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"slug": "singing-about-san-franciscos-mission-district-and-how-to-save-it",
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"content": "\u003cp>\u003ca href=\"http://sfcmc.org/community-music-centers-world-premier-el-son-de-la-mision-celebrates-rich-mission-culture-district-faces-rapid-change/\" target=\"_blank\" rel=\"noopener\">El\u003c/a>\u003cem>\u003ca href=\"http://sfcmc.org/community-music-centers-world-premier-el-son-de-la-mision-celebrates-rich-mission-culture-district-faces-rapid-change/\" target=\"_blank\" rel=\"noopener\"> Son de la Misión\u003c/a>,\u003c/em> a new musical theater work, opens with a quote from an old Santana Latin rock number, and continues as a series of songs and stories highlighting 50 years of the Mission District’s history, from Latino enclave to hipster hangout. There’s doo-wop and soul, Latin jazz and salsa, rock \u003cem>en español\u003c/em>, and a rap track about the death of Mission and Bernal Heights native \u003ca href=\"https://justice4alexnieto.org/alex-story/\" target=\"_blank\" rel=\"noopener\">Alex Nieto,\u003c/a> killed by San Francisco police in 2014.\u003c/p>\n\u003cp>The Mission is at the center of the Bay Area’s growing fight over gentrification. And now the \u003ca href=\"http://sfcmc.org/?gclid=CNvyqqvGyMsCFZNgfgodC-QMbA\" target=\"_blank\" rel=\"noopener\">Community Music Center \u003c/a>(CMC), a Mission music school celebrating 95 years in the neighborhood, has commissioned a piece to tell some of that story. \u003cem>El Son de la Misión \u003c/em>plays at the \u003ca href=\"http://www.brava.org/current-shows/current-shows/el-son-de-la-mision/#.VusSP-IrKJA\" target=\"_blank\" rel=\"noopener\">Brava Theater Saturday, Mar. 19 and Sunday, Mar. 20.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11414791\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414791\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/006-800x495.jpg\" alt=\"Composer and music teacher John Calloway\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Composer and music teacher John Calloway \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s like a ballad, it’s a narrative,” says \u003cem>El Son\u003c/em> composer and musician \u003ca href=\"https://www.facebook.com/johncallowaymusic/\" target=\"_blank\" rel=\"noopener\">John Calloway\u003c/a>. He’s been teaching music to Mission kids at CMC and in east side high schools for 30 years. And many of the 45 singers and musicians in the show have been his students.\u003c/p>\n\u003cp>“The piece is meant to be a neighborhood gathering,” says Community Music Center’s program director Sylvia Sherman. “You see four generations transmitting culture. It’s like a large family.”\u003c/p>\n\u003cp>That family shares its pride in its musical heritage and its grievances over the way the community has changed in the past decade. “This is the perfect time to tell this story because of gentrification,” Calloway says. “Maybe it’s too strong to use genocide, but there are things happening right now in the Mission that are very alarming.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>El Son\u003c/em> features bits of the neighborhood’s history, both cultural and political, written and performed by longtime \u003ca href=\"http://news.sfsu.edu/news/experts/carlos-baron\" target=\"_blank\" rel=\"noopener\">SF State Theater professor Carlos Baron\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11414795\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414795\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/001-800x495.jpg\" alt=\"SF State Theater Professor Carlos Baron\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SF State Theater Professor Carlos Baron \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At one point in the piece, Baron explains how he too has been displaced by high rents in the Mission (he’s moved to Daly City), then offers a half-joking olive branch to the tech community often blamed for gentrifying the neighborhood. “We have to dance, we have to do stuff creatively in order to heal,” Baron says in the show. “Why not invite some hipsters to dance salsa, you know. It’s called \u003cem>La Rumba del Hipster\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_11414797\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414797\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/003-800x495.jpg\" alt=\"Carlos Baron and Ariceli Leon do the rumba in 'El Son de la Misión'\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Baron and Ariceli Leon do the rumba in ‘El Son de la Misión’ \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then Baron breaks into a rumba, with Araceli Leon, a 25 year old former student at CMC, born in the Mission and still living there.\u003c/p>\n\u003cp>Leon co-hosts \u003cem>El Son de la Misión. \u003c/em>She says\u003cem> \u003c/em>she thinks her old teachers’ concerns are right on. “Money is starting to speak way louder and taking over so much,” Leon says. “And the most important thing is we’re still here and the culture still remains.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s the point of the song cycle, say Leon, Baron, and Calloway, who’ve spent most of their lives in the Mission. They want their songs to teach the newest residents to respect the cultural mix that’s made this oldest neighborhood of the city such a special place.\u003c/p>\n\n",
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"excerpt": "'El Son de la Misión' tells the story of 50 years in the neighborhood, from barrio to hipster heaven.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://sfcmc.org/community-music-centers-world-premier-el-son-de-la-mision-celebrates-rich-mission-culture-district-faces-rapid-change/\" target=\"_blank\" rel=\"noopener\">El\u003c/a>\u003cem>\u003ca href=\"http://sfcmc.org/community-music-centers-world-premier-el-son-de-la-mision-celebrates-rich-mission-culture-district-faces-rapid-change/\" target=\"_blank\" rel=\"noopener\"> Son de la Misión\u003c/a>,\u003c/em> a new musical theater work, opens with a quote from an old Santana Latin rock number, and continues as a series of songs and stories highlighting 50 years of the Mission District’s history, from Latino enclave to hipster hangout. There’s doo-wop and soul, Latin jazz and salsa, rock \u003cem>en español\u003c/em>, and a rap track about the death of Mission and Bernal Heights native \u003ca href=\"https://justice4alexnieto.org/alex-story/\" target=\"_blank\" rel=\"noopener\">Alex Nieto,\u003c/a> killed by San Francisco police in 2014.\u003c/p>\n\u003cp>The Mission is at the center of the Bay Area’s growing fight over gentrification. And now the \u003ca href=\"http://sfcmc.org/?gclid=CNvyqqvGyMsCFZNgfgodC-QMbA\" target=\"_blank\" rel=\"noopener\">Community Music Center \u003c/a>(CMC), a Mission music school celebrating 95 years in the neighborhood, has commissioned a piece to tell some of that story. \u003cem>El Son de la Misión \u003c/em>plays at the \u003ca href=\"http://www.brava.org/current-shows/current-shows/el-son-de-la-mision/#.VusSP-IrKJA\" target=\"_blank\" rel=\"noopener\">Brava Theater Saturday, Mar. 19 and Sunday, Mar. 20.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11414791\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414791\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/006-800x495.jpg\" alt=\"Composer and music teacher John Calloway\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/006-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Composer and music teacher John Calloway \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s like a ballad, it’s a narrative,” says \u003cem>El Son\u003c/em> composer and musician \u003ca href=\"https://www.facebook.com/johncallowaymusic/\" target=\"_blank\" rel=\"noopener\">John Calloway\u003c/a>. He’s been teaching music to Mission kids at CMC and in east side high schools for 30 years. And many of the 45 singers and musicians in the show have been his students.\u003c/p>\n\u003cp>“The piece is meant to be a neighborhood gathering,” says Community Music Center’s program director Sylvia Sherman. “You see four generations transmitting culture. It’s like a large family.”\u003c/p>\n\u003cp>That family shares its pride in its musical heritage and its grievances over the way the community has changed in the past decade. “This is the perfect time to tell this story because of gentrification,” Calloway says. “Maybe it’s too strong to use genocide, but there are things happening right now in the Mission that are very alarming.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>El Son\u003c/em> features bits of the neighborhood’s history, both cultural and political, written and performed by longtime \u003ca href=\"http://news.sfsu.edu/news/experts/carlos-baron\" target=\"_blank\" rel=\"noopener\">SF State Theater professor Carlos Baron\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11414795\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414795\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/001-800x495.jpg\" alt=\"SF State Theater Professor Carlos Baron\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-1920x1187.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/001-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SF State Theater Professor Carlos Baron \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At one point in the piece, Baron explains how he too has been displaced by high rents in the Mission (he’s moved to Daly City), then offers a half-joking olive branch to the tech community often blamed for gentrifying the neighborhood. “We have to dance, we have to do stuff creatively in order to heal,” Baron says in the show. “Why not invite some hipsters to dance salsa, you know. It’s called \u003cem>La Rumba del Hipster\u003c/em>.”\u003c/p>\n\u003cfigure id=\"attachment_11414797\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414797\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/003-800x495.jpg\" alt=\"Carlos Baron and Ariceli Leon do the rumba in 'El Son de la Misión'\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/003-960x594.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carlos Baron and Ariceli Leon do the rumba in ‘El Son de la Misión’ \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then Baron breaks into a rumba, with Araceli Leon, a 25 year old former student at CMC, born in the Mission and still living there.\u003c/p>\n\u003cp>Leon co-hosts \u003cem>El Son de la Misión. \u003c/em>She says\u003cem> \u003c/em>she thinks her old teachers’ concerns are right on. “Money is starting to speak way louder and taking over so much,” Leon says. “And the most important thing is we’re still here and the culture still remains.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s the point of the song cycle, say Leon, Baron, and Calloway, who’ve spent most of their lives in the Mission. They want their songs to teach the newest residents to respect the cultural mix that’s made this oldest neighborhood of the city such a special place.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Rachel Bonds’ \u003cem>Swimmers\u003c/em>, premiering at the \u003ca href=\"http://www.marintheatre.org/productions/swimmers\" target=\"_blank\" rel=\"noopener\">Marin Theatre Company\u003c/a> under Mike Donahue’s alert direction, is the best of a limited type of play. We might say that it springs from the genre of tiny hurts and humane gestures—the sweet spot between Chekhov and a Hallmark card.\u003c/p>\n\u003cp>\u003cem>Swimmers\u003c/em> follows the travails of 11 workers in what appears to be a growing and successful sales company. They’re all suffering—death, divorce, alcohol, unrequited love. It’s a standard list of disappointments. Of course, we know that what these employees truly need is care, and sometimes nothing more than a simple show of concern. Gentleness, in all its guises, is the guiding aesthetic here.\u003c/p>\n\u003cp>The theme of human disappointment and redemption is usually the province of domestic dramas: all families are cauldrons of low key disasters and the steady love needed to repair them. In shifting the setting from the home to the office, \u003cem>Swimmers\u003c/em> reorders our perception of suffering and its remedies. The rhythms of work lack the blunt force trauma of familial relations, and so what we feel is both less fraught but harder to get hold of—this slippery quality lends the play a touch of menace and that’s nice.\u003c/p>\n\u003cp>The play’s most unnerving scene is between Vivian (Kristen Villanueva), a young intern who has filed a sexual harassment suit against the COO\u003cstrong>,\u003c/strong> and Dennis (Adam Andrianopoulous), an overly friendly and fat executive. Bonds never lets us know anything significant about Dennis or what motivates him. Over the course of the scene, it feels as if he’s trying to entrap Vivian, charm her, and mentor her all at once. That Vivian kind of enjoys these vague entreaties to friendship or more is also without explanation—what is she feeling when she laughs at him with such abandon?\u003c/p>\n\u003cp>These are mysteries that Bonds never reveals. She forces us to use our imagination and test our own sense of ethics and desire, of whether Vivian should find Dennis’s inappropriate jokes and just-below-the-surface flirting a source of solace or greater anxiety. It’s hard to tell what’s happening and so the world becomes more complex and worth thinking about. One might say that the desire to heal and be healed is only truly felt in slight hopes and confused motives. It’s a wonderful scene.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Compare this to Julia Cho’s \u003cem>Aubergine\u003c/em>, currently playing at the \u003ca href=\"http://www.berkeleyrep.org/season/1516/9312.asp\" target=\"_blank\" rel=\"noopener\">Berkeley Repertory Theatre\u003c/a>. That drama has a similar feel. Yet, it’s not nearly as successful or ambitious as what Bonds achieves with \u003cem>Swimmers\u003c/em>. Plays like \u003cem>Aubergine\u003c/em>—and they are legion—are desperate to usher spiritually damaged people into the ranks of the blessed and healed. It’s a kind of ersatz Christianity for the lazy. \u003cem>Swimmers\u003c/em> is sharper and less rote. Yet for all its positive qualities, Bonds’ writing suffers from the same need to over explain its way to salvation, even when the results should be tragic, or at least emotionally wrenching. It’s amazing how often the dramatist veers from necessary devastations.\u003c/p>\n\u003cfigure id=\"attachment_11410495\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11410495 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Swimmers2edit.jpg\" alt=\"Priya (Jolly Abraham) thinks about the future. Photo: Keven Berne.\" width=\"640\" height=\"340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Swimmers2edit.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Swimmers2edit-400x213.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Priya (Jolly Abraham) thinks about the future. Photo: Keven Berne.\u003c/figcaption>\u003c/figure>\n\u003cp>So, for instance, Priya, secretly in love with her co-worker Tom, has just come from the dentist where she has two cavities and is teased by another co-worker, Randy, for “eating whole cups full of Reese’s Pieces.” Later, while confessing to Tom that she loves him, she manically eats one after another as he gently rejects her overtures. This should be awful, a minor key version of the Doctor’s rejection of Sonya in Chekhov’s \u003cem>Uncle Vanya\u003c/em>. But the candy overtakes the scene and the symmetry of the joke (its set up and resolution) turns Priya’s despair into a punch line, rather than what it should be—an explosion of feeling and its irresolution.\u003c/p>\n\u003cp>Throughout, most of \u003cem>Swimmers’ \u003c/em>architecture trumps character and action, and does so precisely at the moments when Bonds writes with efficiency and clarity. You can sense an artist trying to escape the straight jacket of fine playwriting and slip into more mysterious realms, where salvation, understanding, and healing are not so mechanically achieved, and characters laugh for reasons beyond our understanding, but not our fascination.\u003c/p>\n\u003cp>I feel haunted by plays like \u003cem>Swimmers\u003c/em> — one might group it with most of the work of Landford Wilson, Wendy Wasserstein, Paula Vogel, A.R. Gurney, and all their ilk — the gentle ones. These playwrights’ desire to find ways to overcome everyday pain is commendable and their work is often wildly popular with audiences. Yet, for my tastes, they explain too much and think and feel too little.\u003c/p>\n\u003cp>You can sense the lack of trust they have in audiences, as if no moment should go by that isn’t prepared for and explained. Nothing ever just happens. They contain and tame suffering—in homilies, jokes, and the well-worn rhythms of the television sitcom. They demand that we put our imaginations aside, aesthetically, politically, and ethically. But why else gather in a theater?\u003c/p>\n\u003cp>One could say that Bonds is a promising writer and that would be true—she’s a step up from most of her peers. And yet I keep thinking of Chekhov’s \u003cem>Uncle Vanya\u003c/em>, and the terror of the unrequited love that seizes the plain Sonya and wrests her of every hope except death and the promise of God’s love and embrace. I’m not asking for or expecting that type of greatness. I just ask that we do not run from it, that we give ourselves the chance to experience the beauty and gentle touch of an unsparing brutality.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"VANYA FINALE\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/nDbESHU4MBg?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>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Swimmers\u003c/em> runs through Sunday, Mar. 27 at the Marin Theatre Company in Mill Valley. For more information and tickets go to www.marintheatre.org.\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rachel Bonds’ \u003cem>Swimmers\u003c/em>, premiering at the \u003ca href=\"http://www.marintheatre.org/productions/swimmers\" target=\"_blank\" rel=\"noopener\">Marin Theatre Company\u003c/a> under Mike Donahue’s alert direction, is the best of a limited type of play. We might say that it springs from the genre of tiny hurts and humane gestures—the sweet spot between Chekhov and a Hallmark card.\u003c/p>\n\u003cp>\u003cem>Swimmers\u003c/em> follows the travails of 11 workers in what appears to be a growing and successful sales company. They’re all suffering—death, divorce, alcohol, unrequited love. It’s a standard list of disappointments. Of course, we know that what these employees truly need is care, and sometimes nothing more than a simple show of concern. Gentleness, in all its guises, is the guiding aesthetic here.\u003c/p>\n\u003cp>The theme of human disappointment and redemption is usually the province of domestic dramas: all families are cauldrons of low key disasters and the steady love needed to repair them. In shifting the setting from the home to the office, \u003cem>Swimmers\u003c/em> reorders our perception of suffering and its remedies. The rhythms of work lack the blunt force trauma of familial relations, and so what we feel is both less fraught but harder to get hold of—this slippery quality lends the play a touch of menace and that’s nice.\u003c/p>\n\u003cp>The play’s most unnerving scene is between Vivian (Kristen Villanueva), a young intern who has filed a sexual harassment suit against the COO\u003cstrong>,\u003c/strong> and Dennis (Adam Andrianopoulous), an overly friendly and fat executive. Bonds never lets us know anything significant about Dennis or what motivates him. Over the course of the scene, it feels as if he’s trying to entrap Vivian, charm her, and mentor her all at once. That Vivian kind of enjoys these vague entreaties to friendship or more is also without explanation—what is she feeling when she laughs at him with such abandon?\u003c/p>\n\u003cp>These are mysteries that Bonds never reveals. She forces us to use our imagination and test our own sense of ethics and desire, of whether Vivian should find Dennis’s inappropriate jokes and just-below-the-surface flirting a source of solace or greater anxiety. It’s hard to tell what’s happening and so the world becomes more complex and worth thinking about. One might say that the desire to heal and be healed is only truly felt in slight hopes and confused motives. It’s a wonderful scene.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Compare this to Julia Cho’s \u003cem>Aubergine\u003c/em>, currently playing at the \u003ca href=\"http://www.berkeleyrep.org/season/1516/9312.asp\" target=\"_blank\" rel=\"noopener\">Berkeley Repertory Theatre\u003c/a>. That drama has a similar feel. Yet, it’s not nearly as successful or ambitious as what Bonds achieves with \u003cem>Swimmers\u003c/em>. Plays like \u003cem>Aubergine\u003c/em>—and they are legion—are desperate to usher spiritually damaged people into the ranks of the blessed and healed. It’s a kind of ersatz Christianity for the lazy. \u003cem>Swimmers\u003c/em> is sharper and less rote. Yet for all its positive qualities, Bonds’ writing suffers from the same need to over explain its way to salvation, even when the results should be tragic, or at least emotionally wrenching. It’s amazing how often the dramatist veers from necessary devastations.\u003c/p>\n\u003cfigure id=\"attachment_11410495\" class=\"wp-caption alignnone\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11410495 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Swimmers2edit.jpg\" alt=\"Priya (Jolly Abraham) thinks about the future. Photo: Keven Berne.\" width=\"640\" height=\"340\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Swimmers2edit.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Swimmers2edit-400x213.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Priya (Jolly Abraham) thinks about the future. Photo: Keven Berne.\u003c/figcaption>\u003c/figure>\n\u003cp>So, for instance, Priya, secretly in love with her co-worker Tom, has just come from the dentist where she has two cavities and is teased by another co-worker, Randy, for “eating whole cups full of Reese’s Pieces.” Later, while confessing to Tom that she loves him, she manically eats one after another as he gently rejects her overtures. This should be awful, a minor key version of the Doctor’s rejection of Sonya in Chekhov’s \u003cem>Uncle Vanya\u003c/em>. But the candy overtakes the scene and the symmetry of the joke (its set up and resolution) turns Priya’s despair into a punch line, rather than what it should be—an explosion of feeling and its irresolution.\u003c/p>\n\u003cp>Throughout, most of \u003cem>Swimmers’ \u003c/em>architecture trumps character and action, and does so precisely at the moments when Bonds writes with efficiency and clarity. You can sense an artist trying to escape the straight jacket of fine playwriting and slip into more mysterious realms, where salvation, understanding, and healing are not so mechanically achieved, and characters laugh for reasons beyond our understanding, but not our fascination.\u003c/p>\n\u003cp>I feel haunted by plays like \u003cem>Swimmers\u003c/em> — one might group it with most of the work of Landford Wilson, Wendy Wasserstein, Paula Vogel, A.R. Gurney, and all their ilk — the gentle ones. These playwrights’ desire to find ways to overcome everyday pain is commendable and their work is often wildly popular with audiences. Yet, for my tastes, they explain too much and think and feel too little.\u003c/p>\n\u003cp>You can sense the lack of trust they have in audiences, as if no moment should go by that isn’t prepared for and explained. Nothing ever just happens. They contain and tame suffering—in homilies, jokes, and the well-worn rhythms of the television sitcom. They demand that we put our imaginations aside, aesthetically, politically, and ethically. But why else gather in a theater?\u003c/p>\n\u003cp>One could say that Bonds is a promising writer and that would be true—she’s a step up from most of her peers. And yet I keep thinking of Chekhov’s \u003cem>Uncle Vanya\u003c/em>, and the terror of the unrequited love that seizes the plain Sonya and wrests her of every hope except death and the promise of God’s love and embrace. I’m not asking for or expecting that type of greatness. I just ask that we do not run from it, that we give ourselves the chance to experience the beauty and gentle touch of an unsparing brutality.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"VANYA FINALE\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/nDbESHU4MBg?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>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Swimmers\u003c/em> runs through Sunday, Mar. 27 at the Marin Theatre Company in Mill Valley. For more information and tickets go to www.marintheatre.org.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Q: What’s special about the elevator at Bloomingdales?\u003c/em>\u003cbr>\n\u003cem> A: It’s the only thing a Jewish girl will go down on.\u003c/em>\u003c/p>\n\u003cp>Jews have been parting their lips since long before the parting of the Red Sea, and have a sense of humor that’s kinkier than a rabbi’s sidelocks. So it makes perfect sense for the \u003ca href=\"https://www.jccsf.org\" target=\"_blank\" rel=\"noopener\">Jewish Community Center of San Francisco\u003c/a> (JCCSF) to peek under the covers of the Jewish sexual experience in \u003cem>\u003ca href=\"https://www.jccsf.org/arts-ideas/uninhibited\" target=\"_blank\" rel=\"noopener\">Uninhibited About Sex\u003c/a>\u003c/em> — a new series of performances, lectures and workshops that runs through the end of May.\u003c/p>\n\u003cp>“Jews are some of the sexiest people around and good healthy sex is a Jewish value for sure,” says Barbara Lane, director of the JCCSF’s Arts & Ideas program. “If this helps get people out of their heads and into their bodies, then far out.”\u003c/p>\n\u003cfigure id=\"attachment_11414654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414654\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-800x554.jpg\" alt=\"Miss Dirty Martini, a performer in ‘Take It Off! Burlesque’, part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-400x277.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-1180x817.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-1920x1329.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-960x665.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miss Dirty Martini, a performer in ‘Take It Off! Burlesque’, part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \u003ccite>(Photo: Leland Bobbe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The action begins on Friday, Mar. 18 with \u003cem>Take it Off! The New Burlesque\u003c/em>, a spicy revue featuring, among other attributes, a pogo striptease act and some of the burlesque scene’s most vivacious exponents like Miss Dirty Martini, Julie Atlas Muz, Miss Harvest Moon, Roky Roulette and Kitten on the Keys.\u003c/p>\n\u003cp>Sex columnist Dan Savage makes an appearance on Monday, Mar. 21, and on Thursday, Mar. 24, JCCSF presents an evening of bawdy storytelling in which a lineup of creative types share sundry sexploits alongside live music and an activity called “Bang-o!” which, allegedly “dares to go where Bingo does not.”\u003c/p>\n\u003cfigure id=\"attachment_11414787\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414787\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Bawdy-Storytelling_image1-Photo-by-Neuroptik-Photography-800x534.jpg\" alt=\"‘Bawdy Storytelling,’ part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \" width=\"800\" height=\"534\">\u003cfigcaption class=\"wp-caption-text\">‘Bawdy Storytelling,’ part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \u003ccite>(Photo: Neuroptik Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In April, the series continues with, among other come-hither curiosities, a night of romantic music from the folks at the ever-inventive \u003cem>UnderCover Presents\u003c/em> series. But don’t worry: Lionel Ritchie’s “Hello” might have been selected by \u003cem>The New York Times\u003c/em> as one of “\u003ca href=\"http://www.nytimes.com/interactive/2016/03/10/magazine/25-songs-that-tell-us-where-music-is-going.html\" target=\"_blank\" rel=\"noopener\">25 songs that tell us where music is going\u003c/a>,” but the mawkish ’80s ballad is unlikely to make an appearance at this evening of cover songs to kiss to. And there’s also an intriguing evening later in the month devoted to animal reproduction involving “dinosaur misogyny, female octopi capable of killing males during intercourse, a homosexual flamingo couple, and promiscuous pandas” hosted by zoologist and BBC broadcaster Jules Howard.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think it’s racy,” Lane says of the entire \u003cem>Uninhibited About Sex\u003c/em> program. “But it’s also responsible. We’re not being salacious just to be salacious. Hopefully we’re being informative and educational.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://www.jccsf.org/arts-ideas/uninhibited\" target=\"_blank\" rel=\"noopener\">Uninhibited About Sex\u003c/a>\u003c/em> runs through Tuesday, May 31 at the Jewish Community Center of San Francisco. For more information, \u003ca href=\"https://www.jccsf.org/arts-ideas/uninhibited\" target=\"_blank\" rel=\"noopener\">go here.\u003c/a>\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Q: What’s special about the elevator at Bloomingdales?\u003c/em>\u003cbr>\n\u003cem> A: It’s the only thing a Jewish girl will go down on.\u003c/em>\u003c/p>\n\u003cp>Jews have been parting their lips since long before the parting of the Red Sea, and have a sense of humor that’s kinkier than a rabbi’s sidelocks. So it makes perfect sense for the \u003ca href=\"https://www.jccsf.org\" target=\"_blank\" rel=\"noopener\">Jewish Community Center of San Francisco\u003c/a> (JCCSF) to peek under the covers of the Jewish sexual experience in \u003cem>\u003ca href=\"https://www.jccsf.org/arts-ideas/uninhibited\" target=\"_blank\" rel=\"noopener\">Uninhibited About Sex\u003c/a>\u003c/em> — a new series of performances, lectures and workshops that runs through the end of May.\u003c/p>\n\u003cp>“Jews are some of the sexiest people around and good healthy sex is a Jewish value for sure,” says Barbara Lane, director of the JCCSF’s Arts & Ideas program. “If this helps get people out of their heads and into their bodies, then far out.”\u003c/p>\n\u003cfigure id=\"attachment_11414654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414654\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-800x554.jpg\" alt=\"Miss Dirty Martini, a performer in ‘Take It Off! Burlesque’, part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-400x277.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-1180x817.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-1920x1329.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Burlesque-Miss-Dirty-Martini_2_credit-Leland-Bobbe-e1458244079701-960x665.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miss Dirty Martini, a performer in ‘Take It Off! Burlesque’, part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \u003ccite>(Photo: Leland Bobbe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The action begins on Friday, Mar. 18 with \u003cem>Take it Off! The New Burlesque\u003c/em>, a spicy revue featuring, among other attributes, a pogo striptease act and some of the burlesque scene’s most vivacious exponents like Miss Dirty Martini, Julie Atlas Muz, Miss Harvest Moon, Roky Roulette and Kitten on the Keys.\u003c/p>\n\u003cp>Sex columnist Dan Savage makes an appearance on Monday, Mar. 21, and on Thursday, Mar. 24, JCCSF presents an evening of bawdy storytelling in which a lineup of creative types share sundry sexploits alongside live music and an activity called “Bang-o!” which, allegedly “dares to go where Bingo does not.”\u003c/p>\n\u003cfigure id=\"attachment_11414787\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11414787\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Bawdy-Storytelling_image1-Photo-by-Neuroptik-Photography-800x534.jpg\" alt=\"‘Bawdy Storytelling,’ part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \" width=\"800\" height=\"534\">\u003cfigcaption class=\"wp-caption-text\">‘Bawdy Storytelling,’ part of the Jewish Community Center’s ‘Uninhibited About Sex’ series \u003ccite>(Photo: Neuroptik Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In April, the series continues with, among other come-hither curiosities, a night of romantic music from the folks at the ever-inventive \u003cem>UnderCover Presents\u003c/em> series. But don’t worry: Lionel Ritchie’s “Hello” might have been selected by \u003cem>The New York Times\u003c/em> as one of “\u003ca href=\"http://www.nytimes.com/interactive/2016/03/10/magazine/25-songs-that-tell-us-where-music-is-going.html\" target=\"_blank\" rel=\"noopener\">25 songs that tell us where music is going\u003c/a>,” but the mawkish ’80s ballad is unlikely to make an appearance at this evening of cover songs to kiss to. And there’s also an intriguing evening later in the month devoted to animal reproduction involving “dinosaur misogyny, female octopi capable of killing males during intercourse, a homosexual flamingo couple, and promiscuous pandas” hosted by zoologist and BBC broadcaster Jules Howard.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think it’s racy,” Lane says of the entire \u003cem>Uninhibited About Sex\u003c/em> program. “But it’s also responsible. We’re not being salacious just to be salacious. Hopefully we’re being informative and educational.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>\u003ca href=\"https://www.jccsf.org/arts-ideas/uninhibited\" target=\"_blank\" rel=\"noopener\">Uninhibited About Sex\u003c/a>\u003c/em> runs through Tuesday, May 31 at the Jewish Community Center of San Francisco. For more information, \u003ca href=\"https://www.jccsf.org/arts-ideas/uninhibited\" target=\"_blank\" rel=\"noopener\">go here.\u003c/a>\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Fun Home,\u003c/em> the first Broadway musical with a lesbian protagonist, is coming to San Francisco. \u003c/p>\n\u003cp>The musical is based on an award winning graphic novel — really a memoir — by Alison Bechdel. The Tony wining musical adaptation of the novel, with music by \u003ca href=\"http://www.masterworksbroadway.com/artist/jeanine-tesori/\" target=\"_blank\" rel=\"noopener\">Jeanine Tesori \u003c/a>and lyrics and book by \u003ca href=\"http://PLmdYg8hpYRaGZ\" target=\"_blank\" rel=\"noopener\">Lisa Kron\u003c/a>, will be the first production for the reopened \u003ca href=\"http://sfcurran.com/\" target=\"_blank\" rel=\"noopener\">Curran Theatre\u003c/a> in January of 2017.\u003c/p>\n\u003cp>Promoter Carol Shorenstein Hays announced the booking Monday evening at an event at the Curran, now undergoing renovation, featuring the musical’s principal creators: Bechdel, Tesori, Kron, and director Sam Gold.\u003c/p>\n\u003cfigure id=\"attachment_11407162\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11407162\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/IMG_3141-800x586.jpg\" alt=\"Curran Theatre owner Carol Shorenstein Hays\" width=\"800\" height=\"586\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_3141-800x586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_3141-400x293.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_3141-768x562.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_3141-1180x864.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_3141-1920x1405.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_3141-960x703.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Curran Theatre owner Carol Shorenstein Hays \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hays said \u003cem>Fun Home\u003c/em> is the kind of work she hopes to showcase at the Curran: “Brave and bold.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=USae9nIwqhk\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The book and the musical tell the story of Bechdel’s dysfunctional family, her relationship with her closeted gay father and her own recognition as a teenager that she was gay. Bechdel is also famous for her work on the comic strip \u003cem>\u003ca href=\"http://dykestowatchoutfor.com/\" target=\"_blank\" rel=\"noopener\">Dykes to Watch Out For\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>“I don’t think this (play) could have happened 10 years ago,” Bechdel said. “People weren’t ready for a queer story (on Broadway).”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And yes, by the way, Alison Bechdel and her friend Liz Wallace are responsible for what’s known as the Bechdel-Wallace test, where a work of fiction, usually a movie, is judged on whether it features at least two women who talk to each other about something other than a man. \u003cem>Fun Home\u003c/em> passes the test.\u003c/p>\n\n",
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"headline": "First Broadway Musical with Lesbian Hero Coming to San Francisco",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Fun Home,\u003c/em> the first Broadway musical with a lesbian protagonist, is coming to San Francisco. \u003c/p>\n\u003cp>The musical is based on an award winning graphic novel — really a memoir — by Alison Bechdel. The Tony wining musical adaptation of the novel, with music by \u003ca href=\"http://www.masterworksbroadway.com/artist/jeanine-tesori/\" target=\"_blank\" rel=\"noopener\">Jeanine Tesori \u003c/a>and lyrics and book by \u003ca href=\"http://PLmdYg8hpYRaGZ\" target=\"_blank\" rel=\"noopener\">Lisa Kron\u003c/a>, will be the first production for the reopened \u003ca href=\"http://sfcurran.com/\" target=\"_blank\" rel=\"noopener\">Curran Theatre\u003c/a> in January of 2017.\u003c/p>\n\u003cp>Promoter Carol Shorenstein Hays announced the booking Monday evening at an event at the Curran, now undergoing renovation, featuring the musical’s principal creators: Bechdel, Tesori, Kron, and director Sam Gold.\u003c/p>\n\u003cfigure id=\"attachment_11407162\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11407162\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/IMG_3141-800x586.jpg\" alt=\"Curran Theatre owner Carol Shorenstein Hays\" width=\"800\" height=\"586\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_3141-800x586.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_3141-400x293.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_3141-768x562.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_3141-1180x864.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_3141-1920x1405.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/IMG_3141-960x703.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Curran Theatre owner Carol Shorenstein Hays \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hays said \u003cem>Fun Home\u003c/em> is the kind of work she hopes to showcase at the Curran: “Brave and bold.”\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/USae9nIwqhk'\n title='//www.youtube.com/embed/USae9nIwqhk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The book and the musical tell the story of Bechdel’s dysfunctional family, her relationship with her closeted gay father and her own recognition as a teenager that she was gay. Bechdel is also famous for her work on the comic strip \u003cem>\u003ca href=\"http://dykestowatchoutfor.com/\" target=\"_blank\" rel=\"noopener\">Dykes to Watch Out For\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>“I don’t think this (play) could have happened 10 years ago,” Bechdel said. “People weren’t ready for a queer story (on Broadway).”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And yes, by the way, Alison Bechdel and her friend Liz Wallace are responsible for what’s known as the Bechdel-Wallace test, where a work of fiction, usually a movie, is judged on whether it features at least two women who talk to each other about something other than a man. \u003cem>Fun Home\u003c/em> passes the test.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>President Barack Obama admits he was a little surprised when he first heard founding father Alexander Hamilton described as embodying hip-hop.\u003c/p>\n\u003cp>But he says \u003cem>Hamilton\u003c/em> has become a favorite in the Obama household.\u003c/p>\n\u003cp>Obama and first lady Michelle Obama welcomed members of the show’s cast to perform at the White House on Monday.\u003c/p>\n\u003cp>The story of \u003cem>Hamilton\u003c/em> is told by a young African-American and Latino cast and has a varied score that ranges from pop ballads to sexy R&B to rap battles.\u003c/p>\n\u003cp>Obama says the story is about an immigrant who escapes poverty and rises to the top through hard work and determination. He says the show brings unlikely folks together and is jokingly encouraging the creators to create a show about Congress.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>Watch a snippet of the event below:\u003c/i>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=813TsTwDMeU\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>President Barack Obama admits he was a little surprised when he first heard founding father Alexander Hamilton described as embodying hip-hop.\u003c/p>\n\u003cp>But he says \u003cem>Hamilton\u003c/em> has become a favorite in the Obama household.\u003c/p>\n\u003cp>Obama and first lady Michelle Obama welcomed members of the show’s cast to perform at the White House on Monday.\u003c/p>\n\u003cp>The story of \u003cem>Hamilton\u003c/em> is told by a young African-American and Latino cast and has a varied score that ranges from pop ballads to sexy R&B to rap battles.\u003c/p>\n\u003cp>Obama says the story is about an immigrant who escapes poverty and rises to the top through hard work and determination. He says the show brings unlikely folks together and is jokingly encouraging the creators to create a show about Congress.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Watch a snippet of the event below:\u003c/i>\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/813TsTwDMeU'\n title='//www.youtube.com/embed/813TsTwDMeU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you Google “what do the women say?”, you get a fever of listicles like “\u003ca href=\"http://wallstreetinsanity.com/30-things-women-say-and-what-they-really-mean/\" target=\"_blank\" rel=\"noopener\">30 Things Women Say And What They Really Mean\u003c/a>” and “\u003ca href=\"http://list25.com/25-things-women-say-that-men-misunderstand/\" target=\"_blank\" rel=\"noopener\">25 Things Women Say That Men Misunderstand\u003c/a>”.\u003c/p>\n\u003cp>Undeterred by such inanities, \u003ca href=\"http://www.goldenthread.org/\" target=\"_blank\" rel=\"noopener\">Golden Thread Productions\u003c/a>’ annual International Women’s Day Celebration on Saturday, Mar. 12 at the La Peña Cultural Center in Berkeley — titled \u003cem>What do the Women Say?\u003c/em> — tackles the question in a much more spiritual and creative way.\u003c/p>\n\u003cp>Previous iterations of this one-day festival devoted, since 2011, to exploring the work of Middle Eastern women artists have focused on such themes as activism, sex and sexuality, and female solo performers. This year, the topic is Bay Area women artists who build community through their art.\u003c/p>\n\u003cfigure id=\"attachment_11394570\" class=\"wp-caption aligncenter\" style=\"max-width: 978px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11394570 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790.png\" alt=\"The Aswat Women’s Ensemble. The group performs as part of Golden Thread’s annual International Women’s Day celebration, ‘What Do The Women Say?’\" width=\"978\" height=\"491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790.png 978w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790-400x201.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790-800x402.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790-768x386.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790-960x482.png 960w\" sizes=\"(max-width: 978px) 100vw, 978px\">\u003cfigcaption class=\"wp-caption-text\">The Aswat Women’s Ensemble. The group performs as part of Golden Thread’s annual International Women’s Day celebration, ‘What Do The Women Say?’ \u003ccite>(Photo: Courtesy of Zawaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The women featured are accomplished artists renowned for the excellence of their artistry,” says Golden Thread founding artistic director Torange Yeghiazarian. “But they are also leaders, who have founded important organizations, trained and championed other artists, and worked endlessly to celebrate and preserve culture and history for Middle Eastern immigrant communities in the Bay Area. This is a community that faces growing hostility and has to battle common misconceptions of the well-intended. These artists choose to lift up their community through their art, and document our existence as an immigrant community that has voice and matters.”\u003c/p>\n\u003cp>At the centerpiece of the event is a concert by \u003ca href=\"http://zawaya.org/site/aswat-ensemble/\" target=\"_blank\" rel=\"noopener\">The Aswat Ensemble\u003c/a>, one of the jewels the Bay Area music landscape. The group’s sweet spot is songs from the Arab world, old and new, performed on traditional musical instruments like the qanun (trapezoidal zither), ‘oud (lute), and nay (reed flute). They have terrific singers too.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Arab World Folk Medley by Aswat Ensemble تشكيلة أغاني فلكلورية عربية\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/RUqNLBEm2uY?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>For the Golden Thread event, the \u003ca href=\"http://zawaya.org/site/women-ensemble/\" target=\"_blank\" rel=\"noopener\">Aswat Women’s Ensemble\u003c/a> brings to life classic songs from some of Arabic music’s most famous divas — Asmahan, Fairouz, Shadia, and Dalida.\u003c/p>\n\u003cp>Another highlight of this year’s lineup is a sneak peak at the latest play by Betty Shamieh, a prolific, San Francisco-raised dramatist of Palestinian roots with 15 plays to her name. Among other accolades, Shamieh holds the distinction of becoming, in 2004, the first Palestinian-American to premiere a play off-Broadway — \u003cem>Roar\u003c/em>, a Palestinian domestic drama. Nora el Samahy, a vibrant local actress who frequently performs with Golden Thread and has appeared in plays by Shamieh in the past, performs sections from the playwright’s latest work, \u003cem>The Strangest\u003c/em>.\u003c/p>\n\u003cp>Other artists featured at the celebration include Sharlyn Sawyer, founding artistic director of \u003ca href=\"http://www.dancesilkroad.org/\" target=\"_blank\" rel=\"noopener\">Ballet Afsaneh\u003c/a>, a Bay Area performance company focusing on the dance, poetry, and music of the Silk Road; visual artist and curator Taraneh Hemami, who has curated exhibitions in venues like the \u003ca href=\"http://www.ybca.org\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a> and \u003ca href=\"https://www.soex.org/index.php\" target=\"_blank\" rel=\"noopener\">Southern Exposure\u003c/a> around the themes of displacement, preservation and representation; and Nabila Mango, co-founder of \u003ca href=\"http://zawaya.org/site/\" target=\"_blank\" rel=\"noopener\">Zawaya\u003c/a>, the Aswat Ensemble’s parent organization, which seeks to preserve and promote the Arab arts in the San Francisco Bay Area.\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Experience Golden Thread Productions’ ‘\u003c/span>What Do the Women Say?’ on Saturday, Mar. 12 at\u003cb> \u003c/b>La Peña Cultural Center\u003cspan style=\"font-weight: 400\"> in\u003c/span>\u003cspan style=\"font-weight: 400\"> Berkeley. Information and tickets \u003ca href=\"http://www.goldenthread.org\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you Google “what do the women say?”, you get a fever of listicles like “\u003ca href=\"http://wallstreetinsanity.com/30-things-women-say-and-what-they-really-mean/\" target=\"_blank\" rel=\"noopener\">30 Things Women Say And What They Really Mean\u003c/a>” and “\u003ca href=\"http://list25.com/25-things-women-say-that-men-misunderstand/\" target=\"_blank\" rel=\"noopener\">25 Things Women Say That Men Misunderstand\u003c/a>”.\u003c/p>\n\u003cp>Undeterred by such inanities, \u003ca href=\"http://www.goldenthread.org/\" target=\"_blank\" rel=\"noopener\">Golden Thread Productions\u003c/a>’ annual International Women’s Day Celebration on Saturday, Mar. 12 at the La Peña Cultural Center in Berkeley — titled \u003cem>What do the Women Say?\u003c/em> — tackles the question in a much more spiritual and creative way.\u003c/p>\n\u003cp>Previous iterations of this one-day festival devoted, since 2011, to exploring the work of Middle Eastern women artists have focused on such themes as activism, sex and sexuality, and female solo performers. This year, the topic is Bay Area women artists who build community through their art.\u003c/p>\n\u003cfigure id=\"attachment_11394570\" class=\"wp-caption aligncenter\" style=\"max-width: 978px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11394570 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790.png\" alt=\"The Aswat Women’s Ensemble. The group performs as part of Golden Thread’s annual International Women’s Day celebration, ‘What Do The Women Say?’\" width=\"978\" height=\"491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790.png 978w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790-400x201.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790-800x402.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790-768x386.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Photo_Aswat-e1457638375790-960x482.png 960w\" sizes=\"(max-width: 978px) 100vw, 978px\">\u003cfigcaption class=\"wp-caption-text\">The Aswat Women’s Ensemble. The group performs as part of Golden Thread’s annual International Women’s Day celebration, ‘What Do The Women Say?’ \u003ccite>(Photo: Courtesy of Zawaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The women featured are accomplished artists renowned for the excellence of their artistry,” says Golden Thread founding artistic director Torange Yeghiazarian. “But they are also leaders, who have founded important organizations, trained and championed other artists, and worked endlessly to celebrate and preserve culture and history for Middle Eastern immigrant communities in the Bay Area. This is a community that faces growing hostility and has to battle common misconceptions of the well-intended. These artists choose to lift up their community through their art, and document our existence as an immigrant community that has voice and matters.”\u003c/p>\n\u003cp>At the centerpiece of the event is a concert by \u003ca href=\"http://zawaya.org/site/aswat-ensemble/\" target=\"_blank\" rel=\"noopener\">The Aswat Ensemble\u003c/a>, one of the jewels the Bay Area music landscape. The group’s sweet spot is songs from the Arab world, old and new, performed on traditional musical instruments like the qanun (trapezoidal zither), ‘oud (lute), and nay (reed flute). They have terrific singers too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Arab World Folk Medley by Aswat Ensemble تشكيلة أغاني فلكلورية عربية\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/RUqNLBEm2uY?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>For the Golden Thread event, the \u003ca href=\"http://zawaya.org/site/women-ensemble/\" target=\"_blank\" rel=\"noopener\">Aswat Women’s Ensemble\u003c/a> brings to life classic songs from some of Arabic music’s most famous divas — Asmahan, Fairouz, Shadia, and Dalida.\u003c/p>\n\u003cp>Another highlight of this year’s lineup is a sneak peak at the latest play by Betty Shamieh, a prolific, San Francisco-raised dramatist of Palestinian roots with 15 plays to her name. Among other accolades, Shamieh holds the distinction of becoming, in 2004, the first Palestinian-American to premiere a play off-Broadway — \u003cem>Roar\u003c/em>, a Palestinian domestic drama. Nora el Samahy, a vibrant local actress who frequently performs with Golden Thread and has appeared in plays by Shamieh in the past, performs sections from the playwright’s latest work, \u003cem>The Strangest\u003c/em>.\u003c/p>\n\u003cp>Other artists featured at the celebration include Sharlyn Sawyer, founding artistic director of \u003ca href=\"http://www.dancesilkroad.org/\" target=\"_blank\" rel=\"noopener\">Ballet Afsaneh\u003c/a>, a Bay Area performance company focusing on the dance, poetry, and music of the Silk Road; visual artist and curator Taraneh Hemami, who has curated exhibitions in venues like the \u003ca href=\"http://www.ybca.org\" target=\"_blank\" rel=\"noopener\">Yerba Buena Center for the Arts\u003c/a> and \u003ca href=\"https://www.soex.org/index.php\" target=\"_blank\" rel=\"noopener\">Southern Exposure\u003c/a> around the themes of displacement, preservation and representation; and Nabila Mango, co-founder of \u003ca href=\"http://zawaya.org/site/\" target=\"_blank\" rel=\"noopener\">Zawaya\u003c/a>, the Aswat Ensemble’s parent organization, which seeks to preserve and promote the Arab arts in the San Francisco Bay Area.\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Experience Golden Thread Productions’ ‘\u003c/span>What Do the Women Say?’ on Saturday, Mar. 12 at\u003cb> \u003c/b>La Peña Cultural Center\u003cspan style=\"font-weight: 400\"> in\u003c/span>\u003cspan style=\"font-weight: 400\"> Berkeley. Information and tickets \u003ca href=\"http://www.goldenthread.org\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/span>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Big Joe’s a fighter and a braggart. He’s young, fearless, and on the make. Joe doesn’t think much and he’s ready for anything, which could describe most young men. So when an army recruiter asks him if he’s got the nerve for war while promising a little female company for his troubles, Big Joe signs up and eggs his friends to join in on the fun, too. He’s ready for adventure. And he’ll get that, just not in the way he imagines.\u003c/p>\n\u003cp>The naïf who goes to war is an old story and has produced some great theater — Falstaff in the \u003cem>Henry\u003c/em> plays, Brecht’s \u003cem>A Man’s a Man\u003c/em>, David Rabe’s \u003cem>The Basic Training of Pavlo Hummel\u003c/em>, and Charles Wood’s \u003cem>Dingo, \u003c/em>to name a few. This familiar premise launches \u003cem>The Unfortunates\u003c/em>, a blues, gospel, hip-hop musical by Jon Beavers, Kristoffer Diaz, Casey Hurt, Ian Merrigan, and Ramiz Monsef that aims to be nothing less than a surreal odyssey into the soul of a condemned man. A hit at the Oregon Shakespeare Festival, the musical’s creators have retooled the show under the aegis of San Francisco’s American Conservatory Theater, and its greatest and most striking asset has to be Big Joe’s hands.\u003c/p>\n\u003cp>The massive prop hands worn by actor Ian Merrigan in the role of Big Joe are possibly 10 times the size of a normal man’s hands. And they’re uncommonly beautiful, but no one ever mentions the gorgeousness of Big Joe’s hands in \u003cem>The Unfortunates. \u003c/em>Not even Big Joe and his girlfriend, Rae (a woman who, for reasons unclear to us, has no arms). But those fists are magical to behold, and you want to reach out and touch them and see how they differ from and work like actual hands. Somewhere between costume and prop, but verging on character, Big Joe’s hands are the story that \u003cem>The Unfortunates\u003c/em> doesn’t have the discipline or vision to take on.\u003c/p>\n\u003cp>You can tell how well-rehearsed the show is. But in its soul, the musical comes across as sloppy, haphazard, and overbearing—a series of ideas about what an epic should be instead of the thing itself. There’s a problem when every number is the “big number” and every scene is climactic. And so when Big Joe rolls the dice for his life, or fights a corrupt doctor, or watches a friend die, it’s all played at the same fevered pitch. It’s as if the entire production is afraid to let the story slow down and\u003cem> just be\u003c/em> — a crucial aspect to any odyssey.\u003c/p>\n\u003cp>The score’s mélange of blues, gospel, and hip-hop is \u003cem>The Unfortunates’\u003c/em> most telling failure. These are genres of daring and danger, and aren’t particularly amenable to pastiche. Great blues, rap and gospel singers perform with the whole of their beings. But the performances here are surface imitations, mere gestures compared to more committed artists and art.\u003cstrong> \u003c/strong>And so many of the numbers feel like a put on, like YouTube stunts featuring preschoolers pretending to be gangster rappers. Part of the issue is the performers’ lack of skill: enthusiasm and hitting your cues is no substitute for talent and authenticity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The deeper problem, though, is one of idiom. The show’s creators never find a way to tell a story about a man with big hands and so they barrage us with sensation — the sensation of the blues’ deep yearning, the sensation of rap’s anger, the sensation of gospel’s spiritual transcendence, and, most crudely, the sensation of significance. What \u003cem>The Unfortunates\u003c/em> demands from us isn’t understanding, but rather awe. Over and over we’re urged to applaud, whether it be elementary tap dancing, showy singing, or one of the many melodramatic death scenes. But these are gimmicks: they have neither meaning nor a way into actual experience. They’re simply the noise that keeps us from the beauty of Big Joe’s hands.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Unfortunates\u003c/em> runs through April 10th at the Strand Theater in San Francisco. For tickets and information go to www.act-sf.org.\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Big Joe’s a fighter and a braggart. He’s young, fearless, and on the make. Joe doesn’t think much and he’s ready for anything, which could describe most young men. So when an army recruiter asks him if he’s got the nerve for war while promising a little female company for his troubles, Big Joe signs up and eggs his friends to join in on the fun, too. He’s ready for adventure. And he’ll get that, just not in the way he imagines.\u003c/p>\n\u003cp>The naïf who goes to war is an old story and has produced some great theater — Falstaff in the \u003cem>Henry\u003c/em> plays, Brecht’s \u003cem>A Man’s a Man\u003c/em>, David Rabe’s \u003cem>The Basic Training of Pavlo Hummel\u003c/em>, and Charles Wood’s \u003cem>Dingo, \u003c/em>to name a few. This familiar premise launches \u003cem>The Unfortunates\u003c/em>, a blues, gospel, hip-hop musical by Jon Beavers, Kristoffer Diaz, Casey Hurt, Ian Merrigan, and Ramiz Monsef that aims to be nothing less than a surreal odyssey into the soul of a condemned man. A hit at the Oregon Shakespeare Festival, the musical’s creators have retooled the show under the aegis of San Francisco’s American Conservatory Theater, and its greatest and most striking asset has to be Big Joe’s hands.\u003c/p>\n\u003cp>The massive prop hands worn by actor Ian Merrigan in the role of Big Joe are possibly 10 times the size of a normal man’s hands. And they’re uncommonly beautiful, but no one ever mentions the gorgeousness of Big Joe’s hands in \u003cem>The Unfortunates. \u003c/em>Not even Big Joe and his girlfriend, Rae (a woman who, for reasons unclear to us, has no arms). But those fists are magical to behold, and you want to reach out and touch them and see how they differ from and work like actual hands. Somewhere between costume and prop, but verging on character, Big Joe’s hands are the story that \u003cem>The Unfortunates\u003c/em> doesn’t have the discipline or vision to take on.\u003c/p>\n\u003cp>You can tell how well-rehearsed the show is. But in its soul, the musical comes across as sloppy, haphazard, and overbearing—a series of ideas about what an epic should be instead of the thing itself. There’s a problem when every number is the “big number” and every scene is climactic. And so when Big Joe rolls the dice for his life, or fights a corrupt doctor, or watches a friend die, it’s all played at the same fevered pitch. It’s as if the entire production is afraid to let the story slow down and\u003cem> just be\u003c/em> — a crucial aspect to any odyssey.\u003c/p>\n\u003cp>The score’s mélange of blues, gospel, and hip-hop is \u003cem>The Unfortunates’\u003c/em> most telling failure. These are genres of daring and danger, and aren’t particularly amenable to pastiche. Great blues, rap and gospel singers perform with the whole of their beings. But the performances here are surface imitations, mere gestures compared to more committed artists and art.\u003cstrong> \u003c/strong>And so many of the numbers feel like a put on, like YouTube stunts featuring preschoolers pretending to be gangster rappers. Part of the issue is the performers’ lack of skill: enthusiasm and hitting your cues is no substitute for talent and authenticity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Daniel Sullivan’s production of Shakespeare’s \u003cem>Macbeth\u003c/em> at the Berkeley Repertory Theatre begins with a soldier strapped to a tree, Christ like, and the three witches milling about, prepping his body for God knows what. It feels malevolent without being foreboding, and that’s good.\u003c/p>\n\u003cp>Then we realize that film and stage star Frances McDormand, cast as Lady Macbeth, is also one of the witches — and rightfully bearded as Banquo notes — “You should be women, / And yet your beards forbid me to interpret / That you are so.” McDormand is an actress of great precision and wit; a comic capable of slipping into the horrific with a wink. And so the casting is inspired: this is a \u003cem>Macbeth\u003c/em> that springs from a witch’s imagination.\u003c/p>\n\u003cp>You can feel the play slither into an unexpected and wicked balance. Here is the type of sly poisoning of the soul that Shakespeare imagined. A dash of star peaking out from an unexpected corner of the production, and like Macbeth, we’re hooked. Follow McDormand and you follow the evil — witch, wife, plot, kill, chaos, and a frenzied and terrifying descent into madness. The possibilities are intoxicating.\u003c/p>\n\u003cp>But Sullivan doesn’t take advantage of this propulsive energy, and the production just kind of floats away without purpose or vision. The loss of steam happens within the first 15 minutes. It was as if the director, actors, and everyone else involved decided to quit; that they simply lost the will to bring \u003cem>Macbeth\u003c/em> to life.\u003c/p>\n\u003cp>In the title role, \u003cem>Game of Thrones\u003c/em> star Conleth Hill hams and mugs for laughs, behaving as if his mere presence should be enough to satisfy us. There are wild special effects that say nothing about the action on stage; in fact, they distract from it. At one point, an orange moon turns blue and then back again for no apparent reason. The ensemble of actors seem lost to each other, as if they were performing in radically different productions. And the fight choreography is an embarrassment of large clanking swords that tells us nothing of Macbeth or the world in which he lives. They’re just random effects of the night.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The joy of \u003cem>Macbeth \u003c/em>is the joy of living at its most savage. I don’t know about you, but I always want more, and more, and more of this play — the witches, the prophecies, the violence, the chaos, the crazed embrace of every dream, every murderous ambition, and every sidelong hope, no matter what the cost. Without that headlong rush into hell, it’s just reciting lines.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Macbeth\u003c/em> runs through April 10th at The Berkeley Repertory Theatre in Berkeley. For tickets and information go to www.berkeleyrep.org.\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Daniel Sullivan’s production of Shakespeare’s \u003cem>Macbeth\u003c/em> at the Berkeley Repertory Theatre begins with a soldier strapped to a tree, Christ like, and the three witches milling about, prepping his body for God knows what. It feels malevolent without being foreboding, and that’s good.\u003c/p>\n\u003cp>Then we realize that film and stage star Frances McDormand, cast as Lady Macbeth, is also one of the witches — and rightfully bearded as Banquo notes — “You should be women, / And yet your beards forbid me to interpret / That you are so.” McDormand is an actress of great precision and wit; a comic capable of slipping into the horrific with a wink. And so the casting is inspired: this is a \u003cem>Macbeth\u003c/em> that springs from a witch’s imagination.\u003c/p>\n\u003cp>You can feel the play slither into an unexpected and wicked balance. Here is the type of sly poisoning of the soul that Shakespeare imagined. A dash of star peaking out from an unexpected corner of the production, and like Macbeth, we’re hooked. Follow McDormand and you follow the evil — witch, wife, plot, kill, chaos, and a frenzied and terrifying descent into madness. The possibilities are intoxicating.\u003c/p>\n\u003cp>But Sullivan doesn’t take advantage of this propulsive energy, and the production just kind of floats away without purpose or vision. The loss of steam happens within the first 15 minutes. It was as if the director, actors, and everyone else involved decided to quit; that they simply lost the will to bring \u003cem>Macbeth\u003c/em> to life.\u003c/p>\n\u003cp>In the title role, \u003cem>Game of Thrones\u003c/em> star Conleth Hill hams and mugs for laughs, behaving as if his mere presence should be enough to satisfy us. There are wild special effects that say nothing about the action on stage; in fact, they distract from it. At one point, an orange moon turns blue and then back again for no apparent reason. The ensemble of actors seem lost to each other, as if they were performing in radically different productions. And the fight choreography is an embarrassment of large clanking swords that tells us nothing of Macbeth or the world in which he lives. They’re just random effects of the night.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Broadway has long been a nostalgia machine, taking bobby soxers, baby boomers and the bell-bottom crowd back, respectively, to the 1950s (\u003cem>Grease\u003c/em>), 1960s (\u003cem>Hair\u003c/em>) and 1970s (\u003cem>Mama Mia!\u003c/em>) with unabashed euphoria.\u003c/p>\n\u003cp>The musical adaptation of \u003cem>\u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=dirtydancing&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">Dirty Dancing\u003c/a>\u003c/em>, based on the 1987 feelgood movie romance starring Patrick Swayze and Jennifer Grey, does the same thing for those of us who came of age at a time when \u003cem>Fame\u003c/em> and \u003cem>Flashdance\u003c/em> were all the rage. Never mind that \u003cem>Dirty Dancing\u003c/em> is set in the summer of 1963; every teenage girl who saw the movie when it came out procured a pair of denim cutoffs and a taste for dudes in wife-beaters and quiffs.\u003c/p>\n\u003cfigure id=\"attachment_11370195\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11370195\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/dd03c-e1456797097949-800x533.jpg\" alt=\"A scene from the North American tour of 'Dirty Dancing'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/dd03c-e1456797097949-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/dd03c-e1456797097949-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/dd03c-e1456797097949-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/dd03c-e1456797097949-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/dd03c-e1456797097949-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/dd03c-e1456797097949-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from the North American tour of ‘Dirty Dancing’ \u003ccite>(Photo: Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The musical version, which follows the movie’s plot about the creative and sexual awakening of awkward teen Frances “Baby” Houseman in the arms of bad boy dancer Johnny Castle and includes many of the movie’s original lines and songs, came out of Australia more than 10 years ago. Despite patchy reviews, the show has been selling out theaters all over the world ever since, largely by tapping into our collective yearning for the past — a yearning that apparently overrides anyone’s appetite for a quality art experience.\u003c/p>\n\u003cp>While I couldn’t even remotely pretend to have “had the time of my life,” as the musical’s most famous song goes, \u003cem>Dirty Dancing\u003c/em> has, unsurprisingly, massive appeal to groups of ladies in their 40s looking to escape their toddler-infused lives for a few hours. The Golden Gate Theater was packed with this demographic the night I attended the show. And everyone screamed in all the right places — when hunky Christopher Tierney as Johnny Castle intones the immortal line, “nobody puts Baby in a corner,” and especially when the buff performer takes off his shirt. Oh, and the dancing is fantastic.\u003c/p>\n\u003cp>Watch the sizzling sizzle reel for the U.S. tour:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"DIRTY DANCING North American Tour Sizzle Reel\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/0FhRIJO-7Cg?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>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Dirty Dancing\u003c/em> runs through Sunday, Mar. 20 at the Golden Gate Theater in San Francisco. Find out more \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=dirtydancing&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Broadway has long been a nostalgia machine, taking bobby soxers, baby boomers and the bell-bottom crowd back, respectively, to the 1950s (\u003cem>Grease\u003c/em>), 1960s (\u003cem>Hair\u003c/em>) and 1970s (\u003cem>Mama Mia!\u003c/em>) with unabashed euphoria.\u003c/p>\n\u003cp>The musical adaptation of \u003cem>\u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=dirtydancing&BOparam::WScontent::loadArticle::context_id=\" target=\"_blank\" rel=\"noopener\">Dirty Dancing\u003c/a>\u003c/em>, based on the 1987 feelgood movie romance starring Patrick Swayze and Jennifer Grey, does the same thing for those of us who came of age at a time when \u003cem>Fame\u003c/em> and \u003cem>Flashdance\u003c/em> were all the rage. Never mind that \u003cem>Dirty Dancing\u003c/em> is set in the summer of 1963; every teenage girl who saw the movie when it came out procured a pair of denim cutoffs and a taste for dudes in wife-beaters and quiffs.\u003c/p>\n\u003cfigure id=\"attachment_11370195\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11370195\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/dd03c-e1456797097949-800x533.jpg\" alt=\"A scene from the North American tour of 'Dirty Dancing'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/dd03c-e1456797097949-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/dd03c-e1456797097949-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/dd03c-e1456797097949-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/dd03c-e1456797097949-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/dd03c-e1456797097949-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/dd03c-e1456797097949-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from the North American tour of ‘Dirty Dancing’ \u003ccite>(Photo: Matthew Murphy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The musical version, which follows the movie’s plot about the creative and sexual awakening of awkward teen Frances “Baby” Houseman in the arms of bad boy dancer Johnny Castle and includes many of the movie’s original lines and songs, came out of Australia more than 10 years ago. Despite patchy reviews, the show has been selling out theaters all over the world ever since, largely by tapping into our collective yearning for the past — a yearning that apparently overrides anyone’s appetite for a quality art experience.\u003c/p>\n\u003cp>While I couldn’t even remotely pretend to have “had the time of my life,” as the musical’s most famous song goes, \u003cem>Dirty Dancing\u003c/em> has, unsurprisingly, massive appeal to groups of ladies in their 40s looking to escape their toddler-infused lives for a few hours. The Golden Gate Theater was packed with this demographic the night I attended the show. And everyone screamed in all the right places — when hunky Christopher Tierney as Johnny Castle intones the immortal line, “nobody puts Baby in a corner,” and especially when the buff performer takes off his shirt. Oh, and the dancing is fantastic.\u003c/p>\n\u003cp>Watch the sizzling sizzle reel for the U.S. tour:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"http://www.oakarts.org/\" target=\"_blank\" rel=\"noopener\">The Oakland School for the Arts\u003c/a> this week will present the world’s first amateur production of the Broadway hit \u003cem>\u003ca href=\"http://schoolofrockthemusical.com/tickets/?gclid=CPPQ4_C9nssCFYRrfgod_l8KxQ\" target=\"_blank\" rel=\"noopener\">School of Rock\u003c/a>,\u003c/em> by \u003ca href=\"http://www.andrewlloydwebber.com/\" target=\"_blank\" rel=\"noopener\">Andrew Lloyd Webber\u003c/a>, the composer behind the musicals \u003cem>Phantom of the Opera\u003c/em>, \u003cem>Cats\u003c/em> and \u003cem>Sunset Boulevard\u003c/em>.\u003c/p>\n\u003cp>It’s a dream come true for the Oakland charter school’s many theater kids, the ones who grow up believing that one day they’ll sing and tap their heart out on Broadway.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/249709250″ 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>Tenth grader Jack Isaacson Brewster plays the lead.\u003c/p>\n\u003cp>“Okay, I’m the second person to play Dewey in the musical School of Rock.” Brewster said at a recent rehearsal. “That’s just so crazy to me. Wow!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Brewster and his cast mates, the band, the director, and music director, stage manager and set designer, plus a few parents were milling about on Saturday at the \u003ca href=\"http://sfcurran.com/\" target=\"_blank\" rel=\"noopener\">Curran Theater\u003c/a> in San Francisco. This is where the kids will be presenting \u003ca href=\"http://www.oakarts.org/about/227-a-front-page-cat/927-osa-presents-webber-s-school-of-rock\" target=\"_blank\" rel=\"noopener\">\u003cem>School of Rock\u003c/em> for the first time on Thursday, and where the show will continuing through March 12.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11370312\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11370312\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/008-1-1180x885.jpg\" alt=\"Oakland School for the Arts students rehearse 'School of Rock' at the Curran\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Oakland School for the Arts students rehearse ‘School of Rock’ at the Curran \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show is a sweet comedy, based on the \u003ca href=\"http://www.imdb.com/title/tt0332379/\" target=\"_blank\" rel=\"noopener\">2003 movie starring Jack Black\u003c/a>, with songs by Webber, lyrics by Glenn Slater and a book by Julian Fellowes. It tells the story of a misfit rock-and-roller and how he becomes mentor to a classroom of misfit kids who triumph despite the odds. \u003c/p>\n\u003cp>It’s by no means a fresh story, but the student performers are so into it, like tenth grader Tatiana Cordoba from Castro Valley. Cordoba plays one of the parents and she says she’s gaining insights about both sides of the child-parent dynamic.\u003c/p>\n\u003cp>“I think it’s really special to have a show,” Cordoba said, “where you really get to see the inside of a kid, and their heart and their head, and how like they’re really more mature than people think they are.”\u003c/p>\n\u003cp>The kids have the chance to perform the musical because Andrew Lloyd Webber is releasing the amateur performance rights years ahead of the usual schedule for a successful Broadway show.\u003c/p>\n\u003cp>“This is a piece about children making music,” said Webber, who \u003ca href=\"http://www.andrewlloydwebberfoundation.com/\" target=\"_blank\" rel=\"noopener\">founded a charity\u003c/a> that funds music and arts education in England and New York City. “And the more young people get involved with making music and theater, then the more they love theater and come to theater. Anyway that’s how I started.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=n2wGtlfD19w\u003c/p>\n\u003cp>Webber gave the rights for the first amateur production to the Oakland School for the Arts, because producer and Curran Theater owner Carole Shorenstein Hays suggested the school to Webber, and then she invited the students to stage the show at the Curran.\u003c/p>\n\u003cp>But it was a bit of a dilemma for School for the Arts staff. Musicals are so logistically challenging that even this school, which is devoted to the performing arts, had decided to do a musical every other year only. This was supposed to be a down year.\u003c/p>\n\u003cp>“The academic teachers don’t have this on their calendar,” principal Donn Harris said. “And I come in and say, we’re going to charge ahead. So I’ve got to smooth those waters.”\u003c/p>\n\u003cp>But then Harris explains why he couldn’t pass up the offer. “Maybe there’s some competitive fire with those other schools that didn’t get it.”\u003c/p>\n\u003cp>Normally, musicals take five to six months to produce, but theater teacher and director Michael Berry says they’ve done this show in just over seven weeks, with the student performers rehearsing six and seven days a week.\u003c/p>\n\u003cfigure id=\"attachment_11370313\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11370313\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/009-1-1180x899.jpg\" alt=\"Oakland School for the Arts theater teacher Michael Berry\" width=\"640\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-1180x899.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-400x305.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-787x600.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-768x585.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-1920x1463.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-960x732.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Oakland School for the Arts theater teacher Michael Berry \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This is what arts education is about,” Berry said. “Most of these kids are not going to go on to the performing arts, but this experience is something they’ll carry with them for a lifetime.”\u003c/p>\n\u003cp>That’s certainly true for School for the Arts Stage Manager Isabel Gartland. She was in NYC with her family, and got to shadow the stage hands and Broadway production stage manager.\u003c/p>\n\u003cp>“It’s a great opportunity for us to see what it’s like to be in the theater industry.” Gartland said. “Instead of being in just a high school production, because this seems much bigger than a high school production.”\u003c/p>\n\u003cp>Webber says he’s thrilled the kids are enjoying themselves. It’s exactly what he had in mind when he made \u003cem>School of Rock\u003c/em> available for youth theater productions.\u003c/p>\n\u003cp>“It empowers,” Webber said. “And that’s why I want the kids to perform the piece. And have fun with it. And that’s the most important thing. To have fun with it. To rock out.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One disappointment for anyone who was hoping to catch \u003cem>School of Rock\u003c/em> without going to New York, or waiting a few years for a touring company to come to San Francisco, you’re probably out of luck. The Oakland School for the Arts shows are sold out.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.oakarts.org/\" target=\"_blank\" rel=\"noopener\">The Oakland School for the Arts\u003c/a> this week will present the world’s first amateur production of the Broadway hit \u003cem>\u003ca href=\"http://schoolofrockthemusical.com/tickets/?gclid=CPPQ4_C9nssCFYRrfgod_l8KxQ\" target=\"_blank\" rel=\"noopener\">School of Rock\u003c/a>,\u003c/em> by \u003ca href=\"http://www.andrewlloydwebber.com/\" target=\"_blank\" rel=\"noopener\">Andrew Lloyd Webber\u003c/a>, the composer behind the musicals \u003cem>Phantom of the Opera\u003c/em>, \u003cem>Cats\u003c/em> and \u003cem>Sunset Boulevard\u003c/em>.\u003c/p>\n\u003cp>It’s a dream come true for the Oakland charter school’s many theater kids, the ones who grow up believing that one day they’ll sing and tap their heart out on Broadway.\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/249709250″&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/249709250″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Tenth grader Jack Isaacson Brewster plays the lead.\u003c/p>\n\u003cp>“Okay, I’m the second person to play Dewey in the musical School of Rock.” Brewster said at a recent rehearsal. “That’s just so crazy to me. Wow!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Brewster and his cast mates, the band, the director, and music director, stage manager and set designer, plus a few parents were milling about on Saturday at the \u003ca href=\"http://sfcurran.com/\" target=\"_blank\" rel=\"noopener\">Curran Theater\u003c/a> in San Francisco. This is where the kids will be presenting \u003ca href=\"http://www.oakarts.org/about/227-a-front-page-cat/927-osa-presents-webber-s-school-of-rock\" target=\"_blank\" rel=\"noopener\">\u003cem>School of Rock\u003c/em> for the first time on Thursday, and where the show will continuing through March 12.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_11370312\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11370312\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/008-1-1180x885.jpg\" alt=\"Oakland School for the Arts students rehearse 'School of Rock' at the Curran\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/008-1-960x720.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Oakland School for the Arts students rehearse ‘School of Rock’ at the Curran \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show is a sweet comedy, based on the \u003ca href=\"http://www.imdb.com/title/tt0332379/\" target=\"_blank\" rel=\"noopener\">2003 movie starring Jack Black\u003c/a>, with songs by Webber, lyrics by Glenn Slater and a book by Julian Fellowes. It tells the story of a misfit rock-and-roller and how he becomes mentor to a classroom of misfit kids who triumph despite the odds. \u003c/p>\n\u003cp>It’s by no means a fresh story, but the student performers are so into it, like tenth grader Tatiana Cordoba from Castro Valley. Cordoba plays one of the parents and she says she’s gaining insights about both sides of the child-parent dynamic.\u003c/p>\n\u003cp>“I think it’s really special to have a show,” Cordoba said, “where you really get to see the inside of a kid, and their heart and their head, and how like they’re really more mature than people think they are.”\u003c/p>\n\u003cp>The kids have the chance to perform the musical because Andrew Lloyd Webber is releasing the amateur performance rights years ahead of the usual schedule for a successful Broadway show.\u003c/p>\n\u003cp>“This is a piece about children making music,” said Webber, who \u003ca href=\"http://www.andrewlloydwebberfoundation.com/\" target=\"_blank\" rel=\"noopener\">founded a charity\u003c/a> that funds music and arts education in England and New York City. “And the more young people get involved with making music and theater, then the more they love theater and come to theater. Anyway that’s how I started.”\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/n2wGtlfD19w'\n title='//www.youtube.com/embed/n2wGtlfD19w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Webber gave the rights for the first amateur production to the Oakland School for the Arts, because producer and Curran Theater owner Carole Shorenstein Hays suggested the school to Webber, and then she invited the students to stage the show at the Curran.\u003c/p>\n\u003cp>But it was a bit of a dilemma for School for the Arts staff. Musicals are so logistically challenging that even this school, which is devoted to the performing arts, had decided to do a musical every other year only. This was supposed to be a down year.\u003c/p>\n\u003cp>“The academic teachers don’t have this on their calendar,” principal Donn Harris said. “And I come in and say, we’re going to charge ahead. So I’ve got to smooth those waters.”\u003c/p>\n\u003cp>But then Harris explains why he couldn’t pass up the offer. “Maybe there’s some competitive fire with those other schools that didn’t get it.”\u003c/p>\n\u003cp>Normally, musicals take five to six months to produce, but theater teacher and director Michael Berry says they’ve done this show in just over seven weeks, with the student performers rehearsing six and seven days a week.\u003c/p>\n\u003cfigure id=\"attachment_11370313\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11370313\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/009-1-1180x899.jpg\" alt=\"Oakland School for the Arts theater teacher Michael Berry\" width=\"640\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-1180x899.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-400x305.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-787x600.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-768x585.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-1920x1463.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/009-1-960x732.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Oakland School for the Arts theater teacher Michael Berry \u003ccite>(Photo Credit: Cy Musiker)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This is what arts education is about,” Berry said. “Most of these kids are not going to go on to the performing arts, but this experience is something they’ll carry with them for a lifetime.”\u003c/p>\n\u003cp>That’s certainly true for School for the Arts Stage Manager Isabel Gartland. She was in NYC with her family, and got to shadow the stage hands and Broadway production stage manager.\u003c/p>\n\u003cp>“It’s a great opportunity for us to see what it’s like to be in the theater industry.” Gartland said. “Instead of being in just a high school production, because this seems much bigger than a high school production.”\u003c/p>\n\u003cp>Webber says he’s thrilled the kids are enjoying themselves. It’s exactly what he had in mind when he made \u003cem>School of Rock\u003c/em> available for youth theater productions.\u003c/p>\n\u003cp>“It empowers,” Webber said. “And that’s why I want the kids to perform the piece. And have fun with it. And that’s the most important thing. To have fun with it. To rock out.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One disappointment for anyone who was hoping to catch \u003cem>School of Rock\u003c/em> without going to New York, or waiting a few years for a touring company to come to San Francisco, you’re probably out of luck. The Oakland School for the Arts shows are sold out.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There are so many images of salvation in art that we forget just how difficult they are to achieve—as if giving meaning to suffering could ever be easy. Catching the moment when pain turns transcendent and worthy of an audience—worthy of witnesses—is a strange alchemy.\u003c/p>\n\u003cp>\u003cem>Mighty Real\u003c/em>, a sly and affecting jukebox musical about the androgynous, falsetto voiced disco crooner Sylvester, does just that. With the lightest of touches, the musical leads you into a world of casual cruelties and then shows you a way out, or at least one of which Sylvester might have imagined and approved.\u003c/p>\n\u003cp>Anthony Wayne’s book and Kendrell Bowman’s direction are a bit underdeveloped at times. But the whole of the experience is powerful and kind of amazing in its way. And what’s there is fully present and alive: Sylvester’s music, a whip sharp five-piece band, backup singers with monster voices, and the tawdry glamour of disco.\u003c/p>\n\u003cp>Right from the beginning, the show joyously taunts death. Sylvester’s disembodied voice announces that he died too soon, that “life is for the living,” and that he wishes for one more night “to shine under that great disco ball, one more moment to light up the night and set this world on fire!” And then he’s there, center stage, cat-quick in sparkles and fur. And you feel as if it happened: Sylvester has risen, alive and resplendent.\u003c/p>\n\u003cp>Like the New Testament and the lives of saints, \u003cem>Mighty Real\u003c/em> chronicles an exceptional man’s life and death, and then somehow seeks to find inspiration and solace from both. Its melding of concert and biography takes the star’s hits and turns them into a set of propositions about the world—a philosophy of love and care that’s shocking in its ability to brush aside the most savage betrayals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When an elder member of the Pentecostal Church Sylvester’s family treated as a second home seduces him, Sylvester celebrates the encounter as an ecstatic sexual awakening. As he recounts it, a bass guitar thumping in the background, you can’t believe that someone could feel in quite this way. To then hear “I Need You” and “Do You Want to Funk” is to feel that you missed something crucial in Sylvester’s performance of these songs. Not a hidden biography, but rather a philosophy of being capable of seeing goodness everywhere, even in his own sexual molestation.\u003c/p>\n\u003cfigure id=\"attachment_11357907\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11357907\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/MightyReal3-800x533.jpg\" alt=\"Anthony Wayne as Sylvester. Photo: Joan Marcus\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Wayne as Sylvester in ‘Mighty Real’. Photo: Joan Marcus\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not the only moment where Sylvester eschews anger and outrage for love and joy. Even the clichéd tropes of show business are paths to enlightenment. When his backup singers, Martha and Izora, leave him, all three of them sing “A Song for You” with the haunting, almost paradoxical refrain, “we were alone and I’m singing this song for you.” Wayne, Anastacia McCleskey, and Jacqueline B. Arnold perform the number with a grace that suggests they are not only recognizing the inevitability of parting, but also its refutation in art. As with much of \u003cem>Mighty Real\u003c/em>, even a standard bit of show biz fodder shimmers between reality and myth, and it takes you aback.\u003c/p>\n\u003cp>You realize that Wayne and Bowman understand the pleasures of the jukebox musical, and are deploying them in ambitious and daring ways. When the show kicks into high gear and takes on the wild energy of a concert, the music stops and the AIDS stories begin—Sylvester’s lovers, friends, those he nursed, and eventually his own diagnosis and death. And then the concert begins again. But we’ve been marked, and it changes how we listen to the music. The vaulting and excessive energy of disco, the way the music seems devoid of irony, takes on a touching heroism here—a belief that the world can and should be fabulous, even in the face of imminent death.\u003c/p>\n\u003cp>None of this would work, though, without Wayne’s magnificent performance in the title role. It’s not a canny imitation of the pop star, but instead a full embrace of what it must have felt like to be Sylvester, a kind of bearing of the cross. So that when he tells us of his death—dressed in a silk feather duster, as if an angel descended from heaven—we feel both a loss and a way forward.\u003c/p>\n\u003cp>And so in the last two burn-the-house-down numbers—“Dance (Disco Heat)” and “Mighty Real”—we get something close to instructions. First, we must dance. But then as the dead and ascending Sylvester sings the title song, it all becomes dazzlingly clear. Only in our presence can the singer be “mighty real.” Dead or alive, the spirit of Sylvester has always resided in those who listened and heard everything that his music had to offer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Mighty Real, A Fabulous Sylvester Musical\u003c/em> runs through March 13 at the Brava Theater Center in San Francisco. For tickets and information go to www.brava.org.\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are so many images of salvation in art that we forget just how difficult they are to achieve—as if giving meaning to suffering could ever be easy. Catching the moment when pain turns transcendent and worthy of an audience—worthy of witnesses—is a strange alchemy.\u003c/p>\n\u003cp>\u003cem>Mighty Real\u003c/em>, a sly and affecting jukebox musical about the androgynous, falsetto voiced disco crooner Sylvester, does just that. With the lightest of touches, the musical leads you into a world of casual cruelties and then shows you a way out, or at least one of which Sylvester might have imagined and approved.\u003c/p>\n\u003cp>Anthony Wayne’s book and Kendrell Bowman’s direction are a bit underdeveloped at times. But the whole of the experience is powerful and kind of amazing in its way. And what’s there is fully present and alive: Sylvester’s music, a whip sharp five-piece band, backup singers with monster voices, and the tawdry glamour of disco.\u003c/p>\n\u003cp>Right from the beginning, the show joyously taunts death. Sylvester’s disembodied voice announces that he died too soon, that “life is for the living,” and that he wishes for one more night “to shine under that great disco ball, one more moment to light up the night and set this world on fire!” And then he’s there, center stage, cat-quick in sparkles and fur. And you feel as if it happened: Sylvester has risen, alive and resplendent.\u003c/p>\n\u003cp>Like the New Testament and the lives of saints, \u003cem>Mighty Real\u003c/em> chronicles an exceptional man’s life and death, and then somehow seeks to find inspiration and solace from both. Its melding of concert and biography takes the star’s hits and turns them into a set of propositions about the world—a philosophy of love and care that’s shocking in its ability to brush aside the most savage betrayals.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When an elder member of the Pentecostal Church Sylvester’s family treated as a second home seduces him, Sylvester celebrates the encounter as an ecstatic sexual awakening. As he recounts it, a bass guitar thumping in the background, you can’t believe that someone could feel in quite this way. To then hear “I Need You” and “Do You Want to Funk” is to feel that you missed something crucial in Sylvester’s performance of these songs. Not a hidden biography, but rather a philosophy of being capable of seeing goodness everywhere, even in his own sexual molestation.\u003c/p>\n\u003cfigure id=\"attachment_11357907\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11357907\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/MightyReal3-800x533.jpg\" alt=\"Anthony Wayne as Sylvester. Photo: Joan Marcus\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/MightyReal3-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anthony Wayne as Sylvester in ‘Mighty Real’. Photo: Joan Marcus\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not the only moment where Sylvester eschews anger and outrage for love and joy. Even the clichéd tropes of show business are paths to enlightenment. When his backup singers, Martha and Izora, leave him, all three of them sing “A Song for You” with the haunting, almost paradoxical refrain, “we were alone and I’m singing this song for you.” Wayne, Anastacia McCleskey, and Jacqueline B. Arnold perform the number with a grace that suggests they are not only recognizing the inevitability of parting, but also its refutation in art. As with much of \u003cem>Mighty Real\u003c/em>, even a standard bit of show biz fodder shimmers between reality and myth, and it takes you aback.\u003c/p>\n\u003cp>You realize that Wayne and Bowman understand the pleasures of the jukebox musical, and are deploying them in ambitious and daring ways. When the show kicks into high gear and takes on the wild energy of a concert, the music stops and the AIDS stories begin—Sylvester’s lovers, friends, those he nursed, and eventually his own diagnosis and death. And then the concert begins again. But we’ve been marked, and it changes how we listen to the music. The vaulting and excessive energy of disco, the way the music seems devoid of irony, takes on a touching heroism here—a belief that the world can and should be fabulous, even in the face of imminent death.\u003c/p>\n\u003cp>None of this would work, though, without Wayne’s magnificent performance in the title role. It’s not a canny imitation of the pop star, but instead a full embrace of what it must have felt like to be Sylvester, a kind of bearing of the cross. So that when he tells us of his death—dressed in a silk feather duster, as if an angel descended from heaven—we feel both a loss and a way forward.\u003c/p>\n\u003cp>And so in the last two burn-the-house-down numbers—“Dance (Disco Heat)” and “Mighty Real”—we get something close to instructions. First, we must dance. But then as the dead and ascending Sylvester sings the title song, it all becomes dazzlingly clear. Only in our presence can the singer be “mighty real.” Dead or alive, the spirit of Sylvester has always resided in those who listened and heard everything that his music had to offer.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Mighty Real, A Fabulous Sylvester Musical\u003c/em> runs through March 13 at the Brava Theater Center in San Francisco. For tickets and information go to www.brava.org.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cy and David's Picks: Cinequest in San Jose, a Female Jazz Pioneer, and the Suffers",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>featured, guide, ntv, the-do-list-featuredfeatured, guide, ntv, the-do-list-featuredKQED’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/2016/02/TDL20160226a.mp3\u003c/p>\n\u003c/aside>\n\u003cp> \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RM3hj-6F1pk\u003c/p>\n\u003cp>\u003cstrong>Feb 27:\u003c/strong> The R&B band \u003ca href=\"http://www.thesuffers.com/\" target=\"_blank\" rel=\"noopener\">The Suffers\u003c/a> begins every show by thrusting their arms in the air, and then they earn that championship gesture with great shows. These are 10 very good musicians who’ve been kicking around the Houston music scene for years, but something special clicked when co-founders Adam Castaneda and Pat Kelly hooked up with Kam Franklin, a singer with a vivid voice and presence.They’re opening for Lake Street Dive at the \u003ca href=\"http://sfmasonic.com/event/lake-street-dive/\" target=\"_blank\" rel=\"noopener\">Masonic Saturday night.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KOJ57_HrWXU\u003c/p>\n\u003cp>\u003cstrong>March 1-13:\u003c/strong> \u003ca href=\"http://www.cinequest.org/\" target=\"_blank\" rel=\"noopener\">Cinequest\u003c/a> kicks off next week in San Jose, a festival that for 26 years has been exploring the links between technology and the movies, the original virtual reality. Co-founders Halfan Hussey and Kathleen Powell have scheduled a perfect opening night film, \u003cem>\u003ca href=\"http://www.bleeckerstreetmedia.com/eyeinthesky\" target=\"_blank\" rel=\"noopener\">Eye in the Sky,\u003c/a> \u003c/em>about drones, state assassinations and moral dilemmas, with a killer cast (sorry for the pun) in Helen Mirren (\u003cem>The Queen\u003c/em>), Aaron Paul (\u003cem>Breaking Bad\u003c/em>), and the late Alan Rickman (\u003cem>Harry Potter\u003c/em>). Cinequest’s own Maverick Studio is screening a work in progress,\u003ca href=\"http://www.mrinvinciblethemovie.com/\" target=\"_blank\" rel=\"noopener\"> \u003cem>Mr. Invincible\u003c/em>,\u003c/a> which uses a new three-screen format. Also worth a look: \u003cem>\u003ca href=\"https://www.facebook.com/FRIENDSEFFINGFRIENDSEFFINGFRIENDS/\" target=\"_blank\" rel=\"noopener\">Friends Effing Friends Effing Friends\u003c/a>,\u003c/em> directed by Quincy Rose, Woody Allen’s godson, and James Franco’s new film, \u003cem>\u003ca href=\"http://www.imdb.com/title/tt1735907/\" target=\"_blank\" rel=\"noopener\">The Adderall Diaries.\u003c/a> \u003c/em>Franco and Berkeley’s Rita Moreno get the festival’s Maverick Spirit awards this year. Details \u003ca href=\"http://www.cinequest.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ojwANp_D_fE\u003c/p>\n\u003cp>\u003cstrong>March 3: \u003c/strong>This next item is a tribute to a female jazz pioneer, the great trombonist and arranger Melba Liston. She was one of the few women to play with the big bands in the 1940’s. She wrote a lot of music and wrote hundreds of arrangements for bands including those led by Quincy Jones, Dizzy Gillespie and Randy Weston. Now the young Bay Area raised trombonist \u003ca href=\"https://www.youtube.com/watch?v=ojwANp_D_fE\" target=\"_blank\" rel=\"noopener\">Natalie Cressman\u003c/a> is doing a tribute to Liston. She told us she’s been writing out Liston’s arrangement by listening to Liston’s old recordings, because very few of her charts are available. Cressman says she’s in awe of the the detail in the charts.\u003c/p>\n\u003cfigure id=\"attachment_11359646\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11359646\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Natalie-Cressman.jpg\" alt=\"Natalie Cressman\" width=\"640\" height=\"345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Natalie-Cressman.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Natalie-Cressman-400x216.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Natalie Cressman \u003ccite>(Photo Credit: Courtesy SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Because she came up playing not the lead part but in the section,” Cressman says, “that kind of gave her this perspective of wanting to make every single part beautiful. Because she found herself being bored sometimes playing those stock arrangements, she wanted to make all the parts free and special. \u003ca href=\"https://www.sfjazz.org/events/2015-16/0303/natalie-cressman\" target=\"_blank\" rel=\"noopener\">Cressman and her band play the Joe Henderson Lab at SFJAZZ Thursday night.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wLR3Bsdu36k\u003c/p>\n\u003cp>\u003cstrong>March 10-12:\u003c/strong> We’re looking a little bit ahead now with a \u003cstrong>FAR-OUT!\u003c/strong> selection — a show you should get tickets for early, or risk a sellout. It’s the annual visit to the Bay Area by the \u003ca href=\"https://www.facebook.com/BillTJonesArnieZaneDanceCompany/\" target=\"_blank\" rel=\"noopener\">Bill T. Jones/Arnie Zane Dance Company\u003c/a>. They’re doing a YBCA co-commission, a piece based on an oral history Jones did with Dora Amelan, a French Jewish nurse and social worker who somehow survived World War II. \u003ca href=\"http://tickets.ybca.org/single/PSDetail.aspx?psn=20511\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11359650\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11359650 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Word-For-Word-e1456444029772-1180x693.jpg\" alt=\"Lady Gregory (Stephanie Hunt) is seduced by the poet Blunt (Rudy Guerrero). From Colm Tóibín's "Silence."\" width=\"640\" height=\"376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Word-For-Word-e1456444029772-1180x693.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Word-For-Word-e1456444029772-400x235.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Word-For-Word-e1456444029772-800x470.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Word-For-Word-e1456444029772-768x451.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Word-For-Word-e1456444029772-960x564.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Word-For-Word-e1456444029772.jpg 1400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Lady Gregory (Stephanie Hunt) is seduced by the poet Blunt (Rudy Guerrero). From Colm Tóibín’s “Silence.” \u003ccite>(Photo Credit: Julie Schuchard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through April 3:\u003c/strong> There’s been something great in every show I’ve seen at \u003ca href=\"http://zspace.org/w4w\" target=\"_blank\" rel=\"noopener\">Word for Word\u003c/a> — that’s the company that puts short stories on the stage, word for word from the original text, and makes it work as great drama. The company is opening a new show, a pair of stories: one by \u003ca href=\"http://www.emmadonoghue.com/\" target=\"_blank\" rel=\"noopener\">Emma Donoghue \u003c/a>and one by \u003ca href=\"http://www.colmtoibin.com/\" target=\"_blank\" rel=\"noopener\">Colm Tóibín\u003c/a>. There’s a surprising Academy Awards connection for these two authors. Toibin wrote the novel \u003cem>Brooklyn\u003c/em>, and Donoghue wrote \u003cem>Room \u003c/em>— both nominated for \u003ca href=\"http://oscar.go.com/nominees\" target=\"_blank\" rel=\"noopener\">best picture awards\u003c/a>. Here are the details for Word for Word’s \u003cem>\u003ca href=\"http://zspace.org/w4w/donoghue-and-toibin\" target=\"_blank\" rel=\"noopener\">Stories by Emma Donoghue and Colm Tóibín\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=d0BNwyrEDiA\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb 26: \u003c/strong>Kid Cudi is a Speedin’ Bullet 2 Heaven. At least that’s the name of his newest album and current tour. This avatar of trippy hip-hop is embracing positivity, and his own quirks with half sung, half chanted lyrics like “I’m what you made, God / F— yes, I’m so odd.” We like odd here at The Do List. Details \u003ca href=\"http://sfmasonic.com/event/kid-cudi/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>featured, guide, ntv, the-do-list-featuredfeatured, guide, ntv, the-do-list-featuredKQED’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>\n\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/RM3hj-6F1pk'\n title='//www.youtube.com/embed/RM3hj-6F1pk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb 27:\u003c/strong> The R&B band \u003ca href=\"http://www.thesuffers.com/\" target=\"_blank\" rel=\"noopener\">The Suffers\u003c/a> begins every show by thrusting their arms in the air, and then they earn that championship gesture with great shows. These are 10 very good musicians who’ve been kicking around the Houston music scene for years, but something special clicked when co-founders Adam Castaneda and Pat Kelly hooked up with Kam Franklin, a singer with a vivid voice and presence.They’re opening for Lake Street Dive at the \u003ca href=\"http://sfmasonic.com/event/lake-street-dive/\" target=\"_blank\" rel=\"noopener\">Masonic Saturday night.\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/KOJ57_HrWXU'\n title='//www.youtube.com/embed/KOJ57_HrWXU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 1-13:\u003c/strong> \u003ca href=\"http://www.cinequest.org/\" target=\"_blank\" rel=\"noopener\">Cinequest\u003c/a> kicks off next week in San Jose, a festival that for 26 years has been exploring the links between technology and the movies, the original virtual reality. Co-founders Halfan Hussey and Kathleen Powell have scheduled a perfect opening night film, \u003cem>\u003ca href=\"http://www.bleeckerstreetmedia.com/eyeinthesky\" target=\"_blank\" rel=\"noopener\">Eye in the Sky,\u003c/a> \u003c/em>about drones, state assassinations and moral dilemmas, with a killer cast (sorry for the pun) in Helen Mirren (\u003cem>The Queen\u003c/em>), Aaron Paul (\u003cem>Breaking Bad\u003c/em>), and the late Alan Rickman (\u003cem>Harry Potter\u003c/em>). Cinequest’s own Maverick Studio is screening a work in progress,\u003ca href=\"http://www.mrinvinciblethemovie.com/\" target=\"_blank\" rel=\"noopener\"> \u003cem>Mr. Invincible\u003c/em>,\u003c/a> which uses a new three-screen format. Also worth a look: \u003cem>\u003ca href=\"https://www.facebook.com/FRIENDSEFFINGFRIENDSEFFINGFRIENDS/\" target=\"_blank\" rel=\"noopener\">Friends Effing Friends Effing Friends\u003c/a>,\u003c/em> directed by Quincy Rose, Woody Allen’s godson, and James Franco’s new film, \u003cem>\u003ca href=\"http://www.imdb.com/title/tt1735907/\" target=\"_blank\" rel=\"noopener\">The Adderall Diaries.\u003c/a> \u003c/em>Franco and Berkeley’s Rita Moreno get the festival’s Maverick Spirit awards this year. Details \u003ca href=\"http://www.cinequest.org/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ojwANp_D_fE'\n title='//www.youtube.com/embed/ojwANp_D_fE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 3: \u003c/strong>This next item is a tribute to a female jazz pioneer, the great trombonist and arranger Melba Liston. She was one of the few women to play with the big bands in the 1940’s. She wrote a lot of music and wrote hundreds of arrangements for bands including those led by Quincy Jones, Dizzy Gillespie and Randy Weston. Now the young Bay Area raised trombonist \u003ca href=\"https://www.youtube.com/watch?v=ojwANp_D_fE\" target=\"_blank\" rel=\"noopener\">Natalie Cressman\u003c/a> is doing a tribute to Liston. She told us she’s been writing out Liston’s arrangement by listening to Liston’s old recordings, because very few of her charts are available. Cressman says she’s in awe of the the detail in the charts.\u003c/p>\n\u003cfigure id=\"attachment_11359646\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11359646\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Natalie-Cressman.jpg\" alt=\"Natalie Cressman\" width=\"640\" height=\"345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Natalie-Cressman.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Natalie-Cressman-400x216.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Natalie Cressman \u003ccite>(Photo Credit: Courtesy SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Because she came up playing not the lead part but in the section,” Cressman says, “that kind of gave her this perspective of wanting to make every single part beautiful. Because she found herself being bored sometimes playing those stock arrangements, she wanted to make all the parts free and special. \u003ca href=\"https://www.sfjazz.org/events/2015-16/0303/natalie-cressman\" target=\"_blank\" rel=\"noopener\">Cressman and her band play the Joe Henderson Lab at SFJAZZ Thursday night.\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/wLR3Bsdu36k'\n title='//www.youtube.com/embed/wLR3Bsdu36k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>March 10-12:\u003c/strong> We’re looking a little bit ahead now with a \u003cstrong>FAR-OUT!\u003c/strong> selection — a show you should get tickets for early, or risk a sellout. It’s the annual visit to the Bay Area by the \u003ca href=\"https://www.facebook.com/BillTJonesArnieZaneDanceCompany/\" target=\"_blank\" rel=\"noopener\">Bill T. Jones/Arnie Zane Dance Company\u003c/a>. They’re doing a YBCA co-commission, a piece based on an oral history Jones did with Dora Amelan, a French Jewish nurse and social worker who somehow survived World War II. \u003ca href=\"http://tickets.ybca.org/single/PSDetail.aspx?psn=20511\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_11359650\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-11359650 size-large\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Word-For-Word-e1456444029772-1180x693.jpg\" alt=\"Lady Gregory (Stephanie Hunt) is seduced by the poet Blunt (Rudy Guerrero). From Colm Tóibín's "Silence."\" width=\"640\" height=\"376\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Word-For-Word-e1456444029772-1180x693.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Word-For-Word-e1456444029772-400x235.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Word-For-Word-e1456444029772-800x470.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Word-For-Word-e1456444029772-768x451.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Word-For-Word-e1456444029772-960x564.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Word-For-Word-e1456444029772.jpg 1400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Lady Gregory (Stephanie Hunt) is seduced by the poet Blunt (Rudy Guerrero). From Colm Tóibín’s “Silence.” \u003ccite>(Photo Credit: Julie Schuchard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through April 3:\u003c/strong> There’s been something great in every show I’ve seen at \u003ca href=\"http://zspace.org/w4w\" target=\"_blank\" rel=\"noopener\">Word for Word\u003c/a> — that’s the company that puts short stories on the stage, word for word from the original text, and makes it work as great drama. The company is opening a new show, a pair of stories: one by \u003ca href=\"http://www.emmadonoghue.com/\" target=\"_blank\" rel=\"noopener\">Emma Donoghue \u003c/a>and one by \u003ca href=\"http://www.colmtoibin.com/\" target=\"_blank\" rel=\"noopener\">Colm Tóibín\u003c/a>. There’s a surprising Academy Awards connection for these two authors. Toibin wrote the novel \u003cem>Brooklyn\u003c/em>, and Donoghue wrote \u003cem>Room \u003c/em>— both nominated for \u003ca href=\"http://oscar.go.com/nominees\" target=\"_blank\" rel=\"noopener\">best picture awards\u003c/a>. Here are the details for Word for Word’s \u003cem>\u003ca href=\"http://zspace.org/w4w/donoghue-and-toibin\" target=\"_blank\" rel=\"noopener\">Stories by Emma Donoghue and Colm Tóibín\u003c/a>.\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/d0BNwyrEDiA'\n title='//www.youtube.com/embed/d0BNwyrEDiA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb 26: \u003c/strong>Kid Cudi is a Speedin’ Bullet 2 Heaven. At least that’s the name of his newest album and current tour. This avatar of trippy hip-hop is embracing positivity, and his own quirks with half sung, half chanted lyrics like “I’m what you made, God / F— yes, I’m so odd.” We like odd here at The Do List. Details \u003ca href=\"http://sfmasonic.com/event/kid-cudi/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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"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.",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"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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"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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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"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",
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"order": 9
},
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"meta": {
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"source": "WNYC"
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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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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"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.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"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. ",
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"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. ",
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"order": 18
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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/",
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},
"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": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"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
},
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