striking. It starts with one dancer and eventually blooms to six and looks as if the dancers are exploding out of the film and into the world. Lee prizes fluidity and static poses in her choreography. And so she simultaneously conveys a sense of escape and entrapment. When the dancers finish a series of movements, they do so with both arms straight and angled towards the horizon, and when they freeze they stand erect and grab their throats.\u003c/p>\n\u003cp>Then the dancers disperse and we’re off again. Instead of escape, we’re in the midst of trauma. In a side room off the lobby stairwell, a doctor and nurse calm a frightened woman. Here, Lee’s choreography is explosive and precise — quite a feat considering the lack of space — and catches how feral and animal a person can be when terrified. The dance between doctor and patient is one of the highlights of the evening, a celebration of the healing powers of service to and care for a community.\u003c/p>\n\u003cp>At the same time, you can follow two women up the stairs to the second floor. There, standing in the hallway between opposite bedrooms, you can watch both of them attempt to imagine different ways to freedom and psychic relief.\u003c/p>\n\u003cp>One dances with a bible, curling up on a sky blue comforter, and then springing up again to hold the book out in front of her in a series of repeated gestures. It’s rare in the Bay Area dance and performance scene, which is so enamored with transgression and disruption, to find artistically sophisticated expressions of faith.\u003c/p>\n\u003cfigure id=\"attachment_12126476\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12126476 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-800x434.jpg\" alt=\"The Lenora Lee dancers (L to R), Yi-Ting Hsu, Yao Dang, Peter Cheng, and Chloe Luo take to the upper deck court in her multimedia, immersive dance 'The Eye of Compassion' at the Cameron House.\" width=\"800\" height=\"434\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-800x434.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-400x217.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-768x417.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-1180x640.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845-960x521.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Eye1-e1475002003845.jpg 1910w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Lenora Lee dancers (L to R), Yi-Ting Hsu, Yao Dang, Peter Cheng, and Chloe Luo take to the upper deck court in her multimedia, immersive dance ‘The Eye of Compassion’ at the Cameron House. \u003ccite>(Photo: Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For a 75-minute piece, Lee covers an impressive amount of ground: a beautiful duet on a deck with Chinatown and the bay in the background; a dance on an outside stairwell ascending three stories up; and the final section on an elevated court, framed by a chain link fence and — projected on the side of the apartment across the street — a film of the dancers submerged in water.\u003c/p>\n\u003cp>Are they drowning or free? I think mostly free, as \u003cem>The Eye of Compassion\u003c/em> begins on the ground floor, descends to the basement, and ends up floating in the sky. Though unsettling to watch the performers place their hands on their throats, more often and with greater force their arms slowly ascend from their bodies and reach towards the stars. It’s a mesmerizing ending.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Eye of Compassion\u003c/em> runs through Sunday, Oct. 2 at the Cameron House in San Francisco. For tickets and information please \u003ca href=\"http://www.lenoraleedance.com/2016/07/the-eye-of-compassion-premiering-924-10216-at-cameron-house/\">click here\u003c/a>.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "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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"marketplace": {
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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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"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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"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": {
"id": "politicalbreakdown",
"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",
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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",
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},
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},
"pri-the-world": {
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"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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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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