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"content": "\u003cp>You could argue that there’s no such thing as political theater, that all theater is political, or that politics is politics and art is art. Yet playwrights, directors, and performers return again and again to political themes and topics in their work — sometimes for didactic purposes, sometimes to challenge specific instances of corruption, and sometimes with the great hope that what they say will help to change the direction of the country.\u003c/p>\n\u003cp>It might be naïve for an art form that lacks the reach of television, music, or the movies to think in such grandiose terms. There are moments, though, when a work for the stage consciously transforms the debate, as was the case for \u003cem>The Normal Heart\u003c/em> and \u003cem>Angels in America\u003c/em> during the AIDs crisis, and is the case today for \u003cem>Hamilton\u003c/em> — a musical that palpably demonstrates the power of live theater to upend our country’s perceptions of race and the founding fathers.\u003c/p>\n\u003cp>Those same impulses are at work right now on Bay Area stages, which are bursting with attempts to be political. In this conflicted and fraught election year, we should applaud all our theater artists who take on such a quixotic quest, even when they go down in flames. There is hope and intelligence in failure, too.\u003c/p>\n\u003cp style=\"text-align: left\">\u003cstrong>The San Francisco Mime Troupe’s\u003cem> Schooled\u003c/em> \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11832283\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11832283\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Political5_SFMimeTroupe-e1468923131160-800x453.jpg\" alt=\"(L to R) Lisa Hori-Garcia Fredersen J. Babbit (Lisa Hori-Garcia) and Titianna (Keiko Shimosato Carreiro) have an argument in 'Schooled.'\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political5_SFMimeTroupe-e1468923131160-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political5_SFMimeTroupe-e1468923131160-400x227.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political5_SFMimeTroupe-e1468923131160-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political5_SFMimeTroupe-e1468923131160-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political5_SFMimeTroupe-e1468923131160-960x544.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political5_SFMimeTroupe-e1468923131160.jpg 1596w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Fredersen J. Babbit (Lisa Hori-Garcia) and Titianna (Keiko Shimosato Carreiro) have an argument in ‘Schooled.’ \u003ccite>(Photo: Mike Melnyk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Watching \u003cem>Schooled\u003c/em>, the San Francisco Mime Troupe’s latest attempt at political satire, made me think that they should just stop. Trudging through its 57th year of free political theater in Bay Area parks, the company feels caught in a vicious cycle of delivering the same product over and over again.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We get the warmed over 70’s funk before the show, the easy villains (a Donald Trump figure who wants to take over the school board), and the feisty heroes and heroines who fight against corporate forces and sinister conspiracies (an African-American video game nerd and a long-time history teacher). The formula is so lazy that it feels like a right-wing plot to demoralize the left.\u003c/p>\n\u003cp>And yet there’s an audience for it. Every summer they come out and cheer. An old school teacher standing next to me kept on whispering that he wanted to believe. “This is the stuff I would like to believe in, stuff like this,” he said. I’m not making fun of him; the fact that we come year after year speaks of a deep civic engagement on the part of Mime Troupe audiences. The problem is that the Mime Troupe has been holding that engagement in trust without paying it back. They should try a real play next summer.\u003c/p>\n\u003cp>\u003cem>‘Schooled’ plays in Bay Area Parks through Monday, Sep. 5. For information and tickets click \u003ca href=\"http://www.sfmt.org/index.php\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp style=\"text-align: left\">\u003cstrong>3Girls Theater Company’s\u003c/strong>\u003cem>\u003cstrong> Low Hanging Fruit\u003c/strong>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11832281\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11832281\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Political1_Low_Hanging_Fruit_269-HeatherGordon_Cat-Brooks_Livia-Demarchi-e1468922707479-800x449.jpg\" alt=\"(L to R) Cory (Heather Gordon), Cat Brooks (Yolanda), and Livia Demarchi (Maya) hash some problems out in 'Low Hanging Fruit' at Z Below.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political1_Low_Hanging_Fruit_269-HeatherGordon_Cat-Brooks_Livia-Demarchi-e1468922707479-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political1_Low_Hanging_Fruit_269-HeatherGordon_Cat-Brooks_Livia-Demarchi-e1468922707479-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political1_Low_Hanging_Fruit_269-HeatherGordon_Cat-Brooks_Livia-Demarchi-e1468922707479-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political1_Low_Hanging_Fruit_269-HeatherGordon_Cat-Brooks_Livia-Demarchi-e1468922707479-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political1_Low_Hanging_Fruit_269-HeatherGordon_Cat-Brooks_Livia-Demarchi-e1468922707479-1920x1078.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political1_Low_Hanging_Fruit_269-HeatherGordon_Cat-Brooks_Livia-Demarchi-e1468922707479-960x539.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Cory (Heather Gordon), Cat Brooks (Yolanda), and Livia Demarchi (Maya) hash some problems out in ‘Low Hanging Fruit’ at Z Below. \u003ccite>(Photo: Mario Parnell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Robin Bradford’s \u003cem>Low Hanging Fruit\u003c/em> takes the domestic family drama and twists it inside out. Rather than blood relations, the relations here are forged by a series of social ties. And those ties have deep, political resonance: four homeless women, all Iraq war veterans, live in a barracks-like encampment on the streets.\u003c/p>\n\u003cp>The enemy is all around: the police, petty criminals, and, worst of all, a seductive and mean pimp who knows just when to attack. When one of the women brings a 14 year-old girl into the camp, it’s an act of kindness and a break in protocol. Bradford’s set-up is striking, a living room without a house that’s both a symbol of and actual war zone.\u003c/p>\n\u003cp>Bradford’s ability to represent everyday life as an adjunct of political forces is exemplary and the 3Girls Theater Company production is well-acted and paced. But with no real philosophical beliefs — a general sense of humanity doesn’t count — the dramatist succumbs to melodrama and mawkish poetry. I feel that we should have had so much more here.\u003c/p>\n\u003cp>\u003cem>‘Low Hanging Fruit’\u003c/em> \u003cem>plays at Z Below in San Francisco through Saturday, Jul. 30. For information and tickets click \u003ca href=\"http://www.zspace.org/low-hang\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp style=\"text-align: left\">\u003cstrong>John Leguizamo’s \u003cem>Latin History for Morons\u003c/em> \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11832280\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11832280\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Political4_LH2-e1468922204758-800x451.jpg\" alt=\"John Leguizamo gives a lecture, of sorts, in 'Latin History for Morons' at the Berkeley Rep.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political4_LH2-e1468922204758-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political4_LH2-e1468922204758-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political4_LH2-e1468922204758-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political4_LH2-e1468922204758-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political4_LH2-e1468922204758-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political4_LH2-e1468922204758-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Leguizamo gives a lecture, of sorts, in ‘Latin History for Morons’ at the Berkeley Rep. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>John Leguizamo’s \u003cem>Latin History for Morons\u003c/em> at the Berkeley Repertory Theatre is stuck somewhere between play and nightclub act. The pairing shouldn’t work, except that Leguizamo is an alluring performer and has managed, maybe by mistake, to come up with one stunning political insight.\u003c/p>\n\u003cp>The show is ostensibly about Leguizamo’s attempt to help his 13-year-old son with a school project. They must find an actual Latin hero, which for Leguizamo father and son proves harder than one might imagine.\u003c/p>\n\u003cp>What’s arresting is the way \u003cem>Morons\u003c/em> brings the comedy club to the theater. And where the play doesn’t hold up, the raucous politically-incorrect jokes save the day. They land fast and hard and keep the Berkeley Rep audience off guard. We don’t have time to think or imagine what’s coming next, and that works to the piece’s benefit.\u003c/p>\n\u003cp>In a stunning reversal of homework and audience expectations, Leguizamo’s son decides that there are no Latin heroes, only Latin losers, and that the losers make history. And in rousing fashion, he declares he’s proud of all the Latin losers before him, including his father, and looks forward to joining them all some day in the pantheon of Latin failure. I keep on thinking about that idea and it just keeps on getting richer and richer.\u003c/p>\n\u003cp>\u003cem>‘Latin History for Morons’ plays at the Berkeley Repertory Theatre through Sunday, Aug. 14. For information and tickets click \u003ca href=\"http://www.berkeleyrep.org/index.asp\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp style=\"text-align: left\">\u003cstrong>Dan Hoyle’s \u003cem>The Real Americans\u003c/em> \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11832278\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11832278\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-800x448.jpg\" alt=\"Dan Hoyle finds himself in 'The Real Americans' at The Marsh.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-1920x1075.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-960x538.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dan Hoyle finds himself in ‘The Real Americans’ at The Marsh. \u003ccite>(Photo: Patrick Weishampel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dan Hoyle isn’t the star that Leguizamo is, but he’s his equal as a performer — a deft mimic with a touch that is as devastating as it is light. In \u003cem>The Real Americans\u003c/em>, Hoyle decides to leave the bubble of Bay Area liberalism to discover the “Real America,” or at least the America that is politically and socially at odds with his own sheltered Bay Area upbringing. It’s a funny journey that takes the writer-performer to a number of cities throughout the South. He meets people, talks to them, and sometimes reports back to his friends, who seem to spend all their time in the most precious of the Bay Area’s many precious restaurants.\u003c/p>\n\u003cp>It’s a fun show, but ultimately a dead end, both politically and aesthetically. Hoyle is the one person Hoyle doesn’t mimic. And after a bit you feel as if \u003cem>The Real Americans\u003c/em> isn’t about real Americans, but rather Hoyle’s belief that he’s more reasonable, smarter, and deeper than every American he meets. It’s the type of Hollywood narcissism that Leguizamo sidesteps, and then you realize that mimicry is the last talent our political theater needs right now. Unthinking contempt should be left to the politicians.\u003c/p>\n\u003cp>\u003cem>‘The Real Americans’\u003c/em> plays \u003cem>at The Marsh in San Francisco through Saturday, Aug. 27. For tickets and information click \u003ca href=\"http://themarsh.org/dan_hoyle/dan-hoyle-2/\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>TheatreWorks’ \u003cem>Confederates\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11832276\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11832276\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Political2_Confederates_Prod16_Kevin-Berne-e1468921378299-800x451.jpg\" alt=\"Maddie (Jessica Lynn Carroll) shows Will a shocking bit of new in 'Confederates' at TheatreWorks.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political2_Confederates_Prod16_Kevin-Berne-e1468921378299-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political2_Confederates_Prod16_Kevin-Berne-e1468921378299-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political2_Confederates_Prod16_Kevin-Berne-e1468921378299-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political2_Confederates_Prod16_Kevin-Berne-e1468921378299-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political2_Confederates_Prod16_Kevin-Berne-e1468921378299-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political2_Confederates_Prod16_Kevin-Berne-e1468921378299-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maddie (Jessica Lynn Carroll) shows Will a shocking bit of news in ‘Confederates’ at TheatreWorks. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s no contempt in Suzanne Bradbeer’s \u003cem>Confederates\u003c/em> at TheatreWorks in Palo Alto. It’s one of those well-intentioned dramas that earnestly tell us what’s wrong with the system, which in this case is political journalism’s gradual embrace of the TMZ style. It’s slow to start, but Bradbeer’s play is much better than it ever should be.\u003c/p>\n\u003cp>Everything is jerry-rigged here: from the flaky presidential candidate’s “art major” daughter caught in the throes of making young adult mistakes, to the amoral, tough as nails, female reporter, to the ambitious, young, male journalist who falls into a story tailor-made to advance his career.\u003c/p>\n\u003cp>I didn’t believe any of it and yet when these three characters start arguing for their lives, reputations, and careers, I listened. They’re all cardboard creations, but the arguments are anything but. And it tells us something about the aesthetics of politics: the fights in \u003cem>Confederates\u003c/em> actually make these caricatures seem real, human, and alive.\u003c/p>\n\u003cp>\u003cem>‘Confederates’ plays at TheatreWorks in Palo Alto through Sunday, Aug. 7. For tickets and information click \u003ca href=\"http://my.theatreworks.org/single/PSDetail.aspx?psn=3351\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "From John Leguizamo's solo show at Berkeley Rep to TheatreWorks' latest drama, KQED Arts' theater critic John Wilkins takes the temperature of Bay Area political theater in the run up to November 8.",
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"description": "From John Leguizamo's solo show at Berkeley Rep to TheatreWorks' latest drama, KQED Arts' theater critic John Wilkins takes the temperature of Bay Area political theater in the run up to November 8.",
"title": "5 Political Shows that'll Get You Thinking this Election Season | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You could argue that there’s no such thing as political theater, that all theater is political, or that politics is politics and art is art. Yet playwrights, directors, and performers return again and again to political themes and topics in their work — sometimes for didactic purposes, sometimes to challenge specific instances of corruption, and sometimes with the great hope that what they say will help to change the direction of the country.\u003c/p>\n\u003cp>It might be naïve for an art form that lacks the reach of television, music, or the movies to think in such grandiose terms. There are moments, though, when a work for the stage consciously transforms the debate, as was the case for \u003cem>The Normal Heart\u003c/em> and \u003cem>Angels in America\u003c/em> during the AIDs crisis, and is the case today for \u003cem>Hamilton\u003c/em> — a musical that palpably demonstrates the power of live theater to upend our country’s perceptions of race and the founding fathers.\u003c/p>\n\u003cp>Those same impulses are at work right now on Bay Area stages, which are bursting with attempts to be political. In this conflicted and fraught election year, we should applaud all our theater artists who take on such a quixotic quest, even when they go down in flames. There is hope and intelligence in failure, too.\u003c/p>\n\u003cp style=\"text-align: left\">\u003cstrong>The San Francisco Mime Troupe’s\u003cem> Schooled\u003c/em> \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11832283\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11832283\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Political5_SFMimeTroupe-e1468923131160-800x453.jpg\" alt=\"(L to R) Lisa Hori-Garcia Fredersen J. Babbit (Lisa Hori-Garcia) and Titianna (Keiko Shimosato Carreiro) have an argument in 'Schooled.'\" width=\"800\" height=\"453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political5_SFMimeTroupe-e1468923131160-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political5_SFMimeTroupe-e1468923131160-400x227.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political5_SFMimeTroupe-e1468923131160-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political5_SFMimeTroupe-e1468923131160-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political5_SFMimeTroupe-e1468923131160-960x544.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political5_SFMimeTroupe-e1468923131160.jpg 1596w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Fredersen J. Babbit (Lisa Hori-Garcia) and Titianna (Keiko Shimosato Carreiro) have an argument in ‘Schooled.’ \u003ccite>(Photo: Mike Melnyk)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Watching \u003cem>Schooled\u003c/em>, the San Francisco Mime Troupe’s latest attempt at political satire, made me think that they should just stop. Trudging through its 57th year of free political theater in Bay Area parks, the company feels caught in a vicious cycle of delivering the same product over and over again.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We get the warmed over 70’s funk before the show, the easy villains (a Donald Trump figure who wants to take over the school board), and the feisty heroes and heroines who fight against corporate forces and sinister conspiracies (an African-American video game nerd and a long-time history teacher). The formula is so lazy that it feels like a right-wing plot to demoralize the left.\u003c/p>\n\u003cp>And yet there’s an audience for it. Every summer they come out and cheer. An old school teacher standing next to me kept on whispering that he wanted to believe. “This is the stuff I would like to believe in, stuff like this,” he said. I’m not making fun of him; the fact that we come year after year speaks of a deep civic engagement on the part of Mime Troupe audiences. The problem is that the Mime Troupe has been holding that engagement in trust without paying it back. They should try a real play next summer.\u003c/p>\n\u003cp>\u003cem>‘Schooled’ plays in Bay Area Parks through Monday, Sep. 5. For information and tickets click \u003ca href=\"http://www.sfmt.org/index.php\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp style=\"text-align: left\">\u003cstrong>3Girls Theater Company’s\u003c/strong>\u003cem>\u003cstrong> Low Hanging Fruit\u003c/strong>\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11832281\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11832281\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Political1_Low_Hanging_Fruit_269-HeatherGordon_Cat-Brooks_Livia-Demarchi-e1468922707479-800x449.jpg\" alt=\"(L to R) Cory (Heather Gordon), Cat Brooks (Yolanda), and Livia Demarchi (Maya) hash some problems out in 'Low Hanging Fruit' at Z Below.\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political1_Low_Hanging_Fruit_269-HeatherGordon_Cat-Brooks_Livia-Demarchi-e1468922707479-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political1_Low_Hanging_Fruit_269-HeatherGordon_Cat-Brooks_Livia-Demarchi-e1468922707479-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political1_Low_Hanging_Fruit_269-HeatherGordon_Cat-Brooks_Livia-Demarchi-e1468922707479-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political1_Low_Hanging_Fruit_269-HeatherGordon_Cat-Brooks_Livia-Demarchi-e1468922707479-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political1_Low_Hanging_Fruit_269-HeatherGordon_Cat-Brooks_Livia-Demarchi-e1468922707479-1920x1078.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political1_Low_Hanging_Fruit_269-HeatherGordon_Cat-Brooks_Livia-Demarchi-e1468922707479-960x539.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Cory (Heather Gordon), Cat Brooks (Yolanda), and Livia Demarchi (Maya) hash some problems out in ‘Low Hanging Fruit’ at Z Below. \u003ccite>(Photo: Mario Parnell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Robin Bradford’s \u003cem>Low Hanging Fruit\u003c/em> takes the domestic family drama and twists it inside out. Rather than blood relations, the relations here are forged by a series of social ties. And those ties have deep, political resonance: four homeless women, all Iraq war veterans, live in a barracks-like encampment on the streets.\u003c/p>\n\u003cp>The enemy is all around: the police, petty criminals, and, worst of all, a seductive and mean pimp who knows just when to attack. When one of the women brings a 14 year-old girl into the camp, it’s an act of kindness and a break in protocol. Bradford’s set-up is striking, a living room without a house that’s both a symbol of and actual war zone.\u003c/p>\n\u003cp>Bradford’s ability to represent everyday life as an adjunct of political forces is exemplary and the 3Girls Theater Company production is well-acted and paced. But with no real philosophical beliefs — a general sense of humanity doesn’t count — the dramatist succumbs to melodrama and mawkish poetry. I feel that we should have had so much more here.\u003c/p>\n\u003cp>\u003cem>‘Low Hanging Fruit’\u003c/em> \u003cem>plays at Z Below in San Francisco through Saturday, Jul. 30. For information and tickets click \u003ca href=\"http://www.zspace.org/low-hang\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp style=\"text-align: left\">\u003cstrong>John Leguizamo’s \u003cem>Latin History for Morons\u003c/em> \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11832280\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11832280\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Political4_LH2-e1468922204758-800x451.jpg\" alt=\"John Leguizamo gives a lecture, of sorts, in 'Latin History for Morons' at the Berkeley Rep.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political4_LH2-e1468922204758-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political4_LH2-e1468922204758-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political4_LH2-e1468922204758-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political4_LH2-e1468922204758-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political4_LH2-e1468922204758-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political4_LH2-e1468922204758-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Leguizamo gives a lecture, of sorts, in ‘Latin History for Morons’ at the Berkeley Rep. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>John Leguizamo’s \u003cem>Latin History for Morons\u003c/em> at the Berkeley Repertory Theatre is stuck somewhere between play and nightclub act. The pairing shouldn’t work, except that Leguizamo is an alluring performer and has managed, maybe by mistake, to come up with one stunning political insight.\u003c/p>\n\u003cp>The show is ostensibly about Leguizamo’s attempt to help his 13-year-old son with a school project. They must find an actual Latin hero, which for Leguizamo father and son proves harder than one might imagine.\u003c/p>\n\u003cp>What’s arresting is the way \u003cem>Morons\u003c/em> brings the comedy club to the theater. And where the play doesn’t hold up, the raucous politically-incorrect jokes save the day. They land fast and hard and keep the Berkeley Rep audience off guard. We don’t have time to think or imagine what’s coming next, and that works to the piece’s benefit.\u003c/p>\n\u003cp>In a stunning reversal of homework and audience expectations, Leguizamo’s son decides that there are no Latin heroes, only Latin losers, and that the losers make history. And in rousing fashion, he declares he’s proud of all the Latin losers before him, including his father, and looks forward to joining them all some day in the pantheon of Latin failure. I keep on thinking about that idea and it just keeps on getting richer and richer.\u003c/p>\n\u003cp>\u003cem>‘Latin History for Morons’ plays at the Berkeley Repertory Theatre through Sunday, Aug. 14. For information and tickets click \u003ca href=\"http://www.berkeleyrep.org/index.asp\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp style=\"text-align: left\">\u003cstrong>Dan Hoyle’s \u003cem>The Real Americans\u003c/em> \u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11832278\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11832278\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-800x448.jpg\" alt=\"Dan Hoyle finds himself in 'The Real Americans' at The Marsh.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-1920x1075.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/The-Real-Americans-1_PatrickWeishampel-e1468921724463-960x538.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dan Hoyle finds himself in ‘The Real Americans’ at The Marsh. \u003ccite>(Photo: Patrick Weishampel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dan Hoyle isn’t the star that Leguizamo is, but he’s his equal as a performer — a deft mimic with a touch that is as devastating as it is light. In \u003cem>The Real Americans\u003c/em>, Hoyle decides to leave the bubble of Bay Area liberalism to discover the “Real America,” or at least the America that is politically and socially at odds with his own sheltered Bay Area upbringing. It’s a funny journey that takes the writer-performer to a number of cities throughout the South. He meets people, talks to them, and sometimes reports back to his friends, who seem to spend all their time in the most precious of the Bay Area’s many precious restaurants.\u003c/p>\n\u003cp>It’s a fun show, but ultimately a dead end, both politically and aesthetically. Hoyle is the one person Hoyle doesn’t mimic. And after a bit you feel as if \u003cem>The Real Americans\u003c/em> isn’t about real Americans, but rather Hoyle’s belief that he’s more reasonable, smarter, and deeper than every American he meets. It’s the type of Hollywood narcissism that Leguizamo sidesteps, and then you realize that mimicry is the last talent our political theater needs right now. Unthinking contempt should be left to the politicians.\u003c/p>\n\u003cp>\u003cem>‘The Real Americans’\u003c/em> plays \u003cem>at The Marsh in San Francisco through Saturday, Aug. 27. For tickets and information click \u003ca href=\"http://themarsh.org/dan_hoyle/dan-hoyle-2/\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>TheatreWorks’ \u003cem>Confederates\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_11832276\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11832276\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Political2_Confederates_Prod16_Kevin-Berne-e1468921378299-800x451.jpg\" alt=\"Maddie (Jessica Lynn Carroll) shows Will a shocking bit of new in 'Confederates' at TheatreWorks.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political2_Confederates_Prod16_Kevin-Berne-e1468921378299-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political2_Confederates_Prod16_Kevin-Berne-e1468921378299-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political2_Confederates_Prod16_Kevin-Berne-e1468921378299-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political2_Confederates_Prod16_Kevin-Berne-e1468921378299-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political2_Confederates_Prod16_Kevin-Berne-e1468921378299-1920x1083.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Political2_Confederates_Prod16_Kevin-Berne-e1468921378299-960x541.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maddie (Jessica Lynn Carroll) shows Will a shocking bit of news in ‘Confederates’ at TheatreWorks. \u003ccite>(Photo: Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s no contempt in Suzanne Bradbeer’s \u003cem>Confederates\u003c/em> at TheatreWorks in Palo Alto. It’s one of those well-intentioned dramas that earnestly tell us what’s wrong with the system, which in this case is political journalism’s gradual embrace of the TMZ style. It’s slow to start, but Bradbeer’s play is much better than it ever should be.\u003c/p>\n\u003cp>Everything is jerry-rigged here: from the flaky presidential candidate’s “art major” daughter caught in the throes of making young adult mistakes, to the amoral, tough as nails, female reporter, to the ambitious, young, male journalist who falls into a story tailor-made to advance his career.\u003c/p>\n\u003cp>I didn’t believe any of it and yet when these three characters start arguing for their lives, reputations, and careers, I listened. They’re all cardboard creations, but the arguments are anything but. And it tells us something about the aesthetics of politics: the fights in \u003cem>Confederates\u003c/em> actually make these caricatures seem real, human, and alive.\u003c/p>\n\u003cp>\u003cem>‘Confederates’ plays at TheatreWorks in Palo Alto through Sunday, Aug. 7. For tickets and information click \u003ca href=\"http://my.theatreworks.org/single/PSDetail.aspx?psn=3351\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over a period of two years, the American Conservatory Theater (A.C.T.) worked with residents of San Francisco’s Bayview-Hunters Point neighborhood on gathering stories from the community to interweave into a new play written by \u003ca href=\"https://www.facebook.com/kqedarts/videos/1108780515861397/?pnref=story\" target=\"_blank\" rel=\"noopener\">Aleshea Harris\u003c/a> based on Sophocles’ tragedy, \u003ci>Oedipus the King\u003c/i>. The resulting production, \u003ci>Crack, Rumble, Fly: Bayview Stories Project\u003c/i>, featured actors from the community and was performed at different locations around the neighborhood in June.\u003c/p>\n\u003cp>The play brings to the theater questions about marginalization, police brutality and displacement — key issues for the residents of this part of San Francisco.\u003c/p>\n\u003cp>“We want to be able to tell the story because this is not only going on in the Bayview-Hunters Point or in the East Bay. It’s going on everywhere – Sarasota, Florida, Atlanta, New York,” says the production’s assistant director Whitney Mignon Reed. “This project for me is the antithesis of grief.”\u003c/p>\n\u003cp>A.C.T. created the production via its Stage Coach initiative — a program that aims to engage underserved communities in San Francisco through theater-based storytelling projects about their own lives and experiences.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Cy and David's Picks: An Artist of the West, A Song from Hades, and a Play about the Confederate Flag",
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"content": "\u003caside class=\"aligncenter\">\n\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/273728708″ params=”color=ff5500&inverse=false&auto_play=false&show_user=true” width=”100%” height=”20″ iframe=”true” /]\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>https://www.youtube.com/watch?v=-ruktixvAUw\u003c/p>\n\u003cp>\u003cstrong>July 16\u003c/strong>: \u003ca href=\"http://www.parkermillsap.com/\" target=\"_blank\" rel=\"noopener\">Parker Milsap\u003c/a> sings about Hades’s (Greek god of the underworld) love for Persephone in the song “Hades Pleads” on his new album (and above). “I’m gonna take you to my house on the Styx, On a long black train going clackety-click.” Great lyrics from a guy who definitely knows his ancient texts. Milsap was a choir boy growing up in his parent’s Pentacostal church. You can hear the influence of Elvis and rockabilly (acoustic bass and fiddle) on his sound, but at just 23, you have to figure Milsap will just get better and better. Details for his show at Slim’s in SF are \u003ca href=\"http://www.slimspresents.com/event/parker-millsap-slims-w-travis-linville/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11815207\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11815207\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-800x313.jpg\" alt=\"Hollywood by LA Artist Ed Ruscha\" width=\"800\" height=\"313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-800x313.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-400x157.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-768x301.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-1180x462.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-960x376.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hollywood by LA Artist Ed Ruscha \u003ccite>(Photo: Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 16 – Oct. 9\u003c/strong>: So many Californians, my in-laws included, heard California calling and discovered those wide open spaces along Route 66 in the mid-20th Century. Artist Ed Ruscha (roo-SHAY) was one of them, and his paintings, prints, and photos of auto repair shops, billboards, sunsets and roadways have plumbed the myths and realities of Los Angeles and the West ever since. \u003cem>Ed Ruscha and the Great American West\u003c/em> is one of the shows featuring Ruscha, 78, at the de Young Museum. Details \u003ca href=\"https://deyoung.famsf.org/exhibitions/ed-ruscha-and-great-american-west\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11815508\" class=\"wp-caption aligncenter\" style=\"max-width: 698px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11815508\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Geary-Wilshire-by-Ed-Ruscha-at-Crown-Point-Press-698x600.jpg\" alt='\"Geary, Wilshire\" by Ed Ruscha at Crown Point Press' width=\"698\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Geary-Wilshire-by-Ed-Ruscha-at-Crown-Point-Press-698x600.jpg 698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Geary-Wilshire-by-Ed-Ruscha-at-Crown-Point-Press-400x344.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Geary-Wilshire-by-Ed-Ruscha-at-Crown-Point-Press.jpg 700w\" sizes=\"(max-width: 698px) 100vw, 698px\">\u003cfigcaption class=\"wp-caption-text\">“Geary, Wilshire” by Ed Ruscha at Crown Point Press \u003ccite>(Photo: Courtesy of the artist and Crown Point Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sept. 3:\u003c/strong> There’s another Ed Ruscha show, this one of prints he made in San Francisco at Crown Point Press. That’s a CHEAP THRILL! Admission is always free, even if the prints aren’t. Details \u003ca href=\"http://www.crownpoint.com/front-page\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11815361\" class=\"wp-caption aligncenter\" style=\"max-width: 626px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11815361 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Eadweard-Muybridge-Photo-e1468535131940.jpg\" alt='\"85 Feet in Circumference. Mariposa Grove of Mammoth Trees, No. 51\" by Eadweard Muybridge, Wm. H Seward' width=\"626\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Eadweard-Muybridge-Photo-e1468535131940.jpg 626w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Eadweard-Muybridge-Photo-e1468535131940-400x230.jpg 400w\" sizes=\"(max-width: 626px) 100vw, 626px\">\u003cfigcaption class=\"wp-caption-text\">“85 Feet in Circumference. Mariposa Grove of Mammoth Trees, No. 51” by Eadweard Muybridge, Wm. H Seward \u003ccite>(Photo: Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sept. 11\u003c/strong>: And Ruscha is in very good company with Western artists like Chiura Obata, Albert Bierstadt, Maynard Dixon, Ester Hernández, and more in \u003cem>Wild West: Plains to the Pacific\u003c/em> at the Palace of Fine Arts in San Francisco. Details on that show are \u003ca href=\"https://legionofhonor.famsf.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0Zqp0OpzMAI\u003c/p>\n\u003cp>\u003cstrong>July 16 – 30\u003c/strong>: The Carmel Bach Festival combines a beautiful setting with gorgeous music and fresh approaches to the repertory from Artistic Director and Conductor Paul Goodwin. The festival’s mission is to study the deep influence of Bach on music of the past 300 or so years. For Goodwin, that means a production of Mozart’s \u003cem>Idemeneo\u003c/em>, \u003cem>Cloudburst,\u003c/em> Eric Whitacre’s 1992 composition for chorus, and so much more. Details \u003ca href=\"http://www.bachfestival.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11815205\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11815205 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-800x470.jpg\" alt=\"Maddie (Jessica Lynn Carroll), a presidential candidate's daughter, reveals a secret to journalist Will (Richard Prioleau) in TheatreWorks' production of Confederates\" width=\"800\" height=\"470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-800x470.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-400x235.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-768x451.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-1180x693.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-1920x1128.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-960x564.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maddie (Jessica Lynn Carroll), a presidential candidate’s daughter, reveals a secret to journalist Will (Richard Prioleau) in TheatreWorks’ production of Confederates \u003ccite>(Photo: Kevin Berne/Theatreworks Silicon Valley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Aug. 7\u003c/strong>: Theatreworks Silicon Valley in Palo Alto is opening a brand new play called \u003cem>Confederates\u003c/em>. A presidential candidate’s daughter shows a photo of herself wearing her father’s Confederate flag, and nothing else, to an African American reporter and things get very, very complicated. Playwright Suzanne Bradbeer and director Lisa Rothe (ROW-th-ee) developed this play through Theatreworks New Works Festival and in readings in New York. “I don’t think we’re trying to solve any problems,” director Rothe said, “but maybe make people think in a different way. And hopefully theater does that. Especially this year, when politics is looking like theater or reality television.” You can’t vote in November without seeing it. Details \u003ca href=\"http://www.theatreworks.org/shows/1617-season/confederates2016\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=akuzUWiYTdk\u003c/p>\n\u003cp>\u003cstrong>July 20:\u003c/strong> \u003ca href=\"http://hollymiranda.com/\" target=\"_blank\" rel=\"noopener\">Holly Miranda \u003c/a>has a reputation for making any song sound sad, or more accurately, I think, sound soulful. Her new EP is a set of covers including songs by Drake, Morphine, Sparklehorse and others. She’s toured with Tegan and Sara, and was part of the band Jealous Girlfriends. I’d call her a musical explorer and I love following her. Details for her (CHEAP THRILL!) show at The Chapel are \u003ca href=\"http://www.thechapelsf.com/event/1216871-holly-miranda-san-francisco/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11815527\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11815527\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Welcome-to-Night-Vale-is-recording-a-live-podcast-at-The-Fox-in-Oakland-800x590.jpg\" alt=\"Welcome to Night Vale is recording a live podcast at The Fox in Oakland\" width=\"800\" height=\"590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Welcome-to-Night-Vale-is-recording-a-live-podcast-at-The-Fox-in-Oakland-800x590.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Welcome-to-Night-Vale-is-recording-a-live-podcast-at-The-Fox-in-Oakland-400x295.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Welcome-to-Night-Vale-is-recording-a-live-podcast-at-The-Fox-in-Oakland-768x567.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Welcome-to-Night-Vale-is-recording-a-live-podcast-at-The-Fox-in-Oakland.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Welcome to Night Vale is recording a live podcast at The Fox in Oakland \u003ccite>(Photo: Courtesy of 'Welcome to Night Vale')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>July 16\u003c/strong>: And we have a shout out for a performance of ghost stories from the spooky podcasters at \u003cem>Welcome to Night Vale\u003c/em>. Details for their show at the Fox in Oakland are \u003ca href=\"http://www.thefoxoakland.com/popartist.php?cID=5232&KeepThis=true&TB_iframe=true&height=600&width=475\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”20″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/273728708″&visual=true&”color=ff5500&inverse=false&auto_play=false&show_user=true”'\n title='”https://api.soundcloud.com/tracks/273728708″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003cbr>\n\u003c/p>\u003c/aside>\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/-ruktixvAUw'\n title='//www.youtube.com/embed/-ruktixvAUw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 16\u003c/strong>: \u003ca href=\"http://www.parkermillsap.com/\" target=\"_blank\" rel=\"noopener\">Parker Milsap\u003c/a> sings about Hades’s (Greek god of the underworld) love for Persephone in the song “Hades Pleads” on his new album (and above). “I’m gonna take you to my house on the Styx, On a long black train going clackety-click.” Great lyrics from a guy who definitely knows his ancient texts. Milsap was a choir boy growing up in his parent’s Pentacostal church. You can hear the influence of Elvis and rockabilly (acoustic bass and fiddle) on his sound, but at just 23, you have to figure Milsap will just get better and better. Details for his show at Slim’s in SF are \u003ca href=\"http://www.slimspresents.com/event/parker-millsap-slims-w-travis-linville/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11815207\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11815207\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-800x313.jpg\" alt=\"Hollywood by LA Artist Ed Ruscha\" width=\"800\" height=\"313\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-800x313.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-400x157.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-768x301.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-1180x462.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Hollywood-by-LA-Artist-Ed-Ruscha-960x376.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hollywood by LA Artist Ed Ruscha \u003ccite>(Photo: Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 16 – Oct. 9\u003c/strong>: So many Californians, my in-laws included, heard California calling and discovered those wide open spaces along Route 66 in the mid-20th Century. Artist Ed Ruscha (roo-SHAY) was one of them, and his paintings, prints, and photos of auto repair shops, billboards, sunsets and roadways have plumbed the myths and realities of Los Angeles and the West ever since. \u003cem>Ed Ruscha and the Great American West\u003c/em> is one of the shows featuring Ruscha, 78, at the de Young Museum. Details \u003ca href=\"https://deyoung.famsf.org/exhibitions/ed-ruscha-and-great-american-west\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11815508\" class=\"wp-caption aligncenter\" style=\"max-width: 698px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11815508\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Geary-Wilshire-by-Ed-Ruscha-at-Crown-Point-Press-698x600.jpg\" alt='\"Geary, Wilshire\" by Ed Ruscha at Crown Point Press' width=\"698\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Geary-Wilshire-by-Ed-Ruscha-at-Crown-Point-Press-698x600.jpg 698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Geary-Wilshire-by-Ed-Ruscha-at-Crown-Point-Press-400x344.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Geary-Wilshire-by-Ed-Ruscha-at-Crown-Point-Press.jpg 700w\" sizes=\"(max-width: 698px) 100vw, 698px\">\u003cfigcaption class=\"wp-caption-text\">“Geary, Wilshire” by Ed Ruscha at Crown Point Press \u003ccite>(Photo: Courtesy of the artist and Crown Point Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sept. 3:\u003c/strong> There’s another Ed Ruscha show, this one of prints he made in San Francisco at Crown Point Press. That’s a CHEAP THRILL! Admission is always free, even if the prints aren’t. Details \u003ca href=\"http://www.crownpoint.com/front-page\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11815361\" class=\"wp-caption aligncenter\" style=\"max-width: 626px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11815361 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Eadweard-Muybridge-Photo-e1468535131940.jpg\" alt='\"85 Feet in Circumference. Mariposa Grove of Mammoth Trees, No. 51\" by Eadweard Muybridge, Wm. H Seward' width=\"626\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Eadweard-Muybridge-Photo-e1468535131940.jpg 626w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Eadweard-Muybridge-Photo-e1468535131940-400x230.jpg 400w\" sizes=\"(max-width: 626px) 100vw, 626px\">\u003cfigcaption class=\"wp-caption-text\">“85 Feet in Circumference. Mariposa Grove of Mammoth Trees, No. 51” by Eadweard Muybridge, Wm. H Seward \u003ccite>(Photo: Courtesy of FAMSF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Sept. 11\u003c/strong>: And Ruscha is in very good company with Western artists like Chiura Obata, Albert Bierstadt, Maynard Dixon, Ester Hernández, and more in \u003cem>Wild West: Plains to the Pacific\u003c/em> at the Palace of Fine Arts in San Francisco. Details on that show are \u003ca href=\"https://legionofhonor.famsf.org/\" 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/0Zqp0OpzMAI'\n title='//www.youtube.com/embed/0Zqp0OpzMAI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 16 – 30\u003c/strong>: The Carmel Bach Festival combines a beautiful setting with gorgeous music and fresh approaches to the repertory from Artistic Director and Conductor Paul Goodwin. The festival’s mission is to study the deep influence of Bach on music of the past 300 or so years. For Goodwin, that means a production of Mozart’s \u003cem>Idemeneo\u003c/em>, \u003cem>Cloudburst,\u003c/em> Eric Whitacre’s 1992 composition for chorus, and so much more. Details \u003ca href=\"http://www.bachfestival.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11815205\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11815205 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-800x470.jpg\" alt=\"Maddie (Jessica Lynn Carroll), a presidential candidate's daughter, reveals a secret to journalist Will (Richard Prioleau) in TheatreWorks' production of Confederates\" width=\"800\" height=\"470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-800x470.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-400x235.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-768x451.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-1180x693.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-1920x1128.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Confederates-at-Theatrworks-e1468533293228-960x564.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maddie (Jessica Lynn Carroll), a presidential candidate’s daughter, reveals a secret to journalist Will (Richard Prioleau) in TheatreWorks’ production of Confederates \u003ccite>(Photo: Kevin Berne/Theatreworks Silicon Valley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Now through Aug. 7\u003c/strong>: Theatreworks Silicon Valley in Palo Alto is opening a brand new play called \u003cem>Confederates\u003c/em>. A presidential candidate’s daughter shows a photo of herself wearing her father’s Confederate flag, and nothing else, to an African American reporter and things get very, very complicated. Playwright Suzanne Bradbeer and director Lisa Rothe (ROW-th-ee) developed this play through Theatreworks New Works Festival and in readings in New York. “I don’t think we’re trying to solve any problems,” director Rothe said, “but maybe make people think in a different way. And hopefully theater does that. Especially this year, when politics is looking like theater or reality television.” You can’t vote in November without seeing it. Details \u003ca href=\"http://www.theatreworks.org/shows/1617-season/confederates2016\" 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/akuzUWiYTdk'\n title='//www.youtube.com/embed/akuzUWiYTdk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 20:\u003c/strong> \u003ca href=\"http://hollymiranda.com/\" target=\"_blank\" rel=\"noopener\">Holly Miranda \u003c/a>has a reputation for making any song sound sad, or more accurately, I think, sound soulful. Her new EP is a set of covers including songs by Drake, Morphine, Sparklehorse and others. She’s toured with Tegan and Sara, and was part of the band Jealous Girlfriends. I’d call her a musical explorer and I love following her. Details for her (CHEAP THRILL!) show at The Chapel are \u003ca href=\"http://www.thechapelsf.com/event/1216871-holly-miranda-san-francisco/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11815527\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11815527\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Welcome-to-Night-Vale-is-recording-a-live-podcast-at-The-Fox-in-Oakland-800x590.jpg\" alt=\"Welcome to Night Vale is recording a live podcast at The Fox in Oakland\" width=\"800\" height=\"590\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Welcome-to-Night-Vale-is-recording-a-live-podcast-at-The-Fox-in-Oakland-800x590.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Welcome-to-Night-Vale-is-recording-a-live-podcast-at-The-Fox-in-Oakland-400x295.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Welcome-to-Night-Vale-is-recording-a-live-podcast-at-The-Fox-in-Oakland-768x567.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Welcome-to-Night-Vale-is-recording-a-live-podcast-at-The-Fox-in-Oakland.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Welcome to Night Vale is recording a live podcast at The Fox in Oakland \u003ccite>(Photo: Courtesy of 'Welcome to Night Vale')\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>July 16\u003c/strong>: And we have a shout out for a performance of ghost stories from the spooky podcasters at \u003cem>Welcome to Night Vale\u003c/em>. Details for their show at the Fox in Oakland are \u003ca href=\"http://www.thefoxoakland.com/popartist.php?cID=5232&KeepThis=true&TB_iframe=true&height=600&width=475\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Sarah Shourd’s \u003ca href=\"http://www.zspace.org/box\" target=\"_blank\" rel=\"noopener\">\u003cem>The Box\u003c/em>\u003c/a> is an unrelenting take on solitary confinement. The drama, currently playing at Z Space in San Francisco’s Mission District, is an odd mélange of theatrical styles: political exposé, prison melodrama, avant-garde sound poem, muckraking journalism, and, strangest of all, a mismatched buddy tale between a Black Panther, a Neo Nazi, and a gentle, artistic Latino inmate accused of murder.\u003c/p>\n\u003cp>It’s as if the play is locked in an aesthetic and political battle over how best to depict the brutalizing nature of incarceration. You can feel that Shourd, a journalist and political activist as well as a playwright, believes that the choices she makes matter, and that the consequences are great. In many ways, she is bringing the sensibility of the journalist to the theater, and with it a sense of urgency missing from many prison dramas.\u003c/p>\n\u003cp>Shourd is somewhat famous for accidentally crossing the Iranian border while hiking with two friends in Kurd-controlled Northern Iraq in 2009. Iranian guards captured the befuddled trio — shocked that they were in Iran — and all of sudden they found themselves accused of being CIA spies. Shourd spent 410 days in jail as a political prisoner, much of it in solitary confinement. So she knows what can happen to a mind under these conditions, and the play is powerful when it sticks to the experiential nature of minute-by-minute prison life.\u003c/p>\n\u003cp>When you walk into the cavernous auditorium at Z Space — having already heard the unsettling screams coming from the stage from the lobby — you’re confronted with a wall of stacked cells, three on top and three on the bottom. Strange, violent, and random industrial sounds pierce through the chorus of yelling inmates. Instead of a dead gray wall, the background is a kaleidoscope of distorted images and shapes. As with the worst nightmares, every once in a while a clear image will break through the generalized sense of dread.\u003c/p>\n\u003cp>Sean Riley’s set, Tom Ontiveros’s projections, and Jon Bernson’s sound are, as a unit, an aggressive, disorienting, and seemingly apt depiction of the psychic dislocation of solitary confinement. “Immersive” has replaced “cutting edge” as the go-to phrase of experimental theater, catnip for funders and the public alike. But here, without taking the audience on a field trip or changing the orientation of the stage, the designers have placed us in the vortex of what it must feel like to live in a cage, alone and untouched.\u003c/p>\n\u003cfigure id=\"attachment_11811821\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11811821 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-800x448.jpg\" alt=\"(L to R and clockwise) Black Panther Ray De Vaul (Steven Anthony Jones), Pintu Nath (J Jha), Victor Santiago (Carlos Aguirre), and Jake Juchau (Clive Worsley) experience the tedium of solitary confinement in 'The Box' at Z Space.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-960x538.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R and clockwise) Black Panther Ray De Vaul (Steven Anthony Jones), Pintu Nath (J Jha), Victor Santiago (Carlos Aguirre), and Jake Juchau (Clive Worsley) experience the tedium of solitary confinement in ‘The Box’ at Z Space. \u003ccite>(Photo: Carla Hernández Ramírez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The beginning of \u003cem>The Box\u003c/em> is blessedly free of explanation. There is no set up and no world-building — just the actions of prison life. One prisoner, Pintu Nath (in a crazed, committed performance by J Jha), seems caught in an unending psychic breakdown, compulsively cleaning his toilet with a toothbrush; another, Rocky Ashburry\u003cstrong>, \u003c/strong> screams his way onto the stage and hunches in his cell, more scared animal than human being; while a third, Carlos Aviles, is taunting and cruel, shouting obscene insults at whomever seems weakest in the moment. I could have watched that for hours.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But then the characters start to tell us about their lives in a series of soliloquies — “The cops regard us as wild animals;” “They put us here to break us down;” “There are no windows in the cells;” “Life here ain’t much,” — as if we couldn’t intuit that and so much more simply by watching. Shourd-the-dutiful-journalist undermines Shourd-the-dramatist with some truly mind-numbing clichés.\u003c/p>\n\u003cp>Yet, for most of the first act, Shourd lets the simplicity of everyday events dominate. We watch the prisoners make it through the day, play jokes, write, exercise, read — all sorts of things with no apparent narrative end. And in one of those beautiful paradoxes of the stage, the less we know, the more dramatic and terrifying the scenario becomes.\u003c/p>\n\u003cfigure id=\"attachment_11811827\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11811827\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-800x446.jpg\" alt=\"The stage goes blue around the distraught Victor Santiago (Carlos Aguirre) in 'The Box' at Z Space.\" width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-400x223.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-1180x658.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-960x535.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The stage goes blue around the distraught Victor Santiago (Carlos Aguirre) in ‘The Box’ at Z Space. \u003ccite>(Photo: Carla Hernández Ramírez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are lapses here and there — needless backstories and more journalistic underscoring of the obvious. But mostly the show is about what it’s like to be alone, and how the prison system uses isolation as a form of torture. Watch that happen, and you start to feel a moral obligation to protect those we punish, even the most criminal of them. And it’s at the end of the first act, during the intermission, where \u003cem>The Box\u003c/em> is at its most radical and politically potent.\u003c/p>\n\u003cp>Without losing all of what she accomplishes in the first act, Shourd tames her vision of justice considerably. The second act focuses in on three prisoners — Black Panther Ray De Vaul, Neo-Nazi Jake Juchau, and the sensitive and self-defeating Victor Santiago — as they shed their racial and tribal allegiances to become hunger striking, prison activists. In rather unconvincing and melodramatic fashion, Ray and Jake learn to care and love each other.\u003c/p>\n\u003cp>I’ve nothing against love, or Neo Nazis going lefty-soft. But to hear Juchau say that he’s “grown a little” and that “our multiracial coalition is using peaceful resistance” is to be subjected to the worst kind of liberal fantasy — one that equates political change with personal growth. Shourd’s first act knows better. The personal is not political. We don’t need a mismatched buddy melodrama to understand injustice. In fact, it gets in our way.\u003c/p>\n\u003cp>Melodrama can be an effective political tool, but in the case of \u003cem>The Box\u003c/em> it dulls our senses. In a recent \u003ca href=\"http://ww2.kqed.org/news/2016/07/10/inside-the-box-new-play-explores-life-in-solitary\">feature\u003c/a> on the play from KQED’s \u003cem>The California Report\u003c/em>, Shourd’s good intentions are obvious. She wants to explain, to be fair and avoid stereotypes. These are some of the best qualities of mainstream journalism, as well as of decent people. Yet when you see those concerns on stage, especially in relation to the chaos of the first act, they almost feel corrupt, both aesthetically and politically.\u003c/p>\n\u003cfigure id=\"attachment_11811830\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11811830\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-800x446.jpg\" alt=\"Neo-Nazi Jake Juchau (Clive Worsley) starts off silent and unrepentant in 'The Box' at Z space.\" width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-400x223.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-1180x658.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-960x535.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Neo-Nazi Jake Juchau (Clive Worsley) starts off silent and unrepentant in ‘The Box’ at Z space. \u003ccite>(Photo: Carla Hernández Ramírez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We don’t need art that explains the obvious and insists that we all become good liberals. We need art that is brutal and unrelenting. Let the Nazi be a Nazi. Let the murderer remain unrepentant. That doesn’t mean they don’t deserve our humanity and sense of justice. Shourd’s first act makes that case, imperfectly, but with verve and real belief; her second erases her most radical insights in a wave of unbelievable good feeling.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Box\u003c/em> plays through Saturday, Jul. 30 at Z Space in San Francisco. For tickets and information please click \u003ca href=\"http://www.zspace.org\">here\u003c/a>.\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sarah Shourd’s \u003ca href=\"http://www.zspace.org/box\" target=\"_blank\" rel=\"noopener\">\u003cem>The Box\u003c/em>\u003c/a> is an unrelenting take on solitary confinement. The drama, currently playing at Z Space in San Francisco’s Mission District, is an odd mélange of theatrical styles: political exposé, prison melodrama, avant-garde sound poem, muckraking journalism, and, strangest of all, a mismatched buddy tale between a Black Panther, a Neo Nazi, and a gentle, artistic Latino inmate accused of murder.\u003c/p>\n\u003cp>It’s as if the play is locked in an aesthetic and political battle over how best to depict the brutalizing nature of incarceration. You can feel that Shourd, a journalist and political activist as well as a playwright, believes that the choices she makes matter, and that the consequences are great. In many ways, she is bringing the sensibility of the journalist to the theater, and with it a sense of urgency missing from many prison dramas.\u003c/p>\n\u003cp>Shourd is somewhat famous for accidentally crossing the Iranian border while hiking with two friends in Kurd-controlled Northern Iraq in 2009. Iranian guards captured the befuddled trio — shocked that they were in Iran — and all of sudden they found themselves accused of being CIA spies. Shourd spent 410 days in jail as a political prisoner, much of it in solitary confinement. So she knows what can happen to a mind under these conditions, and the play is powerful when it sticks to the experiential nature of minute-by-minute prison life.\u003c/p>\n\u003cp>When you walk into the cavernous auditorium at Z Space — having already heard the unsettling screams coming from the stage from the lobby — you’re confronted with a wall of stacked cells, three on top and three on the bottom. Strange, violent, and random industrial sounds pierce through the chorus of yelling inmates. Instead of a dead gray wall, the background is a kaleidoscope of distorted images and shapes. As with the worst nightmares, every once in a while a clear image will break through the generalized sense of dread.\u003c/p>\n\u003cp>Sean Riley’s set, Tom Ontiveros’s projections, and Jon Bernson’s sound are, as a unit, an aggressive, disorienting, and seemingly apt depiction of the psychic dislocation of solitary confinement. “Immersive” has replaced “cutting edge” as the go-to phrase of experimental theater, catnip for funders and the public alike. But here, without taking the audience on a field trip or changing the orientation of the stage, the designers have placed us in the vortex of what it must feel like to live in a cage, alone and untouched.\u003c/p>\n\u003cfigure id=\"attachment_11811821\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11811821 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-800x448.jpg\" alt=\"(L to R and clockwise) Black Panther Ray De Vaul (Steven Anthony Jones), Pintu Nath (J Jha), Victor Santiago (Carlos Aguirre), and Jake Juchau (Clive Worsley) experience the tedium of solitary confinement in 'The Box' at Z Space.\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449-960x538.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox2-e1468450553449.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R and clockwise) Black Panther Ray De Vaul (Steven Anthony Jones), Pintu Nath (J Jha), Victor Santiago (Carlos Aguirre), and Jake Juchau (Clive Worsley) experience the tedium of solitary confinement in ‘The Box’ at Z Space. \u003ccite>(Photo: Carla Hernández Ramírez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The beginning of \u003cem>The Box\u003c/em> is blessedly free of explanation. There is no set up and no world-building — just the actions of prison life. One prisoner, Pintu Nath (in a crazed, committed performance by J Jha), seems caught in an unending psychic breakdown, compulsively cleaning his toilet with a toothbrush; another, Rocky Ashburry\u003cstrong>, \u003c/strong> screams his way onto the stage and hunches in his cell, more scared animal than human being; while a third, Carlos Aviles, is taunting and cruel, shouting obscene insults at whomever seems weakest in the moment. I could have watched that for hours.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But then the characters start to tell us about their lives in a series of soliloquies — “The cops regard us as wild animals;” “They put us here to break us down;” “There are no windows in the cells;” “Life here ain’t much,” — as if we couldn’t intuit that and so much more simply by watching. Shourd-the-dutiful-journalist undermines Shourd-the-dramatist with some truly mind-numbing clichés.\u003c/p>\n\u003cp>Yet, for most of the first act, Shourd lets the simplicity of everyday events dominate. We watch the prisoners make it through the day, play jokes, write, exercise, read — all sorts of things with no apparent narrative end. And in one of those beautiful paradoxes of the stage, the less we know, the more dramatic and terrifying the scenario becomes.\u003c/p>\n\u003cfigure id=\"attachment_11811827\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11811827\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-800x446.jpg\" alt=\"The stage goes blue around the distraught Victor Santiago (Carlos Aguirre) in 'The Box' at Z Space.\" width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-400x223.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-1180x658.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106-960x535.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/TheBox3-e1468451009106.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The stage goes blue around the distraught Victor Santiago (Carlos Aguirre) in ‘The Box’ at Z Space. \u003ccite>(Photo: Carla Hernández Ramírez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are lapses here and there — needless backstories and more journalistic underscoring of the obvious. But mostly the show is about what it’s like to be alone, and how the prison system uses isolation as a form of torture. Watch that happen, and you start to feel a moral obligation to protect those we punish, even the most criminal of them. And it’s at the end of the first act, during the intermission, where \u003cem>The Box\u003c/em> is at its most radical and politically potent.\u003c/p>\n\u003cp>Without losing all of what she accomplishes in the first act, Shourd tames her vision of justice considerably. The second act focuses in on three prisoners — Black Panther Ray De Vaul, Neo-Nazi Jake Juchau, and the sensitive and self-defeating Victor Santiago — as they shed their racial and tribal allegiances to become hunger striking, prison activists. In rather unconvincing and melodramatic fashion, Ray and Jake learn to care and love each other.\u003c/p>\n\u003cp>I’ve nothing against love, or Neo Nazis going lefty-soft. But to hear Juchau say that he’s “grown a little” and that “our multiracial coalition is using peaceful resistance” is to be subjected to the worst kind of liberal fantasy — one that equates political change with personal growth. Shourd’s first act knows better. The personal is not political. We don’t need a mismatched buddy melodrama to understand injustice. In fact, it gets in our way.\u003c/p>\n\u003cp>Melodrama can be an effective political tool, but in the case of \u003cem>The Box\u003c/em> it dulls our senses. In a recent \u003ca href=\"http://ww2.kqed.org/news/2016/07/10/inside-the-box-new-play-explores-life-in-solitary\">feature\u003c/a> on the play from KQED’s \u003cem>The California Report\u003c/em>, Shourd’s good intentions are obvious. She wants to explain, to be fair and avoid stereotypes. These are some of the best qualities of mainstream journalism, as well as of decent people. Yet when you see those concerns on stage, especially in relation to the chaos of the first act, they almost feel corrupt, both aesthetically and politically.\u003c/p>\n\u003cfigure id=\"attachment_11811830\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11811830\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-800x446.jpg\" alt=\"Neo-Nazi Jake Juchau (Clive Worsley) starts off silent and unrepentant in 'The Box' at Z space.\" width=\"800\" height=\"446\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-800x446.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-400x223.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-1180x658.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716-960x535.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/Thebox4-e1468451272716.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Neo-Nazi Jake Juchau (Clive Worsley) starts off silent and unrepentant in ‘The Box’ at Z space. \u003ccite>(Photo: Carla Hernández Ramírez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We don’t need art that explains the obvious and insists that we all become good liberals. We need art that is brutal and unrelenting. Let the Nazi be a Nazi. Let the murderer remain unrepentant. That doesn’t mean they don’t deserve our humanity and sense of justice. Shourd’s first act makes that case, imperfectly, but with verve and real belief; her second erases her most radical insights in a wave of unbelievable good feeling.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Box\u003c/em> plays through Saturday, Jul. 30 at Z Space in San Francisco. For tickets and information please click \u003ca href=\"http://www.zspace.org\">here\u003c/a>.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Two new Tony Award-winners from \u003cem>Hamilton\u003c/em> — Daveed Diggs and Renée Elise Goldsberry — will soon leave the Broadway company, while producers unveiled the new cast of the show’s upcoming Chicago production.\u003c/p>\n\u003cp>Diggs, who plays both the Marquis de Lafayette and Thomas Jefferson, will leave the Broadway show July 15, while Goldsberry, who plays Angelica Schuyler, will leave sometime this fall, her publicist confirmed. The duo will be joining the recently departed creator Lin-Manuel Miranda , Leslie Odom Jr. and Phillipa Soo out the \u003cem>Hamilton\u003c/em> door.\u003c/p>\n\u003cp>Meanwhile, Broadway veterans Miguel Cervantes, Karen Olivo and Alexander Gemignani were unveiled Wednesday as the next leaders of the cast in Chicago.\u003c/p>\n\u003cp>Cervantes, whose Broadway credits include \u003cem>If/Then\u003c/em> and \u003cem>American Idiot\u003c/em>, will play Alexander Hamilton this fall when the Chicago production opens. Olivo, who won a Tony playing of Anita in the 2009 Broadway revival of \u003cem>West Side Story\u003c/em>, will portray Angelica Schuyler. Gemignani, who has been in \u003cem>Violet\u003c/em>, Les Miserables” and “Sweeny Todd,” will play King George III in the Chicago production.\u003c/p>\n\u003cp>The rest of the cast there will include Ari Afsar as Eliza Hamilton, Chris Lee as Lafayette/Jefferson, Wallace Smith as Hercules Mulligan and James Madison, and Samantha Marie Ware as Peggy Schuyler and Maria Reynolds.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em>, which won 11 Tony Awards last month, has been praised by politicians and rap stars, influenced the debate over the nation’s currency and burst through the Broadway bubble like none other. On Tuesday, the show held a fundraiser for presumptive Democratic presidential nominee Hillary Clinton, with donors paying between $2,700 and $10,000 for a seat, and event chairs contributing $100,000 for a two-seat package and a wrap party.\u003c/p>\n\u003cp>In addition to the Chicago production, a touring production begins a 21-week run in San Francisco in 2017 before moving to Los Angeles. A London production is slated for 2017.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two new Tony Award-winners from \u003cem>Hamilton\u003c/em> — Daveed Diggs and Renée Elise Goldsberry — will soon leave the Broadway company, while producers unveiled the new cast of the show’s upcoming Chicago production.\u003c/p>\n\u003cp>Diggs, who plays both the Marquis de Lafayette and Thomas Jefferson, will leave the Broadway show July 15, while Goldsberry, who plays Angelica Schuyler, will leave sometime this fall, her publicist confirmed. The duo will be joining the recently departed creator Lin-Manuel Miranda , Leslie Odom Jr. and Phillipa Soo out the \u003cem>Hamilton\u003c/em> door.\u003c/p>\n\u003cp>Meanwhile, Broadway veterans Miguel Cervantes, Karen Olivo and Alexander Gemignani were unveiled Wednesday as the next leaders of the cast in Chicago.\u003c/p>\n\u003cp>Cervantes, whose Broadway credits include \u003cem>If/Then\u003c/em> and \u003cem>American Idiot\u003c/em>, will play Alexander Hamilton this fall when the Chicago production opens. Olivo, who won a Tony playing of Anita in the 2009 Broadway revival of \u003cem>West Side Story\u003c/em>, will portray Angelica Schuyler. Gemignani, who has been in \u003cem>Violet\u003c/em>, Les Miserables” and “Sweeny Todd,” will play King George III in the Chicago production.\u003c/p>\n\u003cp>The rest of the cast there will include Ari Afsar as Eliza Hamilton, Chris Lee as Lafayette/Jefferson, Wallace Smith as Hercules Mulligan and James Madison, and Samantha Marie Ware as Peggy Schuyler and Maria Reynolds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em>, which won 11 Tony Awards last month, has been praised by politicians and rap stars, influenced the debate over the nation’s currency and burst through the Broadway bubble like none other. On Tuesday, the show held a fundraiser for presumptive Democratic presidential nominee Hillary Clinton, with donors paying between $2,700 and $10,000 for a seat, and event chairs contributing $100,000 for a two-seat package and a wrap party.\u003c/p>\n\u003cp>In addition to the Chicago production, a touring production begins a 21-week run in San Francisco in 2017 before moving to Los Angeles. A London production is slated for 2017.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Inside 'The Box': New Play Explores Life in Solitary",
"title": "Inside 'The Box': New Play Explores Life in Solitary",
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"content": "\u003cp>In the play \u003ca href=\"http://www.sarahshourd.com/opening-the-box/\">\"The Box,\"\u003c/a> a prisoner offers a soliloquy on why inmates end up in solitary confinement.\u003c/p>\n\u003cp>\"We're the guys they don't know how to deal with. We comport ourselves with a little too much dignity. The guards hate that. They put us here to break us down. Guys come in acting tough, can't bear the pressure. Things get ugly, infractions pile up, which means more time in the hole.\"\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/272821108\" 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>\"The Box,\" which opens in San Francisco July 8, starkly portrays the lives of inmates who have violent pasts but demand to be treated as human beings. The play is written by Sarah Shourd, one of the three hikers seized at the Iraq-Iran border and held in a Tehran prison. Shourd spent 410 days in solitary confinement. She was released from Iran in 2010, co-authored a book on her experiences and soon began work on the play.\u003c/p>\n\u003cp>Shourd spent several years researching the use of solitary in U.S. prisons, interviewing 75 prisoners, families and experts. She ultimately visited 12 prisoners in order to create the composite characters appearing in the play.\u003c/p>\n\u003cfigure id=\"attachment_11010436\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg class=\"size-full wp-image-11010436\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/The-Box_cast.jpg\" alt=\"From left, bottom row: Gabby Battista, Steven Anthony Jones, Pankaj Jha, Valerie Weak, Manuel Fernandez and Sarah Shourd. Top row: Carlos Aguirre, Michael J. Asberry, Clive Worsley, and Chris Herbie Holland.\" width=\"1800\" height=\"1200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_cast.jpg 1800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_cast-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_cast-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_cast-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_cast-960x640.jpg 960w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">From left, bottom row: Gabby Battista, Steven Anthony Jones, Pankaj Jha, Valerie Weak, Manuel Fernandez and Sarah Shourd.\u003cbr>Top row: Carlos Aguirre, Michael J. Asberry, Clive Worsley and Chris Herbie Holland. \u003ccite>(Carla Hernández Ramírez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shourd says her imprisonment in Iran sank her into a deep depression. Many inmates in U.S. prisons have similar experiences\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"You have no privacy,\" said Shourd. \"So you're under complete surveillance. That is a very unnatural state that human beings are not wired for. You can't remember what your mother looks like, what an apple smells like.\"\u003c/p>\n\u003cp>While Shourd experienced life in solitary, she does come from a white, middle-income background. She faced a challenge to write authentically about working-class people of color. Hollywood and Broadway have two stereotypes about black inmates: the intimidating thug and the all-wise, Yoda-like character. It was tricky writing the part of a former Black Panther, she said.\u003c/p>\n\u003cp>[contextly_sidebar id=\"EIj4i7dywE18lv0fef8WbgYkRHIyYSfc\"]\u003c/p>\n\u003cp>\"There was a danger of him falling into stereotype or trope of the 'magical Negro,' \" she said. \"My blind spots, I think, were caught by others and pointed out to me.\"\u003c/p>\n\u003cp>Steven Anthony Jones, a veteran of San Francisco's American Conservatory Theater, portrays the former Black Panther. He was impressed by Shourd's playwriting debut.\u003c/p>\n\u003cp>\"I found the character to be very authentic in terms of his age and his race, the two things I would be most familiar with,\" said Jones.\u003c/p>\n\u003cfigure id=\"attachment_11010437\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg class=\"size-full wp-image-11010437\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/The-Box_SA-Jones.jpg\" alt='Actor Steven Anthony Jones portrays a former Black Panther in the play \"The Box.\"' width=\"1800\" height=\"1200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_SA-Jones.jpg 1800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_SA-Jones-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_SA-Jones-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_SA-Jones-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_SA-Jones-960x640.jpg 960w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Actor Steven Anthony Jones portrays a former Black Panther in the play 'The Box.' \u003ccite>(Carla Hernández Ramírez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"The Box\" uses soliloquies to explain conditions faced by black, white and Latino inmates. Guards and other prisoners enter the isolation pod, bringing new stories and dramatic tension.\u003c/p>\n\u003cp>Clive Worsley portrays Jake, a white supremacist who spent seven years in solitary for killing another inmate. He keeps himself isolated from the black and Latino inmates, but that changes when all the prisoners go on a statewide hunger strike as a protest against long-term solitary confinement.\u003c/p>\n\u003cp>His character \"hasn't been engaging socially,\" said Worsley.\u003c/p>\n\u003cp>After a prisoner dies in the cellblock, Worsley explained, \"that causes Jake to shift his position of isolation to one of cooperation and collaboration with these other men.\"\u003c/p>\n\u003cp>\"The Box\" doesn't romanticize the inmates or seek to justify the violent crimes that first landed them in prison.\u003c/p>\n\u003cp>\"The men in this play are not saints,\" said Shourd. \"They're flawed. They're sometimes hilarious, sometimes really disturbing and unsettling human beings.\"\u003c/p>\n\u003cfigure id=\"attachment_11010438\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg class=\"wp-image-11010438 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/The-Box_trio.jpg\" alt='Actor Steven Anthony, Sarah Shourd and actor Clive Worsley at a rehearsal for \"The Box.\"' width=\"1800\" height=\"1200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_trio.jpg 1800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_trio-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_trio-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_trio-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_trio-960x640.jpg 960w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Actor Steven Anthony Jones, Sarah Shourd and actor Clive Worsley at a rehearsal for 'The Box.' \u003ccite>(Carla Hernández Ramírez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The playwright and actors hope \"The Box\" will make audiences think hard about the use of long-term solitary confinement.\u003c/p>\n\u003cp>\"It's easy to convince people that we shouldn't be putting innocent people in solitary confinement or prison,\" said Shourd. \"But what are we going to do with the reality that in order to end mass incarceration, we have to deal with a lot of really violent individuals?\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"The Box\" plays at \u003ca href=\"http://zspace.org/guest-shows/the-box\" target=\"_blank\">San Francisco's Z Space\u003c/a> theater through the end of July.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the play \u003ca href=\"http://www.sarahshourd.com/opening-the-box/\">\"The Box,\"\u003c/a> a prisoner offers a soliloquy on why inmates end up in solitary confinement.\u003c/p>\n\u003cp>\"We're the guys they don't know how to deal with. We comport ourselves with a little too much dignity. The guards hate that. They put us here to break us down. Guys come in acting tough, can't bear the pressure. Things get ugly, infractions pile up, which means more time in the hole.\"\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/272821108&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/272821108'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\"The Box,\" which opens in San Francisco July 8, starkly portrays the lives of inmates who have violent pasts but demand to be treated as human beings. The play is written by Sarah Shourd, one of the three hikers seized at the Iraq-Iran border and held in a Tehran prison. Shourd spent 410 days in solitary confinement. She was released from Iran in 2010, co-authored a book on her experiences and soon began work on the play.\u003c/p>\n\u003cp>Shourd spent several years researching the use of solitary in U.S. prisons, interviewing 75 prisoners, families and experts. She ultimately visited 12 prisoners in order to create the composite characters appearing in the play.\u003c/p>\n\u003cfigure id=\"attachment_11010436\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg class=\"size-full wp-image-11010436\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/The-Box_cast.jpg\" alt=\"From left, bottom row: Gabby Battista, Steven Anthony Jones, Pankaj Jha, Valerie Weak, Manuel Fernandez and Sarah Shourd. Top row: Carlos Aguirre, Michael J. Asberry, Clive Worsley, and Chris Herbie Holland.\" width=\"1800\" height=\"1200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_cast.jpg 1800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_cast-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_cast-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_cast-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_cast-960x640.jpg 960w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">From left, bottom row: Gabby Battista, Steven Anthony Jones, Pankaj Jha, Valerie Weak, Manuel Fernandez and Sarah Shourd.\u003cbr>Top row: Carlos Aguirre, Michael J. Asberry, Clive Worsley and Chris Herbie Holland. \u003ccite>(Carla Hernández Ramírez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shourd says her imprisonment in Iran sank her into a deep depression. Many inmates in U.S. prisons have similar experiences\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"You have no privacy,\" said Shourd. \"So you're under complete surveillance. That is a very unnatural state that human beings are not wired for. You can't remember what your mother looks like, what an apple smells like.\"\u003c/p>\n\u003cp>While Shourd experienced life in solitary, she does come from a white, middle-income background. She faced a challenge to write authentically about working-class people of color. Hollywood and Broadway have two stereotypes about black inmates: the intimidating thug and the all-wise, Yoda-like character. It was tricky writing the part of a former Black Panther, she said.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\"There was a danger of him falling into stereotype or trope of the 'magical Negro,' \" she said. \"My blind spots, I think, were caught by others and pointed out to me.\"\u003c/p>\n\u003cp>Steven Anthony Jones, a veteran of San Francisco's American Conservatory Theater, portrays the former Black Panther. He was impressed by Shourd's playwriting debut.\u003c/p>\n\u003cp>\"I found the character to be very authentic in terms of his age and his race, the two things I would be most familiar with,\" said Jones.\u003c/p>\n\u003cfigure id=\"attachment_11010437\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg class=\"size-full wp-image-11010437\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/The-Box_SA-Jones.jpg\" alt='Actor Steven Anthony Jones portrays a former Black Panther in the play \"The Box.\"' width=\"1800\" height=\"1200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_SA-Jones.jpg 1800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_SA-Jones-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_SA-Jones-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_SA-Jones-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_SA-Jones-960x640.jpg 960w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Actor Steven Anthony Jones portrays a former Black Panther in the play 'The Box.' \u003ccite>(Carla Hernández Ramírez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\"The Box\" uses soliloquies to explain conditions faced by black, white and Latino inmates. Guards and other prisoners enter the isolation pod, bringing new stories and dramatic tension.\u003c/p>\n\u003cp>Clive Worsley portrays Jake, a white supremacist who spent seven years in solitary for killing another inmate. He keeps himself isolated from the black and Latino inmates, but that changes when all the prisoners go on a statewide hunger strike as a protest against long-term solitary confinement.\u003c/p>\n\u003cp>His character \"hasn't been engaging socially,\" said Worsley.\u003c/p>\n\u003cp>After a prisoner dies in the cellblock, Worsley explained, \"that causes Jake to shift his position of isolation to one of cooperation and collaboration with these other men.\"\u003c/p>\n\u003cp>\"The Box\" doesn't romanticize the inmates or seek to justify the violent crimes that first landed them in prison.\u003c/p>\n\u003cp>\"The men in this play are not saints,\" said Shourd. \"They're flawed. They're sometimes hilarious, sometimes really disturbing and unsettling human beings.\"\u003c/p>\n\u003cfigure id=\"attachment_11010438\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg class=\"wp-image-11010438 size-full\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/07/The-Box_trio.jpg\" alt='Actor Steven Anthony, Sarah Shourd and actor Clive Worsley at a rehearsal for \"The Box.\"' width=\"1800\" height=\"1200\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_trio.jpg 1800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_trio-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_trio-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_trio-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/07/The-Box_trio-960x640.jpg 960w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Actor Steven Anthony Jones, Sarah Shourd and actor Clive Worsley at a rehearsal for 'The Box.' \u003ccite>(Carla Hernández Ramírez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The playwright and actors hope \"The Box\" will make audiences think hard about the use of long-term solitary confinement.\u003c/p>\n\u003cp>\"It's easy to convince people that we shouldn't be putting innocent people in solitary confinement or prison,\" said Shourd. \"But what are we going to do with the reality that in order to end mass incarceration, we have to deal with a lot of really violent individuals?\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"The Box\" plays at \u003ca href=\"http://zspace.org/guest-shows/the-box\" target=\"_blank\">San Francisco's Z Space\u003c/a> theater through the end of July.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cy-and-davids-picks-a-play-about-what-unites-and-divides-us-and-two-music-fests-to-clear-the-fog",
"title": "Cy and David's Picks: A Play About What Unites and Divides Us, and Two Music Fests to Clear the Fog",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/07/TDL20160708.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>https://www.youtube.com/watch?v=CO6RhAMLSWU\u003c/p>\n\u003cp>\u003cstrong>July 10\u003c/strong>: Singer-songwriter \u003ca href=\"http://margaretglaspy.com/\" target=\"_blank\" rel=\"noopener\">Margaret Glaspy\u003c/a> writes smart lyrics about relationships with a voice that’s sometimes girlish, sometimes raspy, both sweet and angry. “You and I have been a mistake,” she sings on her new album, “I let it linger too long” — a line that reminds me perfectly of the recent experiences of someone I know. We have to mention Glaspy’s local connection. She’s from Red Bluff, though she lives in Brooklyn now. So I’m waiting (maybe in vain) for her to record a song about the glories of the Upper Sacramento Valley. Details of her \u003ca href=\"http://www.rickshawstop.com/\" target=\"_blank\" rel=\"noopener\">Rickshaw Stop\u003c/a> show on Sunday are \u003ca href=\"http://www.rickshawstop.com/event/1171939-margaret-glaspy-san-francisco/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_OiTWrMDwmM’\u003c/p>\n\u003cp>\u003cstrong>July 8-10\u003c/strong>: \u003ca href=\"http://asimagery.org/\" target=\"_blank\" rel=\"noopener\">Amy Seiwert \u003c/a>(prounced \u003cem>SIGH-wurt\u003c/em>) is a very busy dance maker, and she’s back with her sixth annual Sketch series (this weekend at Ft. Mason), a chance to experiment and mix modern and classical styles. This time she’s commissioned new work from the Bay Area’s prolific Val Caniparoli, and from young choreographer Nicole Haskins of Smuin Ballet. The theme at Sketch 6 is language, so, Seiwert’s new dance is set to a poem by Neil Gaiman. Ticket and show \u003ca href=\"https://fortmason.org/event/sketch-6-use-your-words/\" target=\"_blank\" rel=\"noopener\">details are here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=viqRKOu63eE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>July 9-23\u003c/strong>: The programming for the \u003ca href=\"http://www.mendocinomusic.org\" target=\"_blank\" rel=\"noopener\">Mendocino Music Festival\u003c/a> made David use a cliche he says he hates: “Something for everyone.” The two-week festival in Fort Bragg and the town of Mendocino features adventurous (and personable) classical musicians like Geoff Nuttall (Stanford’s St. Lawrence String Quartet) and Gloria Cheng, a mini-Beethoven festival, a production of Mozart’s \u003cem>Abduction from the Seraglio\u003c/em>, and then there’s a pop lineup as well — including Peter Mawanga and his band out of Malawi, guitar wizard Alex Di Grassi, busker Jack Broadbent (he plays a mean slide guitar), and the amazing gospel and soul singer Liz Vice. Yes, it is \u003cem>so\u003c/em> worth the drive to Mendocino and Fort Bragg. Details\u003ca href=\"http://mendocinomusic.org/\" target=\"_blank\" rel=\"noopener\"> here. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11786645\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11786645\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/San-Jose-Opera-presents-excerpts-from-the-upcoming-season-in-a-free-concert-at-Willow-Glens-Bramhall-Park-800x554.jpg\" alt=\"San Jose Opera presents excerpts from the upcoming season in a free concert at Willow Glen's Bramhall Park\" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/San-Jose-Opera-presents-excerpts-from-the-upcoming-season-in-a-free-concert-at-Willow-Glens-Bramhall-Park-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/San-Jose-Opera-presents-excerpts-from-the-upcoming-season-in-a-free-concert-at-Willow-Glens-Bramhall-Park-400x277.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/San-Jose-Opera-presents-excerpts-from-the-upcoming-season-in-a-free-concert-at-Willow-Glens-Bramhall-Park-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/San-Jose-Opera-presents-excerpts-from-the-upcoming-season-in-a-free-concert-at-Willow-Glens-Bramhall-Park-1180x817.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/San-Jose-Opera-presents-excerpts-from-the-upcoming-season-in-a-free-concert-at-Willow-Glens-Bramhall-Park-960x665.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/San-Jose-Opera-presents-excerpts-from-the-upcoming-season-in-a-free-concert-at-Willow-Glens-Bramhall-Park.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Jose Opera presents excerpts from the upcoming season in a free concert at Willow Glen’s Bramhall Park \u003ccite>(Photo: Courtesy San Jose Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"line-height: 1.5\">\u003cstrong>July 10\u003c/strong>: The Bay Area’s little opera company that tries harder, San Jose Opera, is offering a free concert — so it’s our CHEAP THRILL! Sunday in Bramhall Park in Willow Glen at 6:30, with selections from their new season — La Boheme, Lucia de Lammermoor, Barber of Seville, Silent Night. Details\u003ca href=\"http://www.operasj.org/events/561/opera-in-bramhall-park/\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BSSBwQOkHgE\u003c/p>\n\u003cp>\u003cstrong>July 9-Aug. 27\u003c/strong>: We both loved the one-man play Dan Hoyle wrote and performed a few years ago about the way the country was so divided over President Obama and the Tea Party. He compiled the work out of interviews he did across America, and out of his eloquent imagination. Now he’s updated the show, with new conversations about Trump and the politics of 2016. But he told me this week that the concerns of 2012 remain sadly relevant. “Because the financial housing bubble of 2008,” he said, “is still wreaking havoc on people’s lives, and they want a radical change. Almost everyone I talked to was excited about either Trump or Bernie, and sometimes at the same time.” Details of this fresh revival at the Marsh in San Francisco are \u003ca href=\"http://themarsh.org/dan_hoyle/dan-hoyle-2/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FCQDdCBltIU\u003c/p>\n\u003cp>\u003cstrong>July 9\u003c/strong>: I like to think that the sun always comes out somewhere in San Francisco, no matter how foggy the weather (like it’s been this week). But there will definitely be some heat on the stage when all the little indie bands play at \u003ca href=\"http://www.phonodelsol.com/\" target=\"_blank\" rel=\"noopener\">Phono del Sol \u003c/a>Saturday. This is a co-production of \u003ca href=\"http://thebaybridged.com/\" target=\"_blank\" rel=\"noopener\">The Bay Bridged\u003c/a> and John Van der Slice’s \u003ca href=\"http://www.tinytelephone.com/\" target=\"_blank\" rel=\"noopener\">Tiny Telephone studios\u003c/a>. Which means impeccable taste, with Chairlift as the headliner, and San Francisco bands \u003ca href=\"https://www.facebook.com/HotFlashHeatWave/\" target=\"_blank\" rel=\"noopener\">Hot Flash Heat Wave \u003c/a>( new album), Oakland’s \u003ca href=\"https://theseshen.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">The Seshen\u003c/a>, Alvvays, Born Ruffians, Mr Little Jeans, The She’s, SF rapper \u003ca href=\"http://adamvida.com/\" target=\"_blank\" rel=\"noopener\">Adam Vida\u003c/a> (very cool), and more. Details \u003ca href=\"http://www.phonodelsol.com/\" 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>\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/07/TDL20160708.mp3\u003cbr>\n\u003c/p>\u003c/aside>\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/CO6RhAMLSWU'\n title='//www.youtube.com/embed/CO6RhAMLSWU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 10\u003c/strong>: Singer-songwriter \u003ca href=\"http://margaretglaspy.com/\" target=\"_blank\" rel=\"noopener\">Margaret Glaspy\u003c/a> writes smart lyrics about relationships with a voice that’s sometimes girlish, sometimes raspy, both sweet and angry. “You and I have been a mistake,” she sings on her new album, “I let it linger too long” — a line that reminds me perfectly of the recent experiences of someone I know. We have to mention Glaspy’s local connection. She’s from Red Bluff, though she lives in Brooklyn now. So I’m waiting (maybe in vain) for her to record a song about the glories of the Upper Sacramento Valley. Details of her \u003ca href=\"http://www.rickshawstop.com/\" target=\"_blank\" rel=\"noopener\">Rickshaw Stop\u003c/a> show on Sunday are \u003ca href=\"http://www.rickshawstop.com/event/1171939-margaret-glaspy-san-francisco/\" 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/_OiTWrMDwmM'\n title='//www.youtube.com/embed/_OiTWrMDwmM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 8-10\u003c/strong>: \u003ca href=\"http://asimagery.org/\" target=\"_blank\" rel=\"noopener\">Amy Seiwert \u003c/a>(prounced \u003cem>SIGH-wurt\u003c/em>) is a very busy dance maker, and she’s back with her sixth annual Sketch series (this weekend at Ft. Mason), a chance to experiment and mix modern and classical styles. This time she’s commissioned new work from the Bay Area’s prolific Val Caniparoli, and from young choreographer Nicole Haskins of Smuin Ballet. The theme at Sketch 6 is language, so, Seiwert’s new dance is set to a poem by Neil Gaiman. Ticket and show \u003ca href=\"https://fortmason.org/event/sketch-6-use-your-words/\" target=\"_blank\" rel=\"noopener\">details 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/viqRKOu63eE'\n title='//www.youtube.com/embed/viqRKOu63eE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>July 9-23\u003c/strong>: The programming for the \u003ca href=\"http://www.mendocinomusic.org\" target=\"_blank\" rel=\"noopener\">Mendocino Music Festival\u003c/a> made David use a cliche he says he hates: “Something for everyone.” The two-week festival in Fort Bragg and the town of Mendocino features adventurous (and personable) classical musicians like Geoff Nuttall (Stanford’s St. Lawrence String Quartet) and Gloria Cheng, a mini-Beethoven festival, a production of Mozart’s \u003cem>Abduction from the Seraglio\u003c/em>, and then there’s a pop lineup as well — including Peter Mawanga and his band out of Malawi, guitar wizard Alex Di Grassi, busker Jack Broadbent (he plays a mean slide guitar), and the amazing gospel and soul singer Liz Vice. Yes, it is \u003cem>so\u003c/em> worth the drive to Mendocino and Fort Bragg. Details\u003ca href=\"http://mendocinomusic.org/\" target=\"_blank\" rel=\"noopener\"> here. \u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11786645\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11786645\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/San-Jose-Opera-presents-excerpts-from-the-upcoming-season-in-a-free-concert-at-Willow-Glens-Bramhall-Park-800x554.jpg\" alt=\"San Jose Opera presents excerpts from the upcoming season in a free concert at Willow Glen's Bramhall Park\" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/San-Jose-Opera-presents-excerpts-from-the-upcoming-season-in-a-free-concert-at-Willow-Glens-Bramhall-Park-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/San-Jose-Opera-presents-excerpts-from-the-upcoming-season-in-a-free-concert-at-Willow-Glens-Bramhall-Park-400x277.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/San-Jose-Opera-presents-excerpts-from-the-upcoming-season-in-a-free-concert-at-Willow-Glens-Bramhall-Park-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/San-Jose-Opera-presents-excerpts-from-the-upcoming-season-in-a-free-concert-at-Willow-Glens-Bramhall-Park-1180x817.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/San-Jose-Opera-presents-excerpts-from-the-upcoming-season-in-a-free-concert-at-Willow-Glens-Bramhall-Park-960x665.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/San-Jose-Opera-presents-excerpts-from-the-upcoming-season-in-a-free-concert-at-Willow-Glens-Bramhall-Park.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">San Jose Opera presents excerpts from the upcoming season in a free concert at Willow Glen’s Bramhall Park \u003ccite>(Photo: Courtesy San Jose Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"line-height: 1.5\">\u003cstrong>July 10\u003c/strong>: The Bay Area’s little opera company that tries harder, San Jose Opera, is offering a free concert — so it’s our CHEAP THRILL! Sunday in Bramhall Park in Willow Glen at 6:30, with selections from their new season — La Boheme, Lucia de Lammermoor, Barber of Seville, Silent Night. Details\u003ca href=\"http://www.operasj.org/events/561/opera-in-bramhall-park/\" target=\"_blank\" rel=\"noopener\"> here.\u003c/a>\u003c/span>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/BSSBwQOkHgE'\n title='//www.youtube.com/embed/BSSBwQOkHgE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 9-Aug. 27\u003c/strong>: We both loved the one-man play Dan Hoyle wrote and performed a few years ago about the way the country was so divided over President Obama and the Tea Party. He compiled the work out of interviews he did across America, and out of his eloquent imagination. Now he’s updated the show, with new conversations about Trump and the politics of 2016. But he told me this week that the concerns of 2012 remain sadly relevant. “Because the financial housing bubble of 2008,” he said, “is still wreaking havoc on people’s lives, and they want a radical change. Almost everyone I talked to was excited about either Trump or Bernie, and sometimes at the same time.” Details of this fresh revival at the Marsh in San Francisco are \u003ca href=\"http://themarsh.org/dan_hoyle/dan-hoyle-2/\" 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/FCQDdCBltIU'\n title='//www.youtube.com/embed/FCQDdCBltIU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 9\u003c/strong>: I like to think that the sun always comes out somewhere in San Francisco, no matter how foggy the weather (like it’s been this week). But there will definitely be some heat on the stage when all the little indie bands play at \u003ca href=\"http://www.phonodelsol.com/\" target=\"_blank\" rel=\"noopener\">Phono del Sol \u003c/a>Saturday. This is a co-production of \u003ca href=\"http://thebaybridged.com/\" target=\"_blank\" rel=\"noopener\">The Bay Bridged\u003c/a> and John Van der Slice’s \u003ca href=\"http://www.tinytelephone.com/\" target=\"_blank\" rel=\"noopener\">Tiny Telephone studios\u003c/a>. Which means impeccable taste, with Chairlift as the headliner, and San Francisco bands \u003ca href=\"https://www.facebook.com/HotFlashHeatWave/\" target=\"_blank\" rel=\"noopener\">Hot Flash Heat Wave \u003c/a>( new album), Oakland’s \u003ca href=\"https://theseshen.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">The Seshen\u003c/a>, Alvvays, Born Ruffians, Mr Little Jeans, The She’s, SF rapper \u003ca href=\"http://adamvida.com/\" target=\"_blank\" rel=\"noopener\">Adam Vida\u003c/a> (very cool), and more. Details \u003ca href=\"http://www.phonodelsol.com/\" 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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"slug": "women-to-watch-a-lan-holt",
"title": "Women to Watch: A-lan Holt",
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"content": "\u003cp class=\"p1\">\u003cem>Welcome to KQED Arts’ \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch2016/\" target=\"_blank\" rel=\"noopener\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2016. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp class=\"p1\">A-lan Holt is a dramatist and mother. Themes of her written work include concepts of loneliness, love, and utopian desires. Her plays and performances have been presented around the U.S. and internationally in Kampala, Uganda (National Theatre of Uganda). A-lan recently published a book of poetry called Moonwork.\u003c/p>\n\u003cp class=\"p1\">\u003cstrong>Where do you live?\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">Woodside, CA.[contextly_sidebar id=”Lje26RQWa3Y74n8eF2vpeT4fXiw1iZgZ”]\u003c/p>\n\u003cp class=\"p1\">\u003cstrong>Describe yourself in one word.\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp class=\"p1\">Light.\u003c/p>\n\u003cp class=\"p1\">\u003cstrong>What did you do last night?\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">Last night, I celebrated a dear friend who is transitioning away from the Bay Area. She threw this wonderful day party that went well into the night. There I danced with my daughter who is three years old among a sea of deeply creative and expressive women. It was very special for me to be out and social with my daughter in this way. Spaces are not always so inclusive, but when they are, they are heaven.\u003c/p>\n\u003cp class=\"p1\">\u003cstrong>What can’t you live without?\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">Intimacy.\u003c/p>\n\u003cp class=\"p3\">\u003cstrong>If you could travel anywhere in the world, where would it be?\u003c/strong>\u003c/p>\n\u003cp class=\"p3\">Space. A black woman has already done it.\u003c/p>\n\u003cfigure id=\"attachment_11666721\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11666721 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/alanafb2-800x450.png\" alt=\"A-lan Holt\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/alanafb2.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/alanafb2-400x225.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/alanafb2-768x432.png 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A-lan Holt. \u003ccite>(Travis Jensen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp class=\"p1\">\u003cstrong>Who is your personal hero? Why?\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">The poet June Jordan. She ushered me into this universe of poetry at 14 years old. ‘\u003ca href=\"https://www.youtube.com/watch?v=XUSTxhYu7-4\">A Poem About My Rights\u003c/a>’ continues to be radical and honest, and for me, deeply moving. June Jordan was the first black woman I knew to discuss her sexuality fluidly — she wrote about it with grace, the way she loved women and men and everyone. I appreciate her presence in my world from such a young age, it was freeing. When I think about my career, I think about June Jordan.\u003c/p>\n\u003cp class=\"p1\">\u003cstrong>How did you find your creative voice?\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">I started writing consistently at age 10. During this period I was grieving the passing of my grandmother, Bernice G. Morehead, who raised me. The writing was a practice of futurity, renewed or continued existence. Of course, I didn’t call it that then. But I knew I had to do something with all of that grief. All of that sudden, inexplicable, transition. So I wrote. The writing cultivated more creation: theater, film, hand-bound books of poetry. It created for me a community of collaborators: designers, directors, actors, scholars, peers.\u003c/p>\n\u003cp class=\"p1\">I find my voice by first writing through all of my life’s experiences. Then I work to alchemize those experiences into something nu: nu poems, nu plays, nu ways of being. If you ever see me write nu (rather than new), it’s an indicator of the alchemical nature of my creative process. This year I welcome two nu works; a film I wrote and directed, \u003ca href=\"http://www.inamoratafilm.com/\">\u003cem>Inamorata\u003c/em>\u003c/a>, which is produced by a collective TrueMVMNT, and a collection of poetry entitled \u003cem>Moonwork\u003c/em> published by \u003ca href=\"http://www.candorarts.com/\" target=\"_blank\" rel=\"noopener\">Candor Arts\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11758867\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11758867\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Inamorata-Still-1-800x335.jpg\" alt=\"A still from A-lan Holt's 'Inamorata'.\" width=\"800\" height=\"335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Inamorata-Still-1-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Inamorata-Still-1-400x168.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Inamorata-Still-1-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Inamorata-Still-1-1180x494.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Inamorata-Still-1-1920x804.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Inamorata-Still-1-960x402.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from A-lan Holt’s ‘Inamorata.’ \u003ccite>(Courtesy of A-lan Holt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp class=\"p1\">\u003cstrong>What is something most people don’t know about you?\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">I am such a romantic — I want to feel and express everything.\u003c/p>\n\u003cp class=\"p1\">\u003cstrong>What do you do when you feel uninspired?\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">I return to my rituals. I engage all the mundane yet magical things that contribute to me feeling alive and awake and well. For example: I wake up early, I take sea salt baths, I go on fresh juice fasts, I tuck small crystals into my bra, I move my body intentionally, I get warm. I try and do as many of these things as I can, and most often the creativity becomes unstuck.\u003c/p>\n\u003cp class=\"p1\">\u003cstrong>What’s been your biggest learning moment, and what did you take from that experience?\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">In 2012 I fell in love and by the next year I became a mother. Two years to the season after falling in love I was heartbroken and quiet and imagining what raising a daughter could look like on my own.\u003c/p>\n\u003cp class=\"p1\">Intimacy with another human being transformed me very deeply and very quickly. It brought up all of my shadow places; all of that moon energy like abandonment, and loneliness, and tendencies for poor communication. It brought up all of my lover’s dark places as well. I learned many lessons, one of them was this: Being a healer does not mean you have the ability to heal others, rather, it means that you have the ability to heal yourself and through that practice of healing inspire and support others in doing similar work. I am a writer, but I am also a healer. I’ve learned that these last three years.\u003c/p>\n\u003cp class=\"p1\">\u003cstrong>What’s your greatest achievement and how has it shaped you?\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">A few months ago while I was editing \u003cem>Moonwork\u003c/em>, I found a poem of mine from 2006 — 10 years ago — and I read it aloud for the first time and the poem held up, it was good! That moment was special to me because it was proof of the seeds I’ve been planting for over a decade. My goals as an artist are informed by a desire for healing and futurity. I want a long, healthy, fertile life that is full of things created. I want to be writing poetry for a very long time. I want to be creating healthier worlds for a very long time. Finding that poem suggests I’ve been doing just that, and it’s been feeding me well.\u003c/p>\n\u003cfigure id=\"attachment_11666722\" class=\"wp-caption aligncenter\" style=\"max-width: 579px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11666722 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/alanaalt1-579x600.png\" alt=\"A-lan Holt\" width=\"579\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/alanaalt1-579x600.png 579w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/alanaalt1-400x415.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/alanaalt1-768x796.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/alanaalt1-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/alanaalt1.png 900w\" sizes=\"(max-width: 579px) 100vw, 579px\">\u003cfigcaption class=\"wp-caption-text\">A-lan Holt. \u003ccite>(Travis Jensen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp class=\"p1\">\u003cstrong>Coffee or tea? What kind?\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">Both. I enjoy coffee, Philz and Le Columbe! At home I’m drinking teas from Rainbow Coop in SF. In the morning I drink the ‘Love’ tea blend which is so sensual and aromatic, and in the evening I drink ‘Witches Brew’ which has red raspberry leaf, nettle, and a handful of others.\u003c/p>\n\u003cp class=\"p1\">\u003cstrong>What does a perfect day look like for you?\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">A perfect day would be in a natural space like the mountains or beach, surrounded by very creative and gentle people, surrounded by children, making art all day, swimming, napping, dancing and love making, fresh juices, pomegranates. Yes, something like that would be perfect!\u003c/p>\n\u003cp class=\"p1\">\u003cstrong>Who are your local inspirations?\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">Author \u003ca href=\"http://jeffchang.net/\" target=\"_blank\" rel=\"noopener\">Jeff Chang\u003c/a>, who I work alongside at the Institute for Diversity in the Arts at Stanford University. He is the Executive Director there. He works very hard toward creating a more equitable and beautiful world. I am honored to be learning from his leadership daily.\u003c/p>\n\u003cp class=\"p1\">Playwright \u003ca href=\"http://www.upgrade.cherriemoraga.com/\" target=\"_blank\" rel=\"noopener\">Cherrie Moraga\u003c/a> as well. June Jordan passed away before I could study with her, but the goddess put me in the path of Cherrie Moraga and she changed my world. Through her guidance and support I became a poet and playwright. There was no formal program at Stanford; she was the program. I am forever grateful to her for teaching me the tough artistic lessons. She is everything.\u003c/p>\n\u003cfigure id=\"attachment_11666720\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11666720 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/alanafb1-800x450.png\" alt=\"A-lan Holt\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/alanafb1.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/alanafb1-400x225.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/alanafb1-768x432.png 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A-lan Holt\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Favorite meal?\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">Pomegranates over plain yogurt.\u003c/p>\n\u003cp class=\"p1\">\u003cstrong>What upcoming show are you excited about?\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">It’s not in the Bay Area, but this upcoming season playwright Suzan-Lori Parks is in residence at the Signature Theater in New York. \u003ci>The Death of the Last Black Man in the Whole Entire World, Venus, The Red Letter Plays: In the Blood and F***ing A;\u003c/i> all of these plays will go up throughout the year. I am very excited about it!\u003c/p>\n\u003cp class=\"p1\">\u003cstrong>Where do you see yourself in five years?\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">In five years you will find my creative work on stage, on screen, and in pages. In five years I will be well into transforming the arts and artist culture at Stanford University through my work at the Institute for Diversity in the Arts. Artists, especially student artists of color, will be thriving all around me as a result.\u003c/p>\n\u003cp class=\"p1\">\u003cstrong>If you could live in a book, TV show, movie, play, song or painting, what would it be?\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">Eryn Allen Kane’s song \u003ca href=\"https://www.youtube.com/watch?v=uImvs9X9duY\" target=\"_blank\" rel=\"noopener\">“Have Mercy.”\u003c/a> It’s filled with so much gratitude. I want a life of grace, so I’d like to live in a song that celebrates a life of gratitude.\u003c/p>\n\u003cp class=\"p1\">\u003cstrong>Where and when can people see you or your art in action?\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">I just got back from In House Chicago celebrating the artist book release of \u003cem>Moonwork\u003c/em>, where I performed poems and led a writing workshop inspired by Audre Lorde’s seminal essay, ‘Uses of the Erotic: The Erotic as Power.’ I also recently released the first teaser to my film, \u003cem>Inamorata\u003c/em>. The teaser and more can be found at \u003ca href=\"http://inamoratafilm.com\" target=\"_blank\" rel=\"noopener\">inamoratafilm.com\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Do you know a Bay Area artist who is doing amazing things? \u003ca href=\"https://www.instagram.com/kqed_arts/\" target=\"_blank\" rel=\"noopener\">We\u003c/a> want to hear from you! Highlight her efforts using \u003ca href=\"https://www.instagram.com/explore/tags/baybrilliant/\" target=\"_blank\" rel=\"noopener\">#BayBrilliant\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp class=\"p1\">\u003cem>Welcome to KQED Arts’ \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch2016/\" target=\"_blank\" rel=\"noopener\">Women to Watch\u003c/a>, a series celebrating 20 local women artists, creatives and makers who are pushing boundaries in 2016. Driven by passion for their own disciplines, from photography to comedy and every other medium in between, these women are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp class=\"p1\">A-lan Holt is a dramatist and mother. Themes of her written work include concepts of loneliness, love, and utopian desires. Her plays and performances have been presented around the U.S. and internationally in Kampala, Uganda (National Theatre of Uganda). A-lan recently published a book of poetry called Moonwork.\u003c/p>\n\u003cp class=\"p1\">\u003cstrong>Where do you live?\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">Woodside, CA.\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp class=\"p1\">\u003cstrong>Describe yourself in one word.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp class=\"p1\">Light.\u003c/p>\n\u003cp class=\"p1\">\u003cstrong>What did you do last night?\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">Last night, I celebrated a dear friend who is transitioning away from the Bay Area. She threw this wonderful day party that went well into the night. There I danced with my daughter who is three years old among a sea of deeply creative and expressive women. It was very special for me to be out and social with my daughter in this way. Spaces are not always so inclusive, but when they are, they are heaven.\u003c/p>\n\u003cp class=\"p1\">\u003cstrong>What can’t you live without?\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">Intimacy.\u003c/p>\n\u003cp class=\"p3\">\u003cstrong>If you could travel anywhere in the world, where would it be?\u003c/strong>\u003c/p>\n\u003cp class=\"p3\">Space. A black woman has already done it.\u003c/p>\n\u003cfigure id=\"attachment_11666721\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11666721 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/alanafb2-800x450.png\" alt=\"A-lan Holt\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/alanafb2.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/alanafb2-400x225.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/alanafb2-768x432.png 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A-lan Holt. \u003ccite>(Travis Jensen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp class=\"p1\">\u003cstrong>Who is your personal hero? Why?\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">The poet June Jordan. She ushered me into this universe of poetry at 14 years old. ‘\u003ca href=\"https://www.youtube.com/watch?v=XUSTxhYu7-4\">A Poem About My Rights\u003c/a>’ continues to be radical and honest, and for me, deeply moving. June Jordan was the first black woman I knew to discuss her sexuality fluidly — she wrote about it with grace, the way she loved women and men and everyone. I appreciate her presence in my world from such a young age, it was freeing. When I think about my career, I think about June Jordan.\u003c/p>\n\u003cp class=\"p1\">\u003cstrong>How did you find your creative voice?\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">I started writing consistently at age 10. During this period I was grieving the passing of my grandmother, Bernice G. Morehead, who raised me. The writing was a practice of futurity, renewed or continued existence. Of course, I didn’t call it that then. But I knew I had to do something with all of that grief. All of that sudden, inexplicable, transition. So I wrote. The writing cultivated more creation: theater, film, hand-bound books of poetry. It created for me a community of collaborators: designers, directors, actors, scholars, peers.\u003c/p>\n\u003cp class=\"p1\">I find my voice by first writing through all of my life’s experiences. Then I work to alchemize those experiences into something nu: nu poems, nu plays, nu ways of being. If you ever see me write nu (rather than new), it’s an indicator of the alchemical nature of my creative process. This year I welcome two nu works; a film I wrote and directed, \u003ca href=\"http://www.inamoratafilm.com/\">\u003cem>Inamorata\u003c/em>\u003c/a>, which is produced by a collective TrueMVMNT, and a collection of poetry entitled \u003cem>Moonwork\u003c/em> published by \u003ca href=\"http://www.candorarts.com/\" target=\"_blank\" rel=\"noopener\">Candor Arts\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11758867\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11758867\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Inamorata-Still-1-800x335.jpg\" alt=\"A still from A-lan Holt's 'Inamorata'.\" width=\"800\" height=\"335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Inamorata-Still-1-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Inamorata-Still-1-400x168.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Inamorata-Still-1-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Inamorata-Still-1-1180x494.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Inamorata-Still-1-1920x804.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Inamorata-Still-1-960x402.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from A-lan Holt’s ‘Inamorata.’ \u003ccite>(Courtesy of A-lan Holt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp class=\"p1\">\u003cstrong>What is something most people don’t know about you?\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">I am such a romantic — I want to feel and express everything.\u003c/p>\n\u003cp class=\"p1\">\u003cstrong>What do you do when you feel uninspired?\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">I return to my rituals. I engage all the mundane yet magical things that contribute to me feeling alive and awake and well. For example: I wake up early, I take sea salt baths, I go on fresh juice fasts, I tuck small crystals into my bra, I move my body intentionally, I get warm. I try and do as many of these things as I can, and most often the creativity becomes unstuck.\u003c/p>\n\u003cp class=\"p1\">\u003cstrong>What’s been your biggest learning moment, and what did you take from that experience?\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">In 2012 I fell in love and by the next year I became a mother. Two years to the season after falling in love I was heartbroken and quiet and imagining what raising a daughter could look like on my own.\u003c/p>\n\u003cp class=\"p1\">Intimacy with another human being transformed me very deeply and very quickly. It brought up all of my shadow places; all of that moon energy like abandonment, and loneliness, and tendencies for poor communication. It brought up all of my lover’s dark places as well. I learned many lessons, one of them was this: Being a healer does not mean you have the ability to heal others, rather, it means that you have the ability to heal yourself and through that practice of healing inspire and support others in doing similar work. I am a writer, but I am also a healer. I’ve learned that these last three years.\u003c/p>\n\u003cp class=\"p1\">\u003cstrong>What’s your greatest achievement and how has it shaped you?\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">A few months ago while I was editing \u003cem>Moonwork\u003c/em>, I found a poem of mine from 2006 — 10 years ago — and I read it aloud for the first time and the poem held up, it was good! That moment was special to me because it was proof of the seeds I’ve been planting for over a decade. My goals as an artist are informed by a desire for healing and futurity. I want a long, healthy, fertile life that is full of things created. I want to be writing poetry for a very long time. I want to be creating healthier worlds for a very long time. Finding that poem suggests I’ve been doing just that, and it’s been feeding me well.\u003c/p>\n\u003cfigure id=\"attachment_11666722\" class=\"wp-caption aligncenter\" style=\"max-width: 579px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11666722 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/alanaalt1-579x600.png\" alt=\"A-lan Holt\" width=\"579\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/alanaalt1-579x600.png 579w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/alanaalt1-400x415.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/alanaalt1-768x796.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/alanaalt1-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/alanaalt1.png 900w\" sizes=\"(max-width: 579px) 100vw, 579px\">\u003cfigcaption class=\"wp-caption-text\">A-lan Holt. \u003ccite>(Travis Jensen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp class=\"p1\">\u003cstrong>Coffee or tea? What kind?\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">Both. I enjoy coffee, Philz and Le Columbe! At home I’m drinking teas from Rainbow Coop in SF. In the morning I drink the ‘Love’ tea blend which is so sensual and aromatic, and in the evening I drink ‘Witches Brew’ which has red raspberry leaf, nettle, and a handful of others.\u003c/p>\n\u003cp class=\"p1\">\u003cstrong>What does a perfect day look like for you?\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">A perfect day would be in a natural space like the mountains or beach, surrounded by very creative and gentle people, surrounded by children, making art all day, swimming, napping, dancing and love making, fresh juices, pomegranates. Yes, something like that would be perfect!\u003c/p>\n\u003cp class=\"p1\">\u003cstrong>Who are your local inspirations?\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">Author \u003ca href=\"http://jeffchang.net/\" target=\"_blank\" rel=\"noopener\">Jeff Chang\u003c/a>, who I work alongside at the Institute for Diversity in the Arts at Stanford University. He is the Executive Director there. He works very hard toward creating a more equitable and beautiful world. I am honored to be learning from his leadership daily.\u003c/p>\n\u003cp class=\"p1\">Playwright \u003ca href=\"http://www.upgrade.cherriemoraga.com/\" target=\"_blank\" rel=\"noopener\">Cherrie Moraga\u003c/a> as well. June Jordan passed away before I could study with her, but the goddess put me in the path of Cherrie Moraga and she changed my world. Through her guidance and support I became a poet and playwright. There was no formal program at Stanford; she was the program. I am forever grateful to her for teaching me the tough artistic lessons. She is everything.\u003c/p>\n\u003cfigure id=\"attachment_11666720\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11666720 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/alanafb1-800x450.png\" alt=\"A-lan Holt\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/alanafb1.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/alanafb1-400x225.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/alanafb1-768x432.png 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A-lan Holt\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Favorite meal?\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">Pomegranates over plain yogurt.\u003c/p>\n\u003cp class=\"p1\">\u003cstrong>What upcoming show are you excited about?\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">It’s not in the Bay Area, but this upcoming season playwright Suzan-Lori Parks is in residence at the Signature Theater in New York. \u003ci>The Death of the Last Black Man in the Whole Entire World, Venus, The Red Letter Plays: In the Blood and F***ing A;\u003c/i> all of these plays will go up throughout the year. I am very excited about it!\u003c/p>\n\u003cp class=\"p1\">\u003cstrong>Where do you see yourself in five years?\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">In five years you will find my creative work on stage, on screen, and in pages. In five years I will be well into transforming the arts and artist culture at Stanford University through my work at the Institute for Diversity in the Arts. Artists, especially student artists of color, will be thriving all around me as a result.\u003c/p>\n\u003cp class=\"p1\">\u003cstrong>If you could live in a book, TV show, movie, play, song or painting, what would it be?\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">Eryn Allen Kane’s song \u003ca href=\"https://www.youtube.com/watch?v=uImvs9X9duY\" target=\"_blank\" rel=\"noopener\">“Have Mercy.”\u003c/a> It’s filled with so much gratitude. I want a life of grace, so I’d like to live in a song that celebrates a life of gratitude.\u003c/p>\n\u003cp class=\"p1\">\u003cstrong>Where and when can people see you or your art in action?\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">I just got back from In House Chicago celebrating the artist book release of \u003cem>Moonwork\u003c/em>, where I performed poems and led a writing workshop inspired by Audre Lorde’s seminal essay, ‘Uses of the Erotic: The Erotic as Power.’ I also recently released the first teaser to my film, \u003cem>Inamorata\u003c/em>. The teaser and more can be found at \u003ca href=\"http://inamoratafilm.com\" target=\"_blank\" rel=\"noopener\">inamoratafilm.com\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Curious about who else made the list? Check out the \u003ca href=\"http://ww2.kqed.org/arts/women-to-watch/\" target=\"_blank\" rel=\"noopener\">Women to Watch \u003c/a>series page, including photo galleries, interviews, and videos.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Tony Award-nominee Brandon Victor Dixon will replace Tony Award-winner Leslie Odom Jr. as Aaron Burr on Broadway in the smash hit \u003cem>Hamilton\u003c/em>, and Lexi Lawson will take over from Phillipa Soo as Eliza Schuyler.\u003c/p>\n\u003cp>Dixon was nominated last season for \u003cem>Shuffle Along\u003c/em> and has also appeared in \u003cem>The Color Purple\u003c/em>, \u003cem>Motown: The Musical\u003c/em> and \u003cem>The Scottsboro Boys\u003c/em> at the Vineyard Theatre. He starts in \u003cem>Hamilton\u003c/em> in mid-August\u003c/p>\n\u003cp>Lawson, who will be making her Broadway debut, was in the national tour of \u003cem>In the Heights\u003c/em> and was also on tour in \u003cem>Rent\u003c/em>. She takes over the role of Schuyler on July 11.\u003c/p>\n\u003cp>Producers also named Michael Luwoye as the alternate Alexander Hamilton when current alternative Javier Muñoz takes over the Hamilton part from creator Lin-Manuel Miranda on July 11.\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tony Award-nominee Brandon Victor Dixon will replace Tony Award-winner Leslie Odom Jr. as Aaron Burr on Broadway in the smash hit \u003cem>Hamilton\u003c/em>, and Lexi Lawson will take over from Phillipa Soo as Eliza Schuyler.\u003c/p>\n\u003cp>Dixon was nominated last season for \u003cem>Shuffle Along\u003c/em> and has also appeared in \u003cem>The Color Purple\u003c/em>, \u003cem>Motown: The Musical\u003c/em> and \u003cem>The Scottsboro Boys\u003c/em> at the Vineyard Theatre. He starts in \u003cem>Hamilton\u003c/em> in mid-August\u003c/p>\n\u003cp>Lawson, who will be making her Broadway debut, was in the national tour of \u003cem>In the Heights\u003c/em> and was also on tour in \u003cem>Rent\u003c/em>. She takes over the role of Schuyler on July 11.\u003c/p>\n\u003cp>Producers also named Michael Luwoye as the alternate Alexander Hamilton when current alternative Javier Muñoz takes over the Hamilton part from creator Lin-Manuel Miranda on July 11.\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "What Do Grace Jones and Athol Fugard Have in Common?",
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"content": "\u003cp>I don’t know if the world-renowned South African playwright Athol Fugard has ever met the Jamaican-born, New York-raised pop icon Grace Jones. If not, they should meet. Fugard, whose 1982 hit \u003ca href=\"https://auroratheatre.org/index.php?option=com_theatre&view=show&id=119\" target=\"_blank\" rel=\"noopener\">\u003cem>Master Harold and the Boys\u003c/em>\u003c/a> is receiving a well-acted revival at the Aurora Theatre Company in Berkeley, might have an interesting conversation with Jones, the slippery subject of \u003ca href=\"http://www.moadsf.org/exhibition/the-grace-jones-project/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Grace Jones Project\u003c/em>\u003c/a>, a fascinating little exhibition at the Museum of the African Diaspora (MOAD) in San Francisco.\u003c/p>\n\u003cp>Both Fugard and Jones were striking figures in early-to-mid-1980’s America. They played a crucial role in the cultural ferment that bloomed in opposition to the ascending conservative movement and Ronald Reagan’s presidency. They were messengers from other worlds — specifically, apartheid South Africa and the burgeoning underground club scene of New York. And they proved difficult to assimilate.\u003c/p>\n\u003cp>In 2016, the Aurora Theatre Company and MOAD return to the 80’s and make strong cases for the continuing relevance of these artists. As one might imagine, their attempts are tricky, complex, and full of pitfalls.\u003c/p>\n\u003cp>\u003cstrong>Athol Fugard sums up and shuts down\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Master Harold\u003c/em> is very much a play of culmination. Fugard had been writing complex, vexed, experimental pieces about South Africa for over two decades. By the late 70’s Anti-Apartheid rallies had begun to multiply on American campuses and would continue to grow throughout the 80’s; Nelson Mandela was well on his way to folk hero status (and as we now know much more), and Fugard’s work was being critically lauded around the world for its artistry, daring, and political commitment. And so the time felt right for change, which must have put tremendous pressure on Fugard to do his part to keep the movement going.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You can feel it in the careful imagery of \u003cem>Master Harold\u003c/em>. The play ends with two black workers, Sam and Willie, waltzing in an empty restaurant. They have been humiliated and come close to attacking young Harold, who is white, 16, and suffering from a world of problems. In a just society, this boy shouldn’t have any power over these men. But in 1950’s South Africa, he can command them, even confidently spit in their faces without fear.\u003c/p>\n\u003cfigure id=\"attachment_11758038\" class=\"wp-caption alignnone\" style=\"max-width: 680px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11758038\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/26067__dap0461-e1467311978747.jpg\" alt=\"Harold (Andrew Humann) gets some bad news while Sam (L. Peter Callender) looks on with concern in 'Master Harold and the Boys' at the Aurora Theatre.\" width=\"680\" height=\"382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/26067__dap0461-e1467311978747.jpg 680w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/26067__dap0461-e1467311978747-400x225.jpg 400w\" sizes=\"(max-width: 680px) 100vw, 680px\">\u003cfigcaption class=\"wp-caption-text\">Harold (Andrew Humann) gets some bad news while Sam (L. Peter Callender) looks on with concern in ‘Master Harold and the Boys’ at the Aurora Theatre. \u003ccite>(Photo: David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fugard uses the structure of the \u003cem>bildungsroman —\u003c/em> a young adult’s journey to maturity and entrance into the real world — to get at the origins and ongoing brutality of apartheid. When Harold acts the master around Sam and Willie we wince at his pretension and the society that would allow him to get away with it. He thwacks Willie with a ruler and asks, “How the hell am I supposed to concentrate with the two of you acting like bloody children?” Or the way he constantly chides Sam (clearly the true father in his life) to not “get clever” every time he gets tense about his own intellectual shortcomings.\u003c/p>\n\u003cp>Harold’s journey into adulthood is obviously more fraught because of South Africa — the world he’s coming into is corrupt all the way to the center of its rancid, beating heart. Yet, curiously, that deadens and flattens our response to the injustices in front of us. The play’s ability to produce liberal gasps of censure is one of its principle weaknesses. Unlike Fugard’s earlier plays, like \u003cem>Blood Knot\u003c/em> (1961), and \u003cem>Boseman and Lena\u003c/em> (1969), which find new, complex ways to capture the twisted lives of South Africans of every color and hue, \u003cem>Master Harold\u003c/em> feels just too canned and easy. Even Aurora’s beautifully acted and directed production can’t make up for the drama’s shortcomings, though it does take us back to the moment when a play like this felt necessary.\u003c/p>\n\u003cp>\u003cstrong>Grace Jones is a big, ferocious flower\u003c/strong>\u003c/p>\n\u003cp>It is entirely possible that you could have visited New York in 1982, gone and seen \u003cem>Master Harold\u003c/em> on Broadway, and then found your way to a Grace Jones concert. It would have made for a rather contradictory sense of the dramatic possibilities of blackness — an early-to-mid-80’s primer on just how far America was willing to think about race.\u003c/p>\n\u003cp>Whereas Fugard was summing up and shutting down, Jones was a big, ferocious flower just beginning to bloom. Whether the pop star and fashion icon ever fully blossomed is one of the unanswered yet fascinating questions of \u003cem>The Grace Jones Project\u003c/em>. Watch the series of videos playing in a loop at MOAD and you begin to understand how dynamic and apt the word “Project” is for Jones, and maybe for us as well.\u003c/p>\n\u003cp>She is never anything less than fully present. And yet there’s something missing beneath Jones’ dazzling mystique; as if points A and Z were bright stars, but the rest of the alphabet had gone missing. In the video for her hit, “Pull up the Bumper,” she floats above and merges with the traffic of New York, fusing with the city in ways that are both mystical and mechanical. It’s impossible to tell whether she’s human, ghost, or automaton.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Grace Jones - Slave to the Rhythm (official video)\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/Z0XLzIswI2s?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Here’s a black woman who seems to have slipped beyond race and gender while fully embracing it — a persona so vibrantly present she could be a logo. And yet at the same time Jones is completely mysterious and elusive. The video for “Slave to the Rhythm” catches Jones at her most uncanny, and its last image of a feigned suicide is comic and terrifying. Jones’ embrace of the world feels utopian — an impossibility that we’re somehow witnessing — and so it isn’t surprising that it might tend towards self-destruction.\u003c/p>\n\u003cp>And depressingly that’s where the most fascinating pieces in \u003cem>The Grace Jones Project\u003c/em> land. In a show that celebrates Jones as a cultural force, it’s clear that following in her path is hazardous or the work of a saint. Harold Offeh’s minute-long video, \u003cem>Arabesque, After Grace Jones\u003c/em> (1989), recreates Jones’ crazy pose from the cover of \u003cem>Island Life\u003c/em>. His comic take on his own physical limitations only highlights how astounding Jones could be, even in stillness. She is always beyond our abilities.\u003c/p>\n\u003cfigure id=\"attachment_11758043\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11758043\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385-800x445.jpg\" alt=\"Harold Offeh, Arabesque, Covers: Arabesque, 'After Grace Jones,' 1978 (still), 2008-2009. Video.\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385-400x223.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385-960x535.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385.jpg 1004w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Harold Offeh, Arabesque, Covers: Arabesque, ‘After Grace Jones,’ 1978 (still), 2008-2009. Video. \u003ccite>(Courtesy of Artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wangechi Mutu’s short video, \u003cem>Eat Cake\u003c/em>, is perhaps the most disturbing piece in the MOAD show. A young woman in pseudo Victorian dress scrunches down over a chocolate cake and crudely eats it. It’s no more than eight seconds, looped, and possesses the anxious disgust of a horror movie. Like Jones, Mutu’s concerns are a product of race and gender, but her mind seems to have transcended them to take on the vastness of the world. She’s doing her own thing, and whatever that thing is it’s freeing — if not the sure path to annihilation.\u003c/p>\n\u003cp>And in the end that’s what Fugard and Jones were after: a way to overcome the incredible limitations of the world and find a way to freedom. It is a project. One that eludes Fugard’s best intentions in \u003cem>Master Harold\u003c/em>, and proves elusive and daunting for the many artists of \u003cem>The Grace Jones Project\u003c/em> who dare to follow in Jones’ liberating steps.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Master Harold and the Boys\u003c/em> plays through Saturday, Jul. 23 at the Aurora Theatre in Berkeley. For tickets and information please click \u003ca href=\"http://www.auroratheatre.org\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Grace Jones Project\u003c/em> runs through Sunday, Sep. 18 at the Museum of the African Diaspora in San Francisco. For tickets and information please click \u003ca href=\"http://www.moadsf.org\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I don’t know if the world-renowned South African playwright Athol Fugard has ever met the Jamaican-born, New York-raised pop icon Grace Jones. If not, they should meet. Fugard, whose 1982 hit \u003ca href=\"https://auroratheatre.org/index.php?option=com_theatre&view=show&id=119\" target=\"_blank\" rel=\"noopener\">\u003cem>Master Harold and the Boys\u003c/em>\u003c/a> is receiving a well-acted revival at the Aurora Theatre Company in Berkeley, might have an interesting conversation with Jones, the slippery subject of \u003ca href=\"http://www.moadsf.org/exhibition/the-grace-jones-project/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Grace Jones Project\u003c/em>\u003c/a>, a fascinating little exhibition at the Museum of the African Diaspora (MOAD) in San Francisco.\u003c/p>\n\u003cp>Both Fugard and Jones were striking figures in early-to-mid-1980’s America. They played a crucial role in the cultural ferment that bloomed in opposition to the ascending conservative movement and Ronald Reagan’s presidency. They were messengers from other worlds — specifically, apartheid South Africa and the burgeoning underground club scene of New York. And they proved difficult to assimilate.\u003c/p>\n\u003cp>In 2016, the Aurora Theatre Company and MOAD return to the 80’s and make strong cases for the continuing relevance of these artists. As one might imagine, their attempts are tricky, complex, and full of pitfalls.\u003c/p>\n\u003cp>\u003cstrong>Athol Fugard sums up and shuts down\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Master Harold\u003c/em> is very much a play of culmination. Fugard had been writing complex, vexed, experimental pieces about South Africa for over two decades. By the late 70’s Anti-Apartheid rallies had begun to multiply on American campuses and would continue to grow throughout the 80’s; Nelson Mandela was well on his way to folk hero status (and as we now know much more), and Fugard’s work was being critically lauded around the world for its artistry, daring, and political commitment. And so the time felt right for change, which must have put tremendous pressure on Fugard to do his part to keep the movement going.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You can feel it in the careful imagery of \u003cem>Master Harold\u003c/em>. The play ends with two black workers, Sam and Willie, waltzing in an empty restaurant. They have been humiliated and come close to attacking young Harold, who is white, 16, and suffering from a world of problems. In a just society, this boy shouldn’t have any power over these men. But in 1950’s South Africa, he can command them, even confidently spit in their faces without fear.\u003c/p>\n\u003cfigure id=\"attachment_11758038\" class=\"wp-caption alignnone\" style=\"max-width: 680px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11758038\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/26067__dap0461-e1467311978747.jpg\" alt=\"Harold (Andrew Humann) gets some bad news while Sam (L. Peter Callender) looks on with concern in 'Master Harold and the Boys' at the Aurora Theatre.\" width=\"680\" height=\"382\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/26067__dap0461-e1467311978747.jpg 680w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/26067__dap0461-e1467311978747-400x225.jpg 400w\" sizes=\"(max-width: 680px) 100vw, 680px\">\u003cfigcaption class=\"wp-caption-text\">Harold (Andrew Humann) gets some bad news while Sam (L. Peter Callender) looks on with concern in ‘Master Harold and the Boys’ at the Aurora Theatre. \u003ccite>(Photo: David Allen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fugard uses the structure of the \u003cem>bildungsroman —\u003c/em> a young adult’s journey to maturity and entrance into the real world — to get at the origins and ongoing brutality of apartheid. When Harold acts the master around Sam and Willie we wince at his pretension and the society that would allow him to get away with it. He thwacks Willie with a ruler and asks, “How the hell am I supposed to concentrate with the two of you acting like bloody children?” Or the way he constantly chides Sam (clearly the true father in his life) to not “get clever” every time he gets tense about his own intellectual shortcomings.\u003c/p>\n\u003cp>Harold’s journey into adulthood is obviously more fraught because of South Africa — the world he’s coming into is corrupt all the way to the center of its rancid, beating heart. Yet, curiously, that deadens and flattens our response to the injustices in front of us. The play’s ability to produce liberal gasps of censure is one of its principle weaknesses. Unlike Fugard’s earlier plays, like \u003cem>Blood Knot\u003c/em> (1961), and \u003cem>Boseman and Lena\u003c/em> (1969), which find new, complex ways to capture the twisted lives of South Africans of every color and hue, \u003cem>Master Harold\u003c/em> feels just too canned and easy. Even Aurora’s beautifully acted and directed production can’t make up for the drama’s shortcomings, though it does take us back to the moment when a play like this felt necessary.\u003c/p>\n\u003cp>\u003cstrong>Grace Jones is a big, ferocious flower\u003c/strong>\u003c/p>\n\u003cp>It is entirely possible that you could have visited New York in 1982, gone and seen \u003cem>Master Harold\u003c/em> on Broadway, and then found your way to a Grace Jones concert. It would have made for a rather contradictory sense of the dramatic possibilities of blackness — an early-to-mid-80’s primer on just how far America was willing to think about race.\u003c/p>\n\u003cp>Whereas Fugard was summing up and shutting down, Jones was a big, ferocious flower just beginning to bloom. Whether the pop star and fashion icon ever fully blossomed is one of the unanswered yet fascinating questions of \u003cem>The Grace Jones Project\u003c/em>. Watch the series of videos playing in a loop at MOAD and you begin to understand how dynamic and apt the word “Project” is for Jones, and maybe for us as well.\u003c/p>\n\u003cp>She is never anything less than fully present. And yet there’s something missing beneath Jones’ dazzling mystique; as if points A and Z were bright stars, but the rest of the alphabet had gone missing. In the video for her hit, “Pull up the Bumper,” she floats above and merges with the traffic of New York, fusing with the city in ways that are both mystical and mechanical. It’s impossible to tell whether she’s human, ghost, or automaton.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Grace Jones - Slave to the Rhythm (official video)\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/Z0XLzIswI2s?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Here’s a black woman who seems to have slipped beyond race and gender while fully embracing it — a persona so vibrantly present she could be a logo. And yet at the same time Jones is completely mysterious and elusive. The video for “Slave to the Rhythm” catches Jones at her most uncanny, and its last image of a feigned suicide is comic and terrifying. Jones’ embrace of the world feels utopian — an impossibility that we’re somehow witnessing — and so it isn’t surprising that it might tend towards self-destruction.\u003c/p>\n\u003cp>And depressingly that’s where the most fascinating pieces in \u003cem>The Grace Jones Project\u003c/em> land. In a show that celebrates Jones as a cultural force, it’s clear that following in her path is hazardous or the work of a saint. Harold Offeh’s minute-long video, \u003cem>Arabesque, After Grace Jones\u003c/em> (1989), recreates Jones’ crazy pose from the cover of \u003cem>Island Life\u003c/em>. His comic take on his own physical limitations only highlights how astounding Jones could be, even in stillness. She is always beyond our abilities.\u003c/p>\n\u003cfigure id=\"attachment_11758043\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11758043\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385-800x445.jpg\" alt=\"Harold Offeh, Arabesque, Covers: Arabesque, 'After Grace Jones,' 1978 (still), 2008-2009. Video.\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385-400x223.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385-960x535.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/3.-Harold-Offeh-Arabesque-After-Grace-Jones-1989-still-2008-2009.--e1467312744385.jpg 1004w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Harold Offeh, Arabesque, Covers: Arabesque, ‘After Grace Jones,’ 1978 (still), 2008-2009. Video. \u003ccite>(Courtesy of Artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wangechi Mutu’s short video, \u003cem>Eat Cake\u003c/em>, is perhaps the most disturbing piece in the MOAD show. A young woman in pseudo Victorian dress scrunches down over a chocolate cake and crudely eats it. It’s no more than eight seconds, looped, and possesses the anxious disgust of a horror movie. Like Jones, Mutu’s concerns are a product of race and gender, but her mind seems to have transcended them to take on the vastness of the world. She’s doing her own thing, and whatever that thing is it’s freeing — if not the sure path to annihilation.\u003c/p>\n\u003cp>And in the end that’s what Fugard and Jones were after: a way to overcome the incredible limitations of the world and find a way to freedom. It is a project. One that eludes Fugard’s best intentions in \u003cem>Master Harold\u003c/em>, and proves elusive and daunting for the many artists of \u003cem>The Grace Jones Project\u003c/em> who dare to follow in Jones’ liberating steps.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Master Harold and the Boys\u003c/em> plays through Saturday, Jul. 23 at the Aurora Theatre in Berkeley. For tickets and information please click \u003ca href=\"http://www.auroratheatre.org\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Grace Jones Project\u003c/em> runs through Sunday, Sep. 18 at the Museum of the African Diaspora in San Francisco. For tickets and information please click \u003ca href=\"http://www.moadsf.org\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"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": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"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",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
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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",
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