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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>\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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"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": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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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?",
"headTitle": "What Do Grace Jones and Athol Fugard Have in Common? | KQED",
"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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"excerpt": "'The Grace Jones Project' at MOAD and Aurora Theatre's production of 'Master Harold and the Boys' suggest that the pop icon and the playwright might have a lot to talk about if ever they were to meet",
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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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"content": "\u003cp>Alcatraz has been the setting of many Hollywood blockbusters from \u003ci>Escape from Alcatraz\u003c/i> to \u003ci>The Rock\u003c/i>. But a serialized, made-for-video opera? Now that’s surely a first.\u003c/p>\n\u003cp>On a recent evening in June, the former federal penitentiary was the site of a film shoot for \u003ca href=\"http://www.operavireo.org/\" target=\"_blank\" rel=\"noopener\">\u003ci>Vireo: The Spiritual Biography of a Witch’s Accuser\u003c/i> \u003c/a>— a 12-episode opera created by Bay Area native composer and musician \u003ca href=\"http://www.lisabielawa.net/\" target=\"_blank\" rel=\"noopener\">Lisa Bielawa\u003c/a> in collaboration with playwright Erik Ehn and director Charles Otte. On set for Episode 9, a chorus of vocalists sang out a dirge-like lament accompanied by hurdy gurdy from one of the cell blocks. Down the corridor, in the decrepit prison hospital, a string quartet played along with the sound of bells. Meanwhile, in a third room, a straightjacketed teen girl with a skull scepter confronted her doppelgänger.\u003c/p>\n\u003cfigure id=\"attachment_11753786\" class=\"wp-caption aligncenter\" style=\"max-width: 3272px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11753786 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954.jpg\" alt=\"Rowen Sabala as the title character in Lisa Bielawa’s new serialized, made-for-video opera ‘Vireo’. The latest episode was shot on Alcatraz\" width=\"3272\" height=\"1852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954.jpg 3272w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-1920x1087.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-960x543.jpg 960w\" sizes=\"(max-width: 3272px) 100vw, 3272px\">\u003cfigcaption class=\"wp-caption-text\">Rowen Sabala as the title character in Lisa Bielawa’s new serialized, made-for-video opera ‘Vireo’. The latest episode was shot on Alcatraz \u003ccite>(Photo: David Soderlund)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The unusual project is being filmed in 10-to-12 minute episodes — perfect for the ever shortening attention spans of a new generation. Shot in Southern California, New York, and San Francisco, the series will be broadcast next year on public television and online, and seeks to bring opera to a broader audience by using a digital streaming model a la Netflix and Amazon.\u003c/p>\n\u003cp>\u003cem>Vireo\u003c/em> follows the convoluted adventures of the titular character, a teenage girl played by 18-year old soprano Rowen Sabala. The young woman hears and sees things, and is ultimately accused of being a witch. She exists simultaneously in contemporary Sweden, 16th century France, and the Vienna of 1893, and is, apparently, possessed by a witch, played by the blind mezzo-soprano Laurie Rubin.\u003c/p>\n\u003cp>\u003cstrong>Recasting stories of female hysteria\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bielawa is best known as the long-time vocalist for the world-renowned \u003ca href=\"http://www.philipglass.com/\" target=\"_blank\" rel=\"noopener\">Philip Glass Ensemble\u003c/a> and, locally, as artistic director of the precocious \u003ca href=\"http://sfgirlschorus.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Girls Chorus\u003c/a>. She grew up in the Bay Area and has also undertaken ambitious projects locally, such as a work she composed for massive musical forces at Crissy Field.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Crissy Broadcast\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/H76AibG52XE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The origin story of \u003ci>Vireo\u003c/i> goes back to the composer’s time as an undergraduate in literature at Yale, where she wrote a senior thesis about studies by men of female hysteria. The topic haunted Bielawa, and she collaborated with Ehn on a traditional three act opera in 1994. “I sent him stacks and stacks of photocopies of primary source material from several centuries,” says Bielawa. “He wove it all into a libretto with the name \u003ci>Vireo\u003c/i>.” (Vireo is a type of songbird.)\u003c/p>\n\u003cp>Bielawa shopped the piece around to opera companies throughout the country, but came up short. The project was shelved for 20 years. Bielawa eventually resurrected \u003cem>Vireo\u003c/em> as part of her residency at Cal State Fullerton’s \u003ca href=\"http://www.grandcentralartcenter.com/\" target=\"_blank\" rel=\"noopener\">Grand Central Art Center\u003c/a> (GCAC) in Orange County in 2012.\u003c/p>\n\u003cp>\u003cb>Opera for the Netflix generation\u003c/b>\u003c/p>\n\u003cp>The idea to write an opera in episodes as one might approach a sitcom or telenovela came from Netflix. Specifically, the TV series \u003ca href=\"http://www.imdb.com/title/tt0367279/\" target=\"_blank\" rel=\"noopener\">\u003ci>Arrested Development\u003c/i>\u003c/a>, which Bielawa loves for its lampooning of life in Orange County’s Newport Beach with absurdist wordplay and dark wit.\u003c/p>\n\u003cp>In the summer of 2012, when Bielawa and GCAC director and chief curator John Spiak were casting around together locally for a new project, the pair realized they were both fans of \u003ci>Arrested Development\u003c/i>, and Spiak reminded Bielawa that the series takes place in the Orange County area.\u003c/p>\n\u003cp>“I looked around me and realized that one way to make innovative work that engaged with the community was to recognize that many of the smartest and most creative people around were involved in this evolving new form,” Bielawa says. “The way to make an opera that was native to SoCal was to embrace its flagship format, the episodic series.”\u003c/p>\n\u003cp>\u003cb>Taking TV opera in a fresh direction\u003c/b>\u003c/p>\n\u003cp>Opera on television is nothing new. Gian Carlo Menotti’s beloved \u003ca href=\"https://en.wikipedia.org/wiki/Amahl_and_the_Night_Visitors\" target=\"_blank\" rel=\"noopener\">\u003ci>Amahl and the Night Visitors\u003c/i>\u003c/a> was specifically composed for NBC in 1951 as a Christmas special, and Benjamin Britten’s less well-known \u003ca href=\"https://en.wikipedia.org/wiki/Owen_Wingrave\" target=\"_blank\" rel=\"noopener\">\u003ci>Owen Wingrave\u003c/i> \u003c/a>was composed for television broadcast on the BBC some 20 years later.\u003c/p>\n\u003cfigure id=\"attachment_11752745\" class=\"wp-caption aligncenter\" style=\"max-width: 5010px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11752745 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630.jpg\" alt=\"American Contemporary Music Ensemble\" width=\"5010\" height=\"2820\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630.jpg 5010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-960x540.jpg 960w\" sizes=\"(max-width: 5010px) 100vw, 5010px\">\u003cfigcaption class=\"wp-caption-text\">Members of the American Contemporary Music Ensemble (ACME) in the hospital of Alcatraz. \u003ccite>(Photo: David Soderlund)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Running at almost three hours — if you were to watch all 12 episodes back-to-back, that is — \u003ci>Vireo\u003c/i> is just about the same length as the average opera. (Or it will be, once the project is finished, which is expected to happen before the end of next year.) But unlike the other two televised operas mentioned above, which are still occasionally performed on stage, \u003ci>Vireo \u003c/i>doesn’t fit into a traditional live opera setting. The episodic piece takes place in multiple time periods simultaneously. This time-bending is quite tricky to represent in a live performance. Also, \u003ci>Vireo \u003c/i>features a dizzying number of collaborators like the \u003ca href=\"http://www.kronosquartet.org/\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a>, the \u003ca href=\"http://www.acmemusic.org/\" target=\"_blank\" rel=\"noopener\">American Contemporary Music Ensemble\u003c/a> (ACME), the Bay Area choral group \u003ca href=\"http://www.cappellasf.org/\" target=\"_blank\" rel=\"noopener\">Cappella SF\u003c/a>, and even a marching band from a high school in Indio.\u003c/p>\n\u003cp>What the episodic, web-based format of \u003ci>Vireo \u003c/i>does provide for fans of opera is choice: the viewer can decide to snack on a single episode, take in a few at once, or binge-watch the whole thing in one go. “Each episode stands alone as a work of art, and yet also presents itself as part of a larger narrative,” says Otte, who worked on the globe-trotting remount of Philip Glass’ seminal opera \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/Einstein_on_the_Beach\" target=\"_blank\" rel=\"noopener\">Einstein on the Beach\u003c/a>.\u003c/i> (The production made a stop at Cal Performances in Berkeley in Oct. 2012.)\u003c/p>\n\u003cp>\u003cb>Success not a given\u003c/b>\u003c/p>\n\u003cp>As with all operas, there are a lot of moving parts and production costs are often high. The budget for \u003cem>Vireo\u003c/em> is $600,000. Although the project receives funding from a few foundations and grant programs (most prominently the community television organization \u003ca href=\"https://www.kcet.org/\" target=\"_blank\" rel=\"noopener\">KCET \u003c/a>and Grand Central Art Center), Bielawa and her team still need at least $260,000 to make it through to the end of the series. And success is certainly not a given. According to a 2015 study conducted by the opera industry organization \u003ca href=\"https://www.operaamerica.org/\" target=\"_blank\" rel=\"noopener\">Opera America\u003c/a>, of the nearly 600 new operas premiered over the past two decades, only 11 percent have received a second production.\u003c/p>\n\u003cp>As a web-based work released in serial format, \u003ci>Vireo\u003c/i> faces its own specific set of challenges. For one thing, the technical and artistic hurdles of producing a serialized opera with tons of collaborators in unusual locations like Alcatraz are immense. Then there’s the esoteric, highly brainy subject matter: the (mis)treatment of female hysteria is hardly the stuff of an evening’s light entertainment. It remains to be seen if the characters manage to connect with the video audience, many of whom may be viewing the episodes on the shrunken screens of laptops, tablets and even smartphones.\u003c/p>\n\u003cp>But Bielawa is fearless and clearly has talent. \u003ci>Vireo\u003c/i> has already won a major prize from the \u003ca href=\"http://www.ascapfoundation.org/\" target=\"_blank\" rel=\"noopener\">American Society of Composers, Authors and Publishers Foundation\u003c/a> (ASCAP), a professional membership organization of songwriters, composers and music publishers, for its curious hybrid structure.\u003c/p>\n\u003cp>But \u003ci>Vireo \u003c/i>isn’t just a point of innovation for an art form that has long struggled to stay relevant. Bielawa is one of very few successful female opera composers in a field dominated by men. As such, she is aware that her work is also unusual in content; her heroine is not simply an exotic Carmen or Madame Butterfly. “I’m working with these very young women who are playing these important and complex lead roles,” Bielawa says. “One of my motivations is to insist on roles for women in opera that have depth and breadth of character.”\u003c/p>\n\u003cp>Watch the first two episodes of \u003cem>Vireo\u003c/em>:\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Vireo: The Spiritual Biography of a Witch's Accuser | Artbound | Season 6, Episode 6 | KCET\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/4bRxIpgdj6w?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Alcatraz has been the setting of many Hollywood blockbusters from \u003ci>Escape from Alcatraz\u003c/i> to \u003ci>The Rock\u003c/i>. But a serialized, made-for-video opera? Now that’s surely a first.\u003c/p>\n\u003cp>On a recent evening in June, the former federal penitentiary was the site of a film shoot for \u003ca href=\"http://www.operavireo.org/\" target=\"_blank\" rel=\"noopener\">\u003ci>Vireo: The Spiritual Biography of a Witch’s Accuser\u003c/i> \u003c/a>— a 12-episode opera created by Bay Area native composer and musician \u003ca href=\"http://www.lisabielawa.net/\" target=\"_blank\" rel=\"noopener\">Lisa Bielawa\u003c/a> in collaboration with playwright Erik Ehn and director Charles Otte. On set for Episode 9, a chorus of vocalists sang out a dirge-like lament accompanied by hurdy gurdy from one of the cell blocks. Down the corridor, in the decrepit prison hospital, a string quartet played along with the sound of bells. Meanwhile, in a third room, a straightjacketed teen girl with a skull scepter confronted her doppelgänger.\u003c/p>\n\u003cfigure id=\"attachment_11753786\" class=\"wp-caption aligncenter\" style=\"max-width: 3272px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11753786 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954.jpg\" alt=\"Rowen Sabala as the title character in Lisa Bielawa’s new serialized, made-for-video opera ‘Vireo’. The latest episode was shot on Alcatraz\" width=\"3272\" height=\"1852\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954.jpg 3272w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-400x226.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-800x453.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-768x435.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-1180x668.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-1920x1087.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/07/PRESS-Vireo-Acatraz_2016-06-21_0495-Edit-e1467245971954-960x543.jpg 960w\" sizes=\"(max-width: 3272px) 100vw, 3272px\">\u003cfigcaption class=\"wp-caption-text\">Rowen Sabala as the title character in Lisa Bielawa’s new serialized, made-for-video opera ‘Vireo’. The latest episode was shot on Alcatraz \u003ccite>(Photo: David Soderlund)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The unusual project is being filmed in 10-to-12 minute episodes — perfect for the ever shortening attention spans of a new generation. Shot in Southern California, New York, and San Francisco, the series will be broadcast next year on public television and online, and seeks to bring opera to a broader audience by using a digital streaming model a la Netflix and Amazon.\u003c/p>\n\u003cp>\u003cem>Vireo\u003c/em> follows the convoluted adventures of the titular character, a teenage girl played by 18-year old soprano Rowen Sabala. The young woman hears and sees things, and is ultimately accused of being a witch. She exists simultaneously in contemporary Sweden, 16th century France, and the Vienna of 1893, and is, apparently, possessed by a witch, played by the blind mezzo-soprano Laurie Rubin.\u003c/p>\n\u003cp>\u003cstrong>Recasting stories of female hysteria\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bielawa is best known as the long-time vocalist for the world-renowned \u003ca href=\"http://www.philipglass.com/\" target=\"_blank\" rel=\"noopener\">Philip Glass Ensemble\u003c/a> and, locally, as artistic director of the precocious \u003ca href=\"http://sfgirlschorus.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Girls Chorus\u003c/a>. She grew up in the Bay Area and has also undertaken ambitious projects locally, such as a work she composed for massive musical forces at Crissy Field.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Crissy Broadcast\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/H76AibG52XE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The origin story of \u003ci>Vireo\u003c/i> goes back to the composer’s time as an undergraduate in literature at Yale, where she wrote a senior thesis about studies by men of female hysteria. The topic haunted Bielawa, and she collaborated with Ehn on a traditional three act opera in 1994. “I sent him stacks and stacks of photocopies of primary source material from several centuries,” says Bielawa. “He wove it all into a libretto with the name \u003ci>Vireo\u003c/i>.” (Vireo is a type of songbird.)\u003c/p>\n\u003cp>Bielawa shopped the piece around to opera companies throughout the country, but came up short. The project was shelved for 20 years. Bielawa eventually resurrected \u003cem>Vireo\u003c/em> as part of her residency at Cal State Fullerton’s \u003ca href=\"http://www.grandcentralartcenter.com/\" target=\"_blank\" rel=\"noopener\">Grand Central Art Center\u003c/a> (GCAC) in Orange County in 2012.\u003c/p>\n\u003cp>\u003cb>Opera for the Netflix generation\u003c/b>\u003c/p>\n\u003cp>The idea to write an opera in episodes as one might approach a sitcom or telenovela came from Netflix. Specifically, the TV series \u003ca href=\"http://www.imdb.com/title/tt0367279/\" target=\"_blank\" rel=\"noopener\">\u003ci>Arrested Development\u003c/i>\u003c/a>, which Bielawa loves for its lampooning of life in Orange County’s Newport Beach with absurdist wordplay and dark wit.\u003c/p>\n\u003cp>In the summer of 2012, when Bielawa and GCAC director and chief curator John Spiak were casting around together locally for a new project, the pair realized they were both fans of \u003ci>Arrested Development\u003c/i>, and Spiak reminded Bielawa that the series takes place in the Orange County area.\u003c/p>\n\u003cp>“I looked around me and realized that one way to make innovative work that engaged with the community was to recognize that many of the smartest and most creative people around were involved in this evolving new form,” Bielawa says. “The way to make an opera that was native to SoCal was to embrace its flagship format, the episodic series.”\u003c/p>\n\u003cp>\u003cb>Taking TV opera in a fresh direction\u003c/b>\u003c/p>\n\u003cp>Opera on television is nothing new. Gian Carlo Menotti’s beloved \u003ca href=\"https://en.wikipedia.org/wiki/Amahl_and_the_Night_Visitors\" target=\"_blank\" rel=\"noopener\">\u003ci>Amahl and the Night Visitors\u003c/i>\u003c/a> was specifically composed for NBC in 1951 as a Christmas special, and Benjamin Britten’s less well-known \u003ca href=\"https://en.wikipedia.org/wiki/Owen_Wingrave\" target=\"_blank\" rel=\"noopener\">\u003ci>Owen Wingrave\u003c/i> \u003c/a>was composed for television broadcast on the BBC some 20 years later.\u003c/p>\n\u003cfigure id=\"attachment_11752745\" class=\"wp-caption aligncenter\" style=\"max-width: 5010px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11752745 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630.jpg\" alt=\"American Contemporary Music Ensemble\" width=\"5010\" height=\"2820\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630.jpg 5010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/PRESS-Vireo-Acatraz_2016-06-22_0551-Edit-e1467226939630-960x540.jpg 960w\" sizes=\"(max-width: 5010px) 100vw, 5010px\">\u003cfigcaption class=\"wp-caption-text\">Members of the American Contemporary Music Ensemble (ACME) in the hospital of Alcatraz. \u003ccite>(Photo: David Soderlund)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Running at almost three hours — if you were to watch all 12 episodes back-to-back, that is — \u003ci>Vireo\u003c/i> is just about the same length as the average opera. (Or it will be, once the project is finished, which is expected to happen before the end of next year.) But unlike the other two televised operas mentioned above, which are still occasionally performed on stage, \u003ci>Vireo \u003c/i>doesn’t fit into a traditional live opera setting. The episodic piece takes place in multiple time periods simultaneously. This time-bending is quite tricky to represent in a live performance. Also, \u003ci>Vireo \u003c/i>features a dizzying number of collaborators like the \u003ca href=\"http://www.kronosquartet.org/\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a>, the \u003ca href=\"http://www.acmemusic.org/\" target=\"_blank\" rel=\"noopener\">American Contemporary Music Ensemble\u003c/a> (ACME), the Bay Area choral group \u003ca href=\"http://www.cappellasf.org/\" target=\"_blank\" rel=\"noopener\">Cappella SF\u003c/a>, and even a marching band from a high school in Indio.\u003c/p>\n\u003cp>What the episodic, web-based format of \u003ci>Vireo \u003c/i>does provide for fans of opera is choice: the viewer can decide to snack on a single episode, take in a few at once, or binge-watch the whole thing in one go. “Each episode stands alone as a work of art, and yet also presents itself as part of a larger narrative,” says Otte, who worked on the globe-trotting remount of Philip Glass’ seminal opera \u003ci>\u003ca href=\"https://en.wikipedia.org/wiki/Einstein_on_the_Beach\" target=\"_blank\" rel=\"noopener\">Einstein on the Beach\u003c/a>.\u003c/i> (The production made a stop at Cal Performances in Berkeley in Oct. 2012.)\u003c/p>\n\u003cp>\u003cb>Success not a given\u003c/b>\u003c/p>\n\u003cp>As with all operas, there are a lot of moving parts and production costs are often high. The budget for \u003cem>Vireo\u003c/em> is $600,000. Although the project receives funding from a few foundations and grant programs (most prominently the community television organization \u003ca href=\"https://www.kcet.org/\" target=\"_blank\" rel=\"noopener\">KCET \u003c/a>and Grand Central Art Center), Bielawa and her team still need at least $260,000 to make it through to the end of the series. And success is certainly not a given. According to a 2015 study conducted by the opera industry organization \u003ca href=\"https://www.operaamerica.org/\" target=\"_blank\" rel=\"noopener\">Opera America\u003c/a>, of the nearly 600 new operas premiered over the past two decades, only 11 percent have received a second production.\u003c/p>\n\u003cp>As a web-based work released in serial format, \u003ci>Vireo\u003c/i> faces its own specific set of challenges. For one thing, the technical and artistic hurdles of producing a serialized opera with tons of collaborators in unusual locations like Alcatraz are immense. Then there’s the esoteric, highly brainy subject matter: the (mis)treatment of female hysteria is hardly the stuff of an evening’s light entertainment. It remains to be seen if the characters manage to connect with the video audience, many of whom may be viewing the episodes on the shrunken screens of laptops, tablets and even smartphones.\u003c/p>\n\u003cp>But Bielawa is fearless and clearly has talent. \u003ci>Vireo\u003c/i> has already won a major prize from the \u003ca href=\"http://www.ascapfoundation.org/\" target=\"_blank\" rel=\"noopener\">American Society of Composers, Authors and Publishers Foundation\u003c/a> (ASCAP), a professional membership organization of songwriters, composers and music publishers, for its curious hybrid structure.\u003c/p>\n\u003cp>But \u003ci>Vireo \u003c/i>isn’t just a point of innovation for an art form that has long struggled to stay relevant. Bielawa is one of very few successful female opera composers in a field dominated by men. As such, she is aware that her work is also unusual in content; her heroine is not simply an exotic Carmen or Madame Butterfly. “I’m working with these very young women who are playing these important and complex lead roles,” Bielawa says. “One of my motivations is to insist on roles for women in opera that have depth and breadth of character.”\u003c/p>\n\u003cp>Watch the first two episodes of \u003cem>Vireo\u003c/em>:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "cy-and-davids-picks-losing-our-hearts-to-a-big-thief-blowing-up-the-fourth-and-talking-to-mistah-f-a-b",
"title": "Cy and David's Picks: Losing our Hearts to a Big Thief, Blowing up the Fourth, and Talking to Mistah F.A.B.",
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"headTitle": "Cy and David’s Picks: Losing our Hearts to a Big Thief, Blowing up the Fourth, and Talking to Mistah F.A.B. | KQED",
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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//2016/06/TDL20160701.mp3\u003c/p>\n\u003c/aside>\n\u003cp>https://www.youtube.com/watch?v=oacUgWXrqwc\u003c/p>\n\u003cp>\u003cstrong>July 5:\u003c/strong> The indie band Big Thief apparently tours with one of the band members’ dogs (see the video above), which would be unbearably twee if they weren’t also playing such smart songs about love and loss, all written by vocalist Adrianne Lenker. I’m a sucker for this from their new album and song “Masterpiece,” with features lyrics like, “This place smells like piss and beer, can you get me out,” reminding me of a lot of sadly wasted evenings. They rock and then they slow down just as nicely for ballads like “Velvet Ring,” featuring just Lenker and her acoustic guitar. Details on their \u003cstrong>Cheap Thrill\u003c/strong> of a show at the Rickshaw Stop \u003ca href=\"http://www.rickshawstop.com/event/1204557-big-thief-san-francisco/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4c-lIkZ9HRc\u003c/p>\n\u003cp>\u003cstrong>July 1 – Aug. 14\u003c/strong>: John Leguizamo apparently likes Berkeley Rep as a place to work the kinks out of his one-man shows about growing up in Queens and becoming a movie actor (\u003cem>Chef\u003c/em>, \u003cem>Ice Age\u003c/em>, \u003cem>American Ultra\u003c/em>). He workshopped his 2011 Broadway hit \u003cem>Ghetto Klown\u003c/em> at the Rep, and developed his new show, \u003cem>Latin History for Morons,\u003c/em> (a co-production with the Public Theater) in the Rep’s Ground Floor program. Berkeley Rep Artistic Director Tony Taccone directed both. In \u003cem>Latin History…\u003c/em>, he’s a dad trying to teach his young son the truth about Latino history, after seeing what a bad job the schools are doing. Expect a few scenes that need some polishing, and others that will have you laughing hysterically. Details \u003ca href=\"http://www.berkeleyrep.org/season/1516/10462.asp\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11755002\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11755002\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-800x534.jpg\" alt=\"2016 Merola participants\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-960x641.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">2016 Merola participants \u003ccite>(Photo: Kristen Loken/Merola Program)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 7 & 9\u003c/strong>: The \u003ca href=\"http://merola.org/home\" target=\"_blank\" rel=\"noopener\">Merola Opera Program\u003c/a> is where great young singers go to polish their craft for an art form that somehow survives in this age of short attention span music. Merola’s new class of 23 singers (with help from their colleagues studying to be music coaches and stage directors) will be performing excerpts from \u003cem>Serse\u003c/em> by Handel, \u003cem>The Rake’s Progress\u003c/em> by Stravinsky, \u003cem>Arabella,\u003c/em> by Strauss, and \u003cem>Dialogues of the Carmelites\u003c/em> by Poulenc and more next week in the Schwabacher Summer Concert. Details are \u003ca href=\"http://merola.org/publicperformances\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=drzmETZGEt4\u003c/p>\n\u003cp>\u003cstrong>July 1\u003c/strong>: We can’t resist a shoutout to the final performance of Janáček’s \u003cem>Jenufa \u003c/em>with the brilliant Karita Mattila (see the scene above). This is one of the finest productions of this or any season.\u003c/p>\n\u003cfigure id=\"attachment_11607625\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11607625 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-800x575.jpg\" alt=\"SF Opera's Carmen\" width=\"800\" height=\"575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-800x575.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-400x288.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-768x552.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-1180x848.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-1920x1380.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-960x690.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adam Diegel (Don José) in Carmen. \u003ccite>(Photo: San Francisco Opera/Alastair Muir)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 2\u003c/strong>: And the opera is free (\u003cstrong>CHEAP THRILL\u003c/strong>) in the simulcast on the big screen at AT&T Park of the company’s Eurotrashy (in a good way) and well sung \u003cem>Carmen\u003c/em> on Saturday. You do need to register. Details are \u003ca href=\"http://sfopera.com/discover-opera/free-events/san-francisco-opera-at-att-park/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11757329\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11757329\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810-800x500.png\" alt=\"Independence Day at the Craneway Pavilion with the Oakland Symphony\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810-400x250.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810.png 810w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Independence Day at the Craneway Pavilion with the Oakland Symphony \u003ccite>(Photo: Courtesy of Craneway Pavilion)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 3 & 4\u003c/strong>: The first rule of the Fourth of July is don’t blow off your fingers. The second rule is find a comfortable spot to lie back, and “ooh” and “aah” as you watch the fireworks. Below are a few suggestions for celebrating America’s birthday:\u003c/p>\n\u003cfigure id=\"attachment_11755104\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11755104\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-800x320.jpg\" alt=\"The Oakland Symphony celebrates the 4th of July with music and fireworks at Richmond's Craneway Pavilion\" width=\"800\" height=\"320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-800x320.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-400x160.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-768x307.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-960x384.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Oakland Symphony celebrates the 4th of July with music and fireworks at Richmond’s Craneway Pavilion \u003ccite>(Photo: Courtesy Oakland Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 3:\u003c/strong> Get a jump on Independence Day with the Oakland Symphony’s Sunday concert with Michael Morgan conducting at the Craneway Pavilion in Richmond. It’s another \u003cstrong>CHEAP THRILL\u003c/strong> — tickets are free, details \u003ca href=\"http://www.oaklandsymphony.org/event/independence-eve-celebration/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>July 4\u003c/strong>: Or spend a free (\u003cstrong>CHEAP THRILL\u003c/strong>) afternoon and evening at the \u003ca href=\"http://www.ci.berkeley.ca.us/Marina_Home/\" target=\"_blank\" rel=\"noopener\">Berkeley Marina\u003c/a>, where Tito y Su Son de Cuba, The Rusty String Express, the United States Air Force Band of the Golden West and others entertain the adults, while the kids enjoy magicians, balloon twisters and free dragon boat rides. Plus, yes, fireworks. Details \u003ca href=\"http://www.anotherbullwinkelshow.com/4th-of-july/4th-entertainment.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=isP8pNby39A\u003c/p>\n\u003cp>\u003cstrong>July 4\u003c/strong>: The Center for Performing Arts Plaza in San Jose is presenting a “Big Bang Concert” featuring 80’s rocker \u003ca href=\"https://www.bryanadams.com/\" target=\"_blank\" rel=\"noopener\">Bryan Adams\u003c/a> (he released an album last fall) and fireworks. Details \u003ca href=\"https://www.eventbrite.com/e/big-bang-concert-tickets-25655438106\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11757378\" class=\"wp-caption aligncenter\" style=\"max-width: 793px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11757378\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-793x600.jpg\" alt=\"Edwin Outwater, Director of Summer Concerts for the San Francisco Symphony\" width=\"793\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-793x600.jpg 793w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-400x303.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-768x581.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-1180x893.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-1920x1452.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-960x726.jpg 960w\" sizes=\"(max-width: 793px) 100vw, 793px\">\u003cfigcaption class=\"wp-caption-text\">Edwin Outwater, Director of Summer Concerts for the San Francisco Symphony \u003ccite>(Photo: Larry Williamson/SF Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 4\u003c/strong>: Or head to Mountain View on Monday for a July Fourth “spectacular” at \u003ca href=\"http://shoreline.amphitheatermtnview.com/?gclid=COj8wpqp0M0CFRRgfgod6jQNzQ\" target=\"_blank\" rel=\"noopener\">Shoreline Amphitheater\u003c/a> with the San Francisco Symphony doing “A Night At The Movies,” with music from \u003cem>Inside Out\u003c/em>, \u003cem>Star Wars\u003c/em>, \u003cem>E.T.\u003c/em>, Raiders of the Lost Ark, and of course, fireworks (noticing a theme here?). Details \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/4th-of-July-Fireworks-Spectacular.aspx\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11757541\" class=\"wp-caption aligncenter\" style=\"max-width: 630px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11757541\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Green-Music-Center-Fireworks.jpg\" alt=\"Fireworks at the Green Music Center at Sonoma State in Rohnert Park\" width=\"630\" height=\"310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Green-Music-Center-Fireworks.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Green-Music-Center-Fireworks-400x197.jpg 400w\" sizes=\"(max-width: 630px) 100vw, 630px\">\u003cfigcaption class=\"wp-caption-text\">Fireworks at the Green Music Center at Sonoma State in Rohnert Park \u003ccite>(Photo: Courtesy of Green Music Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 4\u003c/strong>: And North Bay residents can head to the \u003ca href=\"http://gmc.sonoma.edu//\" target=\"_blank\" rel=\"noopener\">Green Music Center\u003c/a> in Rohnert Park, where vocalist Steve Tyrell and the Santa Rosa Symphony play American songbook favorites with fireworks on the lawn to finish. Details \u003ca href=\"http://gmc.sonoma.edu/event/3122011-4th-of-july-fireworks-spectacular-with\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=D9vaoIH__70\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>July 5\u003c/strong>: \u003ca href=\"https://en.wikipedia.org/wiki/Mistah_F.A.B.\" target=\"_blank\" rel=\"noopener\">Mistah F.A.B\u003c/a>., the unofficial mayor of North Oakland, is on a roll with a concert on Tuesday and a new album, \u003cem>Son of a Pimp Part 2\u003c/em>, this one featuring his mom on the cover. His dad was on \u003cem>Son of a Pimp Part 1,\u003c/em> “So my mother and my father will be immortalized in portraits and be forever young,” he told me earlier this week.\u003ci> \u003c/i>The album is loaded with guest appearances (including Kendrick Lamar on “Survive”), and there’s a few high energy hyphy numbers, but Mistah F.A.B. told me he wanted the album to be about serious personal and social issues, because it’s too easy to do rhymes about material success. “Talk about your dark spots, and show people that there is light in that darkness, you just have to channel it. And that’s what I’ve been able to do with my music, channel light in the middle of my darkness,” he said during our interview (listen to it at the top of the page). Details of the concert at the Regency Ballroom in tribute to the late Mac Dre are \u003ca href=\"http://www.theregencyballroom.com/events/detail/311383\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"excerpt": "KQED's Cy Musiker and the San Francisco Chronicle's David Wiegand guide you to the best art and entertainment this week.",
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"title": "Cy and David's Picks: Losing our Hearts to a Big Thief, Blowing up the Fourth, and Talking to Mistah F.A.B. | KQED",
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"headline": "Cy and David's Picks: Losing our Hearts to a Big Thief, Blowing up the Fourth, and Talking to Mistah F.A.B.",
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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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/oacUgWXrqwc'\n title='//www.youtube.com/embed/oacUgWXrqwc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 5:\u003c/strong> The indie band Big Thief apparently tours with one of the band members’ dogs (see the video above), which would be unbearably twee if they weren’t also playing such smart songs about love and loss, all written by vocalist Adrianne Lenker. I’m a sucker for this from their new album and song “Masterpiece,” with features lyrics like, “This place smells like piss and beer, can you get me out,” reminding me of a lot of sadly wasted evenings. They rock and then they slow down just as nicely for ballads like “Velvet Ring,” featuring just Lenker and her acoustic guitar. Details on their \u003cstrong>Cheap Thrill\u003c/strong> of a show at the Rickshaw Stop \u003ca href=\"http://www.rickshawstop.com/event/1204557-big-thief-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/4c-lIkZ9HRc'\n title='//www.youtube.com/embed/4c-lIkZ9HRc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 1 – Aug. 14\u003c/strong>: John Leguizamo apparently likes Berkeley Rep as a place to work the kinks out of his one-man shows about growing up in Queens and becoming a movie actor (\u003cem>Chef\u003c/em>, \u003cem>Ice Age\u003c/em>, \u003cem>American Ultra\u003c/em>). He workshopped his 2011 Broadway hit \u003cem>Ghetto Klown\u003c/em> at the Rep, and developed his new show, \u003cem>Latin History for Morons,\u003c/em> (a co-production with the Public Theater) in the Rep’s Ground Floor program. Berkeley Rep Artistic Director Tony Taccone directed both. In \u003cem>Latin History…\u003c/em>, he’s a dad trying to teach his young son the truth about Latino history, after seeing what a bad job the schools are doing. Expect a few scenes that need some polishing, and others that will have you laughing hysterically. Details \u003ca href=\"http://www.berkeleyrep.org/season/1516/10462.asp\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11755002\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11755002\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-800x534.jpg\" alt=\"2016 Merola participants\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/2016-Merola-participants-outdoors-960x641.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">2016 Merola participants \u003ccite>(Photo: Kristen Loken/Merola Program)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 7 & 9\u003c/strong>: The \u003ca href=\"http://merola.org/home\" target=\"_blank\" rel=\"noopener\">Merola Opera Program\u003c/a> is where great young singers go to polish their craft for an art form that somehow survives in this age of short attention span music. Merola’s new class of 23 singers (with help from their colleagues studying to be music coaches and stage directors) will be performing excerpts from \u003cem>Serse\u003c/em> by Handel, \u003cem>The Rake’s Progress\u003c/em> by Stravinsky, \u003cem>Arabella,\u003c/em> by Strauss, and \u003cem>Dialogues of the Carmelites\u003c/em> by Poulenc and more next week in the Schwabacher Summer Concert. Details are \u003ca href=\"http://merola.org/publicperformances\" 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/drzmETZGEt4'\n title='//www.youtube.com/embed/drzmETZGEt4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 1\u003c/strong>: We can’t resist a shoutout to the final performance of Janáček’s \u003cem>Jenufa \u003c/em>with the brilliant Karita Mattila (see the scene above). This is one of the finest productions of this or any season.\u003c/p>\n\u003cfigure id=\"attachment_11607625\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11607625 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-800x575.jpg\" alt=\"SF Opera's Carmen\" width=\"800\" height=\"575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-800x575.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-400x288.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-768x552.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-1180x848.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-1920x1380.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/sfopera-carmen-eno2016-e1467308762274-960x690.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adam Diegel (Don José) in Carmen. \u003ccite>(Photo: San Francisco Opera/Alastair Muir)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 2\u003c/strong>: And the opera is free (\u003cstrong>CHEAP THRILL\u003c/strong>) in the simulcast on the big screen at AT&T Park of the company’s Eurotrashy (in a good way) and well sung \u003cem>Carmen\u003c/em> on Saturday. You do need to register. Details are \u003ca href=\"http://sfopera.com/discover-opera/free-events/san-francisco-opera-at-att-park/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11757329\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11757329\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810-800x500.png\" alt=\"Independence Day at the Craneway Pavilion with the Oakland Symphony\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810-400x250.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/SportFunFestivals_634619740880455385_810.png 810w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Independence Day at the Craneway Pavilion with the Oakland Symphony \u003ccite>(Photo: Courtesy of Craneway Pavilion)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 3 & 4\u003c/strong>: The first rule of the Fourth of July is don’t blow off your fingers. The second rule is find a comfortable spot to lie back, and “ooh” and “aah” as you watch the fireworks. Below are a few suggestions for celebrating America’s birthday:\u003c/p>\n\u003cfigure id=\"attachment_11755104\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11755104\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-800x320.jpg\" alt=\"The Oakland Symphony celebrates the 4th of July with music and fireworks at Richmond's Craneway Pavilion\" width=\"800\" height=\"320\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-800x320.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-400x160.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-768x307.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion-960x384.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Oakland-Symphony-at-Craneway-Pavilion.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Oakland Symphony celebrates the 4th of July with music and fireworks at Richmond’s Craneway Pavilion \u003ccite>(Photo: Courtesy Oakland Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 3:\u003c/strong> Get a jump on Independence Day with the Oakland Symphony’s Sunday concert with Michael Morgan conducting at the Craneway Pavilion in Richmond. It’s another \u003cstrong>CHEAP THRILL\u003c/strong> — tickets are free, details \u003ca href=\"http://www.oaklandsymphony.org/event/independence-eve-celebration/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>July 4\u003c/strong>: Or spend a free (\u003cstrong>CHEAP THRILL\u003c/strong>) afternoon and evening at the \u003ca href=\"http://www.ci.berkeley.ca.us/Marina_Home/\" target=\"_blank\" rel=\"noopener\">Berkeley Marina\u003c/a>, where Tito y Su Son de Cuba, The Rusty String Express, the United States Air Force Band of the Golden West and others entertain the adults, while the kids enjoy magicians, balloon twisters and free dragon boat rides. Plus, yes, fireworks. Details \u003ca href=\"http://www.anotherbullwinkelshow.com/4th-of-july/4th-entertainment.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/isP8pNby39A'\n title='//www.youtube.com/embed/isP8pNby39A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 4\u003c/strong>: The Center for Performing Arts Plaza in San Jose is presenting a “Big Bang Concert” featuring 80’s rocker \u003ca href=\"https://www.bryanadams.com/\" target=\"_blank\" rel=\"noopener\">Bryan Adams\u003c/a> (he released an album last fall) and fireworks. Details \u003ca href=\"https://www.eventbrite.com/e/big-bang-concert-tickets-25655438106\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11757378\" class=\"wp-caption aligncenter\" style=\"max-width: 793px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11757378\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-793x600.jpg\" alt=\"Edwin Outwater, Director of Summer Concerts for the San Francisco Symphony\" width=\"793\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-793x600.jpg 793w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-400x303.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-768x581.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-1180x893.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-1920x1452.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Edwin-Outwater-e1467303100674-960x726.jpg 960w\" sizes=\"(max-width: 793px) 100vw, 793px\">\u003cfigcaption class=\"wp-caption-text\">Edwin Outwater, Director of Summer Concerts for the San Francisco Symphony \u003ccite>(Photo: Larry Williamson/SF Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 4\u003c/strong>: Or head to Mountain View on Monday for a July Fourth “spectacular” at \u003ca href=\"http://shoreline.amphitheatermtnview.com/?gclid=COj8wpqp0M0CFRRgfgod6jQNzQ\" target=\"_blank\" rel=\"noopener\">Shoreline Amphitheater\u003c/a> with the San Francisco Symphony doing “A Night At The Movies,” with music from \u003cem>Inside Out\u003c/em>, \u003cem>Star Wars\u003c/em>, \u003cem>E.T.\u003c/em>, Raiders of the Lost Ark, and of course, fireworks (noticing a theme here?). Details \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/4th-of-July-Fireworks-Spectacular.aspx\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11757541\" class=\"wp-caption aligncenter\" style=\"max-width: 630px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11757541\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Green-Music-Center-Fireworks.jpg\" alt=\"Fireworks at the Green Music Center at Sonoma State in Rohnert Park\" width=\"630\" height=\"310\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Green-Music-Center-Fireworks.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Green-Music-Center-Fireworks-400x197.jpg 400w\" sizes=\"(max-width: 630px) 100vw, 630px\">\u003cfigcaption class=\"wp-caption-text\">Fireworks at the Green Music Center at Sonoma State in Rohnert Park \u003ccite>(Photo: Courtesy of Green Music Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 4\u003c/strong>: And North Bay residents can head to the \u003ca href=\"http://gmc.sonoma.edu//\" target=\"_blank\" rel=\"noopener\">Green Music Center\u003c/a> in Rohnert Park, where vocalist Steve Tyrell and the Santa Rosa Symphony play American songbook favorites with fireworks on the lawn to finish. Details \u003ca href=\"http://gmc.sonoma.edu/event/3122011-4th-of-july-fireworks-spectacular-with\" 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/D9vaoIH__70'\n title='//www.youtube.com/embed/D9vaoIH__70'\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 5\u003c/strong>: \u003ca href=\"https://en.wikipedia.org/wiki/Mistah_F.A.B.\" target=\"_blank\" rel=\"noopener\">Mistah F.A.B\u003c/a>., the unofficial mayor of North Oakland, is on a roll with a concert on Tuesday and a new album, \u003cem>Son of a Pimp Part 2\u003c/em>, this one featuring his mom on the cover. His dad was on \u003cem>Son of a Pimp Part 1,\u003c/em> “So my mother and my father will be immortalized in portraits and be forever young,” he told me earlier this week.\u003ci> \u003c/i>The album is loaded with guest appearances (including Kendrick Lamar on “Survive”), and there’s a few high energy hyphy numbers, but Mistah F.A.B. told me he wanted the album to be about serious personal and social issues, because it’s too easy to do rhymes about material success. “Talk about your dark spots, and show people that there is light in that darkness, you just have to channel it. And that’s what I’ve been able to do with my music, channel light in the middle of my darkness,” he said during our interview (listen to it at the top of the page). Details of the concert at the Regency Ballroom in tribute to the late Mac Dre are \u003ca href=\"http://www.theregencyballroom.com/events/detail/311383\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As a performer and playwright, John Leguizamo builds characters defined by companionship. In close to 50 film roles, the Colombian-born, Queens, New York-raised actor has favored scene-stealers who are also valued members of a group, like self-described drag princess Chi-Chi Rodriguez in \u003cem>Too Wong Foo, Thanks for Everything Julie Newmar\u003c/em>, the French painter Henri de Toulouse-Lautrec in \u003cem>Moulin Rouge\u003c/em>, and Sid the Sloth in the \u003cem>Ice Age\u003c/em> animated feature franchise.\u003c/p>\n\u003cp>On stage, the actor’s solo shows — hilarious and gripping pieces like \u003cem>Mambo Mouth\u003c/em> and \u003cem>Spic-o-Rama\u003c/em> — are ensembles of one, where Leguizamo might play all the members of a dysfunctional family or himself and his own father within seconds of each other. “Those characters are all up there with me,” Leguizamo said over the phone from New York. “With my body, an inflection, an accent, I can cut between characters faster than a movie can.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"John Leguizamo - Spic O Rama - All My Life\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/qHItifu95iU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The performer is currently in final rehearsals for his new theatrical piece, \u003ca href=\"http://www.berkeleyrep.org/season/1516/10462.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>John Leguizamo: Latin History for Morons\u003c/em>\u003c/a>. The solo show — his sixth to date — begins its world premiere run at Berkeley Repertory Theatre on Friday, Jul. 1. Directed by Berkeley Rep artistic director Tony Taccone, it’s a 90-minute blitz through the much-overlooked contributions of Latinos to U.S. history.\u003c/p>\n\u003cp>\u003cstrong>Reclaiming the past through a Latino lens\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Look at our history; we were present,” Leguizamo said. “If 2,000 Latinos fought in the Civil War, how come that never came up in school? If 500,000 of us fought in World War II, how come not one World War II movie has a Latin character?” In the same vein as Howard Zinn’s seminal book \u003cem>A People’s History of the United States\u003c/em>, Leguizamo’s show is focused on telling a different version of the past — what the artist calls, “exposing an act of purposeful disinclusion.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Behind the scenes: John Leguizamo\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/o1_jNrvWBGI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Theater of self-education\u003c/strong>\u003c/p>\n\u003cp>The idea for the show came to Leguizamo a few years ago when he misinformed his teenaged son, who was working on a school paper at the time, that \u003cem>Quechuan\u003c/em> was the name of a Colombian Indian tribe. It’s actually an indigenous language. “I’m one of the morons I’m talking about,” Leguizamo said. “The piece spirals outward from me educating my son, me educating myself, me educating the audience.”\u003c/p>\n\u003cp>Of all of Leguizamo’s work to date, \u003cem>Latin History\u003c/em> has the most direct connection to \u003cem>Freak\u003c/em>. That solo show, conceived in 1998, centered on what the actor learned from his father and what he chose to leave behind. His new production serves as an insistent endorsement of self-education. “It’s the journey of a man — of being a son to being a father,” Leguizamo said.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"John Leguizamo - Freak - Puberty\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/DFL6RKTeJk8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Leguizamo honed his skills in the basement theater spaces of 1980s Lower Manhattan. The actor returned to the underground scene for the first time in his long career only recently, when he tried out early versions of \u003cem>Latin History\u003c/em> in similarly cramped comedy clubs. “I really wanted to be tested by fire,” Leguizamo said. “The comedy club audience has no patience. I didn’t want to get past the point where if I performed it in high school, a high school kid would be bored.”\u003c/p>\n\u003cp>Leguizamo can be seen this July in the film \u003cem>The Infiltrator\u003c/em> starring Bryan Cranston and in Season Two of the Netflix series \u003cem>Bloodline\u003c/em>. And yet creatively, Leguizamo said he will always return to the theater. For one thing, it’s where he began as an artist. “I wanted to go dark and personal, use costumes and dance,” he said, describing how he strived to differentiate himself from the artists he looked up to early in his career, like Eric Bogosian, Whoopi Goldberg and Lily Tomlin. “Theater allowed you to do that. The smallness of the space means there weren’t as many controls or corporate hands in the mix.”\u003c/p>\n\u003cp>Leguizamo said the stage is still the place where creative revolutions take hold. “Theaters one of the great innovators of media,” Leguizamo said. “Look at Hamilton, color-blind casting. It took theater to do that.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.berkeleyrep.org/season/1516/10462.asp\" target=\"_blank\" rel=\"noopener\">John Leguizamo: Latin History for Morons\u003c/a> runs through Sunday, Aug. 14 at Berkeley Repertory Theatre, Berkeley. Find out more \u003ca href=\"http://www.berkeleyrep.org/season/1516/10462.asp\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a performer and playwright, John Leguizamo builds characters defined by companionship. In close to 50 film roles, the Colombian-born, Queens, New York-raised actor has favored scene-stealers who are also valued members of a group, like self-described drag princess Chi-Chi Rodriguez in \u003cem>Too Wong Foo, Thanks for Everything Julie Newmar\u003c/em>, the French painter Henri de Toulouse-Lautrec in \u003cem>Moulin Rouge\u003c/em>, and Sid the Sloth in the \u003cem>Ice Age\u003c/em> animated feature franchise.\u003c/p>\n\u003cp>On stage, the actor’s solo shows — hilarious and gripping pieces like \u003cem>Mambo Mouth\u003c/em> and \u003cem>Spic-o-Rama\u003c/em> — are ensembles of one, where Leguizamo might play all the members of a dysfunctional family or himself and his own father within seconds of each other. “Those characters are all up there with me,” Leguizamo said over the phone from New York. “With my body, an inflection, an accent, I can cut between characters faster than a movie can.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"John Leguizamo - Spic O Rama - All My Life\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/qHItifu95iU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The performer is currently in final rehearsals for his new theatrical piece, \u003ca href=\"http://www.berkeleyrep.org/season/1516/10462.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>John Leguizamo: Latin History for Morons\u003c/em>\u003c/a>. The solo show — his sixth to date — begins its world premiere run at Berkeley Repertory Theatre on Friday, Jul. 1. Directed by Berkeley Rep artistic director Tony Taccone, it’s a 90-minute blitz through the much-overlooked contributions of Latinos to U.S. history.\u003c/p>\n\u003cp>\u003cstrong>Reclaiming the past through a Latino lens\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Look at our history; we were present,” Leguizamo said. “If 2,000 Latinos fought in the Civil War, how come that never came up in school? If 500,000 of us fought in World War II, how come not one World War II movie has a Latin character?” In the same vein as Howard Zinn’s seminal book \u003cem>A People’s History of the United States\u003c/em>, Leguizamo’s show is focused on telling a different version of the past — what the artist calls, “exposing an act of purposeful disinclusion.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Behind the scenes: John Leguizamo\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/o1_jNrvWBGI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Theater of self-education\u003c/strong>\u003c/p>\n\u003cp>The idea for the show came to Leguizamo a few years ago when he misinformed his teenaged son, who was working on a school paper at the time, that \u003cem>Quechuan\u003c/em> was the name of a Colombian Indian tribe. It’s actually an indigenous language. “I’m one of the morons I’m talking about,” Leguizamo said. “The piece spirals outward from me educating my son, me educating myself, me educating the audience.”\u003c/p>\n\u003cp>Of all of Leguizamo’s work to date, \u003cem>Latin History\u003c/em> has the most direct connection to \u003cem>Freak\u003c/em>. That solo show, conceived in 1998, centered on what the actor learned from his father and what he chose to leave behind. His new production serves as an insistent endorsement of self-education. “It’s the journey of a man — of being a son to being a father,” Leguizamo said.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"John Leguizamo - Freak - Puberty\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/DFL6RKTeJk8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Leguizamo honed his skills in the basement theater spaces of 1980s Lower Manhattan. The actor returned to the underground scene for the first time in his long career only recently, when he tried out early versions of \u003cem>Latin History\u003c/em> in similarly cramped comedy clubs. “I really wanted to be tested by fire,” Leguizamo said. “The comedy club audience has no patience. I didn’t want to get past the point where if I performed it in high school, a high school kid would be bored.”\u003c/p>\n\u003cp>Leguizamo can be seen this July in the film \u003cem>The Infiltrator\u003c/em> starring Bryan Cranston and in Season Two of the Netflix series \u003cem>Bloodline\u003c/em>. And yet creatively, Leguizamo said he will always return to the theater. For one thing, it’s where he began as an artist. “I wanted to go dark and personal, use costumes and dance,” he said, describing how he strived to differentiate himself from the artists he looked up to early in his career, like Eric Bogosian, Whoopi Goldberg and Lily Tomlin. “Theater allowed you to do that. The smallness of the space means there weren’t as many controls or corporate hands in the mix.”\u003c/p>\n\u003cp>Leguizamo said the stage is still the place where creative revolutions take hold. “Theaters one of the great innovators of media,” Leguizamo said. “Look at Hamilton, color-blind casting. It took theater to do that.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://www.berkeleyrep.org/season/1516/10462.asp\" target=\"_blank\" rel=\"noopener\">John Leguizamo: Latin History for Morons\u003c/a> runs through Sunday, Aug. 14 at Berkeley Repertory Theatre, Berkeley. Find out more \u003ca href=\"http://www.berkeleyrep.org/season/1516/10462.asp\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "suzie-and-davids-picks-celebrating-juneteenth-an-anniversary-for-campo-santo-and-so-much-pride",
"title": "Suzie and David's Picks: Celebrating Juneteenth, an Anniversary for Campo Santo, and So Much Pride",
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"content": "\u003caside class=\"aligncenter\">\nKQED’s Suzie Racho and David Wiegand share their picks for great events around the Bay Area this week.\u003cbr>\nhttp://www.kqed.org/.stream/anon/radio/thedolist/2016/06/TDL20160624fixed.mp3\u003cbr>\n\u003c/aside>\n\u003cp>https://www.youtube.com/watch?v=yJPw789HSwY\u003c/p>\n\u003cp>\u003cstrong>June 25 & 26\u003c/strong>: It’s summer, so we’re deep into festival season, and glad to see another Burger Boogaloo. The Boogaloo is Oakland’s annual garage rock and power pop party, put on by local promoter Marcos Ribak with help from Burger Records, a label out of Fullerton, Calif. (They’re also staging a fifth annual festival down in So Cal.) Burger Boogaloo has again snagged indie filmmaker (and renaissance man) John Waters as host of this celebration of underground music. Former locals Thee Oh Sees are back, along with garage rock pioneers like The Flamin’ Groovies and Psycotic Pineapple, plus the Trashwomen, The Mummies, Shannon and the Clams and more for two days at Oakland’s Mosswood Park. Details are \u003ca href=\"http://burgerboogaloo.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11727174\" class=\"wp-caption aligncenter\" style=\"max-width: 385px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11727174\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Historical-images-Peraltas-on-porch.jpg\" alt=\"The Peralta Family on the porch of their hacienda in what is now Oaklands Fruitvale District\" width=\"385\" height=\"272\">\u003cfigcaption class=\"wp-caption-text\">The Peralta Family on the porch of their hacienda in what is now Oaklands Fruitvale District \u003ccite>(Photo: Courtesy of Peralta Hacienda Park)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 25\u003c/strong>: For a more family friendly festival, check out Fruitvale First! A Latino culture festival at Peralta Hacienda Historical Park in Oakland’s Fruitvale neighborhood, featuring a dance contest, mariachis, tours of the museum, and (of course) great food. Fruitvale First! is also free, so it’s one of our Cheap Thrills, and details are \u003ca href=\"http://www.peraltahacienda.org/pages/main.php?pageid=1&pagecategory=1\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=s1yr8w_vZ5E\u003c/p>\n\u003cp>\u003cstrong>June 25 & 26\u003c/strong>: It’s the biggest street party of the year in San Francisco. The 46th annual San Francisco Pride celebration and parade take over the city. The theme this year is “For Racial and Economic Justice,” and look for an equal focus on celebrating the lives of those who died in the Orlando dance club shooting. There’s entertainment from Peaches, Psychic TV, Hector Fonseca, CHEER San Francisco, HipHop4Change, plus a Queer Youth Space, Sundance Country-Western Dance Corral, and Tantra Trance if you need a meditative break, not to mention the big parade led by Dykes on Bikes on Sunday. Details on pride weekend are \u003ca href=\"http://www.sfpride.org/schedule/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ji-EdRtL9qU\u003c/p>\n\u003cp>\u003cstrong>June 29:\u003c/strong> And David wants to highlight a post parade show by Pwr Bttm, a two-piece punkish band of genderqueer people. In the past year they’ve gone from obscurity to performing an NPR Tiny Desk concert and having a critically lauded album that digs deep in queer themes. Details of their Wednesday show (opening for Pity Sex) at Slim’s are \u003ca href=\"http://www.slimspresents.com/event/pity-sex-slims/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2ug3IBfgOhs\u003c/p>\n\u003cp>\u003cstrong>June 26\u003c/strong>: Save some energy after Pride for the return of John Doe, the bass player and singer of the legendary Los Angeles punk band X, now on his tenth solo album. The \u003ca href=\"http://www.imdb.com/name/nm0230335/?ref_=nv_sr_2\" target=\"_blank\" rel=\"noopener\">actor\u003c/a>/musician has a new album out, \u003cem>The Westerner\u003c/em>, that he talked about with David this week. “This record was dedicated to a friend of mine who passed away in 2015, Michael Blake, who wrote the screenplay for \u003cem>Dances With Wolves\u003c/em>, but then it also became about the idea of a westerner, and luckily I was able to find images and take photographs that all kind of amplified or accented this idea of someone from the west.” Details on John Doe’s Sunday night show at the Great American Music Hall are \u003ca href=\"http://www.slimspresents.com/event/john-doe-his-rocknroll-band-gamh-w-special-guest-jesse-dayton/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11727400\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11727400\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Campo-Santo-e1466714698180-800x363.jpg\" alt=\"'Hookers on Mars' playwright Star Finch and Campo Santo co-founder and director Sean San Jose looking toward Mars\" width=\"800\" height=\"363\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Campo-Santo-e1466714698180-800x363.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Campo-Santo-e1466714698180-400x181.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Campo-Santo-e1466714698180-768x348.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Campo-Santo-e1466714698180-960x435.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Campo-Santo-e1466714698180.jpg 982w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Hookers on Mars’ playwright Star Finch and Campo Santo co-founder and director Sean San Jose looking toward Mars \u003ccite>(Photo: Joan Osato/Campo Santo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 29 – July 10\u003c/strong>: Campo Santo is celebrating 20 years as an icon of Bay Area theater; a troupe making multi-ethnic theater with humane politics, and surviving despite its lack of a home theater. Their new play, in residency at ACT, offers a look to the future with \u003cem>Hookers on Mars Eventually\u003c/em> from San Francisco native Star Finch, and features a surround sound video design by Joan Osato, a scenic installation by Tanya Orellana, an original score by Tommy Soulati Shepherd, and direction by Campo Santo co-founder Sean San Jose. You’ll never be bored at a Campos Santo show. Details are \u003ca href=\"http://www.act-sf.org/home/box_office/special_events.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PN0RPWII7gY\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>June 25:\u003c/strong> \u003ca href=\"http://www.andyshauf.com/\" target=\"_blank\" rel=\"noopener\">Andy Shauf \u003c/a>is a psychedelic-pop (is that obvious from the image above), singer-songwriter, and multi-instrumentalist from Saskatchewan celebrating the release of his new album, \u003cem>The Party.\u003c/em> It’s a lovely collection of stories of people-watching at all night bash, and makes you want to be there (but maybe not as the guy who shows up too early). Shauf is opening for the equally compelling headlining trio of \u003ca href=\"http://caselangveirs.com/\" target=\"_blank\" rel=\"noopener\">Neko Case, K.D. Lang, and Laura Veirs\u003c/a> at the Mountain Winery in Saratoga Saturday night. Details \u003ca href=\"http://www.axs.com/events/306777/case-lang-veirs-tickets?skin=mountainwinery\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n",
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"title": "Suzie and David's Picks: Celebrating Juneteenth, an Anniversary for Campo Santo, and So Much Pride | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\nKQED’s Suzie Racho and David Wiegand share their picks for great events around the Bay Area this week.\u003cbr>\nhttp://www.kqed.org/.stream/anon/radio/thedolist/2016/06/TDL20160624fixed.mp3\u003cbr>\n\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/yJPw789HSwY'\n title='//www.youtube.com/embed/yJPw789HSwY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 25 & 26\u003c/strong>: It’s summer, so we’re deep into festival season, and glad to see another Burger Boogaloo. The Boogaloo is Oakland’s annual garage rock and power pop party, put on by local promoter Marcos Ribak with help from Burger Records, a label out of Fullerton, Calif. (They’re also staging a fifth annual festival down in So Cal.) Burger Boogaloo has again snagged indie filmmaker (and renaissance man) John Waters as host of this celebration of underground music. Former locals Thee Oh Sees are back, along with garage rock pioneers like The Flamin’ Groovies and Psycotic Pineapple, plus the Trashwomen, The Mummies, Shannon and the Clams and more for two days at Oakland’s Mosswood Park. Details are \u003ca href=\"http://burgerboogaloo.com/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11727174\" class=\"wp-caption aligncenter\" style=\"max-width: 385px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11727174\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Historical-images-Peraltas-on-porch.jpg\" alt=\"The Peralta Family on the porch of their hacienda in what is now Oaklands Fruitvale District\" width=\"385\" height=\"272\">\u003cfigcaption class=\"wp-caption-text\">The Peralta Family on the porch of their hacienda in what is now Oaklands Fruitvale District \u003ccite>(Photo: Courtesy of Peralta Hacienda Park)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 25\u003c/strong>: For a more family friendly festival, check out Fruitvale First! A Latino culture festival at Peralta Hacienda Historical Park in Oakland’s Fruitvale neighborhood, featuring a dance contest, mariachis, tours of the museum, and (of course) great food. Fruitvale First! is also free, so it’s one of our Cheap Thrills, and details are \u003ca href=\"http://www.peraltahacienda.org/pages/main.php?pageid=1&pagecategory=1\" 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/s1yr8w_vZ5E'\n title='//www.youtube.com/embed/s1yr8w_vZ5E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 25 & 26\u003c/strong>: It’s the biggest street party of the year in San Francisco. The 46th annual San Francisco Pride celebration and parade take over the city. The theme this year is “For Racial and Economic Justice,” and look for an equal focus on celebrating the lives of those who died in the Orlando dance club shooting. There’s entertainment from Peaches, Psychic TV, Hector Fonseca, CHEER San Francisco, HipHop4Change, plus a Queer Youth Space, Sundance Country-Western Dance Corral, and Tantra Trance if you need a meditative break, not to mention the big parade led by Dykes on Bikes on Sunday. Details on pride weekend are \u003ca href=\"http://www.sfpride.org/schedule/\" 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/ji-EdRtL9qU'\n title='//www.youtube.com/embed/ji-EdRtL9qU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 29:\u003c/strong> And David wants to highlight a post parade show by Pwr Bttm, a two-piece punkish band of genderqueer people. In the past year they’ve gone from obscurity to performing an NPR Tiny Desk concert and having a critically lauded album that digs deep in queer themes. Details of their Wednesday show (opening for Pity Sex) at Slim’s are \u003ca href=\"http://www.slimspresents.com/event/pity-sex-slims/\" 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/2ug3IBfgOhs'\n title='//www.youtube.com/embed/2ug3IBfgOhs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>June 26\u003c/strong>: Save some energy after Pride for the return of John Doe, the bass player and singer of the legendary Los Angeles punk band X, now on his tenth solo album. The \u003ca href=\"http://www.imdb.com/name/nm0230335/?ref_=nv_sr_2\" target=\"_blank\" rel=\"noopener\">actor\u003c/a>/musician has a new album out, \u003cem>The Westerner\u003c/em>, that he talked about with David this week. “This record was dedicated to a friend of mine who passed away in 2015, Michael Blake, who wrote the screenplay for \u003cem>Dances With Wolves\u003c/em>, but then it also became about the idea of a westerner, and luckily I was able to find images and take photographs that all kind of amplified or accented this idea of someone from the west.” Details on John Doe’s Sunday night show at the Great American Music Hall are \u003ca href=\"http://www.slimspresents.com/event/john-doe-his-rocknroll-band-gamh-w-special-guest-jesse-dayton/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11727400\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11727400\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Campo-Santo-e1466714698180-800x363.jpg\" alt=\"'Hookers on Mars' playwright Star Finch and Campo Santo co-founder and director Sean San Jose looking toward Mars\" width=\"800\" height=\"363\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Campo-Santo-e1466714698180-800x363.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Campo-Santo-e1466714698180-400x181.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Campo-Santo-e1466714698180-768x348.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Campo-Santo-e1466714698180-960x435.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Campo-Santo-e1466714698180.jpg 982w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Hookers on Mars’ playwright Star Finch and Campo Santo co-founder and director Sean San Jose looking toward Mars \u003ccite>(Photo: Joan Osato/Campo Santo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 29 – July 10\u003c/strong>: Campo Santo is celebrating 20 years as an icon of Bay Area theater; a troupe making multi-ethnic theater with humane politics, and surviving despite its lack of a home theater. Their new play, in residency at ACT, offers a look to the future with \u003cem>Hookers on Mars Eventually\u003c/em> from San Francisco native Star Finch, and features a surround sound video design by Joan Osato, a scenic installation by Tanya Orellana, an original score by Tommy Soulati Shepherd, and direction by Campo Santo co-founder Sean San Jose. You’ll never be bored at a Campos Santo show. Details are \u003ca href=\"http://www.act-sf.org/home/box_office/special_events.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/PN0RPWII7gY'\n title='//www.youtube.com/embed/PN0RPWII7gY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>June 25:\u003c/strong> \u003ca href=\"http://www.andyshauf.com/\" target=\"_blank\" rel=\"noopener\">Andy Shauf \u003c/a>is a psychedelic-pop (is that obvious from the image above), singer-songwriter, and multi-instrumentalist from Saskatchewan celebrating the release of his new album, \u003cem>The Party.\u003c/em> It’s a lovely collection of stories of people-watching at all night bash, and makes you want to be there (but maybe not as the guy who shows up too early). Shauf is opening for the equally compelling headlining trio of \u003ca href=\"http://caselangveirs.com/\" target=\"_blank\" rel=\"noopener\">Neko Case, K.D. Lang, and Laura Veirs\u003c/a> at the Mountain Winery in Saratoga Saturday night. Details \u003ca href=\"http://www.axs.com/events/306777/case-lang-veirs-tickets?skin=mountainwinery\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Every Tuesday at six in the morning, members of the San Jose-based \u003ca href=\"https://www.facebook.com/redladdertheatrecompany\" target=\"_blank\" rel=\"noopener\">Red Ladder Theatre Company\u003c/a> meet at the San Jose Caltrain station to drive about 90 minutes Southeast to Soledad, Calif. They meet early to make sure they have enough time to get ready for a three-hour improvisation class they teach at Salinas Valley State Prison — a maximum security facility where the state houses some of what it considers to be its most dangerous prisoners.\u003c/p>\n\u003cp>Red Ladder Director Karen Altree Piemme says the spontaneity of improvisation helps prisoners expand their sense of what’s possible. “In order for them to live a different life than the one that was handed to them they have to be able to imagine it first,” Altree Piemme says. “That’s what we’re giving them the opportunity to do through this process.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/270361169″ 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>Red Ladder member Tasi Alabastro has been teaching at Salinas Valley for the past two years. “It’s pretty nice when you show up and they’re like oh man we’ve been waiting all week for this,” Alabastro says. “At least for me I can’t help but self reflect and go ‘oh yeah, me too actually.’”\u003c/p>\n\u003cp>\u003cstrong>Challenging conditions\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Red Ladder has been working with disadvantaged communities in the Bay Area for more than 20 years. The theater company teaches improvisation techniques to help develop skills like problem solving and collaboration. The actors have worked in county jails and in juvenile hall, but they’re pretty new to maximum security prisons.\u003c/p>\n\u003cp>Red Ladder actor Sarita Ocon says it’s not easy getting in and there are lots of hoops to jump. “After going through and hearing the kind of procedures in place I think I was feeling depressed,” Ocon says.\u003c/p>\n\u003cp>The California Department of Corrections requires contractors, like the members of Red Ladder, to carry identification cards, whistles and go through four days of eye-glazing power-point presentations on safety and regulation rules. And the company members are not getting rich from their efforts. They call their work a labor love; each actor gets $150 a day in fees. \u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>Once the prisoners are inside the drab, concrete gym where the class takes place, guards pat them down and check them in. And there’s also a sniper watching from an overhead gallery at all times during the class.\u003c/p>\n\u003cfigure id=\"attachment_11713546\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11713546 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/RS19899_AIC-2-slap-pass-qut-e1466463829748-800x441.jpg\" alt='Inmate John Tafuna Faavesr (far left) \"passes\" a slap to another person in the circle. ' width=\"800\" height=\"441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19899_AIC-2-slap-pass-qut-e1466463829748-800x441.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19899_AIC-2-slap-pass-qut-e1466463829748-400x221.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19899_AIC-2-slap-pass-qut-e1466463829748-768x424.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19899_AIC-2-slap-pass-qut-e1466463829748-1180x651.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19899_AIC-2-slap-pass-qut-e1466463829748-960x529.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19899_AIC-2-slap-pass-qut-e1466463829748.jpg 1915w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inmate John Tafuna Faavesr (far left) “passes” a slap to another person in the circle. \u003ccite>(Photo: Tiffany Camhi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The juxtaposition of trying to have a free, open, creative environment when there’s someone 15 feet above your head with a gun pointed at you for your own safety is something you need to acknowledge and be aware of and then also set aside when it comes to looking at the work and approaching the work,” says Altree Piemme.\u003c/p>\n\u003cp>\u003cstrong>Getting students to open up\u003c/strong>\u003c/p>\n\u003cp>Today the prisoners are starting off with a warm-up exercise called slap pass — a game that gets them to focus intently on their surroundings. (Don’t worry, it’s a clapping game; no one is actually getting slapped!) At first, the inmates clap sheepishly, but by the end they’re boisterous and laughing.\u003c/p>\n\u003cp>Throughout the class, inmates participate in several other unscripted improvisation games designed to release their creative selves. Pantomiming exercises are big. Prisoners take turns pretending to hit baseballs or play basketball. In another game they imitate a morning bathroom routine using imaginary objects. The inmates develop these skills over time, and by the end of the 12-week course, they will have written and performed an original play.\u003c/p>\n\u003cfigure id=\"attachment_11713547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11713547 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/RS19900_AIC-2-use-one-choose-one-qut-e1466463882366-800x448.jpg\" alt='Another inmate pretends to turn on water faucets in a game called \"Use One, Choose One.\"' width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19900_AIC-2-use-one-choose-one-qut-e1466463882366-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19900_AIC-2-use-one-choose-one-qut-e1466463882366-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19900_AIC-2-use-one-choose-one-qut-e1466463882366-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19900_AIC-2-use-one-choose-one-qut-e1466463882366-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19900_AIC-2-use-one-choose-one-qut-e1466463882366.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19900_AIC-2-use-one-choose-one-qut-e1466463882366-960x538.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Another inmate pretends to turn on water faucets in a game called “Use One, Choose One.” \u003ccite>(Photo: Tiffany Camhi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inmate John Tafuna Faavesr, who has worked with Red Ladder twice, says these classes have helped him feel free to express himself. “I don’t feel judged,” Tafuna Faavesr says. “If I open up and just be who I want to be, my authentic self, I’m not being ridiculed by the next man or our instructors.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Faavesr says he’s learned to trust more in other people and make better decisions in the heat of the moment. Red Ladder’s Altree Piemme says there are exactly the results Red Ladder wants the prisoners to get out of the class. “When their creativity is handed back to them it opens up a whole new world to them,” Altree Piemme says. “And it gives them their selves back, gives them their humanity back,”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every Tuesday at six in the morning, members of the San Jose-based \u003ca href=\"https://www.facebook.com/redladdertheatrecompany\" target=\"_blank\" rel=\"noopener\">Red Ladder Theatre Company\u003c/a> meet at the San Jose Caltrain station to drive about 90 minutes Southeast to Soledad, Calif. They meet early to make sure they have enough time to get ready for a three-hour improvisation class they teach at Salinas Valley State Prison — a maximum security facility where the state houses some of what it considers to be its most dangerous prisoners.\u003c/p>\n\u003cp>Red Ladder Director Karen Altree Piemme says the spontaneity of improvisation helps prisoners expand their sense of what’s possible. “In order for them to live a different life than the one that was handed to them they have to be able to imagine it first,” Altree Piemme says. “That’s what we’re giving them the opportunity to do through this process.”\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/270361169″&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/270361169″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Red Ladder member Tasi Alabastro has been teaching at Salinas Valley for the past two years. “It’s pretty nice when you show up and they’re like oh man we’ve been waiting all week for this,” Alabastro says. “At least for me I can’t help but self reflect and go ‘oh yeah, me too actually.’”\u003c/p>\n\u003cp>\u003cstrong>Challenging conditions\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Red Ladder has been working with disadvantaged communities in the Bay Area for more than 20 years. The theater company teaches improvisation techniques to help develop skills like problem solving and collaboration. The actors have worked in county jails and in juvenile hall, but they’re pretty new to maximum security prisons.\u003c/p>\n\u003cp>Red Ladder actor Sarita Ocon says it’s not easy getting in and there are lots of hoops to jump. “After going through and hearing the kind of procedures in place I think I was feeling depressed,” Ocon says.\u003c/p>\n\u003cp>The California Department of Corrections requires contractors, like the members of Red Ladder, to carry identification cards, whistles and go through four days of eye-glazing power-point presentations on safety and regulation rules. And the company members are not getting rich from their efforts. They call their work a labor love; each actor gets $150 a day in fees. \u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>Once the prisoners are inside the drab, concrete gym where the class takes place, guards pat them down and check them in. And there’s also a sniper watching from an overhead gallery at all times during the class.\u003c/p>\n\u003cfigure id=\"attachment_11713546\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11713546 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/RS19899_AIC-2-slap-pass-qut-e1466463829748-800x441.jpg\" alt='Inmate John Tafuna Faavesr (far left) \"passes\" a slap to another person in the circle. ' width=\"800\" height=\"441\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19899_AIC-2-slap-pass-qut-e1466463829748-800x441.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19899_AIC-2-slap-pass-qut-e1466463829748-400x221.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19899_AIC-2-slap-pass-qut-e1466463829748-768x424.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19899_AIC-2-slap-pass-qut-e1466463829748-1180x651.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19899_AIC-2-slap-pass-qut-e1466463829748-960x529.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19899_AIC-2-slap-pass-qut-e1466463829748.jpg 1915w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inmate John Tafuna Faavesr (far left) “passes” a slap to another person in the circle. \u003ccite>(Photo: Tiffany Camhi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The juxtaposition of trying to have a free, open, creative environment when there’s someone 15 feet above your head with a gun pointed at you for your own safety is something you need to acknowledge and be aware of and then also set aside when it comes to looking at the work and approaching the work,” says Altree Piemme.\u003c/p>\n\u003cp>\u003cstrong>Getting students to open up\u003c/strong>\u003c/p>\n\u003cp>Today the prisoners are starting off with a warm-up exercise called slap pass — a game that gets them to focus intently on their surroundings. (Don’t worry, it’s a clapping game; no one is actually getting slapped!) At first, the inmates clap sheepishly, but by the end they’re boisterous and laughing.\u003c/p>\n\u003cp>Throughout the class, inmates participate in several other unscripted improvisation games designed to release their creative selves. Pantomiming exercises are big. Prisoners take turns pretending to hit baseballs or play basketball. In another game they imitate a morning bathroom routine using imaginary objects. The inmates develop these skills over time, and by the end of the 12-week course, they will have written and performed an original play.\u003c/p>\n\u003cfigure id=\"attachment_11713547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11713547 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/RS19900_AIC-2-use-one-choose-one-qut-e1466463882366-800x448.jpg\" alt='Another inmate pretends to turn on water faucets in a game called \"Use One, Choose One.\"' width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19900_AIC-2-use-one-choose-one-qut-e1466463882366-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19900_AIC-2-use-one-choose-one-qut-e1466463882366-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19900_AIC-2-use-one-choose-one-qut-e1466463882366-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19900_AIC-2-use-one-choose-one-qut-e1466463882366-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19900_AIC-2-use-one-choose-one-qut-e1466463882366.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/RS19900_AIC-2-use-one-choose-one-qut-e1466463882366-960x538.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Another inmate pretends to turn on water faucets in a game called “Use One, Choose One.” \u003ccite>(Photo: Tiffany Camhi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inmate John Tafuna Faavesr, who has worked with Red Ladder twice, says these classes have helped him feel free to express himself. “I don’t feel judged,” Tafuna Faavesr says. “If I open up and just be who I want to be, my authentic self, I’m not being ridiculed by the next man or our instructors.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Faavesr says he’s learned to trust more in other people and make better decisions in the heat of the moment. Red Ladder’s Altree Piemme says there are exactly the results Red Ladder wants the prisoners to get out of the class. “When their creativity is handed back to them it opens up a whole new world to them,” Altree Piemme says. “And it gives them their selves back, gives them their humanity back,”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "An American Opera Impresario Takes His Final Bow",
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"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/481249440/482206919\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>In 1970, a young business school grad — and failed opera singer — named David Gockley landed a job as business manager of the Houston Grand Opera. After two years, at age 27, he moved up to general director.\u003c/p>\n\u003cp>Over the next 30 years, Gockley transformed the company into a hothouse for new and revived American opera. During his tenure in Houston, Gockley presented 35 world premieres, including John Adams’ \u003cem>Nixon in China\u003c/em>, Stewart Wallace’s \u003cem>Harvey Milk\u003c/em>, Leonard Bernstein’s \u003cem>A Quiet Place\u003c/em>, Mark Adamo’s \u003cem>Little Women\u003c/em> and three operas by Carlisle Floyd.\u003c/p>\n\u003cp>Gockley continued along the same path after moving to the San Francisco Opera in 2006. As general director he racked up more world premieres — Philip Glass’ Civil War drama \u003cem>Appomattox\u003c/em> and Christopher Theofanidis’ 9/11 story \u003cem>Heart of a Soldier\u003c/em>. A new opera from Bright Sheng, \u003cem>Dream of the Red Chamber\u003c/em>, debuts this fall, and Tuesday Gockley announced \u003cem>Girls of the Golden West\u003c/em>, an Adams opera premiering in November 2017.\u003c/p>\n\u003cp>Now this pioneering impresario is about to “pack it in,” as he says in the audio feature above. Gockley will retire in July. To mark the occasion, the San Francisco Opera is throwing a little party for him Thursday that will include a number of singers (“my kiddies”) whose careers he helped nurture, including \u003ca href=\"http://www.npr.org/artists/15656760/renee-fleming\" target=\"_blank\" rel=\"noopener\">Renée Fleming\u003c/a>, Susan Graham, Patricia Racette, René Pape and Dolora Zajick.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We asked Gockley to reminisce a little and tell a few stories about his early years and the great music he nurtured in Houston, beginning with his very first production of \u003ca href=\"http://www.boosey.com/pages/cr/composer/composer_main.asp?composerid=2810&ttype=BIOGRAPHY\" target=\"_blank\" rel=\"noopener\">Carlisle Floyd\u003c/a>‘s \u003cem>Susannah \u003c/em>in 1972. That opera convinced him “there was an opportunity to have an American opera repertoire.”\u003c/p>\n\u003cp>\u003cem>(Editor’s Note: There is one mildly objectional word used twice during the audio feature.) \u003c/em> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" link=\"none\" ids=\"11700679,11700688,11700687,11700686,11700685,11700684,11700680,11700681,11700693,11700692\"]\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=An+American+Opera+Impresario+Takes+His+Final+Bow&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/481249440/482206919\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>In 1970, a young business school grad — and failed opera singer — named David Gockley landed a job as business manager of the Houston Grand Opera. After two years, at age 27, he moved up to general director.\u003c/p>\n\u003cp>Over the next 30 years, Gockley transformed the company into a hothouse for new and revived American opera. During his tenure in Houston, Gockley presented 35 world premieres, including John Adams’ \u003cem>Nixon in China\u003c/em>, Stewart Wallace’s \u003cem>Harvey Milk\u003c/em>, Leonard Bernstein’s \u003cem>A Quiet Place\u003c/em>, Mark Adamo’s \u003cem>Little Women\u003c/em> and three operas by Carlisle Floyd.\u003c/p>\n\u003cp>Gockley continued along the same path after moving to the San Francisco Opera in 2006. As general director he racked up more world premieres — Philip Glass’ Civil War drama \u003cem>Appomattox\u003c/em> and Christopher Theofanidis’ 9/11 story \u003cem>Heart of a Soldier\u003c/em>. A new opera from Bright Sheng, \u003cem>Dream of the Red Chamber\u003c/em>, debuts this fall, and Tuesday Gockley announced \u003cem>Girls of the Golden West\u003c/em>, an Adams opera premiering in November 2017.\u003c/p>\n\u003cp>Now this pioneering impresario is about to “pack it in,” as he says in the audio feature above. Gockley will retire in July. To mark the occasion, the San Francisco Opera is throwing a little party for him Thursday that will include a number of singers (“my kiddies”) whose careers he helped nurture, including \u003ca href=\"http://www.npr.org/artists/15656760/renee-fleming\" target=\"_blank\" rel=\"noopener\">Renée Fleming\u003c/a>, Susan Graham, Patricia Racette, René Pape and Dolora Zajick.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We asked Gockley to reminisce a little and tell a few stories about his early years and the great music he nurtured in Houston, beginning with his very first production of \u003ca href=\"http://www.boosey.com/pages/cr/composer/composer_main.asp?composerid=2810&ttype=BIOGRAPHY\" target=\"_blank\" rel=\"noopener\">Carlisle Floyd\u003c/a>‘s \u003cem>Susannah \u003c/em>in 1972. That opera convinced him “there was an opportunity to have an American opera repertoire.”\u003c/p>\n\u003cp>\u003cem>(Editor’s Note: There is one mildly objectional word used twice during the audio feature.) \u003c/em> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The ever resourceful and itinerant Ubuntu Theater Project’s first move in staging \u003cem>Othello\u003c/em>, one of Shakespeare’s most horrific tragedies, is to encase it in beauty. At \u003ca href=\"http://www.emmetteilandorientalrugs.com/?gclid=Cj0KEQjw-YO7BRDwi6Stp7T296ABEiQAD6iWMaRUVCQl-uB5omnUAQuHMSd9-eBNYvP9_yM17GeItmcaAlUM8P8HAQ\" target=\"_blank\" rel=\"noopener\">Emmett Eiland’s Oriental Rug Company\u003c/a>, a Berkeley store selling Persian carpets and the like, the company has found not only a beautiful venue, but also one that possesses an epic sense of tranquility.\u003c/p>\n\u003cp>There are rugs everywhere, hanging from the walls like ancient tapestries, in huge piles behind the audience — as if the world we’ve entered were smothered in an abundance of treasure — and on the floor of the stage, where the actors glide over a complex mosaic of woven, abstract patterns.\u003c/p>\n\u003cp>The production is especially sharp in the first act, where Othello triumphs in spite of his race, navigating the complex political and social realities of a white, European Venice. Ronald Kirk’s Othello catches the swift intelligence and physical grace of a warrior who knows his way around power and how to bend it to his will.\u003c/p>\n\u003cp>The Duke of Venice summons Othello, his best general, for an important mission against the Turks and he’s ready. Immediately thereafter, surrounded by his father-in-law’s men and accused of defiling Desdemona — who he has secretly married — he commands the situation even in captivity. This Othello is like some cunning god descended from the heavens: every situation is a testament to his brilliance and excellence.\u003c/p>\n\u003cfigure id=\"attachment_11688353\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11688353\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Othello4-e1465954398943-800x450.jpg\" alt=\"Othello (Ronald Kirk) starts to lose his cool to Iago (Michael Navarra) in Ubuntu Theater Project's 'Othello.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello4-e1465954398943-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello4-e1465954398943-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello4-e1465954398943-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello4-e1465954398943-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello4-e1465954398943-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello4-e1465954398943-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Othello (Ronald Kirk) starts to lose his cool to Iago (Michael Navarra) in Ubuntu Theater Project’s ‘Othello.’ \u003ccite>(Photo: Courtesy of Ubuntu Theater Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Michael Socrates Moran’s direction is cinematic-fast. Soldiers slip along the periphery, Othello and Desdemona kiss in the background, Iago and Roderigo hide in the shadows and then erupt to the center of the stage. We’re in the street, now in the Senate, the piles of rugs behind the audience, a labyrinthine Venice of alleyways and canals. In the heady rush of Othello’s political and romantic victories, we almost forget how sickening this is all going to get.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And then the tragedy begins. Kirk, in a truly complex performance, seems to age 10 years between the first and second acts. The outsider cool of the Venetian scenes gives way to a clumsy vanity, a buffoon’s attempt at a pretended gravitas. Watch how this Othello is always vainly rearranging his scarf.\u003c/p>\n\u003cp>Kirk’s Othello and Michael Navarra’s Iago are excellent together and catch what’s most essential about the play: that these men are contrary aspects of the same soul. In the last image before the intermission, they stare at each other and embrace in a strange caress. It’s unclear whether they’re ready to fight, kiss, or console one another.\u003c/p>\n\u003cfigure id=\"attachment_11688350\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11688350\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Othello3-e1465953921165-800x450.jpg\" alt=\"Emilia (Sarita Ocon) has her say at the end of Ubuntu Theater Project's 'Othello.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello3-e1465953921165-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello3-e1465953921165-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello3-e1465953921165-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello3-e1465953921165-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello3-e1465953921165-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello3-e1465953921165-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emilia (Sarita Ocon) has her say at the end of Ubuntu Theater Project’s ‘Othello.’ \u003ccite>(Photo: Courtesy of Ubuntu Theater Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No matter how successful, neither of them seems capable of resting in the world. They can navigate it as Othello does in the first act and manipulate it as Iago does in the rest of the play. But there is no calm, only a roiling absence where a person should be. Both of these characters operate best as outsiders. And so Othello’s triumph becomes Iago’s opportunity. The mantle of cool slips from good to evil and we’re caught admiring a devil.\u003c/p>\n\u003cp>It’s one of Shakespeare’s wiliest ethical traps and finds perfect expression in Ubuntu’s social and aesthetic concerns. One of the pleasures of this young company is how seriously its members take the importance of the ensemble. They always get fine lead performances, but they are of a piece with the whole cast. Even the walk-ons perform with a ferocity equal to the stars and that gives Ubuntu productions, this \u003cem>Othello\u003c/em> included, a sense of completeness.\u003c/p>\n\u003cp>So when Othello and Iago grasp each other in the middle of the stage, we feel the pressure of the entire cast weighing down on them and feel the complexities of the play all the more acutely. Shakespeare’s shifty moral calculus and Ubuntu’s commitment to the group demand clarity. Conflict is never random, but rather the result of entire worlds and cultures.\u003c/p>\n\u003cp>As with the company’s recent stage adaptation of John Steinbeck’s \u003cem>Grapes of Wrath\u003c/em>, Ubuntu’s theatrical invention flags at times. And the production is somewhat marred by a weak Desdemona. Emilie Whelan is capable, but seems to be acting an interpretation rather than a person. Where the other leads stay in the moment, the actress seems too aware of Desdemona’s fate. As early as the first act, Whelan behaves as if she’s caught in a nightmare rather than embarking on the adventure of her life. It’s Desdemona’s belief in Othello’s goodness, not her dread of him, that sustains the character for most of the play.\u003c/p>\n\u003cp>Yet the production is consistently forceful. When we reach Othello’s murder of Desdemona and the long, strange scene that follows it, Moran and company come close to pulling off one of theater’s most brutally difficult scenes. As Othello slinks towards Desdemona’s bed to kill her, you realize that for at least an hour the ensemble has been working on Desdemona’s handkerchief, the false evidence that convinces Othello to murder his beloved wife.\u003c/p>\n\u003cp>What was once a slight piece of cloth is now around 30 feet long. The cast stretches it across the stage — about six feet above the bed — reframing the cavernous space into a harsh and unforgiving rectangle. Even though there is a vast and enticing world around the massive piece of fabric — the beauty and tranquility of all those hanging rugs — you know there is no way out of that room.\u003c/p>\n\u003cfigure id=\"attachment_11691987\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11691987\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Othello-6-e1466027774265-800x450.jpg\" alt=\"Things get wild for Emilia (Sarita Ocon) and the rest the cast in The Ubuntu Theater Project's 'Othello.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello-6-e1466027774265-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello-6-e1466027774265-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello-6-e1466027774265-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello-6-e1466027774265-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello-6-e1466027774265-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello-6-e1466027774265-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Things get wild for Emilia (Sarita Ocon) and the rest the cast in Ubuntu Theater Project’s ‘Othello.’ \u003ccite>(Photo: Courtesy of Ubuntu Theater Project))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This bit of theatrical magic allows Kirk’s Othello, Navarra’s Iago, and Sarita Ocon’s churning Emilia to take on the sharp shifts in focus that end this unnerving, ugly tragedy. As they snarl and lash out like wild animals in a cage, you think, yes, this is close to what must happen. I wouldn’t say that this \u003cem>Othello\u003c/em> is entirely successful, but it’s a thrilling, daring attempt nonetheless.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Othello\u003c/em> plays through Sunday, June 26 at Emmett Eiland’s Oriental Rug Company, Berkeley. For tickets and information please click \u003ca href=\"http://www.ubuntutheaterproject.com\">here\u003c/a>.\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The ever resourceful and itinerant Ubuntu Theater Project’s first move in staging \u003cem>Othello\u003c/em>, one of Shakespeare’s most horrific tragedies, is to encase it in beauty. At \u003ca href=\"http://www.emmetteilandorientalrugs.com/?gclid=Cj0KEQjw-YO7BRDwi6Stp7T296ABEiQAD6iWMaRUVCQl-uB5omnUAQuHMSd9-eBNYvP9_yM17GeItmcaAlUM8P8HAQ\" target=\"_blank\" rel=\"noopener\">Emmett Eiland’s Oriental Rug Company\u003c/a>, a Berkeley store selling Persian carpets and the like, the company has found not only a beautiful venue, but also one that possesses an epic sense of tranquility.\u003c/p>\n\u003cp>There are rugs everywhere, hanging from the walls like ancient tapestries, in huge piles behind the audience — as if the world we’ve entered were smothered in an abundance of treasure — and on the floor of the stage, where the actors glide over a complex mosaic of woven, abstract patterns.\u003c/p>\n\u003cp>The production is especially sharp in the first act, where Othello triumphs in spite of his race, navigating the complex political and social realities of a white, European Venice. Ronald Kirk’s Othello catches the swift intelligence and physical grace of a warrior who knows his way around power and how to bend it to his will.\u003c/p>\n\u003cp>The Duke of Venice summons Othello, his best general, for an important mission against the Turks and he’s ready. Immediately thereafter, surrounded by his father-in-law’s men and accused of defiling Desdemona — who he has secretly married — he commands the situation even in captivity. This Othello is like some cunning god descended from the heavens: every situation is a testament to his brilliance and excellence.\u003c/p>\n\u003cfigure id=\"attachment_11688353\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11688353\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Othello4-e1465954398943-800x450.jpg\" alt=\"Othello (Ronald Kirk) starts to lose his cool to Iago (Michael Navarra) in Ubuntu Theater Project's 'Othello.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello4-e1465954398943-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello4-e1465954398943-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello4-e1465954398943-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello4-e1465954398943-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello4-e1465954398943-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello4-e1465954398943-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Othello (Ronald Kirk) starts to lose his cool to Iago (Michael Navarra) in Ubuntu Theater Project’s ‘Othello.’ \u003ccite>(Photo: Courtesy of Ubuntu Theater Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Michael Socrates Moran’s direction is cinematic-fast. Soldiers slip along the periphery, Othello and Desdemona kiss in the background, Iago and Roderigo hide in the shadows and then erupt to the center of the stage. We’re in the street, now in the Senate, the piles of rugs behind the audience, a labyrinthine Venice of alleyways and canals. In the heady rush of Othello’s political and romantic victories, we almost forget how sickening this is all going to get.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And then the tragedy begins. Kirk, in a truly complex performance, seems to age 10 years between the first and second acts. The outsider cool of the Venetian scenes gives way to a clumsy vanity, a buffoon’s attempt at a pretended gravitas. Watch how this Othello is always vainly rearranging his scarf.\u003c/p>\n\u003cp>Kirk’s Othello and Michael Navarra’s Iago are excellent together and catch what’s most essential about the play: that these men are contrary aspects of the same soul. In the last image before the intermission, they stare at each other and embrace in a strange caress. It’s unclear whether they’re ready to fight, kiss, or console one another.\u003c/p>\n\u003cfigure id=\"attachment_11688350\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11688350\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Othello3-e1465953921165-800x450.jpg\" alt=\"Emilia (Sarita Ocon) has her say at the end of Ubuntu Theater Project's 'Othello.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello3-e1465953921165-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello3-e1465953921165-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello3-e1465953921165-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello3-e1465953921165-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello3-e1465953921165-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello3-e1465953921165-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emilia (Sarita Ocon) has her say at the end of Ubuntu Theater Project’s ‘Othello.’ \u003ccite>(Photo: Courtesy of Ubuntu Theater Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No matter how successful, neither of them seems capable of resting in the world. They can navigate it as Othello does in the first act and manipulate it as Iago does in the rest of the play. But there is no calm, only a roiling absence where a person should be. Both of these characters operate best as outsiders. And so Othello’s triumph becomes Iago’s opportunity. The mantle of cool slips from good to evil and we’re caught admiring a devil.\u003c/p>\n\u003cp>It’s one of Shakespeare’s wiliest ethical traps and finds perfect expression in Ubuntu’s social and aesthetic concerns. One of the pleasures of this young company is how seriously its members take the importance of the ensemble. They always get fine lead performances, but they are of a piece with the whole cast. Even the walk-ons perform with a ferocity equal to the stars and that gives Ubuntu productions, this \u003cem>Othello\u003c/em> included, a sense of completeness.\u003c/p>\n\u003cp>So when Othello and Iago grasp each other in the middle of the stage, we feel the pressure of the entire cast weighing down on them and feel the complexities of the play all the more acutely. Shakespeare’s shifty moral calculus and Ubuntu’s commitment to the group demand clarity. Conflict is never random, but rather the result of entire worlds and cultures.\u003c/p>\n\u003cp>As with the company’s recent stage adaptation of John Steinbeck’s \u003cem>Grapes of Wrath\u003c/em>, Ubuntu’s theatrical invention flags at times. And the production is somewhat marred by a weak Desdemona. Emilie Whelan is capable, but seems to be acting an interpretation rather than a person. Where the other leads stay in the moment, the actress seems too aware of Desdemona’s fate. As early as the first act, Whelan behaves as if she’s caught in a nightmare rather than embarking on the adventure of her life. It’s Desdemona’s belief in Othello’s goodness, not her dread of him, that sustains the character for most of the play.\u003c/p>\n\u003cp>Yet the production is consistently forceful. When we reach Othello’s murder of Desdemona and the long, strange scene that follows it, Moran and company come close to pulling off one of theater’s most brutally difficult scenes. As Othello slinks towards Desdemona’s bed to kill her, you realize that for at least an hour the ensemble has been working on Desdemona’s handkerchief, the false evidence that convinces Othello to murder his beloved wife.\u003c/p>\n\u003cp>What was once a slight piece of cloth is now around 30 feet long. The cast stretches it across the stage — about six feet above the bed — reframing the cavernous space into a harsh and unforgiving rectangle. Even though there is a vast and enticing world around the massive piece of fabric — the beauty and tranquility of all those hanging rugs — you know there is no way out of that room.\u003c/p>\n\u003cfigure id=\"attachment_11691987\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11691987\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Othello-6-e1466027774265-800x450.jpg\" alt=\"Things get wild for Emilia (Sarita Ocon) and the rest the cast in The Ubuntu Theater Project's 'Othello.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello-6-e1466027774265-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello-6-e1466027774265-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello-6-e1466027774265-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello-6-e1466027774265-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello-6-e1466027774265-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Othello-6-e1466027774265-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Things get wild for Emilia (Sarita Ocon) and the rest the cast in Ubuntu Theater Project’s ‘Othello.’ \u003ccite>(Photo: Courtesy of Ubuntu Theater Project))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This bit of theatrical magic allows Kirk’s Othello, Navarra’s Iago, and Sarita Ocon’s churning Emilia to take on the sharp shifts in focus that end this unnerving, ugly tragedy. As they snarl and lash out like wild animals in a cage, you think, yes, this is close to what must happen. I wouldn’t say that this \u003cem>Othello\u003c/em> is entirely successful, but it’s a thrilling, daring attempt nonetheless.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Othello\u003c/em> plays through Sunday, June 26 at Emmett Eiland’s Oriental Rug Company, Berkeley. For tickets and information please click \u003ca href=\"http://www.ubuntutheaterproject.com\">here\u003c/a>.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Dear Americans, queer people, Muslims, Latinos, Floridians, queer Floridian Muslim Latino Americans, people with souls, people with hearts, and people with brains:\u003c/p>\n\u003cp>This has been a rough week.\u003c/p>\n\u003cp>There's a thing that happens when it's your job to cover pop culture and something as unspeakably horrifying as the Orlando massacre takes place. It's a cousin to writer's block, but louder, and more like a vacuum -- an overwhelming, dog whistle-pitched white noise occupying the corner of your head usually reserved for germinating Hot Takes on Taylor Swift or \u003cem>Ghostbusters\u003c/em> or Peter Thiel. If it were a song with words, they would go \"How on \u003cem>Earth\u003c/em> am I supposed to write about this shit like it matters right now / dear god what is it that I actually do for a living / give up, retreat, crawl under the covers and do not move from the fetal position until the world stops seeming so dark and it feels okay to be entertained by \u003ca href=\"http://gawker.com/smash-mouths-desperate-endless-twitter-battle-1781910819\" target=\"_blank\">Smash Mouth's Twitter feed\u003c/a> again.\" (I never said it was catchy.)\u003c/p>\n\u003cp>And then, inevitably, slowly, the paralysis subsides. In its place, alongside righteous anger, is something softer. Something like: After you've cried and screamed and written letters to your congressperson and danced and drank and used whatever coping mechanisms you might personally use to try to make sense of something that's the very definition of senseless, there is a place and a purpose for silliness. Levity, entertainment, diversion -- stupidity, even -- they all have jobs.\u003c/p>\n\u003cp>There's a reason, after all, that \u003ca href=\"http://www.cbsnews.com/news/what-movies-mean-to-us-in-hard-times/\" target=\"_blank\">Hollywood enjoyed its first golden age during the worst of the Great Depression. \u003c/a>In the 14th century, when the bubonic plague was devastating Western Europe, people made up \u003cem>jousting\u003c/em>, for Christ's sake. I'm no expert, but archaeologists would probably tell you at least a few of mankind's earliest cave paintings, rendered by humans under constant threat of death by the elements or woolly mammoth, were essentially prehistoric Cathy cartoons.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It is with this preamble, and a strong feeling that a love of inanity can exist alongside deep reverence and grief, and also a strong feeling that some of you need to step away from Facebook comment arguments about the Second Amendment before you say things to relatives you later come to regret, that I present the following:\u003c/p>\n\u003cp>There is a circus at Fort Mason right now. It has been here for about a week, and it has five more scheduled performances before it is over. This circus features cats. Cats walking on tightropes. Cats pushing balls in an organized fashion. Cats playing in a motherf*cking rock 'n' roll band.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Q5Oko13Le44\u003c/p>\n\u003cp>I mean.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FnLcnak9vak\u003c/p>\n\u003cp>Here is some copy, which I have not edited, from the Amazing Acro-Cats' official \u003ca href=\"https://www.facebook.com/events/1567257286925425/\" target=\"_blank\">Facebook event page\u003c/a> for their time in San Francisco.\u003c/p>\n\u003cblockquote>\u003cp>The Amazing Acro-cats are a troupe of REAL house cats that jump and pounce into your heart! Reaching out to shelters in need and accepting cats found homeless in the streets, Samantha Martin has not only rescued her own cats but also have found homes for over 172 cats and kittens. Giving them a second chance with positive reinforcement-only clicker training, they take these amazing abilities on the road and tour the nation in the infamous Acro-cat Bus!\u003c/p>\n\u003cp>Ever see a cat walk a tightrope? Meow you can! Ever see someone's pet balance and roll on a ball across the floor? Come see it here and meow! OMG WHUT? - a cat riding a skateboard! But wait, there is so, so much more! The grand finale, presenting the ONLY ALL CAT BAND IN EXISTENCE - Tuna and the Rock Cats! The current band lineup is Tuna on Cowbell, Oz on guitar, Asti on Drums, and Nue on keyboard - Real cats purrforming with Real instruments have blown minds and educated audiences of all ages that CATS CAN ACTUALLY BE TRAINED!\u003c/p>\u003c/blockquote>\n\u003cp>https://www.youtube.com/watch?v=c4-i7PSzAfA\u003c/p>\n\u003cp>The Acro-Cats perform tonight, June 17, at 7pm; Saturday, June 18 at 3 and 7pm; and Sunday, June 19 at 1 and 5pm in the Southside Theatre at Fort Mason Center, Building D. Tickets are $25 - $35, and a portion of the proceeds go to benefit the nonprofit \u003ca href=\"http://www.cattownoakland.org/\" target=\"_blank\">Cat Town Oakland.\u003c/a> If you have further questions, the answers can probably be found on the excellent website\u003ca href=\"http://www.circuscats.com/\" target=\"_blank\"> CircusCats.com\u003c/a>. Please note said website is also worth a look even if you don't have questions.\u003c/p>\n\u003cp>With that: Happy Friday, friends. Take care of yourselves this weekend. Hold your loved ones close. And then, if you really love them, maybe take them to the cat circus.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dear Americans, queer people, Muslims, Latinos, Floridians, queer Floridian Muslim Latino Americans, people with souls, people with hearts, and people with brains:\u003c/p>\n\u003cp>This has been a rough week.\u003c/p>\n\u003cp>There's a thing that happens when it's your job to cover pop culture and something as unspeakably horrifying as the Orlando massacre takes place. It's a cousin to writer's block, but louder, and more like a vacuum -- an overwhelming, dog whistle-pitched white noise occupying the corner of your head usually reserved for germinating Hot Takes on Taylor Swift or \u003cem>Ghostbusters\u003c/em> or Peter Thiel. If it were a song with words, they would go \"How on \u003cem>Earth\u003c/em> am I supposed to write about this shit like it matters right now / dear god what is it that I actually do for a living / give up, retreat, crawl under the covers and do not move from the fetal position until the world stops seeming so dark and it feels okay to be entertained by \u003ca href=\"http://gawker.com/smash-mouths-desperate-endless-twitter-battle-1781910819\" target=\"_blank\">Smash Mouth's Twitter feed\u003c/a> again.\" (I never said it was catchy.)\u003c/p>\n\u003cp>And then, inevitably, slowly, the paralysis subsides. In its place, alongside righteous anger, is something softer. Something like: After you've cried and screamed and written letters to your congressperson and danced and drank and used whatever coping mechanisms you might personally use to try to make sense of something that's the very definition of senseless, there is a place and a purpose for silliness. Levity, entertainment, diversion -- stupidity, even -- they all have jobs.\u003c/p>\n\u003cp>There's a reason, after all, that \u003ca href=\"http://www.cbsnews.com/news/what-movies-mean-to-us-in-hard-times/\" target=\"_blank\">Hollywood enjoyed its first golden age during the worst of the Great Depression. \u003c/a>In the 14th century, when the bubonic plague was devastating Western Europe, people made up \u003cem>jousting\u003c/em>, for Christ's sake. I'm no expert, but archaeologists would probably tell you at least a few of mankind's earliest cave paintings, rendered by humans under constant threat of death by the elements or woolly mammoth, were essentially prehistoric Cathy cartoons.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It is with this preamble, and a strong feeling that a love of inanity can exist alongside deep reverence and grief, and also a strong feeling that some of you need to step away from Facebook comment arguments about the Second Amendment before you say things to relatives you later come to regret, that I present the following:\u003c/p>\n\u003cp>There is a circus at Fort Mason right now. It has been here for about a week, and it has five more scheduled performances before it is over. This circus features cats. Cats walking on tightropes. Cats pushing balls in an organized fashion. Cats playing in a motherf*cking rock 'n' roll band.\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/Q5Oko13Le44'\n title='//www.youtube.com/embed/Q5Oko13Le44'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I mean.\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/FnLcnak9vak'\n title='//www.youtube.com/embed/FnLcnak9vak'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Here is some copy, which I have not edited, from the Amazing Acro-Cats' official \u003ca href=\"https://www.facebook.com/events/1567257286925425/\" target=\"_blank\">Facebook event page\u003c/a> for their time in San Francisco.\u003c/p>\n\u003cblockquote>\u003cp>The Amazing Acro-cats are a troupe of REAL house cats that jump and pounce into your heart! Reaching out to shelters in need and accepting cats found homeless in the streets, Samantha Martin has not only rescued her own cats but also have found homes for over 172 cats and kittens. Giving them a second chance with positive reinforcement-only clicker training, they take these amazing abilities on the road and tour the nation in the infamous Acro-cat Bus!\u003c/p>\n\u003cp>Ever see a cat walk a tightrope? Meow you can! Ever see someone's pet balance and roll on a ball across the floor? Come see it here and meow! OMG WHUT? - a cat riding a skateboard! But wait, there is so, so much more! The grand finale, presenting the ONLY ALL CAT BAND IN EXISTENCE - Tuna and the Rock Cats! The current band lineup is Tuna on Cowbell, Oz on guitar, Asti on Drums, and Nue on keyboard - Real cats purrforming with Real instruments have blown minds and educated audiences of all ages that CATS CAN ACTUALLY BE TRAINED!\u003c/p>\u003c/blockquote>\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/c4-i7PSzAfA'\n title='//www.youtube.com/embed/c4-i7PSzAfA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Acro-Cats perform tonight, June 17, at 7pm; Saturday, June 18 at 3 and 7pm; and Sunday, June 19 at 1 and 5pm in the Southside Theatre at Fort Mason Center, Building D. Tickets are $25 - $35, and a portion of the proceeds go to benefit the nonprofit \u003ca href=\"http://www.cattownoakland.org/\" target=\"_blank\">Cat Town Oakland.\u003c/a> If you have further questions, the answers can probably be found on the excellent website\u003ca href=\"http://www.circuscats.com/\" target=\"_blank\"> CircusCats.com\u003c/a>. Please note said website is also worth a look even if you don't have questions.\u003c/p>\n\u003cp>With that: Happy Friday, friends. Take care of yourselves this weekend. Hold your loved ones close. And then, if you really love them, maybe take them to the cat circus.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
"link": "/podcasts/closealltabs",
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"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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},
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"id": "freakonomics-radio",
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"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"rss": "https://feeds.npr.org/510308/podcast.xml"
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"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.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"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",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
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