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"content": "\u003cp>Stephen Witt came of age in a generation of thieves. The theft was so easy, so ubiquitous, that it didn’t even feel like stealing. It only felt like keeping up.\u003c/p>\n\u003cp>His story — our story, really — as told in \u003cem>How Music Got Free: The End of An Industry, The Turn of the Century and The Patient Zero of Piracy\u003c/em> is a scathing and hilarious one. What’s left but laughter? These horses have long since left the barn.\u003c/p>\n\u003cp>“I am a member of the pirate generation,” Witt writes. “I pirated on an industrial scale, but told no one… Most of the music I never actually listened to.”\u003c/p>\n\u003cp>Later, as a journalism student, he grew curious as to where all his ill-gotten gains came from. It’s a digital era, and we all leave tracks we cannot erase, so with an impressive sense of sleuthing, Witt tracked down the narrative of file-sharing. And for all the Napsters, the Universal Music Groups and Lars Ulrichs who dominated the headlines of the times, at the center of the story he found truly compelling characters who never made it above the fold, or even to the back pages.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/witt-how_music_got_free-400.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-10763242\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/witt-how_music_got_free-400.jpg\" alt=\"witt-how_music_got_free-400\" width=\"231\" height=\"341\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One of them was Karlheinz Brandenburg, who began as a grad student working for the Fraunhofer IIS and who eventually led the crew who created the MP3 file format. The marketing team at Phillips eviscerated his business model, and marginalized his superior product. Brandenburg was left to license his work wherever he could, even giving it away.\u003c/p>\n\u003cp>Witt’s “patient zero” was even more unprepossessing. Benny Lydell Glover started out as a temp working on the line at a CD manufacturing plant in Kings Mountain, North Carolina, living with his girlfriend in a trailer behind his parents’ house. As Witt writes, “his favorite musical genre was rap, his second favorite was country, and his lifestyle was a mash-up of the two.”\u003c/p>\n\u003cp>But Glover also had a love for computers. He got himself on the internet early, and found his way into chat rooms where teenagers with names like Kali had set up secret sharing sites with thousands of albums, video games, videos — anything that could be broken down into ones and zeros. Glover, willing to leak albums before their release from the CD manufacturing warehouse, proved to be an ongoing gold mine for the file-sharing sites. (\u003cem>The New Yorker\u003c/em> published Witt’s \u003ca href=\"http://www.newyorker.com/magazine/2015/04/27/the-man-who-broke-the-music-business\">article on Glover\u003c/a> in April.)\u003c/p>\n\u003cp>It doesn’t matter if you think you know what happened next, because Witt weaves a ripping yarn, from the tattered rags of the music industry to the world we know today. Brandenburg’s original impulse for creating the MP3 format was to create a “digital radio jukebox”; he had Spotify, Tidal, and Apple Music in his sights long before such streaming services became ubiquitous.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-10763245\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/fraunhofer-mp3_front_cd-scan.jpeg\" alt=\"fraunhofer-mp3_front_cd-scan\" width=\"201\" height=\"192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/fraunhofer-mp3_front_cd-scan.jpeg 349w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/fraunhofer-mp3_front_cd-scan-32x32.jpeg 32w\" sizes=\"(max-width: 201px) 100vw, 201px\">Not surprisingly, \u003ca href=\"http://www.ft.com/intl/cms/s/2/a354d97e-1022-11e5-ad5a-00144feabdc0.html#axzz3d5EfGj41\">Witt has some smart and not so happy news for those services as well\u003c/a>. With his combination of humor, insight and storytelling skill, he’s a must-see when he’s town, and especially if he decides to train that laser-like sensibility on \u003cem>your\u003c/em> business model. “Look upon \u003cem>your\u003c/em> works, ye mighty, and despair,” indeed.\u003c/p>\n\u003cp>I caught up with Stephen Witt via email to ask him about writing the book — and about the possibility of seeing it pirated online. (You can also listen to my \u003ca href=\"http://bookotron.com/agony/audio/2015/2015-interviews/stephen_witt-2015.mp3\" target=\"_blank\" rel=\"noopener\">audio interview with Witt here\u003c/a>.)\u003c/p>\n\u003cp>\u003cstrong>Your book describes a collision of technical and social visionaries, none of whom had great social skills. How did you go about researching and interviewing players who had trouble expressing themselves?\u003c/strong>\u003c/p>\n\u003cp>I had to re-draft the portions explaining the origins of the mp3 many times. The German engineers in particular were difficult; they all spoke perfect English, but they used very technical language, and objected to any imprecision in description. Fortunately, I had taped many of these interviews, so I could play them back as needed. With time, I was able to simplify the story to three points: 1) that the mp3 worked by taking advantage of inherent flaws in the human ear, 2) that inventor Karlheinz Brandenburg really was the key intellectual force behind the thing, despite his modest attempts to deflect credit, and 3) that it was an almost total commercial failure, until the pirates got their hands on it!\u003c/p>\n\u003cp>\u003cstrong>We’re accustomed to stories where “Follow the money” provides an easy through line for “solving the crime” or unraveling the nefarious netherworld. Was that the case with this story, and if not, how did you unearth the unconnected and determine how one life touched another?\u003c/strong>\u003c/p>\n\u003cp>In this case, the FBI had done a lot of the work already. I pulled the files on nearly 100 piracy prosecutions in the course of writing this book; I also was able to obtain access to some of the FBI’s internal memoranda, via the Freedom of Information Act. The other thing that really helped was the pirate’s own bureaucracy! For a shadowy network of digital outlaws, they kept very good records. There’s a number of hobbyists who now work to archive and preserve this stuff.\u003c/p>\n\u003cp>\u003cstrong>The initial intention of the inventors of the MP3 is only now being realized as so-called streaming services come online. Have the creators of these services researched what happened and how in order to foresee future potential perversions of their intent that may bring about their demise?\u003c/strong>\u003c/p>\n\u003cp>Streaming presents an elegant solution to the problem of piracy-in fact, it was Brandenburg’s original purpose in creating the mp3. Since the streams originate from centralized servers, under corporate oversight, it’s much easier to police their content. Of course, pirate streamers exist too, as many people who watched the recent Mayweather-Pacquiao fight know. But it’s harder for them to reach scale.\u003c/p>\n\u003cp>\u003cstrong>Has your experience researching and writing the book brought you to believe that there is a means of policing music and other digital entertainment? Coming back to its origins, is the solution technical, social or impossible?\u003c/strong>\u003c/p>\n\u003cp>The solution is technically possible; we’re watching it unfold right now. Decisions made in the early days of the Internet gave the average user a tremendous amount of power. The IRC underground where digital piracy originated was a home-brew affair-average people sharing information without oversight. That enabled a lot of wonderful things, but it was terrible for rightsholders. So, for a long time, technology and copyright were in opposition; I’d say, though, starting around 2007 or 2008, there was a shift.\u003c/p>\n\u003cp>Now, the interests of rightsholders and technologists are aligned, and the goal is not to empower the user, but to extract value from them. Today, most Internet content is hosted in corporate libraries, with robots scanning uploaded files in search of infringing content-both Youtube and Soundcloud have such systems. Megaupload, by contrast, refused to police its users’ activity; now its founder Kim Dotcom is facing jail time.\u003c/p>\n\u003cp>\u003cstrong>Have you considered posting your book online? If it were to happen, how would you feel?\u003c/strong>\u003c/p>\n\u003cp>I won’t do it myself, but there’s already a large number of requests for it in the torrent underground. I suspect it will be available within minutes of the e-book going on sale. I’m cool with that.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Stephen Witt appears at \u003ca href=\"http://www.townecenterbooks.com/townecenternews.html\">Towne Center Books in Pleasanton\u003c/a> on June 19 at 7pm, and at \u003ca href=\"http://www.bookpassage.com/event/stephen-witt-how-music-got-free\">Book Passage in the Ferry Building\u003c/a> on June 20 at 12:30pm.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of them was Karlheinz Brandenburg, who began as a grad student working for the Fraunhofer IIS and who eventually led the crew who created the MP3 file format. The marketing team at Phillips eviscerated his business model, and marginalized his superior product. Brandenburg was left to license his work wherever he could, even giving it away.\u003c/p>\n\u003cp>Witt’s “patient zero” was even more unprepossessing. Benny Lydell Glover started out as a temp working on the line at a CD manufacturing plant in Kings Mountain, North Carolina, living with his girlfriend in a trailer behind his parents’ house. As Witt writes, “his favorite musical genre was rap, his second favorite was country, and his lifestyle was a mash-up of the two.”\u003c/p>\n\u003cp>But Glover also had a love for computers. He got himself on the internet early, and found his way into chat rooms where teenagers with names like Kali had set up secret sharing sites with thousands of albums, video games, videos — anything that could be broken down into ones and zeros. Glover, willing to leak albums before their release from the CD manufacturing warehouse, proved to be an ongoing gold mine for the file-sharing sites. (\u003cem>The New Yorker\u003c/em> published Witt’s \u003ca href=\"http://www.newyorker.com/magazine/2015/04/27/the-man-who-broke-the-music-business\">article on Glover\u003c/a> in April.)\u003c/p>\n\u003cp>It doesn’t matter if you think you know what happened next, because Witt weaves a ripping yarn, from the tattered rags of the music industry to the world we know today. Brandenburg’s original impulse for creating the MP3 format was to create a “digital radio jukebox”; he had Spotify, Tidal, and Apple Music in his sights long before such streaming services became ubiquitous.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-10763245\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/fraunhofer-mp3_front_cd-scan.jpeg\" alt=\"fraunhofer-mp3_front_cd-scan\" width=\"201\" height=\"192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/fraunhofer-mp3_front_cd-scan.jpeg 349w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/fraunhofer-mp3_front_cd-scan-32x32.jpeg 32w\" sizes=\"(max-width: 201px) 100vw, 201px\">Not surprisingly, \u003ca href=\"http://www.ft.com/intl/cms/s/2/a354d97e-1022-11e5-ad5a-00144feabdc0.html#axzz3d5EfGj41\">Witt has some smart and not so happy news for those services as well\u003c/a>. With his combination of humor, insight and storytelling skill, he’s a must-see when he’s town, and especially if he decides to train that laser-like sensibility on \u003cem>your\u003c/em> business model. “Look upon \u003cem>your\u003c/em> works, ye mighty, and despair,” indeed.\u003c/p>\n\u003cp>I caught up with Stephen Witt via email to ask him about writing the book — and about the possibility of seeing it pirated online. (You can also listen to my \u003ca href=\"http://bookotron.com/agony/audio/2015/2015-interviews/stephen_witt-2015.mp3\" target=\"_blank\" rel=\"noopener\">audio interview with Witt here\u003c/a>.)\u003c/p>\n\u003cp>\u003cstrong>Your book describes a collision of technical and social visionaries, none of whom had great social skills. How did you go about researching and interviewing players who had trouble expressing themselves?\u003c/strong>\u003c/p>\n\u003cp>I had to re-draft the portions explaining the origins of the mp3 many times. The German engineers in particular were difficult; they all spoke perfect English, but they used very technical language, and objected to any imprecision in description. Fortunately, I had taped many of these interviews, so I could play them back as needed. With time, I was able to simplify the story to three points: 1) that the mp3 worked by taking advantage of inherent flaws in the human ear, 2) that inventor Karlheinz Brandenburg really was the key intellectual force behind the thing, despite his modest attempts to deflect credit, and 3) that it was an almost total commercial failure, until the pirates got their hands on it!\u003c/p>\n\u003cp>\u003cstrong>We’re accustomed to stories where “Follow the money” provides an easy through line for “solving the crime” or unraveling the nefarious netherworld. Was that the case with this story, and if not, how did you unearth the unconnected and determine how one life touched another?\u003c/strong>\u003c/p>\n\u003cp>In this case, the FBI had done a lot of the work already. I pulled the files on nearly 100 piracy prosecutions in the course of writing this book; I also was able to obtain access to some of the FBI’s internal memoranda, via the Freedom of Information Act. The other thing that really helped was the pirate’s own bureaucracy! For a shadowy network of digital outlaws, they kept very good records. There’s a number of hobbyists who now work to archive and preserve this stuff.\u003c/p>\n\u003cp>\u003cstrong>The initial intention of the inventors of the MP3 is only now being realized as so-called streaming services come online. Have the creators of these services researched what happened and how in order to foresee future potential perversions of their intent that may bring about their demise?\u003c/strong>\u003c/p>\n\u003cp>Streaming presents an elegant solution to the problem of piracy-in fact, it was Brandenburg’s original purpose in creating the mp3. Since the streams originate from centralized servers, under corporate oversight, it’s much easier to police their content. Of course, pirate streamers exist too, as many people who watched the recent Mayweather-Pacquiao fight know. But it’s harder for them to reach scale.\u003c/p>\n\u003cp>\u003cstrong>Has your experience researching and writing the book brought you to believe that there is a means of policing music and other digital entertainment? Coming back to its origins, is the solution technical, social or impossible?\u003c/strong>\u003c/p>\n\u003cp>The solution is technically possible; we’re watching it unfold right now. Decisions made in the early days of the Internet gave the average user a tremendous amount of power. The IRC underground where digital piracy originated was a home-brew affair-average people sharing information without oversight. That enabled a lot of wonderful things, but it was terrible for rightsholders. So, for a long time, technology and copyright were in opposition; I’d say, though, starting around 2007 or 2008, there was a shift.\u003c/p>\n\u003cp>Now, the interests of rightsholders and technologists are aligned, and the goal is not to empower the user, but to extract value from them. Today, most Internet content is hosted in corporate libraries, with robots scanning uploaded files in search of infringing content-both Youtube and Soundcloud have such systems. Megaupload, by contrast, refused to police its users’ activity; now its founder Kim Dotcom is facing jail time.\u003c/p>\n\u003cp>\u003cstrong>Have you considered posting your book online? If it were to happen, how would you feel?\u003c/strong>\u003c/p>\n\u003cp>I won’t do it myself, but there’s already a large number of requests for it in the torrent underground. I suspect it will be available within minutes of the e-book going on sale. I’m cool with that.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Stephen Witt appears at \u003ca href=\"http://www.townecenterbooks.com/townecenternews.html\">Towne Center Books in Pleasanton\u003c/a> on June 19 at 7pm, and at \u003ca href=\"http://www.bookpassage.com/event/stephen-witt-how-music-got-free\">Book Passage in the Ferry Building\u003c/a> on June 20 at 12:30pm.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As spring gives way to summer and the days grow warmer and longer, thousands around the Bay Area will be gearing up for Gay Pride and tons of other opportunities to celebrate our outrageous, lovely and creative queer community. From trans women of color sharing hilarious tales, to queer men and women telling stories of migration from the Dirty South through performance art; there is no shortage of accessible, engaging events to check out. \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/summer-arts-guide-2015\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10671038\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-400x400.png\" alt=\"SummerArtsGuide-2015-400x400-1\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>This list of such events, however, is certainly not comprehensive, but serves as a highlight of who, where and what folks should experience this June. Many of the events listed here are free or affordable, and I’d be shocked if anyone was turned away for lack of funds. Also, most of them provide scent-free seating areas, language interpretation and the best of what our queer community has to offer.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10735898\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10735898\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-800x450.jpg\" alt=\" Miho Aida's “The Sacred Place Where Life Begins” screens at the Queer Women of Color Film Festival\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Miho Aida’s “The Sacred Place Where Life Begins” screens at the Queer Women of Color Film Festival\u003c/figcaption>\u003c/figure>\n\u003ch3>11\u003csup>th\u003c/sup> Annual Queer Women of Color Film Festival\u003c/h3>\n\u003ch5>June 12-14\u003cbr>\nQueer Women of Color Media Arts Project\u003cbr>\n\u003ca href=\"http://www.qwocmap.org/festival/film-festival/schedule/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>One of the most anticipated Bay Area film events is the 11th annual Queer Women of Color Film Festival in San Francisco. For three days, audiences will have access to documentary films covering a variety of topics ranging from interracial coupling, body love, immigration and everything in between. The festival also features comedies, dramas, experimental film and more. With a total of 39 flicks, the festival is the best deal in the Bay as it’s completely free!\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10735899\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10735899\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration-478x600.jpg\" alt=\"Gary Edjukated Rebel Brice performs at "Y'all Come Back: Stories of Queer Southern Migration"\" width=\"478\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration-478x600.jpg 478w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration-400x503.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration.jpg 480w\" sizes=\"(max-width: 478px) 100vw, 478px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gary Edjukated Rebel Brice performs at “Y’all Come Back: Stories of Queer Southern Migration”\u003c/figcaption>\u003c/figure>\n\u003ch3>Y’all Come Back: Stories of Queer Southern Migration \u003c/h3>\n\u003ch5>June 13\u003cbr>\nSan Francisco LGBT Community Center\u003cbr>\n\u003ca href=\"http://www.yallcomebackshow.com/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>There is an assumption that the South is full of scary, right-wing bible thumpers, but if you think about it, not all of the queer community in San Francisco were born near The Bay. Y’all Come Back: Stories of Queer Southern Migration hopes to expose the rest of us to the “real queer” South through a visual art show (June 1- July 17) and two performances on June 13. Also, the event is not just tales of getting out but includes stories of queers heading to the South as well. It is sure to be an educational experience for all.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10741363\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Black-dont-crack-400x224.jpg\" alt=\"Black Don't Crack flyer\" width=\"400\" height=\"224\" class=\"size-thumbnail wp-image-10741363\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Black-dont-crack-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Black-dont-crack.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Black Don’t Crack flyer\u003c/figcaption>\u003c/figure>\n\u003ch3>Black Don’t Crack \u003c/h3>\n\u003ch5>June 18\u003cbr>\nAfrican American Art & Culture Complex\u003cbr>\n\u003ca href=\"https://www.facebook.com/events/816222501792567/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Congregation of Liberation composed an interdisciplinary musical theater production that uses humor and drama to shed some positive light on the alliances between marginalized communities of color and the queer community. The performance serves as a healing tool as well as an act of resistance against racism and homophobia, using art as a path to collective liberation and community building.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10736036\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Jackie-wang-RADAR-queerfail.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10736036\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Jackie-wang-RADAR-queerfail-800x533.jpg\" alt=\"Jackie Wang reads at RADAR Production's #QueerFail Festival\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Jackie-wang-RADAR-queerfail.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Jackie-wang-RADAR-queerfail-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jackie Wang reads at RADAR Production’s #QueerFail Festival\u003c/figcaption>\u003c/figure>\n\u003ch3>RADAR Productions #QUEERFAIL Festival \u003c/h3>\n\u003ch5>June 15-21\u003cbr>\nVarious locations in San Francisco\u003cbr>\n\u003ca href=\"http://www.radarproductions.org/reading-series/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>If the literary arts are your cup of tea, you won’t want to miss this fabulous Queer Fail series in June. Themed around “queer failure,” or as RADAR puts it, “the unique history of queer anti-assimilation and also just straight-up FAILURE to be polite, to be a tool, to be on time,” the festival offers a series of readings. The June 17 \u003ca href=\"https://www.facebook.com/events/1071305416216886/\" target=\"_blank\" rel=\"noopener\">Superstar\u003c/a> event features Jackie Wang, Maggie Nelson, CAConrad and Christopher Soto (aka Loma). Other events feature Sarah Fontaine, Lovewarz, Baruch Porras-Hernandez, Brontez Purnell, Cooper Lee Bombardier, Manish Vaidya, Cate White and more!\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10741365\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/CPA-GSD-41-400x267.jpeg\" alt=\"Example from <i>Stories of the Spectrum</i>\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-10741365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/CPA-GSD-41-400x267.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/CPA-GSD-41.jpeg 432w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Example from \u003ci>Stories of the Spectrum\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>Stories of the Spectrum Photo Exhibit\u003c/h3>\n\u003ch5>June 22 reception (exhibit runs June 1 – July 17)\u003cbr>\nLGBT Community Center\u003cbr>\n\u003ca href=\"http://www.sfcenter.org/programs/gallery-shows/stories-spectrum-photo-exhibit\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>While the “coming out” story of Caitlyn Jenner has been inspiring, it is certainly not representative of many trans people’s experiences. An upcoming exhibit in San Francisco offers a peak at some of the varied experience local youth have in the Bay Area. The Chinese Progressive Association and the Queer Cultural Center hosts \u003cem>Stories of the Spectrum\u003c/em>, a photography exhibit which documents queer and gender non-conforming people of color and their allies in the Bay Area at San Francisco’s LGBT Community center. The youth-led project defies stereotypes and is free of charge.\n\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As spring gives way to summer and the days grow warmer and longer, thousands around the Bay Area will be gearing up for Gay Pride and tons of other opportunities to celebrate our outrageous, lovely and creative queer community. From trans women of color sharing hilarious tales, to queer men and women telling stories of migration from the Dirty South through performance art; there is no shortage of accessible, engaging events to check out. \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/summer-arts-guide-2015\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10671038\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-400x400.png\" alt=\"SummerArtsGuide-2015-400x400-1\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>This list of such events, however, is certainly not comprehensive, but serves as a highlight of who, where and what folks should experience this June. Many of the events listed here are free or affordable, and I’d be shocked if anyone was turned away for lack of funds. Also, most of them provide scent-free seating areas, language interpretation and the best of what our queer community has to offer.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10735898\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10735898\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-800x450.jpg\" alt=\" Miho Aida's “The Sacred Place Where Life Begins” screens at the Queer Women of Color Film Festival\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/The-Sacred-Place-where-life-begins-by-Miho-Aida.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Miho Aida’s “The Sacred Place Where Life Begins” screens at the Queer Women of Color Film Festival\u003c/figcaption>\u003c/figure>\n\u003ch3>11\u003csup>th\u003c/sup> Annual Queer Women of Color Film Festival\u003c/h3>\n\u003ch5>June 12-14\u003cbr>\nQueer Women of Color Media Arts Project\u003cbr>\n\u003ca href=\"http://www.qwocmap.org/festival/film-festival/schedule/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>One of the most anticipated Bay Area film events is the 11th annual Queer Women of Color Film Festival in San Francisco. For three days, audiences will have access to documentary films covering a variety of topics ranging from interracial coupling, body love, immigration and everything in between. The festival also features comedies, dramas, experimental film and more. With a total of 39 flicks, the festival is the best deal in the Bay as it’s completely free!\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10735899\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10735899\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration-478x600.jpg\" alt=\"Gary Edjukated Rebel Brice performs at "Y'all Come Back: Stories of Queer Southern Migration"\" width=\"478\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration-478x600.jpg 478w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration-400x503.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Gary-Edjukated-Rebel-Brice-q-southern-migration.jpg 480w\" sizes=\"(max-width: 478px) 100vw, 478px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gary Edjukated Rebel Brice performs at “Y’all Come Back: Stories of Queer Southern Migration”\u003c/figcaption>\u003c/figure>\n\u003ch3>Y’all Come Back: Stories of Queer Southern Migration \u003c/h3>\n\u003ch5>June 13\u003cbr>\nSan Francisco LGBT Community Center\u003cbr>\n\u003ca href=\"http://www.yallcomebackshow.com/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>There is an assumption that the South is full of scary, right-wing bible thumpers, but if you think about it, not all of the queer community in San Francisco were born near The Bay. Y’all Come Back: Stories of Queer Southern Migration hopes to expose the rest of us to the “real queer” South through a visual art show (June 1- July 17) and two performances on June 13. Also, the event is not just tales of getting out but includes stories of queers heading to the South as well. It is sure to be an educational experience for all.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10741363\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Black-dont-crack-400x224.jpg\" alt=\"Black Don't Crack flyer\" width=\"400\" height=\"224\" class=\"size-thumbnail wp-image-10741363\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Black-dont-crack-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Black-dont-crack.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Black Don’t Crack flyer\u003c/figcaption>\u003c/figure>\n\u003ch3>Black Don’t Crack \u003c/h3>\n\u003ch5>June 18\u003cbr>\nAfrican American Art & Culture Complex\u003cbr>\n\u003ca href=\"https://www.facebook.com/events/816222501792567/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Congregation of Liberation composed an interdisciplinary musical theater production that uses humor and drama to shed some positive light on the alliances between marginalized communities of color and the queer community. The performance serves as a healing tool as well as an act of resistance against racism and homophobia, using art as a path to collective liberation and community building.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10736036\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Jackie-wang-RADAR-queerfail.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-10736036\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Jackie-wang-RADAR-queerfail-800x533.jpg\" alt=\"Jackie Wang reads at RADAR Production's #QueerFail Festival\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Jackie-wang-RADAR-queerfail.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Jackie-wang-RADAR-queerfail-400x267.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jackie Wang reads at RADAR Production’s #QueerFail Festival\u003c/figcaption>\u003c/figure>\n\u003ch3>RADAR Productions #QUEERFAIL Festival \u003c/h3>\n\u003ch5>June 15-21\u003cbr>\nVarious locations in San Francisco\u003cbr>\n\u003ca href=\"http://www.radarproductions.org/reading-series/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>If the literary arts are your cup of tea, you won’t want to miss this fabulous Queer Fail series in June. Themed around “queer failure,” or as RADAR puts it, “the unique history of queer anti-assimilation and also just straight-up FAILURE to be polite, to be a tool, to be on time,” the festival offers a series of readings. The June 17 \u003ca href=\"https://www.facebook.com/events/1071305416216886/\" target=\"_blank\" rel=\"noopener\">Superstar\u003c/a> event features Jackie Wang, Maggie Nelson, CAConrad and Christopher Soto (aka Loma). Other events feature Sarah Fontaine, Lovewarz, Baruch Porras-Hernandez, Brontez Purnell, Cooper Lee Bombardier, Manish Vaidya, Cate White and more!\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10741365\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/CPA-GSD-41-400x267.jpeg\" alt=\"Example from <i>Stories of the Spectrum</i>\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-10741365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/CPA-GSD-41-400x267.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/CPA-GSD-41.jpeg 432w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Example from \u003ci>Stories of the Spectrum\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>Stories of the Spectrum Photo Exhibit\u003c/h3>\n\u003ch5>June 22 reception (exhibit runs June 1 – July 17)\u003cbr>\nLGBT Community Center\u003cbr>\n\u003ca href=\"http://www.sfcenter.org/programs/gallery-shows/stories-spectrum-photo-exhibit\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>While the “coming out” story of Caitlyn Jenner has been inspiring, it is certainly not representative of many trans people’s experiences. An upcoming exhibit in San Francisco offers a peak at some of the varied experience local youth have in the Bay Area. The Chinese Progressive Association and the Queer Cultural Center hosts \u003cem>Stories of the Spectrum\u003c/em>, a photography exhibit which documents queer and gender non-conforming people of color and their allies in the Bay Area at San Francisco’s LGBT Community center. The youth-led project defies stereotypes and is free of charge.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "An Expert's Guide to the 2015 National Queer Arts Festival",
"headTitle": "An Expert’s Guide to the 2015 National Queer Arts Festival | KQED",
"content": "\u003cp>Now in its 18th year, the \u003ca href=\"http://qcc2.org/nqaf-2015/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>National Queer Arts Festival\u003c/strong>\u003c/a> (NQAF) takes over San Francisco every June with such an energetic schedule, there’s something to do every day of the month. The programming spans visual art exhibitions, film screenings and multidisciplinary performances. Produced by the \u003ca href=\"http://qcc2.org/\" target=\"_blank\" rel=\"noopener\">Queer Cultural Center\u003c/a> (QCC), this festival dedicated to presenting the work of culturally diverse queer artists is the largest of its kind in the country.\u003c/p>\n\u003cp>Pamela Peniston, QCC’s Artistic Director, shared “not to be missed” highlights from this year’s festival with KQED. “Our biggest change is our break into Oakland,” Peniston said in an interview, a decision spearheaded by QCC Community Engagement Coordinator Manish Vaidya.\u003c/p>\n\u003cfigure id=\"attachment_10742730\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10742730\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/brouhaha-logo.jpg\" alt=\"<i>Brouhaha: Trans Women of Color Comedy Storytelling</i>. (Courtesy of the Queer Cultural Center)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/brouhaha-logo.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/brouhaha-logo-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Brouhaha: Trans Women of Color Comedy Storytelling\u003c/i>. (Courtesy of the Queer Cultural Center)\u003c/figcaption>\u003c/figure>\n\u003cp>But the festival also marks several other firsts this year. \u003cem>\u003ca href=\"http://qcc2.org/brouhaha-2/\" target=\"_blank\" rel=\"noopener\">Brouhaha: Trans Women of Color Comedy Storytelling\u003c/a>\u003c/em> is the first ever trans women of color comedy show. “We had a preview of the routines at April at SOMArt’s \u003ca href=\"http://www.somarts.org/programs/thenews/\">The News\u003c/a>, and I can tell you, it’s going to be an outrageously spectacular event,” says Peniston. “We even received a note from Janet Mock commending us on our work.”\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://qcc2.org/brouhaha-2/\" target=\"_blank\" rel=\"noopener\">Brouhaha: Trans Women of Color Comedy Storytelling\u003c/a>\u003c/em> has two performances on Jun. 9, 2015 at the \u003ca href=\"http://oacc.cc/\" target=\"_blank\" rel=\"noopener\">Oakland Asian Cultural Center\u003c/a>. (Tickets for the 7pm show are sold out, but the 9pm show still has seats.)\u003c/p>\n\u003cfigure id=\"attachment_10742732\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10742732\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/KeyImage_StillHere2015_2.jpg\" alt=\"Cristina Mitra and Natalia Vigil of <i>Still Here</i>. (Photo by Lydia Daniller)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/KeyImage_StillHere2015_2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/KeyImage_StillHere2015_2-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Cristina Mitra and Natalia Vigil of \u003ci>Still Here\u003c/i>. (Photo by Lydia Daniller)\u003c/figcaption>\u003c/figure>\n\u003cp>Another notable change this year is to the annual NQAF feature \u003ca href=\"http://qcc2.org/still-here-2015/\" target=\"_blank\" rel=\"noopener\">\u003cem>Still Here\u003c/em>\u003c/a>. In its third year, this program focuses on the experiences of the LBGT generation growing up during the 1980s and ’90s. “Previously, this program only featured readings by people who were coming out at the tail end of the AIDS epidemic. With the exception of the drag queen house systems, most of us who were adults during that time didn’t notice the younger generation coming up, since we were in crisis mode. QCC created the program to present what the AIDS epidemic looked like from the point of view of younger people,” says Peniston.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“However, this year \u003cem>Still Here\u003c/em> expanded to be intergenerational, guided by curators Cristina Mitra and Natalia Vigil. We have people who are now in their thirties with people in their sixties and seventies telling stories together. They give both visions of what this epidemic looked like from straight ahead and from underneath.”\u003c/p>\n\u003cp>\u003ca href=\"http://qcc2.org/still-here-2015/\" target=\"_blank\" rel=\"noopener\">\u003cem>Still Here\u003c/em>\u003c/a> takes place on Jun. 10 and 11, 2015 at 7pm at the \u003ca href=\"http://www.sfcenter.org/\">SF LGBT Community Center \u003c/a>in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_10742731\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10742731\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/I-love-the-Queer-SouthKEY.jpg\" alt=\"Y’all Come Back: Stories of Queer Southern Migration. (Courtesy of the Queer Cultural Center)\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/I-love-the-Queer-SouthKEY.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/I-love-the-Queer-SouthKEY-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/I-love-the-Queer-SouthKEY-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/I-love-the-Queer-SouthKEY-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/I-love-the-Queer-SouthKEY-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/I-love-the-Queer-SouthKEY-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/I-love-the-Queer-SouthKEY-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/I-love-the-Queer-SouthKEY-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Y’all Come Back: Stories of Queer Southern Migration\u003c/i>. (Courtesy of the Queer Cultural Center)\u003c/figcaption>\u003c/figure>\n\u003cp>NQAF doesn’t focus only on Bay Area residents, this year including \u003ca href=\"http://qcc2.org/yall-come-back/\" target=\"_blank\" rel=\"noopener\">\u003cem>Y’all Come Back: Stories of Queer Southern Migration\u003c/em>\u003c/a>. Two performances on Jun. 13 and a visual art exhibition revolve around artists who have migrated to or from the South. “The art is outrageously good, and the performances are going to be astounding,” says Peniston.\u003c/p>\n\u003cp>\u003ca href=\"http://qcc2.org/yall-come-back/\" target=\"_blank\" rel=\"noopener\">\u003cem>Y’all Come Back: Stories of Queer Southern Migration\u003c/em>\u003c/a> hosts performances on Jun. 13, 2015 at 3pm and 7pm at the \u003ca href=\"http://www.sfcenter.org/\" target=\"_blank\" rel=\"noopener\">San Francisco LGBT Community Center\u003c/a>. The exhibition runs through Jul. 17, 2015.\u003c/p>\n\u003cfigure id=\"attachment_10742733\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10742733\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Mangos09.jpg\" alt=\"Mangos With Chili co-directors Leah Lakshmi Piepzna-Samarasinha and Cherry Galette. (Courtesy of the Queer Cultural Center)\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Mangos09.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Mangos09-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Mangos With Chili co-directors Leah Lakshmi Piepzna-Samarasinha and Cherry Galette. (Courtesy of the Queer Cultural Center)\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to all these “firsts,” this year’s festival includes a “last” — the last performance from local arts organization \u003ca href=\"http://mangoswithchili.com/\" target=\"_blank\" rel=\"noopener\">Mangos With Chili\u003c/a>. Peniston muses, “All organizations have a life-cycle. Mangos With Chili was founded by two pivotal artists, Cherry Galette and Leah Lakshmi Piepzna-Samarasinha, who have done extraordinary things. They brought us — and not just QCC, but the entire queer community — so many fresh, new voices and artists. They left the landscape a more vibrant arts community. That’s the kind of legacy one hopes to leave behind.” The founders \u003ca href=\"http://mangoswithchili.com/2015/05/14/all-that-you-touch-you-change-a-note-on-our-wind-down/\" target=\"_blank\" rel=\"noopener\">announced the closure\u003c/a> on May 14, 2015, citing housing displacement due to gentrification in Oakland as one of the reasons impacting the decision.\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"http://qcc2.org/mangos-with-chili/\" target=\"_blank\" rel=\"noopener\">All That You Touch You Change: Mangos With Chili’s Final Bow\u003c/a>\u003c/i> takes place on Jun. 25, 2015 at 7:30pm at the \u003ca href=\"http://www.aaacc.org/index.html\">African American Art and Culture Complex\u003c/a> in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The National Queer Arts Festival\u003c/strong> runs through June 30, 2015 at multiple venues in San Francisco and Oakland. For \u003ca href=\"http://qcc2.org/\" target=\"_blank\" rel=\"noopener\">tickets and more information\u003c/a>, visit qcc2.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Now in its 18th year, the \u003ca href=\"http://qcc2.org/nqaf-2015/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>National Queer Arts Festival\u003c/strong>\u003c/a> (NQAF) takes over San Francisco every June with such an energetic schedule, there’s something to do every day of the month. The programming spans visual art exhibitions, film screenings and multidisciplinary performances. Produced by the \u003ca href=\"http://qcc2.org/\" target=\"_blank\" rel=\"noopener\">Queer Cultural Center\u003c/a> (QCC), this festival dedicated to presenting the work of culturally diverse queer artists is the largest of its kind in the country.\u003c/p>\n\u003cp>Pamela Peniston, QCC’s Artistic Director, shared “not to be missed” highlights from this year’s festival with KQED. “Our biggest change is our break into Oakland,” Peniston said in an interview, a decision spearheaded by QCC Community Engagement Coordinator Manish Vaidya.\u003c/p>\n\u003cfigure id=\"attachment_10742730\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10742730\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/brouhaha-logo.jpg\" alt=\"<i>Brouhaha: Trans Women of Color Comedy Storytelling</i>. (Courtesy of the Queer Cultural Center)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/brouhaha-logo.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/brouhaha-logo-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Brouhaha: Trans Women of Color Comedy Storytelling\u003c/i>. (Courtesy of the Queer Cultural Center)\u003c/figcaption>\u003c/figure>\n\u003cp>But the festival also marks several other firsts this year. \u003cem>\u003ca href=\"http://qcc2.org/brouhaha-2/\" target=\"_blank\" rel=\"noopener\">Brouhaha: Trans Women of Color Comedy Storytelling\u003c/a>\u003c/em> is the first ever trans women of color comedy show. “We had a preview of the routines at April at SOMArt’s \u003ca href=\"http://www.somarts.org/programs/thenews/\">The News\u003c/a>, and I can tell you, it’s going to be an outrageously spectacular event,” says Peniston. “We even received a note from Janet Mock commending us on our work.”\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"http://qcc2.org/brouhaha-2/\" target=\"_blank\" rel=\"noopener\">Brouhaha: Trans Women of Color Comedy Storytelling\u003c/a>\u003c/em> has two performances on Jun. 9, 2015 at the \u003ca href=\"http://oacc.cc/\" target=\"_blank\" rel=\"noopener\">Oakland Asian Cultural Center\u003c/a>. (Tickets for the 7pm show are sold out, but the 9pm show still has seats.)\u003c/p>\n\u003cfigure id=\"attachment_10742732\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10742732\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/KeyImage_StillHere2015_2.jpg\" alt=\"Cristina Mitra and Natalia Vigil of <i>Still Here</i>. (Photo by Lydia Daniller)\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/KeyImage_StillHere2015_2.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/KeyImage_StillHere2015_2-400x267.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Cristina Mitra and Natalia Vigil of \u003ci>Still Here\u003c/i>. (Photo by Lydia Daniller)\u003c/figcaption>\u003c/figure>\n\u003cp>Another notable change this year is to the annual NQAF feature \u003ca href=\"http://qcc2.org/still-here-2015/\" target=\"_blank\" rel=\"noopener\">\u003cem>Still Here\u003c/em>\u003c/a>. In its third year, this program focuses on the experiences of the LBGT generation growing up during the 1980s and ’90s. “Previously, this program only featured readings by people who were coming out at the tail end of the AIDS epidemic. With the exception of the drag queen house systems, most of us who were adults during that time didn’t notice the younger generation coming up, since we were in crisis mode. QCC created the program to present what the AIDS epidemic looked like from the point of view of younger people,” says Peniston.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“However, this year \u003cem>Still Here\u003c/em> expanded to be intergenerational, guided by curators Cristina Mitra and Natalia Vigil. We have people who are now in their thirties with people in their sixties and seventies telling stories together. They give both visions of what this epidemic looked like from straight ahead and from underneath.”\u003c/p>\n\u003cp>\u003ca href=\"http://qcc2.org/still-here-2015/\" target=\"_blank\" rel=\"noopener\">\u003cem>Still Here\u003c/em>\u003c/a> takes place on Jun. 10 and 11, 2015 at 7pm at the \u003ca href=\"http://www.sfcenter.org/\">SF LGBT Community Center \u003c/a>in San Francisco.\u003c/p>\n\u003cfigure id=\"attachment_10742731\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10742731\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/I-love-the-Queer-SouthKEY.jpg\" alt=\"Y’all Come Back: Stories of Queer Southern Migration. (Courtesy of the Queer Cultural Center)\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/I-love-the-Queer-SouthKEY.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/I-love-the-Queer-SouthKEY-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/I-love-the-Queer-SouthKEY-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/I-love-the-Queer-SouthKEY-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/I-love-the-Queer-SouthKEY-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/I-love-the-Queer-SouthKEY-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/I-love-the-Queer-SouthKEY-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/I-love-the-Queer-SouthKEY-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Y’all Come Back: Stories of Queer Southern Migration\u003c/i>. (Courtesy of the Queer Cultural Center)\u003c/figcaption>\u003c/figure>\n\u003cp>NQAF doesn’t focus only on Bay Area residents, this year including \u003ca href=\"http://qcc2.org/yall-come-back/\" target=\"_blank\" rel=\"noopener\">\u003cem>Y’all Come Back: Stories of Queer Southern Migration\u003c/em>\u003c/a>. Two performances on Jun. 13 and a visual art exhibition revolve around artists who have migrated to or from the South. “The art is outrageously good, and the performances are going to be astounding,” says Peniston.\u003c/p>\n\u003cp>\u003ca href=\"http://qcc2.org/yall-come-back/\" target=\"_blank\" rel=\"noopener\">\u003cem>Y’all Come Back: Stories of Queer Southern Migration\u003c/em>\u003c/a> hosts performances on Jun. 13, 2015 at 3pm and 7pm at the \u003ca href=\"http://www.sfcenter.org/\" target=\"_blank\" rel=\"noopener\">San Francisco LGBT Community Center\u003c/a>. The exhibition runs through Jul. 17, 2015.\u003c/p>\n\u003cfigure id=\"attachment_10742733\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10742733\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Mangos09.jpg\" alt=\"Mangos With Chili co-directors Leah Lakshmi Piepzna-Samarasinha and Cherry Galette. (Courtesy of the Queer Cultural Center)\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Mangos09.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Mangos09-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Mangos With Chili co-directors Leah Lakshmi Piepzna-Samarasinha and Cherry Galette. (Courtesy of the Queer Cultural Center)\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to all these “firsts,” this year’s festival includes a “last” — the last performance from local arts organization \u003ca href=\"http://mangoswithchili.com/\" target=\"_blank\" rel=\"noopener\">Mangos With Chili\u003c/a>. Peniston muses, “All organizations have a life-cycle. Mangos With Chili was founded by two pivotal artists, Cherry Galette and Leah Lakshmi Piepzna-Samarasinha, who have done extraordinary things. They brought us — and not just QCC, but the entire queer community — so many fresh, new voices and artists. They left the landscape a more vibrant arts community. That’s the kind of legacy one hopes to leave behind.” The founders \u003ca href=\"http://mangoswithchili.com/2015/05/14/all-that-you-touch-you-change-a-note-on-our-wind-down/\" target=\"_blank\" rel=\"noopener\">announced the closure\u003c/a> on May 14, 2015, citing housing displacement due to gentrification in Oakland as one of the reasons impacting the decision.\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"http://qcc2.org/mangos-with-chili/\" target=\"_blank\" rel=\"noopener\">All That You Touch You Change: Mangos With Chili’s Final Bow\u003c/a>\u003c/i> takes place on Jun. 25, 2015 at 7:30pm at the \u003ca href=\"http://www.aaacc.org/index.html\">African American Art and Culture Complex\u003c/a> in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The National Queer Arts Festival\u003c/strong> runs through June 30, 2015 at multiple venues in San Francisco and Oakland. For \u003ca href=\"http://qcc2.org/\" target=\"_blank\" rel=\"noopener\">tickets and more information\u003c/a>, visit qcc2.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "nine-plays-you-shouldnt-miss-this-summer",
"title": "Nine Plays You Shouldn't Miss this Summer",
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"headTitle": "Nine Plays You Shouldn’t Miss this Summer | KQED",
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"content": "\u003cp>There’s a ton of hot plays going on this summer, so grab a Slurpee and head down to your nearest performing arts space to catch the heat from one of the nine theater events in our summer theater guide.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10653884\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-loveinfo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10653884\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-loveinfo.jpg\" alt=\"Playwright Caryl Churchill. (Photo: Courtesy of American Conservatory Theater)\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-loveinfo.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-loveinfo-400x301.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-loveinfo-799x600.jpg 799w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Playwright Caryl Churchill. (Photo by Courtesy of American Conservatory Theater)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Love and Information\u003c/em>\u003c/h3>\n\u003ch5>June 3–August 9\u003cbr>\nAmerican Conservatory Theater (Strand Theater, 1127 Market Street, San Francisco)\u003cbr>\n\u003ca href=\"http://www.act-sf.org/home/box_office/mainstage/love_and_information.highResolutionDisplay.html\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>After three years of anticipation, ACT has reopened the former grungy movie theater known as the Strand as an elegant, live-performance arts space. The company is breaking in its new venue with the West Coast premiere of another challenging work by one of the greatest living playwrights, Caryl Churchill. \u003cem>Love and Information\u003c/em> is a fast-paced series of 57 vignettes ranging from five seconds to five minutes apiece. They feature 140 characters in conversations touching on the tension between privacy and easy access to information in our technological age.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10653878\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-CA.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10653878\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-CA-787x1180.jpg\" alt=\"Bahni Tupin stars in California: The Tempest. (Photo: Megan Wanlass)\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-CA-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-CA-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-CA.jpg 800w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bahni Tupin stars in \u003ci>California: The Tempest.\u003c/i> (Photo by Megan Wanlass)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>California: The Tempest\u003c/em>\u003c/h3>\n\u003ch5>June 4–6\u003cbr>\nCornerstone Theater Company (Z Space, 450 Florida Street, San Francisco)\u003cbr>\n\u003ca href=\"http://zspace.org/new-work/california-the-tempest\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Los Angeles’ Cornerstone Theater Company specializes in community-based theater in which the artists embed themselves in a particular population and talk to locals about their challenges and concerns. They then use this information to create new plays representing people whose voices aren’t often heard on stage. \u003cem>California: The Tempest\u003c/em> is an epic project that’s spanned the last decade. Each summer during that period, the creators spent a month in a different California region. Playwright Alison Carey wove the experiences of those ten communities together with a loose adaptation of Shakespeare’s \u003cem>The Tempest\u003c/em> to create a theatrical event that embeds contemporary Californian themes into a timeless play.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10653879\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-choirboy.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10653879\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-choirboy.jpg\" alt=\"Forest Van Dyke, Jelani Alladin, Jaysen Wright, Rotimi Agbabiaka and Dimitri Woods star in the Bay Area premiere of Tarell Alvin McCraney's Choir Boy at Marin Theatre Company. (Photo: Ed Smith)\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-choirboy.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-choirboy-400x286.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Forest Van Dyke, Jelani Alladin, Jaysen Wright, Rotimi Agbabiaka and Dimitri Woods star in the Bay Area premiere of Tarell Alvin McCraney’s \u003ci>Choir Boy\u003c/i> at Marin Theatre Company. (Photo by Ed Smith)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Choir Boy\u003c/em>\u003c/h3>\n\u003ch5>June 4–28\u003cbr>\nMarin Theatre Company (397 Miller Avenue, Mill Valley)\u003cbr>\n\u003ca href=\"http://www.marintheatre.org/productions/choir-boy\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>In 2010, playwright and MacArthur “Genius” grant award winner Tarell Alvin McCraney made his Bay Area debut with an unprecedented three-theater presentation of his lyrical, folklore-steeped trilogy \u003cem>The Brother/Sister Plays\u003c/em>. McCraney returned to the Bay Area this April with his take on the Book of Job, \u003cem>Head of Passes,\u003c/em> at Berkeley Rep. And now he’s back at Marin with an intimate gospel-infused drama about power struggles, nepotism and homophobia in an elite prep school choir.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10653885\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-pillowman.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10653885\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-pillowman.jpg\" alt=\"Ariel (Tim Green) and Tupolski (Aaron Murphy) interrogate Katurian (Justin Gillman) in The Pillowman. (Photo: Alandra Hileman)\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-pillowman.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-pillowman-400x265.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ariel (Tim Green) and Tupolski (Aaron Murphy) interrogate Katurian (Justin Gillman) in \u003ci>The Pillowman.\u003c/i> (Photo by Alandra Hileman)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Pillowman\u003c/em>\u003c/h3>\n\u003ch5>June 12–27\u003cbr>\nThe Breadbox (EXIT Theatre, 156 Eddy Street, San Francisco)\u003cbr>\n\u003ca href=\"http://www.breadboxtheatre.org/#!buy-tickets/c1gcv\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>All of Martin McDonagh’s early work is set in Ireland. The first time the Anglo-Irish dramatist turned his attention elsewhere was in 2003 with\u003cem> The Pillowman\u003c/em>, which takes place in a non-specific totalitarian regime. In this eerie and darkly funny thriller, an author of children’s books is interrogated about alleged ties between his fairy tales and a series of gruesome murders. Berkeley Rep gave the play a stunning production in 2007, and now an ambitious new company, the Breadbox, takes on the pitch-black comedy in the intimate confines of the EXIT Stage Left.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10653880\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-detroit.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10653880\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-detroit.jpg\" alt=\"Mary (Amy Resnick) and Ben (Jeff Garrett) throw a backyard barbecue in Aurora Theatre Company's Bay Area premiere of Detroit. (Photo: David Allen)\" width=\"800\" height=\"606\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-detroit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-detroit-400x303.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-detroit-792x600.jpg 792w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mary (Amy Resnick) and Ben (Jeff Garrett) throw a backyard barbecue in Aurora Theatre Company’s Bay Area premiere of \u003ci>Detroit\u003c/i>. (Photo by David Allen)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Detroit\u003c/em>\u003c/h3>\n\u003ch5>June 19 – July 19\u003cbr>\nAurora Theatre Company (2081 Addison Street, Berkeley)\u003cbr>\n\u003ca href=\"https://auroratheatre.org/index.php?option=com_theatre&view=show&id=104&Itemid=655\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>A 2011 Pulitzer finalist and 2013 Obie Award winner for best new American play,\u003cem> Detroit\u003c/em> may or may not be set in Detroit. What matters is that Lisa D’Amour’s sharp satire explores the sense of neighborly disconnection in a “first-ring” suburb right outside a midsize American city. New next-door neighbors strike up an awkward friendship that quickly uncovers how barely they’re all hanging on to their sense of normalcy and the surreal unease lying just beneath the surface of suburban life.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10653882\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-freedomland2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10653882 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-freedomland2-787x1180.jpg\" alt=\"Michael Gene Sullivan (Malcolm Haywood), George P. Scott (Tyler Haywood), Lisa Hori-Garcia (Cop), Hugo E Carbajal (Cop) in Freedomland. (Photo: DavidAllenStudio.com)\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-freedomland2-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-freedomland2-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-freedomland2.jpg 800w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Michael Gene Sullivan (Malcolm Haywood), George P. Scott (Tyler Haywood), Lisa Hori-Garcia (Cop), Hugo E Carbajal (Cop) in \u003ci>Freedomland.\u003c/i>(Photo by DavidAllenStudio.com)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Freedomland\u003c/em>\u003c/h3>\n\u003ch5>July 4 – Sept. 7\u003cbr>\nSan Francisco Mime Troupe (various Bay Area parks)\u003cbr>\n\u003ca href=\"http://www.sfmt.org/index.php\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Every Fourth of July, the Mime Troupe unveils a new musical political satire in Dolores Park that they later tour all over the Bay Area, and it’s practically a duty of citizenship to check it out. The 56-year-old theatrical collective picks a different hot-button issue each year to try to get people off their butts and do something. This year, it’s police culture and the growing problem of “innocent until proven guilty,” especially where people of color are concerned, combined with the timeworn issue of the War on Drugs. This is dark and disturbing territory to explore, but writer Michael Gene Sullivan and the troupe do it with broad musical comedy. Just to give you a taste, the name of the fictional drug du jour is “snorf.”\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10653883\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-lifeisadream.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10653883\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-lifeisadream.jpg\" alt=\"Sean San Jose plays the imprisoned prince Segismundo in Life Is a Dream. (Photo: Courtesy of California Shakespeare Theater)\" width=\"800\" height=\"894\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-lifeisadream.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-lifeisadream-400x447.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-lifeisadream-537x600.jpg 537w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sean San Jose plays the imprisoned prince Segismundo in \u003ci>Life Is a Dream\u003c/i>. (Photo: Courtesy of California Shakespeare Theater)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Life Is a Dream\u003c/em>\u003c/h3>\n\u003ch5>July 8 – Aug. 2\u003cbr>\nCalifornia Shakespeare Theater (Bruns Amphitheater, 100 California Shakespeare Theater Way, Orinda)\u003cbr>\n\u003ca href=\"http://www.calshakes.org/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>For the last 15 years, California Shakespeare Theater has increased its output of modern classics and even the occasional new play to compliment the expected fare of William Shakespeare’s greatest hits. \u003cem>Life Is a Dream\u003c/em> fits into none of these categories; it’s a Spanish classic that’s roughly contemporary with Shakespeare’s own time. Pedro Calderón de la Barca’s 1635 drama is about a prince of Poland who was imprisoned by his father because of a bad omen that predicts the prince will destroy the kingdom. And of course there’s a woman dressed as a man on a quest for vengeance against the guy who dumped her, because every 17th-century play needs that sort of thing. Pulitzer Prize-winning playwright Nilo Cruz (\u003cem>Anna in the Tropics\u003c/em>) has adapted the play, which features an unusually and refreshingly diverse cast of great local actors.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10653886\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-triangle.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10653886\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-triangle-787x1180.jpg\" alt=\"Triangle kicks off TheatreWorks' 2015-16 season. (Photo: Courtesy of TheatreWorks)\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-triangle-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-triangle-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-triangle.jpg 800w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Triangle\u003c/i> kicks off TheatreWorks’ 2015-16 season. (Photo: Courtesy of TheatreWorks)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Triangle\u003c/em>\u003c/h3>\n\u003ch5>July 8 – Aug. 2\u003cbr>\nTheatreWorks (Lucie Stern Theatre, 1305 Middlefield Road, Palo Alto)\u003cbr>\n\u003ca href=\"https://www.theatreworks.org/shows/1516-season/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>A musical about the Triangle Shirtwaist Factory fire, which killed 146 garment workers in 1911? Not the most intuitive choice. But a workshop version of Thomas Mizer, Curtis Moore and Joshua Scher’s musical was a hit at TheatreWorks’ 2012 New Works Festival, and now its world premiere kicks off the company’s 2015-16 season. A high-tech scientist in the present finds out that his lab in New York City was the site of the infamous industrial accident and unearths his own connection to some of its Jewish immigrant casualties as parallel stories unfold in the past and present. Oh, and it’s a love story, too!\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10653888\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-eurydice1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10653888\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-eurydice1.jpg\" alt=\"Flyer art for Shotgun Players' Eurydice. (Illustration: R. Black)\" width=\"800\" height=\"626\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-eurydice1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-eurydice1-400x313.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-eurydice1-767x600.jpg 767w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Flyer art for Shotgun Players’ \u003ci>Eurydice\u003c/i>. (Illustration: R. Black)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Eurydice\u003c/em>\u003c/h3>\n\u003ch5>Aug. 20 – Sept. 20\u003cbr>\nShotgun Players (Ashby Stage, 1920 Ashby Avenue, Berkeley)\u003cbr>\n\u003ca href=\"https://shotgunplayers.org/Online/eurydice\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Part of Shotgun Players’ season of works by women playwrights, \u003cem>Eurydice \u003c/em> has been done by a number of local theaters since the Berkeley Repertory Theatre introduced the Bay Area to playwright Sarah Ruhl’s work with a luminous 2004 production. But given the strong theatrical vision of director Erika Chong Shuch, it’ll be exciting to see what Shotgun does with the tale of Orpheus’s wife, reunited with her amnesiac father in the land of the dead. Expect talking stones and an elevator full of rain. But most of all, expect the unexpected.\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Hot days mean hot plays. Here are critic Sam Hurwitt's picks for must-see shows this summer.",
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"title": "Nine Plays You Shouldn't Miss this Summer | KQED",
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"headline": "Nine Plays You Shouldn't Miss this Summer",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a ton of hot plays going on this summer, so grab a Slurpee and head down to your nearest performing arts space to catch the heat from one of the nine theater events in our summer theater guide.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10653884\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-loveinfo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10653884\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-loveinfo.jpg\" alt=\"Playwright Caryl Churchill. (Photo: Courtesy of American Conservatory Theater)\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-loveinfo.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-loveinfo-400x301.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-loveinfo-799x600.jpg 799w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Playwright Caryl Churchill. (Photo by Courtesy of American Conservatory Theater)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Love and Information\u003c/em>\u003c/h3>\n\u003ch5>June 3–August 9\u003cbr>\nAmerican Conservatory Theater (Strand Theater, 1127 Market Street, San Francisco)\u003cbr>\n\u003ca href=\"http://www.act-sf.org/home/box_office/mainstage/love_and_information.highResolutionDisplay.html\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>After three years of anticipation, ACT has reopened the former grungy movie theater known as the Strand as an elegant, live-performance arts space. The company is breaking in its new venue with the West Coast premiere of another challenging work by one of the greatest living playwrights, Caryl Churchill. \u003cem>Love and Information\u003c/em> is a fast-paced series of 57 vignettes ranging from five seconds to five minutes apiece. They feature 140 characters in conversations touching on the tension between privacy and easy access to information in our technological age.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10653878\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-CA.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10653878\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-CA-787x1180.jpg\" alt=\"Bahni Tupin stars in California: The Tempest. (Photo: Megan Wanlass)\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-CA-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-CA-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-CA.jpg 800w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bahni Tupin stars in \u003ci>California: The Tempest.\u003c/i> (Photo by Megan Wanlass)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>California: The Tempest\u003c/em>\u003c/h3>\n\u003ch5>June 4–6\u003cbr>\nCornerstone Theater Company (Z Space, 450 Florida Street, San Francisco)\u003cbr>\n\u003ca href=\"http://zspace.org/new-work/california-the-tempest\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Los Angeles’ Cornerstone Theater Company specializes in community-based theater in which the artists embed themselves in a particular population and talk to locals about their challenges and concerns. They then use this information to create new plays representing people whose voices aren’t often heard on stage. \u003cem>California: The Tempest\u003c/em> is an epic project that’s spanned the last decade. Each summer during that period, the creators spent a month in a different California region. Playwright Alison Carey wove the experiences of those ten communities together with a loose adaptation of Shakespeare’s \u003cem>The Tempest\u003c/em> to create a theatrical event that embeds contemporary Californian themes into a timeless play.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10653879\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-choirboy.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10653879\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-choirboy.jpg\" alt=\"Forest Van Dyke, Jelani Alladin, Jaysen Wright, Rotimi Agbabiaka and Dimitri Woods star in the Bay Area premiere of Tarell Alvin McCraney's Choir Boy at Marin Theatre Company. (Photo: Ed Smith)\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-choirboy.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-choirboy-400x286.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Forest Van Dyke, Jelani Alladin, Jaysen Wright, Rotimi Agbabiaka and Dimitri Woods star in the Bay Area premiere of Tarell Alvin McCraney’s \u003ci>Choir Boy\u003c/i> at Marin Theatre Company. (Photo by Ed Smith)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Choir Boy\u003c/em>\u003c/h3>\n\u003ch5>June 4–28\u003cbr>\nMarin Theatre Company (397 Miller Avenue, Mill Valley)\u003cbr>\n\u003ca href=\"http://www.marintheatre.org/productions/choir-boy\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>In 2010, playwright and MacArthur “Genius” grant award winner Tarell Alvin McCraney made his Bay Area debut with an unprecedented three-theater presentation of his lyrical, folklore-steeped trilogy \u003cem>The Brother/Sister Plays\u003c/em>. McCraney returned to the Bay Area this April with his take on the Book of Job, \u003cem>Head of Passes,\u003c/em> at Berkeley Rep. And now he’s back at Marin with an intimate gospel-infused drama about power struggles, nepotism and homophobia in an elite prep school choir.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10653885\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-pillowman.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10653885\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-pillowman.jpg\" alt=\"Ariel (Tim Green) and Tupolski (Aaron Murphy) interrogate Katurian (Justin Gillman) in The Pillowman. (Photo: Alandra Hileman)\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-pillowman.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-pillowman-400x265.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ariel (Tim Green) and Tupolski (Aaron Murphy) interrogate Katurian (Justin Gillman) in \u003ci>The Pillowman.\u003c/i> (Photo by Alandra Hileman)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Pillowman\u003c/em>\u003c/h3>\n\u003ch5>June 12–27\u003cbr>\nThe Breadbox (EXIT Theatre, 156 Eddy Street, San Francisco)\u003cbr>\n\u003ca href=\"http://www.breadboxtheatre.org/#!buy-tickets/c1gcv\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>All of Martin McDonagh’s early work is set in Ireland. The first time the Anglo-Irish dramatist turned his attention elsewhere was in 2003 with\u003cem> The Pillowman\u003c/em>, which takes place in a non-specific totalitarian regime. In this eerie and darkly funny thriller, an author of children’s books is interrogated about alleged ties between his fairy tales and a series of gruesome murders. Berkeley Rep gave the play a stunning production in 2007, and now an ambitious new company, the Breadbox, takes on the pitch-black comedy in the intimate confines of the EXIT Stage Left.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10653880\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-detroit.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10653880\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-detroit.jpg\" alt=\"Mary (Amy Resnick) and Ben (Jeff Garrett) throw a backyard barbecue in Aurora Theatre Company's Bay Area premiere of Detroit. (Photo: David Allen)\" width=\"800\" height=\"606\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-detroit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-detroit-400x303.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-detroit-792x600.jpg 792w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mary (Amy Resnick) and Ben (Jeff Garrett) throw a backyard barbecue in Aurora Theatre Company’s Bay Area premiere of \u003ci>Detroit\u003c/i>. (Photo by David Allen)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Detroit\u003c/em>\u003c/h3>\n\u003ch5>June 19 – July 19\u003cbr>\nAurora Theatre Company (2081 Addison Street, Berkeley)\u003cbr>\n\u003ca href=\"https://auroratheatre.org/index.php?option=com_theatre&view=show&id=104&Itemid=655\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>A 2011 Pulitzer finalist and 2013 Obie Award winner for best new American play,\u003cem> Detroit\u003c/em> may or may not be set in Detroit. What matters is that Lisa D’Amour’s sharp satire explores the sense of neighborly disconnection in a “first-ring” suburb right outside a midsize American city. New next-door neighbors strike up an awkward friendship that quickly uncovers how barely they’re all hanging on to their sense of normalcy and the surreal unease lying just beneath the surface of suburban life.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10653882\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-freedomland2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10653882 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-freedomland2-787x1180.jpg\" alt=\"Michael Gene Sullivan (Malcolm Haywood), George P. Scott (Tyler Haywood), Lisa Hori-Garcia (Cop), Hugo E Carbajal (Cop) in Freedomland. (Photo: DavidAllenStudio.com)\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-freedomland2-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-freedomland2-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-freedomland2.jpg 800w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Michael Gene Sullivan (Malcolm Haywood), George P. Scott (Tyler Haywood), Lisa Hori-Garcia (Cop), Hugo E Carbajal (Cop) in \u003ci>Freedomland.\u003c/i>(Photo by DavidAllenStudio.com)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Freedomland\u003c/em>\u003c/h3>\n\u003ch5>July 4 – Sept. 7\u003cbr>\nSan Francisco Mime Troupe (various Bay Area parks)\u003cbr>\n\u003ca href=\"http://www.sfmt.org/index.php\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Every Fourth of July, the Mime Troupe unveils a new musical political satire in Dolores Park that they later tour all over the Bay Area, and it’s practically a duty of citizenship to check it out. The 56-year-old theatrical collective picks a different hot-button issue each year to try to get people off their butts and do something. This year, it’s police culture and the growing problem of “innocent until proven guilty,” especially where people of color are concerned, combined with the timeworn issue of the War on Drugs. This is dark and disturbing territory to explore, but writer Michael Gene Sullivan and the troupe do it with broad musical comedy. Just to give you a taste, the name of the fictional drug du jour is “snorf.”\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10653883\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-lifeisadream.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10653883\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-lifeisadream.jpg\" alt=\"Sean San Jose plays the imprisoned prince Segismundo in Life Is a Dream. (Photo: Courtesy of California Shakespeare Theater)\" width=\"800\" height=\"894\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-lifeisadream.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-lifeisadream-400x447.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-lifeisadream-537x600.jpg 537w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sean San Jose plays the imprisoned prince Segismundo in \u003ci>Life Is a Dream\u003c/i>. (Photo: Courtesy of California Shakespeare Theater)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Life Is a Dream\u003c/em>\u003c/h3>\n\u003ch5>July 8 – Aug. 2\u003cbr>\nCalifornia Shakespeare Theater (Bruns Amphitheater, 100 California Shakespeare Theater Way, Orinda)\u003cbr>\n\u003ca href=\"http://www.calshakes.org/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>For the last 15 years, California Shakespeare Theater has increased its output of modern classics and even the occasional new play to compliment the expected fare of William Shakespeare’s greatest hits. \u003cem>Life Is a Dream\u003c/em> fits into none of these categories; it’s a Spanish classic that’s roughly contemporary with Shakespeare’s own time. Pedro Calderón de la Barca’s 1635 drama is about a prince of Poland who was imprisoned by his father because of a bad omen that predicts the prince will destroy the kingdom. And of course there’s a woman dressed as a man on a quest for vengeance against the guy who dumped her, because every 17th-century play needs that sort of thing. Pulitzer Prize-winning playwright Nilo Cruz (\u003cem>Anna in the Tropics\u003c/em>) has adapted the play, which features an unusually and refreshingly diverse cast of great local actors.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10653886\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-triangle.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10653886\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-triangle-787x1180.jpg\" alt=\"Triangle kicks off TheatreWorks' 2015-16 season. (Photo: Courtesy of TheatreWorks)\" width=\"640\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-triangle-787x1180.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-triangle-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-triangle.jpg 800w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Triangle\u003c/i> kicks off TheatreWorks’ 2015-16 season. (Photo: Courtesy of TheatreWorks)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Triangle\u003c/em>\u003c/h3>\n\u003ch5>July 8 – Aug. 2\u003cbr>\nTheatreWorks (Lucie Stern Theatre, 1305 Middlefield Road, Palo Alto)\u003cbr>\n\u003ca href=\"https://www.theatreworks.org/shows/1516-season/\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>A musical about the Triangle Shirtwaist Factory fire, which killed 146 garment workers in 1911? Not the most intuitive choice. But a workshop version of Thomas Mizer, Curtis Moore and Joshua Scher’s musical was a hit at TheatreWorks’ 2012 New Works Festival, and now its world premiere kicks off the company’s 2015-16 season. A high-tech scientist in the present finds out that his lab in New York City was the site of the infamous industrial accident and unearths his own connection to some of its Jewish immigrant casualties as parallel stories unfold in the past and present. Oh, and it’s a love story, too!\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10653888\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-eurydice1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10653888\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/summer-eurydice1.jpg\" alt=\"Flyer art for Shotgun Players' Eurydice. (Illustration: R. Black)\" width=\"800\" height=\"626\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-eurydice1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-eurydice1-400x313.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/summer-eurydice1-767x600.jpg 767w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Flyer art for Shotgun Players’ \u003ci>Eurydice\u003c/i>. (Illustration: R. Black)\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Eurydice\u003c/em>\u003c/h3>\n\u003ch5>Aug. 20 – Sept. 20\u003cbr>\nShotgun Players (Ashby Stage, 1920 Ashby Avenue, Berkeley)\u003cbr>\n\u003ca href=\"https://shotgunplayers.org/Online/eurydice\" target=\"_blank\" rel=\"noopener\">Tickets and information\u003c/a>\u003c/h5>\n\u003cp>Part of Shotgun Players’ season of works by women playwrights, \u003cem>Eurydice \u003c/em> has been done by a number of local theaters since the Berkeley Repertory Theatre introduced the Bay Area to playwright Sarah Ruhl’s work with a luminous 2004 production. But given the strong theatrical vision of director Erika Chong Shuch, it’ll be exciting to see what Shotgun does with the tale of Orpheus’s wife, reunited with her amnesiac father in the land of the dead. Expect talking stones and an elevator full of rain. But most of all, expect the unexpected.\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "for-the-burgeoning-artist-summer-camps-in-the-bay-area",
"title": "For the Burgeoning Artist: Summer Camps in the Bay Area",
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"content": "\u003cp>When you’re an adult, summertime isn’t that special. Sure, there are a few mattress-and-truck-sale holidays, but there’s no summer vacation from \u003ca href=\"http://www.usnews.com/opinion/blogs/pat-garofalo/2014/07/08/students-get-too-much-summer-vacation-workers-dont-get-enough\" target=\"_blank\" rel=\"noopener\">work\u003c/a> and here in the Bay Area we don’t even have the warm beach days that are synonymous with the season. (\u003ci>\u003cb>Editor’s Note:\u003c/b> This article has been updated to be accurate in 2018.\u003c/i>)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/summer-guide-2018/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10671038\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-400x400.png\" alt=\"SummerArtsGuide-2015-400x400-1\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Summer poses an additional challenge for parents: who’s going to look after the kids? Finding a summer camp that ensures your child doesn’t forget half of what they learned during the school year can be difficult enough. But add the fact that it needs to be at a place that’s affordable, within a reasonable distance from home or work, and hopefully one that offers additional enrichment makes it seem impossible. But fret not; we’ve compiled a list of 10 camps that represent a broad spectrum of creative and artistic fields, age requirements, and prices all throughout the Bay Area. Whether you want to sign up for multiple sessions or try something out a new camp one week for a change of pace, the options are plentiful.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10724487\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/CMT-San-JOse-400x268.jpg\" alt=\"Children's Musical Theater San Jose\" width=\"400\" height=\"268\" class=\"size-thumbnail wp-image-10724487\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/CMT-San-JOse-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/CMT-San-JOse-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/CMT-San-JOse.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Children’s Musical Theater San Jose\u003c/figcaption>\u003c/figure>\n\u003ch3>Camp CMT\u003c/h3>\n\u003ch5>June 18 – Aug. 10\u003cbr>\n\u003ca href=\"http://www.cmtsj.org/camp-cmt-summer-camp/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Is your child a budding entertainer? Singing, dancing, getting into your closet and make-up? Don’t go the \u003ca href=\"http://www.vanityfair.com/hollywood/2015/04/lindsay-lohan-dina-lohan-selling-stuff\" target=\"_blank\" rel=\"noopener\">Dina Lohan\u003c/a> route and consider signing them up for musical theater camp instead. No auditions are necessary for Camp CMT and anyone from Pre-K through 12th grade is welcome to attend. Prices range from $290-$690 per session with extended care programs available for an additional rate. During one of their two-week sessions at Camp CMT’s three locations, your little performer will work on their acting, voice and dance skills, as well as take part in workshops like stage crafts and comedy sketches.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10668937\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/DSC_0156-400x294.jpg\" alt=\"Camp Edmo\" width=\"400\" height=\"294\" class=\"size-thumbnail wp-image-10668937\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/DSC_0156-400x294.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/DSC_0156-800x588.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/DSC_0156-1180x868.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/DSC_0156-960x706.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Camp Edmo\u003c/figcaption>\u003c/figure>\n\u003ch3>Camp Edmo\u003c/h3>\n\u003ch5>June 11 – Aug. 28\u003cbr>\n\u003ca href=\"http://campedmo.org\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Camp Edmo offers a wide array of programs with rotating themes at locations in San Francisco, the Peninsula, as well as North/South/East Bay. The Arts and Science program focusses on design-thinking and creative problem solving, while the Maker program allows kids to tinker on projects and teaches them that common materials can be used to make special devices. Camp Edmo’s enrollment is open to Preschoolers through 8th graders, with one-week sessions starting June 11. Prices start at $409 a week and vary per location, but there are financial aid options and you do receive a discount if you sign up for at least two weeks.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10668939\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/IMG_4039-400x267.jpg\" alt=\"Peninsula Young Writers\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-10668939\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/IMG_4039-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/IMG_4039-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/IMG_4039-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/IMG_4039-960x640.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Peninsula Young Writers\u003c/figcaption>\u003c/figure>\n\u003ch3>Peninsula Young Writers Summer Camp\u003c/h3>\n\u003ch5>June 11 – July 13\u003cbr>\n\u003ca href=\"http://www.pwlp.org/index.php?option=com_content&view=article&catid=4:youth-programs&id=5:peninsula-young-writers-summer-camp&Itemid=6\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Good communication and writing skills are important and often under appreciated tools. Help your child express themselves beyond smiling poo emojis (although they are wonderful and there is a time and place for them) by enrolling them in the Peninsula Young Writers camp. The San Carlos-based camp offers one-week workshops for kids ages 8 to 14. There are two options available: the “writing rubbish” session where students visit the Shoreway Environmental Center in San Carlos and write a story inspired by ecology; and a workshop called “Food Fantasy” where students learn to bake pretzels and then write stories referencing what they learned. Scholarship opportunities are available for the sessions that range from $275 for half day or $480 for full day per week.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10668940\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/web_20120810_MG_3206-400x400.jpg\" alt=\"Sewnow!\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-10668940\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/web_20120810_MG_3206-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/web_20120810_MG_3206-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/web_20120810_MG_3206-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/web_20120810_MG_3206-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/web_20120810_MG_3206-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/web_20120810_MG_3206-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/web_20120810_MG_3206-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/web_20120810_MG_3206.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Sewnow!\u003c/figcaption>\u003c/figure>\n\u003ch3>Sewnow! Camp\u003c/h3>\n\u003ch5>June 11 – Aug. 17\u003cbr>\n\u003ca href=\"http://www.sewnow.com/camps.html\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>These Lafayette-based camps are organized by either theme or skill level, so whether your fashionista is new to a sewing machine or already interested in textile design, there’s a class here for him or her. Half day sessions are available from $425 per week or full day for $795. The majority of the camps are blend of kids 4th grade and up, with special teen-only classes for middle and high-schoolers. Expose your child to the work that goes into making quality garments and change the way they think about apparel — the last thing we need is more people hooked on \u003ca href=\"http://www.theatlantic.com/entertainment/archive/2015/03/the-neurological-pleasures-of-modern-shopping/388577/\" target=\"_blank\" rel=\"noopener\">fast fashion\u003c/a>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10668943\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/IMG_2475-400x300.jpg\" alt=\"Urban Adventure Camps\" width=\"400\" height=\"300\" class=\"size-thumbnail wp-image-10668943\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/IMG_2475-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/IMG_2475-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/IMG_2475-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/IMG_2475-960x720.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Urban Adventure Camps\u003c/figcaption>\u003c/figure>\n\u003ch3>Urban Adventure Camps\u003c/h3>\n\u003ch5>June 11 – Aug. 31\u003cbr>\n\u003ca href=\"http://www.urbanadventurecamps.com\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Urban Adventure Camps are exactly what the name implies. Every morning, campers between the ages of 8 and 15 meet at Rockridge BART and set off on fun and information-packed trips around the Bay Area. Destinations include the de Young Museum, Angel Island, the USS Hornet, and others. Sessions start on June 8 but they don’t take place every week so be sure to schedule accordingly. The Art and History programs cost $450 per week and cover transportation and admission fees, as well as two snacks per day. Need-based scholarships are available as are multiple session and bring-a-friend bonuses.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10724634\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Incrediflix-400x266.jpg\" alt=\"Incrediflix\" width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-10724634\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Incrediflix-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Incrediflix-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Incrediflix.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Incrediflix\u003c/figcaption>\u003c/figure>\n\u003ch3>IncrediFlix\u003c/h3>\n\u003ch5>June 11 – Sept. 1\u003cbr>\n\u003ca href=\"http://incrediflix.com/summer-camps/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Does your child have more of an interest in working behind the camera rather than being in front of it? Well, then the IncrediFlix camps have those desires covered. The amount of imagination your aspiring director can employ is endless through programs like Animation Flix, which let’s campers create stop-motion films. Week-long camps for kids 7 to 18 are located all throughout the Bay Area, and admission costs start at $235 plus product fees that depend on the program. In one program, the popular game \u003cem>Minecraft\u003c/em> is brought to life when students fashion items from paper, and then storyboard and shoot their creations.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10668944\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/iD-Tech-Camps-Engages-Girls-in-Tech-400x217.jpg\" alt=\"Alexa Cafe All-Girls Tech Camp\" width=\"400\" height=\"217\" class=\"size-thumbnail wp-image-10668944\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/iD-Tech-Camps-Engages-Girls-in-Tech-400x217.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/iD-Tech-Camps-Engages-Girls-in-Tech-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/iD-Tech-Camps-Engages-Girls-in-Tech-1180x639.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/iD-Tech-Camps-Engages-Girls-in-Tech-960x520.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/iD-Tech-Camps-Engages-Girls-in-Tech.jpg 1800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Alexa Cafe All-Girls Tech Camp\u003c/figcaption>\u003c/figure>\n\u003ch3>Alexa Cafe All-Girls Tech Camp\u003c/h3>\n\u003ch5>June 11 – Aug. 17\u003cbr>\n\u003ca href=\"https://www.idtech.com/alexa-cafe\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>In the male-dominated tech world we live in, Alexa Cafe is a breath of fresh air. This all girls tech camp for ages between 10 and 15 features courses in coding, filmmaking, photography, programming, as well as game and web design. Alexa Cafe sessions start on June 14 at their Berkeley and Palo Alto locations with the goal of building leadership and entrepreneurship skills in an environment where technology isn’t intimidating. Students have the opportunity to expand their repertoire by taking an mix of different class or focus on one subject. The camp costs start at $949 per week with an overnight camp option at the the Stanford University and UC Berkeley locations (extra costs vary).\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10724640\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Brainvayne-LEGO-camp-400x305.jpg\" alt=\"Brainvyne LEGO camp\" width=\"400\" height=\"305\" class=\"size-thumbnail wp-image-10724640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Brainvayne-LEGO-camp-400x305.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Brainvayne-LEGO-camp-787x600.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Brainvayne-LEGO-camp.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Brainvyne LEGO camp\u003c/figcaption>\u003c/figure>\n\u003ch3>Brainvyne LEGO camp\u003c/h3>\n\u003ch5>June 18 -Aug. 24\u003cbr>\n\u003ca href=\"http://www.brainvyne.com/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>LEGOs: the timeless toy. Love for the little blocks has recently been cemented with their own \u003ca href=\"https://www.youtube.com/watch?v=StTqXEQ2l-Y\" target=\"_blank\" rel=\"noopener\">movie\u003c/a> and as it turns out, they even have their own camps. BrainVyne’s, whose mission is to enrich, educate and entertain, has locations ion the South Bay, East Bay and on the peninsula, all with LEGO-centric courses. Kids ages 4 to 11 are invited to participate in programs like Robotics, where they learn about project management and more as they craft their LEGO bots; or the Star Wars-themed class that teaches students how to build battery powered creations based on the popular Sci-Fi movie. Prices range from $299 to $499 depending on course and location, with discounts if you enroll for three weeks or more.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10668947\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/galileo-brandeis-sf-jpdobrin-422-400x267.jpg\" alt=\"Camp Galileo\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-10668947\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/galileo-brandeis-sf-jpdobrin-422-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/galileo-brandeis-sf-jpdobrin-422.jpg 720w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Galileo\u003c/figcaption>\u003c/figure>\n\u003ch3>Galileo\u003c/h3>\n\u003ch5>June 11 – Aug. 10\u003cbr>\n\u003ca href=\"http://www.galileo-camps.com/galileo-summer-quest/builders-and-makers\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Galileo camps think the world needs more innovators and they’re doing their part to solve that problem. With locations all over the bay, Galileo has themed programs for kids from Pre-K to 8th grade like Maker, Culinary, and Arts that provide all kinds of avenues for exploration. Daily sessions are from 9am to 3pm, with extended care available. During this time your child will get to do everything from digitally producing music to 3D modeling and printing, depending on their major of choice. Prices per week start at $479 and vary depending on the location.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10668951\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/11021120_1074569605902853_4003483236869096392_n-400x300.jpg\" alt=\"Arts, Adventures and Academics\" width=\"400\" height=\"300\" class=\"size-thumbnail wp-image-10668951\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/11021120_1074569605902853_4003483236869096392_n-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/11021120_1074569605902853_4003483236869096392_n-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/11021120_1074569605902853_4003483236869096392_n.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Arts, Adventures and Academics\u003c/figcaption>\u003c/figure>\n\u003ch3>Arts, Adventure, Academics\u003c/h3>\n\u003ch5>June 18 – Aug. 10\u003cbr>\n\u003ca href=\"http://www.walnut-creek.org/departments/arts-and-recreation/recreation-parks/summer-camp\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>This Walnut Creek camp offers a myriad of courses that will surely keep your child inspired. Their mission is based on the belief that arts learning is integral to human development and continual personal growth and we couldn’t agree more. The two-week sessions provide parents with plenty of options and flexibility. Ceramics, cooking, stained glass, art of trash, landscape and people drawing, sewing and mosaics are only a small representation of the classes offered for kids ages 5 to 14. Prices are between $311 and $680 depending on subject with an aftercare option. Payment plans and scholarships are available as well.\n\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When you’re an adult, summertime isn’t that special. Sure, there are a few mattress-and-truck-sale holidays, but there’s no summer vacation from \u003ca href=\"http://www.usnews.com/opinion/blogs/pat-garofalo/2014/07/08/students-get-too-much-summer-vacation-workers-dont-get-enough\" target=\"_blank\" rel=\"noopener\">work\u003c/a> and here in the Bay Area we don’t even have the warm beach days that are synonymous with the season. (\u003ci>\u003cb>Editor’s Note:\u003c/b> This article has been updated to be accurate in 2018.\u003c/i>)\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/summer-guide-2018/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10671038\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-400x400.png\" alt=\"SummerArtsGuide-2015-400x400-1\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/SummerArtsGuide-2015-400x400-1-75x75.png 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Summer poses an additional challenge for parents: who’s going to look after the kids? Finding a summer camp that ensures your child doesn’t forget half of what they learned during the school year can be difficult enough. But add the fact that it needs to be at a place that’s affordable, within a reasonable distance from home or work, and hopefully one that offers additional enrichment makes it seem impossible. But fret not; we’ve compiled a list of 10 camps that represent a broad spectrum of creative and artistic fields, age requirements, and prices all throughout the Bay Area. Whether you want to sign up for multiple sessions or try something out a new camp one week for a change of pace, the options are plentiful.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10724487\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/CMT-San-JOse-400x268.jpg\" alt=\"Children's Musical Theater San Jose\" width=\"400\" height=\"268\" class=\"size-thumbnail wp-image-10724487\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/CMT-San-JOse-400x268.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/CMT-San-JOse-800x537.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/CMT-San-JOse.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Children’s Musical Theater San Jose\u003c/figcaption>\u003c/figure>\n\u003ch3>Camp CMT\u003c/h3>\n\u003ch5>June 18 – Aug. 10\u003cbr>\n\u003ca href=\"http://www.cmtsj.org/camp-cmt-summer-camp/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Is your child a budding entertainer? Singing, dancing, getting into your closet and make-up? Don’t go the \u003ca href=\"http://www.vanityfair.com/hollywood/2015/04/lindsay-lohan-dina-lohan-selling-stuff\" target=\"_blank\" rel=\"noopener\">Dina Lohan\u003c/a> route and consider signing them up for musical theater camp instead. No auditions are necessary for Camp CMT and anyone from Pre-K through 12th grade is welcome to attend. Prices range from $290-$690 per session with extended care programs available for an additional rate. During one of their two-week sessions at Camp CMT’s three locations, your little performer will work on their acting, voice and dance skills, as well as take part in workshops like stage crafts and comedy sketches.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10668937\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/DSC_0156-400x294.jpg\" alt=\"Camp Edmo\" width=\"400\" height=\"294\" class=\"size-thumbnail wp-image-10668937\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/DSC_0156-400x294.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/DSC_0156-800x588.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/DSC_0156-1180x868.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/DSC_0156-960x706.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Camp Edmo\u003c/figcaption>\u003c/figure>\n\u003ch3>Camp Edmo\u003c/h3>\n\u003ch5>June 11 – Aug. 28\u003cbr>\n\u003ca href=\"http://campedmo.org\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Camp Edmo offers a wide array of programs with rotating themes at locations in San Francisco, the Peninsula, as well as North/South/East Bay. The Arts and Science program focusses on design-thinking and creative problem solving, while the Maker program allows kids to tinker on projects and teaches them that common materials can be used to make special devices. Camp Edmo’s enrollment is open to Preschoolers through 8th graders, with one-week sessions starting June 11. Prices start at $409 a week and vary per location, but there are financial aid options and you do receive a discount if you sign up for at least two weeks.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10668939\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/IMG_4039-400x267.jpg\" alt=\"Peninsula Young Writers\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-10668939\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/IMG_4039-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/IMG_4039-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/IMG_4039-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/IMG_4039-960x640.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Peninsula Young Writers\u003c/figcaption>\u003c/figure>\n\u003ch3>Peninsula Young Writers Summer Camp\u003c/h3>\n\u003ch5>June 11 – July 13\u003cbr>\n\u003ca href=\"http://www.pwlp.org/index.php?option=com_content&view=article&catid=4:youth-programs&id=5:peninsula-young-writers-summer-camp&Itemid=6\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Good communication and writing skills are important and often under appreciated tools. Help your child express themselves beyond smiling poo emojis (although they are wonderful and there is a time and place for them) by enrolling them in the Peninsula Young Writers camp. The San Carlos-based camp offers one-week workshops for kids ages 8 to 14. There are two options available: the “writing rubbish” session where students visit the Shoreway Environmental Center in San Carlos and write a story inspired by ecology; and a workshop called “Food Fantasy” where students learn to bake pretzels and then write stories referencing what they learned. Scholarship opportunities are available for the sessions that range from $275 for half day or $480 for full day per week.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10668940\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/web_20120810_MG_3206-400x400.jpg\" alt=\"Sewnow!\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-10668940\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/web_20120810_MG_3206-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/web_20120810_MG_3206-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/web_20120810_MG_3206-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/web_20120810_MG_3206-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/web_20120810_MG_3206-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/web_20120810_MG_3206-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/web_20120810_MG_3206-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/web_20120810_MG_3206.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Sewnow!\u003c/figcaption>\u003c/figure>\n\u003ch3>Sewnow! Camp\u003c/h3>\n\u003ch5>June 11 – Aug. 17\u003cbr>\n\u003ca href=\"http://www.sewnow.com/camps.html\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>These Lafayette-based camps are organized by either theme or skill level, so whether your fashionista is new to a sewing machine or already interested in textile design, there’s a class here for him or her. Half day sessions are available from $425 per week or full day for $795. The majority of the camps are blend of kids 4th grade and up, with special teen-only classes for middle and high-schoolers. Expose your child to the work that goes into making quality garments and change the way they think about apparel — the last thing we need is more people hooked on \u003ca href=\"http://www.theatlantic.com/entertainment/archive/2015/03/the-neurological-pleasures-of-modern-shopping/388577/\" target=\"_blank\" rel=\"noopener\">fast fashion\u003c/a>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10668943\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/IMG_2475-400x300.jpg\" alt=\"Urban Adventure Camps\" width=\"400\" height=\"300\" class=\"size-thumbnail wp-image-10668943\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/IMG_2475-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/IMG_2475-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/IMG_2475-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/IMG_2475-960x720.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Urban Adventure Camps\u003c/figcaption>\u003c/figure>\n\u003ch3>Urban Adventure Camps\u003c/h3>\n\u003ch5>June 11 – Aug. 31\u003cbr>\n\u003ca href=\"http://www.urbanadventurecamps.com\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Urban Adventure Camps are exactly what the name implies. Every morning, campers between the ages of 8 and 15 meet at Rockridge BART and set off on fun and information-packed trips around the Bay Area. Destinations include the de Young Museum, Angel Island, the USS Hornet, and others. Sessions start on June 8 but they don’t take place every week so be sure to schedule accordingly. The Art and History programs cost $450 per week and cover transportation and admission fees, as well as two snacks per day. Need-based scholarships are available as are multiple session and bring-a-friend bonuses.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10724634\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Incrediflix-400x266.jpg\" alt=\"Incrediflix\" width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-10724634\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Incrediflix-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Incrediflix-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Incrediflix.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Incrediflix\u003c/figcaption>\u003c/figure>\n\u003ch3>IncrediFlix\u003c/h3>\n\u003ch5>June 11 – Sept. 1\u003cbr>\n\u003ca href=\"http://incrediflix.com/summer-camps/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Does your child have more of an interest in working behind the camera rather than being in front of it? Well, then the IncrediFlix camps have those desires covered. The amount of imagination your aspiring director can employ is endless through programs like Animation Flix, which let’s campers create stop-motion films. Week-long camps for kids 7 to 18 are located all throughout the Bay Area, and admission costs start at $235 plus product fees that depend on the program. In one program, the popular game \u003cem>Minecraft\u003c/em> is brought to life when students fashion items from paper, and then storyboard and shoot their creations.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10668944\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/iD-Tech-Camps-Engages-Girls-in-Tech-400x217.jpg\" alt=\"Alexa Cafe All-Girls Tech Camp\" width=\"400\" height=\"217\" class=\"size-thumbnail wp-image-10668944\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/iD-Tech-Camps-Engages-Girls-in-Tech-400x217.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/iD-Tech-Camps-Engages-Girls-in-Tech-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/iD-Tech-Camps-Engages-Girls-in-Tech-1180x639.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/iD-Tech-Camps-Engages-Girls-in-Tech-960x520.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/iD-Tech-Camps-Engages-Girls-in-Tech.jpg 1800w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Alexa Cafe All-Girls Tech Camp\u003c/figcaption>\u003c/figure>\n\u003ch3>Alexa Cafe All-Girls Tech Camp\u003c/h3>\n\u003ch5>June 11 – Aug. 17\u003cbr>\n\u003ca href=\"https://www.idtech.com/alexa-cafe\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>In the male-dominated tech world we live in, Alexa Cafe is a breath of fresh air. This all girls tech camp for ages between 10 and 15 features courses in coding, filmmaking, photography, programming, as well as game and web design. Alexa Cafe sessions start on June 14 at their Berkeley and Palo Alto locations with the goal of building leadership and entrepreneurship skills in an environment where technology isn’t intimidating. Students have the opportunity to expand their repertoire by taking an mix of different class or focus on one subject. The camp costs start at $949 per week with an overnight camp option at the the Stanford University and UC Berkeley locations (extra costs vary).\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10724640\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/06/Brainvayne-LEGO-camp-400x305.jpg\" alt=\"Brainvyne LEGO camp\" width=\"400\" height=\"305\" class=\"size-thumbnail wp-image-10724640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Brainvayne-LEGO-camp-400x305.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Brainvayne-LEGO-camp-787x600.jpg 787w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/06/Brainvayne-LEGO-camp.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Brainvyne LEGO camp\u003c/figcaption>\u003c/figure>\n\u003ch3>Brainvyne LEGO camp\u003c/h3>\n\u003ch5>June 18 -Aug. 24\u003cbr>\n\u003ca href=\"http://www.brainvyne.com/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>LEGOs: the timeless toy. Love for the little blocks has recently been cemented with their own \u003ca href=\"https://www.youtube.com/watch?v=StTqXEQ2l-Y\" target=\"_blank\" rel=\"noopener\">movie\u003c/a> and as it turns out, they even have their own camps. BrainVyne’s, whose mission is to enrich, educate and entertain, has locations ion the South Bay, East Bay and on the peninsula, all with LEGO-centric courses. Kids ages 4 to 11 are invited to participate in programs like Robotics, where they learn about project management and more as they craft their LEGO bots; or the Star Wars-themed class that teaches students how to build battery powered creations based on the popular Sci-Fi movie. Prices range from $299 to $499 depending on course and location, with discounts if you enroll for three weeks or more.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10668947\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/galileo-brandeis-sf-jpdobrin-422-400x267.jpg\" alt=\"Camp Galileo\" width=\"400\" height=\"267\" class=\"size-thumbnail wp-image-10668947\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/galileo-brandeis-sf-jpdobrin-422-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/galileo-brandeis-sf-jpdobrin-422.jpg 720w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Galileo\u003c/figcaption>\u003c/figure>\n\u003ch3>Galileo\u003c/h3>\n\u003ch5>June 11 – Aug. 10\u003cbr>\n\u003ca href=\"http://www.galileo-camps.com/galileo-summer-quest/builders-and-makers\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Galileo camps think the world needs more innovators and they’re doing their part to solve that problem. With locations all over the bay, Galileo has themed programs for kids from Pre-K to 8th grade like Maker, Culinary, and Arts that provide all kinds of avenues for exploration. Daily sessions are from 9am to 3pm, with extended care available. During this time your child will get to do everything from digitally producing music to 3D modeling and printing, depending on their major of choice. Prices per week start at $479 and vary depending on the location.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10668951\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/11021120_1074569605902853_4003483236869096392_n-400x300.jpg\" alt=\"Arts, Adventures and Academics\" width=\"400\" height=\"300\" class=\"size-thumbnail wp-image-10668951\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/11021120_1074569605902853_4003483236869096392_n-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/11021120_1074569605902853_4003483236869096392_n-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/11021120_1074569605902853_4003483236869096392_n.jpg 960w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Arts, Adventures and Academics\u003c/figcaption>\u003c/figure>\n\u003ch3>Arts, Adventure, Academics\u003c/h3>\n\u003ch5>June 18 – Aug. 10\u003cbr>\n\u003ca href=\"http://www.walnut-creek.org/departments/arts-and-recreation/recreation-parks/summer-camp\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>This Walnut Creek camp offers a myriad of courses that will surely keep your child inspired. Their mission is based on the belief that arts learning is integral to human development and continual personal growth and we couldn’t agree more. The two-week sessions provide parents with plenty of options and flexibility. Ceramics, cooking, stained glass, art of trash, landscape and people drawing, sewing and mosaics are only a small representation of the classes offered for kids ages 5 to 14. Prices are between $311 and $680 depending on subject with an aftercare option. Payment plans and scholarships are available as well.\n\u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "luis-alfaros-new-play-grapples-with-the-pentecostal-church",
"title": "Luis Alfaro's New Play Takes You to Church (Pentecostal, that is)",
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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/this-golden-state-part-one-delano/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>\u003cem>This Golden State Part One: Delano\u003c/em>\u003c/h2>\n\u003cdiv class=\"event-desc\">MacArthur Genius Fellow Luis Alfaro’s newest play\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 21 to June 14, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Magic Theater\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/this-golden-state-part-one-delano/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>\u003ca href=\"http://dramaticarts.usc.edu/luis-alfaro/\" target=\"_blank\" rel=\"noopener\">Luis Alfaro\u003c/a> often writes plays about Latinos in California, with an unexpected framing device: Greek drama.\u003c/p>\n\u003cp>For instance, \u003ca href=\"http://magictheatre.org/oedipus-el-rey\" target=\"_blank\" rel=\"noopener\">Oedipus El Rey\u003c/a>, winner of a \u003ca href=\"http://www.theatrebayarea.org/?page=GlickmanAward\" target=\"_blank\" rel=\"noopener\">Glickman award\u003c/a> (which is awarded to the best new play that had its world premiere in the Bay Area), resets the famous Ancient Greek tale of father-son rivalry and motherly love in a Kern County prison and the Los Angeles barrios.\u003c/p>\n\u003cp>Now the \u003ca href=\"http://www.macfound.org/fellows/548/\" target=\"_blank\" rel=\"noopener\">MacArthur winning playwright\u003c/a> has shrugged off those ancient forms and written the first in a trilogy of plays about a minister reviving a Pentecostal church in the town of Delano called \u003cem>This Golden State\u003c/em>. The Magic has co-commissioned the trilogy with the \u003ca href=\"https://www.osfashland.org/\" target=\"_blank\" rel=\"noopener\">Oregon Shakespeare Festival\u003c/a>, where Alfaro is resident playwright.\u003c/p>\n\u003cp>Located in the Southern San Joaquin Valley, \u003ca href=\"http://en.wikipedia.org/wiki/Delano,_California\" target=\"_blank\" rel=\"noopener\">Delano\u003c/a> is famous for being the birthplace of the \u003ca href=\"http://www.ufw.org/\" target=\"_blank\" rel=\"noopener\">United Farmworkers Union (UFW)\u003c/a>. Alfaro says he spent his summers there, on what he laughingly called summer holidays. Really, he picked fruit and vegetables alongside his parents, who were active in the UFW.\u003c/p>\n\u003cp>I talked to Alfaro recently about \u003cem>This Golden State\u003c/em>, which he said explores, “the nature of spirituality and faith, and what it takes to be in California during a major drought when you work the land.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>How much of your own experience growing up in Los Angeles and Delano do we see in the experiences of the characters?\u003c/strong>\u003c/p>\n\u003cp>My father was a very, very staunch catholic, my mother was a hard-core pentecostal, and somehow they managed to respect each other. I was at Alleluia Churches Saturday night and an altar boy at the catholic church Sunday mornings. So I did a lot of religion when I was a kid.\u003c/p>\n\u003cp>Mostly what I’m talking about is how pentecostalism for a lot of immigrants is a new American religion. I mean it’s the \u003ca href=\"http://www.nytimes.com/2005/01/09/weekinreview/more-religion-but-not-the-oldtime-kind.html\" target=\"_blank\" rel=\"noopener\">fastest growing religion in the world\u003c/a>, especially for immigrants.\u003c/p>\n\u003cp>Having been raised both a catholic and what we call an apostolic pentecostal, it’s interesting to see the way both churches operate.\u003c/p>\n\u003cp>You come to this country and there’s a kind of assimilation that happens, whether you like it or not. It’s interesting that it’s reflected in a religion that’s a little louder, involves tambourines and speaking in tongues, and things of that sort.\u003c/p>\n\u003cp>So when you come to the play, you’re actually coming to a bit of a church service. There’s some singing and you receive a little “missalette,” a miniature hymnal, with some hymns in it. You’re really walking into what looks like an old church in Delano, California.\u003c/p>\n\u003cfigure id=\"attachment_10719160\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Magic-Theatres-This-Golden-State-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10719160\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Magic-Theatres-This-Golden-State-1-1180x811.jpg\" alt=\"Elias (Sean San Jose*) receives counseling from Brother Abel (Ron Knapp*) \" width=\"640\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Magic-Theatres-This-Golden-State-1-1180x811.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Magic-Theatres-This-Golden-State-1-400x275.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Magic-Theatres-This-Golden-State-1-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Magic-Theatres-This-Golden-State-1-960x660.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Elias (Sean San Jose) receives counseling from Brother Abel (Ron Knapp) \u003ccite>(Jennifer Reiley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did your family deal with the division — your father being a catholic and your mother, pentecostal?\u003c/strong>\u003c/p>\n\u003cp>I was raised in really abject poverty in downtown Los Angeles at a time when it was really violent and really poor. Religion was the way I survived a really tough neighborhood.\u003c/p>\n\u003cp>The one thing I will say about the gangs in the 1970s is they were very respectful of the church. They didn’t mess with the church in any way. You really felt that word “sanctuary” in the church in a big way.\u003c/p>\n\u003cp>My father was in the seminary when he was young. So I think for him catholicism was deeply embedded in him.\u003c/p>\n\u003cp>He was tolerant, I would say. I never felt like they were competing or in conflict with one another. And they never talked bad about each other’s religion.\u003c/p>\n\u003cp>And if you’re a young theater geek, something about the catholic church and its rituals is very exciting especially if you’re an altar boy. Because you kind of figure out that Latin mass is presentational, it’s processional. It looked amazing.\u003c/p>\n\u003cp>Then coming over to the pentecostal church, it was deeply embedded in people’s dreams and beliefs. You have a lot of community building inside of it.\u003c/p>\n\u003cp>On Saturdays we’d go and start with the bible school, and there was a prayer meeting for the parents. My mother cooked and everybody would eat together. So it had a sense of a commune of sorts.\u003c/p>\n\u003cp>I’d say it was a little bit of a haven, especially for many of the immigrants in the community where I grew up. Even though I’m not actively involved with that religion anymore it feels like family. You call everybody brother and sister.\u003c/p>\n\u003cp>\u003cstrong>You’ve worked very hard in the past to get Latino audiences into the theater. What are you doing at the Magic for \u003cem>This Golden State \u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>I consider myself an artist who really came to art because I wanted to change the world.\u003c/p>\n\u003cp>One of my other homes is at the \u003ca href=\"http://victorygardens.org/\" target=\"_blank\" rel=\"noopener\">Victory Gardens Theater\u003c/a> in Chicago. I did a project there where at the first preview there was not a single person of color. But Chicago is an incredibly diverse city. So we started a campaign. Every night I said, if you could bring one young person to the theater or you can donate 10 dollars, we will give that ticket to a student. Immediately the first night I think we made $3500 dollars. And we started getting busloads of kids.\u003c/p>\n\u003cp>I think it’s super important to have that next generation come see a play like this. Not just my play, but also to come to the theater to wrestle with the big ideas of our society, to sit in a communal space, and to learn the ritual of theater. In some way we go to the theater to learn to be better people.\u003c/p>\n\u003cp>Right now at the Magic Theatre we’re making a concentrated effort to get people from Latino arts organizations in town and give them free tickets. If someone wants to come, they won’t be turned away for want of a ticket.\u003c/p>\n\u003cp>\u003cstrong>Do you plan to put flyers at pentecostal churches around the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>The play is very authentic. The costuming alone is exactly the way pentecostals look in the Central Valley.\u003c/p>\n\u003cp>\u003cstrong>What should I wear if I want to look like a member of the pentecostal church?\u003c/strong>\u003c/p>\n\u003cp>Very working class. I would think something [made by the work clothes company] \u003ca href=\"http://www.dickies.com/\" target=\"_blank\" rel=\"noopener\">Dickies\u003c/a>, right? Because you’re talking about people working the fields or people who work at one of the two state prisons.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003cstrong>This Golden State \u003c/strong>opens Wednesday, June 10 at the \u003ca href=\"http://magictheatre.org/season/this-golden-state\" target=\"_blank\" rel=\"noopener\">Magic Theatre\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/this-golden-state-part-one-delano/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>\u003cem>This Golden State Part One: Delano\u003c/em>\u003c/h2>\n\u003cdiv class=\"event-desc\">MacArthur Genius Fellow Luis Alfaro’s newest play\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>May 21 to June 14, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Magic Theater\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/this-golden-state-part-one-delano/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>\u003ca href=\"http://dramaticarts.usc.edu/luis-alfaro/\" target=\"_blank\" rel=\"noopener\">Luis Alfaro\u003c/a> often writes plays about Latinos in California, with an unexpected framing device: Greek drama.\u003c/p>\n\u003cp>For instance, \u003ca href=\"http://magictheatre.org/oedipus-el-rey\" target=\"_blank\" rel=\"noopener\">Oedipus El Rey\u003c/a>, winner of a \u003ca href=\"http://www.theatrebayarea.org/?page=GlickmanAward\" target=\"_blank\" rel=\"noopener\">Glickman award\u003c/a> (which is awarded to the best new play that had its world premiere in the Bay Area), resets the famous Ancient Greek tale of father-son rivalry and motherly love in a Kern County prison and the Los Angeles barrios.\u003c/p>\n\u003cp>Now the \u003ca href=\"http://www.macfound.org/fellows/548/\" target=\"_blank\" rel=\"noopener\">MacArthur winning playwright\u003c/a> has shrugged off those ancient forms and written the first in a trilogy of plays about a minister reviving a Pentecostal church in the town of Delano called \u003cem>This Golden State\u003c/em>. The Magic has co-commissioned the trilogy with the \u003ca href=\"https://www.osfashland.org/\" target=\"_blank\" rel=\"noopener\">Oregon Shakespeare Festival\u003c/a>, where Alfaro is resident playwright.\u003c/p>\n\u003cp>Located in the Southern San Joaquin Valley, \u003ca href=\"http://en.wikipedia.org/wiki/Delano,_California\" target=\"_blank\" rel=\"noopener\">Delano\u003c/a> is famous for being the birthplace of the \u003ca href=\"http://www.ufw.org/\" target=\"_blank\" rel=\"noopener\">United Farmworkers Union (UFW)\u003c/a>. Alfaro says he spent his summers there, on what he laughingly called summer holidays. Really, he picked fruit and vegetables alongside his parents, who were active in the UFW.\u003c/p>\n\u003cp>I talked to Alfaro recently about \u003cem>This Golden State\u003c/em>, which he said explores, “the nature of spirituality and faith, and what it takes to be in California during a major drought when you work the land.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>How much of your own experience growing up in Los Angeles and Delano do we see in the experiences of the characters?\u003c/strong>\u003c/p>\n\u003cp>My father was a very, very staunch catholic, my mother was a hard-core pentecostal, and somehow they managed to respect each other. I was at Alleluia Churches Saturday night and an altar boy at the catholic church Sunday mornings. So I did a lot of religion when I was a kid.\u003c/p>\n\u003cp>Mostly what I’m talking about is how pentecostalism for a lot of immigrants is a new American religion. I mean it’s the \u003ca href=\"http://www.nytimes.com/2005/01/09/weekinreview/more-religion-but-not-the-oldtime-kind.html\" target=\"_blank\" rel=\"noopener\">fastest growing religion in the world\u003c/a>, especially for immigrants.\u003c/p>\n\u003cp>Having been raised both a catholic and what we call an apostolic pentecostal, it’s interesting to see the way both churches operate.\u003c/p>\n\u003cp>You come to this country and there’s a kind of assimilation that happens, whether you like it or not. It’s interesting that it’s reflected in a religion that’s a little louder, involves tambourines and speaking in tongues, and things of that sort.\u003c/p>\n\u003cp>So when you come to the play, you’re actually coming to a bit of a church service. There’s some singing and you receive a little “missalette,” a miniature hymnal, with some hymns in it. You’re really walking into what looks like an old church in Delano, California.\u003c/p>\n\u003cfigure id=\"attachment_10719160\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Magic-Theatres-This-Golden-State-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-10719160\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/05/Magic-Theatres-This-Golden-State-1-1180x811.jpg\" alt=\"Elias (Sean San Jose*) receives counseling from Brother Abel (Ron Knapp*) \" width=\"640\" height=\"440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Magic-Theatres-This-Golden-State-1-1180x811.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Magic-Theatres-This-Golden-State-1-400x275.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Magic-Theatres-This-Golden-State-1-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/05/Magic-Theatres-This-Golden-State-1-960x660.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Elias (Sean San Jose) receives counseling from Brother Abel (Ron Knapp) \u003ccite>(Jennifer Reiley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did your family deal with the division — your father being a catholic and your mother, pentecostal?\u003c/strong>\u003c/p>\n\u003cp>I was raised in really abject poverty in downtown Los Angeles at a time when it was really violent and really poor. Religion was the way I survived a really tough neighborhood.\u003c/p>\n\u003cp>The one thing I will say about the gangs in the 1970s is they were very respectful of the church. They didn’t mess with the church in any way. You really felt that word “sanctuary” in the church in a big way.\u003c/p>\n\u003cp>My father was in the seminary when he was young. So I think for him catholicism was deeply embedded in him.\u003c/p>\n\u003cp>He was tolerant, I would say. I never felt like they were competing or in conflict with one another. And they never talked bad about each other’s religion.\u003c/p>\n\u003cp>And if you’re a young theater geek, something about the catholic church and its rituals is very exciting especially if you’re an altar boy. Because you kind of figure out that Latin mass is presentational, it’s processional. It looked amazing.\u003c/p>\n\u003cp>Then coming over to the pentecostal church, it was deeply embedded in people’s dreams and beliefs. You have a lot of community building inside of it.\u003c/p>\n\u003cp>On Saturdays we’d go and start with the bible school, and there was a prayer meeting for the parents. My mother cooked and everybody would eat together. So it had a sense of a commune of sorts.\u003c/p>\n\u003cp>I’d say it was a little bit of a haven, especially for many of the immigrants in the community where I grew up. Even though I’m not actively involved with that religion anymore it feels like family. You call everybody brother and sister.\u003c/p>\n\u003cp>\u003cstrong>You’ve worked very hard in the past to get Latino audiences into the theater. What are you doing at the Magic for \u003cem>This Golden State \u003c/em>?\u003c/strong>\u003c/p>\n\u003cp>I consider myself an artist who really came to art because I wanted to change the world.\u003c/p>\n\u003cp>One of my other homes is at the \u003ca href=\"http://victorygardens.org/\" target=\"_blank\" rel=\"noopener\">Victory Gardens Theater\u003c/a> in Chicago. I did a project there where at the first preview there was not a single person of color. But Chicago is an incredibly diverse city. So we started a campaign. Every night I said, if you could bring one young person to the theater or you can donate 10 dollars, we will give that ticket to a student. Immediately the first night I think we made $3500 dollars. And we started getting busloads of kids.\u003c/p>\n\u003cp>I think it’s super important to have that next generation come see a play like this. Not just my play, but also to come to the theater to wrestle with the big ideas of our society, to sit in a communal space, and to learn the ritual of theater. In some way we go to the theater to learn to be better people.\u003c/p>\n\u003cp>Right now at the Magic Theatre we’re making a concentrated effort to get people from Latino arts organizations in town and give them free tickets. If someone wants to come, they won’t be turned away for want of a ticket.\u003c/p>\n\u003cp>\u003cstrong>Do you plan to put flyers at pentecostal churches around the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>The play is very authentic. The costuming alone is exactly the way pentecostals look in the Central Valley.\u003c/p>\n\u003cp>\u003cstrong>What should I wear if I want to look like a member of the pentecostal church?\u003c/strong>\u003c/p>\n\u003cp>Very working class. I would think something [made by the work clothes company] \u003ca href=\"http://www.dickies.com/\" target=\"_blank\" rel=\"noopener\">Dickies\u003c/a>, right? Because you’re talking about people working the fields or people who work at one of the two state prisons.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>This Golden State \u003c/strong>opens Wednesday, June 10 at the \u003ca href=\"http://magictheatre.org/season/this-golden-state\" target=\"_blank\" rel=\"noopener\">Magic Theatre\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/welcome-to-night-vale-live/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Welcome to Night Vale’ Live\u003c/h2>\n\u003cdiv class=\"event-desc\">Eerie podcast takes the stage.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 21, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Fox Theater\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/welcome-to-night-vale-live/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Driving through the Southwest one fall, my daughters and I spent at least 8 hours listening to tales of a small desert community on an iPod attached to my car stereo. As the red Arizona landscape gave way to gray and white sand dotted with yucca and Joshua Trees, the community radio host discussed topics including, but not limited to: The Faceless Old Woman who Secretly Lives in Your Home, a series of angels who all happen to be named Erika and The Man in the Tan Jacket (and how no one knows exactly what he’s up to and no one remembers what he looks like or what he says to them—although they do remember his deerskin briefcase). Somewhere in those hours, there was also mention of lights that constantly hover over the town’s local Arby’s and a five-headed dragon named Hiram McDaniels.\u003c/p>\n\u003cp>The desert setting was perfect for being absorbed into the \u003ca href=\"https://commonplacebooks.squarespace.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Welcome to Night Vale\u003c/em>\u003c/a> podcast, a grassroots serialized storytelling project which started in 2012. The fictional community of Night Vale has a mystery meets sci-fi meets comedy meets straight-up nerdy flavor to it; the town’s stories are told through a community radio format, hosted by Cecil Gershwin Palmer (voiced by actor Cecil Baldwin). Night Vale has several criss-crossing story lines and revolving cast of characters and most fans listen alone in their rooms, while commuting to work or while driving across the desert with their family. However, fans will have an opportunity to schmooze with other fans at an upcoming \u003cem>Welcome to Night Vale\u003c/em> Live event at Oakland’s Fox Theater.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ujksjzqrhys\u003c/p>\n\u003cp>“I love playing Cecil Palmer. He’s kind of a wide-eyed optimist about a lot of things and it’s really nice,” says Baldwin. “I think one of the reasons people have gravitated to the show is that its not a very cynical look at life. It’s a very realistic look at life and it has at its center this character who is so optimistic and so filled with heart that you can’t help but love him. He’s so eager to make his community work and its just refreshing.”\u003c/p>\n\u003cp>Baldwin, who met producers Jeffrey Cranor and Joseph Fink while he was working with \u003ca href=\"http://neofuturists.org/\">Neo-Futurists\u003c/a>, a Chicago-based theater company, jumped at the opportunity to narrate the story of Night Vale.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Joseph was kind of a struggling writer, trying to get his work produced sending it off to literary magazines and all of the things you do when you’re a writer and he approached me saying he was thinking about doing something different, a podcast of fiction stories. And he had this kind of weird idea about a small town community radio where bizarre things happen and are just sort of part of everyday life,” he says. “It was funny and scary and complex and everything an actor would want to take on so I said yes.”\u003c/p>\n\u003cp>Welcome to Night Vale follows a season format, similar to television, which allows listeners to get hooked and the team produces the show on a shoestring budget. Cranor and Fink provide the script and Baldwin records the show in his Brooklyn apartment. With over 60 episodes, a new Welcome to Night Vale \u003ca href=\"https://commonplacebooks.squarespace.com/novel/\">book\u003c/a> due out next fall and a third year of touring with live events, the ad-free program has gained listeners who share a love for good stories akin to the Twilight Zone, Outer Limits and Tales of the Unexpected.\u003c/p>\n\u003cp>“Podcasting is very intimate. I think one of the reasons people respond to these characters so much—especially with Cecil—is that its a very intimate experience,” says Baldwin. “But an audience brings energy to the show and its like this dance between you and the audience; making them laugh, scaring them, its storytelling in its oldest incarnation.”\u003c/p>\n\u003cp>As the story of Night Vale develops, fans fall in love will Cecil Palmer. We root for him when he falls for Carlos the Scientist, a man with perfect hair. We worry about him when he faces the almighty power of StrexCorp and the Smiling God of Desert Bluffs. We laugh endearingly at his blog which features stories about Khoshekh the floating cat that hovers in the station’s men’s room. We sometimes think that Cecil’s extreme optimism has a hint of denialbut we love him just the same.\u003c/p>\n\u003cp>And as for his relationship with Carlos, one of the biggest, most burning questions about Night Vale’s future is: Will station management will give Cecil time off to visit Carlos in the Desert Otherworld?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To this, Baldwin simply replies, “all I can say is listen to the podcast and you’ll find out.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/welcome-to-night-vale-live/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch2>‘Welcome to Night Vale’ Live\u003c/h2>\n\u003cdiv class=\"event-desc\">Eerie podcast takes the stage.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Apr. 21, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">Fox Theater\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/welcome-to-night-vale-live/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>Driving through the Southwest one fall, my daughters and I spent at least 8 hours listening to tales of a small desert community on an iPod attached to my car stereo. As the red Arizona landscape gave way to gray and white sand dotted with yucca and Joshua Trees, the community radio host discussed topics including, but not limited to: The Faceless Old Woman who Secretly Lives in Your Home, a series of angels who all happen to be named Erika and The Man in the Tan Jacket (and how no one knows exactly what he’s up to and no one remembers what he looks like or what he says to them—although they do remember his deerskin briefcase). Somewhere in those hours, there was also mention of lights that constantly hover over the town’s local Arby’s and a five-headed dragon named Hiram McDaniels.\u003c/p>\n\u003cp>The desert setting was perfect for being absorbed into the \u003ca href=\"https://commonplacebooks.squarespace.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Welcome to Night Vale\u003c/em>\u003c/a> podcast, a grassroots serialized storytelling project which started in 2012. The fictional community of Night Vale has a mystery meets sci-fi meets comedy meets straight-up nerdy flavor to it; the town’s stories are told through a community radio format, hosted by Cecil Gershwin Palmer (voiced by actor Cecil Baldwin). Night Vale has several criss-crossing story lines and revolving cast of characters and most fans listen alone in their rooms, while commuting to work or while driving across the desert with their family. However, fans will have an opportunity to schmooze with other fans at an upcoming \u003cem>Welcome to Night Vale\u003c/em> Live event at Oakland’s Fox Theater.\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/Ujksjzqrhys'\n title='//www.youtube.com/embed/Ujksjzqrhys'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I love playing Cecil Palmer. He’s kind of a wide-eyed optimist about a lot of things and it’s really nice,” says Baldwin. “I think one of the reasons people have gravitated to the show is that its not a very cynical look at life. It’s a very realistic look at life and it has at its center this character who is so optimistic and so filled with heart that you can’t help but love him. He’s so eager to make his community work and its just refreshing.”\u003c/p>\n\u003cp>Baldwin, who met producers Jeffrey Cranor and Joseph Fink while he was working with \u003ca href=\"http://neofuturists.org/\">Neo-Futurists\u003c/a>, a Chicago-based theater company, jumped at the opportunity to narrate the story of Night Vale.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Joseph was kind of a struggling writer, trying to get his work produced sending it off to literary magazines and all of the things you do when you’re a writer and he approached me saying he was thinking about doing something different, a podcast of fiction stories. And he had this kind of weird idea about a small town community radio where bizarre things happen and are just sort of part of everyday life,” he says. “It was funny and scary and complex and everything an actor would want to take on so I said yes.”\u003c/p>\n\u003cp>Welcome to Night Vale follows a season format, similar to television, which allows listeners to get hooked and the team produces the show on a shoestring budget. Cranor and Fink provide the script and Baldwin records the show in his Brooklyn apartment. With over 60 episodes, a new Welcome to Night Vale \u003ca href=\"https://commonplacebooks.squarespace.com/novel/\">book\u003c/a> due out next fall and a third year of touring with live events, the ad-free program has gained listeners who share a love for good stories akin to the Twilight Zone, Outer Limits and Tales of the Unexpected.\u003c/p>\n\u003cp>“Podcasting is very intimate. I think one of the reasons people respond to these characters so much—especially with Cecil—is that its a very intimate experience,” says Baldwin. “But an audience brings energy to the show and its like this dance between you and the audience; making them laugh, scaring them, its storytelling in its oldest incarnation.”\u003c/p>\n\u003cp>As the story of Night Vale develops, fans fall in love will Cecil Palmer. We root for him when he falls for Carlos the Scientist, a man with perfect hair. We worry about him when he faces the almighty power of StrexCorp and the Smiling God of Desert Bluffs. We laugh endearingly at his blog which features stories about Khoshekh the floating cat that hovers in the station’s men’s room. We sometimes think that Cecil’s extreme optimism has a hint of denialbut we love him just the same.\u003c/p>\n\u003cp>And as for his relationship with Carlos, one of the biggest, most burning questions about Night Vale’s future is: Will station management will give Cecil time off to visit Carlos in the Desert Otherworld?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To this, Baldwin simply replies, “all I can say is listen to the podcast and you’ll find out.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://newdramatists.org/tarell-alvin-mccraney\" target=\"_blank\" rel=\"noopener\">Tarell Alvin McCraney\u003c/a> is probably the only person born and raised in Miami’s impoverished\u003ca href=\"http://en.wikipedia.org/wiki/Liberty_City\" target=\"_blank\" rel=\"noopener\"> Liberty City neighborhood\u003c/a>, to become the International Playwright in Residence for the \u003ca href=\"http://www.rsc.org.uk/\" target=\"_blank\" rel=\"noopener\">Royal Shakespeare Theater Company\u003c/a>. Same goes for winning a \u003ca href=\"http://www.macfound.org/fellows/class/2013/\" target=\"_blank\" rel=\"noopener\">MacArthur “Genius” Grant\u003c/a>.\u003c/p>\n\u003cp>Two Bay Area theaters are presenting plays by McCraney this month. The Berkeley Repertory Theatre is doing the West Coast premiere of \u003cem>\u003ca href=\"http://www.berkeleyrep.org/season/1415/8247.asp?gclid=CJPHzJHz7MQCFQiUfgodTocAbA&gclsrc=aw.ds\" target=\"_blank\" rel=\"noopener\">Head of Passes\u003c/a>\u003c/em>, a play that takes its themes from the Biblical Book of Job, and won praise for its first production in Chicago in 2013.\u003c/p>\n\u003cp>The Marin Theatre Company is staging the Bay Area premiere of McCraney’s \u003ca href=\"http://www.marintheatre.org/productions/choir-boy\" target=\"_blank\" rel=\"noopener\">\u003cem>Choirboy\u003c/em>\u003c/a> which premiered to good reviews in New York City the same year.\u003c/p>\n\u003cp>I talked to McCraney at Berkeley Rep’s rehearsal space in West Berkeley a few days ago. Before we talked, I sat in on a rehearsal as performers worked on a scene from \u003cem>Head of Passes\u003c/em> that McCraney had rewritten the night before.\u003c/p>\n\u003cp>McCraney watched, mostly without comment, as the actors tried to get the new lines just right, under the direction of Tina Landau of Chicago’s \u003ca href=\"https://www.steppenwolf.org/?gclid=CLro6ezz7MQCFU6Vfgod9mUAog&gclsrc=aw.ds\" target=\"_blank\" rel=\"noopener\">Steppenwolf Theater Company\u003c/a>. Landau directed the play’s world premiere in Chicago.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I asked McCraney why he felt he needed to rework the play:\u003c/p>\n\u003cp>\u003cem>(Interview has been edited for length and clarity)\u003c/em>\u003c/p>\n\u003cp>It’s always thrilling and at the same time, sort of nerve-wracking. You don’t want to throw the actors off, but you want to make sure the play continues to strengthen.\u003c/p>\n\u003cp>\u003cstrong>This play already had a production in Chicago. So what’s going through your head when you think, “I need to change things.”\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10549492\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Cheryl-Lynn-Bruce.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Cheryl-Lynn-Bruce.jpg\" alt=\"Actress Cheryl Lynn Bruce stars in the West Coast premiere of Head of Passes (Courtesy of kevinberne.com)\" width=\"640\" height=\"426\" class=\"size-full wp-image-10549492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Cheryl-Lynn-Bruce.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Cheryl-Lynn-Bruce-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Cheryl-Lynn-Bruce-320x213.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Actress Cheryl Lynn Bruce stars in the West Coast premiere of Head of Passes (Courtesy of kevinberne.com)\u003c/figcaption>\u003c/figure>\n\u003cp>Plays are living things. They are performance pieces. So every time they get a new cast, they are in a new space, and we grow as people. So you want to deepen how the play works, but also tailor it for the performers to help them connect with the audiences.\u003c/p>\n\u003cp>So for us that’s been a part of the work going into it, making sure we create a space for the actors, but also make sure we deepen the story of \u003cem>Head of Passes,\u003c/em> which is about a woman who is told some pretty bad news about her health and her family, and we watch her career, her journey with her faith.\u003c/p>\n\u003cp>And the journey of faith is a complicated story. It’s deeply personal. For instance the question of why are we here? Why do things happen? What is my purpose?\u003c/p>\n\u003cp>When all of that occurs, we then begin to sort of to try to put it together in a kind of science. And that is faith in a way. It’s our reaching for a construction of trying to figure out some very large questions that are part of the human condition. And in that way \u003cem>Head of Passes\u003c/em> is a piece into that journey into that human condition.\u003c/p>\n\u003cp>\u003cstrong>The play is based on The Book of Job, which asks but doesn’t answer the question of why bad things happen to good people and their families. And some terrible things happen to the woman Shelah, who is at the center of your play. So where did you first encounter Job growing up?\u003c/strong>\u003c/p>\n\u003cp>I read Job a long time ago in church, (and as an undergrad in college.)\u003c/p>\n\u003cp>When the first commission for the play came, we sat in a room full of actors and just read the book of Job for a few weeks. And it became clear to me the Book of Job has antecedents in other religions. Basically the story of struggle, and how we maintain or endure with or without faith is a part of every cosmology and religion that we know of.\u003c/p>\n\u003cp>And why is that story so important to us? What is it about irrevocable change that helps us get through it?\u003c/p>\n\u003cp>Those questions kept coming up for me. And I thought, I can’t be the only person who’s thinking that. Why don’t we create a piece that investigates that in a contemporary American way.\u003c/p>\n\u003cp>\u003cstrong>What kind of religious faith did you grow up with?\u003c/strong>\u003c/p>\n\u003cp>I grew up with grandparents who were deeply Baptist and Methodist, on both sides of my family.\u003c/p>\n\u003cp>\u003cstrong> And did they take you to church?\u003c/strong>\u003c/p>\n\u003cp>Oh yeah. Often.\u003c/p>\n\u003cp>\u003cstrong>And how did that experience shape you?\u003c/strong>\u003c/p>\n\u003cp>The faith has shaped me, mostly I think my relationship with my grandparents who believed in something, shaped my own faith. Rather than thinking ‘I must be a part of this group.’ I always felt like I had a choice. And I attribute that to my grandparents. They always taught you don’t have to be in anybody’s face to be a good person, to be understanding. You don’t have to read it every day to practice compassion.\u003c/p>\n\u003cp>\u003cstrong>The Head of Passes, what’s that refer to?\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://en.wikipedia.org/wiki/Head_of_Passes\" target=\"_blank\" rel=\"noopener\">The Head of Passes\u003c/a> is a place on the Mississippi River, located on the tip of the Louisiana peninsula, out into the gulf of Mexico. It’s a patch of land that is very amorphous. I think the Army Corps of Engineers says we lose a football field of that land every two or three weeks.\u003c/p>\n\u003caside class=\"pullquote alignright\">\n“The journey of faith is a complicated story. Its deeply personal. For instance the question of why are we here. Why do things happen? What is my purpose?”\u003cbr>\n\u003ccite>Playwright Tarell Alvin McCraney\u003ccite>\u003cbr>\n\u003c/cite>\u003c/cite>\u003c/aside>\n\u003cp>\u003cstrong>Is there a metaphor there about what the Mississippi does to the land there and what fate, or God, does to the character of Shelah in your play?\u003c/strong>\u003c/p>\n\u003cp>I’m always interested that when I speak to people about the play and this place, they’re always like, ‘Oh, that sounds like a terrible place to live.’ And I think to myself that people live on fault lines that are going to blow up any day now. We all live in places, where as much as we think of earth as terra firma, that even the ground we stand on can be swept from under us, and those things happen to the best of people, and the least of us.\u003c/p>\n\u003cp>\u003cstrong>How did you first discover theater, growing up in Miami.\u003c/strong>\u003c/p>\n\u003cp>I grew up Liberty City, which is in the center of Miami. And I started theater fairly young there. In church we did plays, and I was in those plays. But there was also the African Heritage Cultural Arts Center, which was located a couple of blocks from my home. I did plays there since I was about 8 or 9, and then went to a middle school for theater and then went to a performing arts High School, and then undergraduate and graduate school all in acting and playwriting.\u003c/p>\n\u003cp>\u003cstrong>When did you think, “I’m going to be a playwright,” or work in theater?\u003c/strong>\u003c/p>\n\u003cp>I never thought it. It just was happening. My first job at 14 was in a rehabilitation program that used theater as peer education. So I did that till I was about 20. So there was never a decisive moment when I thought, ‘oh this is it.’\u003c/p>\n\u003cp>\u003cstrong>That must have been hard sometimes to tell your friends, “Oh, I’m going to rehearse a play,” instead of hanging out or playing sports.\u003c/strong>\u003c/p>\n\u003cp>I recognize you must think I had a lot of friends. But clearly, you’re mistaken. I’m much more or an introvert than that. And I didn’t have a lot of friends in middle school to tell I was on the way to anything. I went to rehearsal and went home. And most of my friends were in theater as well.\u003c/p>\n\u003cp>\u003cstrong>And your parents, did they support your choice?\u003c/strong>\u003c/p>\n\u003cp>For the most part. Yeah. I think my dad caught on late to what I was up to. And then he sort of went ‘Oh. That’s what you’ve been doing.’\u003c/p>\n\u003cp>\u003cstrong> What did he think when he finally caught on?\u003c/strong>\u003c/p>\n\u003cp>Well by that time, I had a scholarship as an undergrad (DePaul University). And he was happy I was going to college and not having to pay for it.\u003c/p>\n\u003cp>\u003cstrong> And your mom died when you were 22. What did she make of your choice of a life in theater?\u003c/strong>\u003c/p>\n\u003cp>I don’t know. I think she just wanted me to be happy. She always wanted me to feel free, I think, so she won. I feel free most of the time.\u003c/p>\n\u003cp>\u003cstrong>I wonder if your parents or elements of them ever inspire characters in your plays?\u003c/strong>\u003c/p>\n\u003caside class=\"pullquote alignright\">\n“God damn the day I was born, and the night that forced me from the womb. Why couldn’t I have died, as they pulled me out of the dark.”\u003cbr>\n\u003ccite>Stephen Mitchell’s translation of the Book of Job.\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>I often times look at The Crucible and think where are Arthur Miller’s parents in The Crucible, or where is he or the relationships he had. It’s interesting to me that rarely do people dissect his work that way.\u003c/p>\n\u003cp>I get this question often.\u003c/p>\n\u003cp>But no. The people in the plays aren’t based on anyone solely. But I’m sure they’re a hybrid of all the people I’ve met before.\u003c/p>\n\u003cp>Or as my brother says, much to my chagrin, they’re all Tarell. They’re all pieces of me that I don’t even know about myself. And I think that’s true of humanity. We can try to divorce ourselves from our work. But our thumbprint, the tent of us is on it. Whether we like it or not.\u003c/p>\n\u003cp>\u003cstrong>So where do the characters voices come from? Do you hear them in your head as you’re writing?\u003c/strong>\u003c/p>\n\u003cp>Yes, I can hear them. I type or I will talk it into a tape recorder. I just try to get it down before I forget it or it goes away.\u003c/p>\n\u003cp>\u003cstrong>So does that ever freak you out, when you hear their voices?\u003c/strong>\u003c/p>\n\u003cp>They’ve been there so long. No. They don’t send me running to the therapist. Not them, no. I’ve heard them all my life. It never felt odd. Sometimes they wake you up though.\u003c/p>\n\u003cp>\u003cstrong>You’re a black playwright. A gay playwright. Have those identities ever been barriers to getting your work produced? How have you been welcomed into the world of theater?\u003c/strong>\u003c/p>\n\u003cp>Most writers have hurdles they have to overcome. We know the American theater isn’t as diverse as we’d like it to be. We know that the American audience isn’t as diverse as we’d like it to be.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But I personally have been blessed with not feeling aggressively shunned or shut out. There have been times when people — they don’t want or like my voice. But I don’t think it’s necessarily because I’m black or gay, I think it’s because they didn’t like my voice. And that’s fine too. But I think it’s important to recognize the taste that we are allowed to have in the theater is skewed. And we have to allow as many voices into the theater as possible to really get the full palate of what the American experience is like today.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://newdramatists.org/tarell-alvin-mccraney\" target=\"_blank\" rel=\"noopener\">Tarell Alvin McCraney\u003c/a> is probably the only person born and raised in Miami’s impoverished\u003ca href=\"http://en.wikipedia.org/wiki/Liberty_City\" target=\"_blank\" rel=\"noopener\"> Liberty City neighborhood\u003c/a>, to become the International Playwright in Residence for the \u003ca href=\"http://www.rsc.org.uk/\" target=\"_blank\" rel=\"noopener\">Royal Shakespeare Theater Company\u003c/a>. Same goes for winning a \u003ca href=\"http://www.macfound.org/fellows/class/2013/\" target=\"_blank\" rel=\"noopener\">MacArthur “Genius” Grant\u003c/a>.\u003c/p>\n\u003cp>Two Bay Area theaters are presenting plays by McCraney this month. The Berkeley Repertory Theatre is doing the West Coast premiere of \u003cem>\u003ca href=\"http://www.berkeleyrep.org/season/1415/8247.asp?gclid=CJPHzJHz7MQCFQiUfgodTocAbA&gclsrc=aw.ds\" target=\"_blank\" rel=\"noopener\">Head of Passes\u003c/a>\u003c/em>, a play that takes its themes from the Biblical Book of Job, and won praise for its first production in Chicago in 2013.\u003c/p>\n\u003cp>The Marin Theatre Company is staging the Bay Area premiere of McCraney’s \u003ca href=\"http://www.marintheatre.org/productions/choir-boy\" target=\"_blank\" rel=\"noopener\">\u003cem>Choirboy\u003c/em>\u003c/a> which premiered to good reviews in New York City the same year.\u003c/p>\n\u003cp>I talked to McCraney at Berkeley Rep’s rehearsal space in West Berkeley a few days ago. Before we talked, I sat in on a rehearsal as performers worked on a scene from \u003cem>Head of Passes\u003c/em> that McCraney had rewritten the night before.\u003c/p>\n\u003cp>McCraney watched, mostly without comment, as the actors tried to get the new lines just right, under the direction of Tina Landau of Chicago’s \u003ca href=\"https://www.steppenwolf.org/?gclid=CLro6ezz7MQCFU6Vfgod9mUAog&gclsrc=aw.ds\" target=\"_blank\" rel=\"noopener\">Steppenwolf Theater Company\u003c/a>. Landau directed the play’s world premiere in Chicago.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I asked McCraney why he felt he needed to rework the play:\u003c/p>\n\u003cp>\u003cem>(Interview has been edited for length and clarity)\u003c/em>\u003c/p>\n\u003cp>It’s always thrilling and at the same time, sort of nerve-wracking. You don’t want to throw the actors off, but you want to make sure the play continues to strengthen.\u003c/p>\n\u003cp>\u003cstrong>This play already had a production in Chicago. So what’s going through your head when you think, “I need to change things.”\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_10549492\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Cheryl-Lynn-Bruce.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/04/Cheryl-Lynn-Bruce.jpg\" alt=\"Actress Cheryl Lynn Bruce stars in the West Coast premiere of Head of Passes (Courtesy of kevinberne.com)\" width=\"640\" height=\"426\" class=\"size-full wp-image-10549492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Cheryl-Lynn-Bruce.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Cheryl-Lynn-Bruce-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/04/Cheryl-Lynn-Bruce-320x213.jpg 320w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Actress Cheryl Lynn Bruce stars in the West Coast premiere of Head of Passes (Courtesy of kevinberne.com)\u003c/figcaption>\u003c/figure>\n\u003cp>Plays are living things. They are performance pieces. So every time they get a new cast, they are in a new space, and we grow as people. So you want to deepen how the play works, but also tailor it for the performers to help them connect with the audiences.\u003c/p>\n\u003cp>So for us that’s been a part of the work going into it, making sure we create a space for the actors, but also make sure we deepen the story of \u003cem>Head of Passes,\u003c/em> which is about a woman who is told some pretty bad news about her health and her family, and we watch her career, her journey with her faith.\u003c/p>\n\u003cp>And the journey of faith is a complicated story. It’s deeply personal. For instance the question of why are we here? Why do things happen? What is my purpose?\u003c/p>\n\u003cp>When all of that occurs, we then begin to sort of to try to put it together in a kind of science. And that is faith in a way. It’s our reaching for a construction of trying to figure out some very large questions that are part of the human condition. And in that way \u003cem>Head of Passes\u003c/em> is a piece into that journey into that human condition.\u003c/p>\n\u003cp>\u003cstrong>The play is based on The Book of Job, which asks but doesn’t answer the question of why bad things happen to good people and their families. And some terrible things happen to the woman Shelah, who is at the center of your play. So where did you first encounter Job growing up?\u003c/strong>\u003c/p>\n\u003cp>I read Job a long time ago in church, (and as an undergrad in college.)\u003c/p>\n\u003cp>When the first commission for the play came, we sat in a room full of actors and just read the book of Job for a few weeks. And it became clear to me the Book of Job has antecedents in other religions. Basically the story of struggle, and how we maintain or endure with or without faith is a part of every cosmology and religion that we know of.\u003c/p>\n\u003cp>And why is that story so important to us? What is it about irrevocable change that helps us get through it?\u003c/p>\n\u003cp>Those questions kept coming up for me. And I thought, I can’t be the only person who’s thinking that. Why don’t we create a piece that investigates that in a contemporary American way.\u003c/p>\n\u003cp>\u003cstrong>What kind of religious faith did you grow up with?\u003c/strong>\u003c/p>\n\u003cp>I grew up with grandparents who were deeply Baptist and Methodist, on both sides of my family.\u003c/p>\n\u003cp>\u003cstrong> And did they take you to church?\u003c/strong>\u003c/p>\n\u003cp>Oh yeah. Often.\u003c/p>\n\u003cp>\u003cstrong>And how did that experience shape you?\u003c/strong>\u003c/p>\n\u003cp>The faith has shaped me, mostly I think my relationship with my grandparents who believed in something, shaped my own faith. Rather than thinking ‘I must be a part of this group.’ I always felt like I had a choice. And I attribute that to my grandparents. They always taught you don’t have to be in anybody’s face to be a good person, to be understanding. You don’t have to read it every day to practice compassion.\u003c/p>\n\u003cp>\u003cstrong>The Head of Passes, what’s that refer to?\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://en.wikipedia.org/wiki/Head_of_Passes\" target=\"_blank\" rel=\"noopener\">The Head of Passes\u003c/a> is a place on the Mississippi River, located on the tip of the Louisiana peninsula, out into the gulf of Mexico. It’s a patch of land that is very amorphous. I think the Army Corps of Engineers says we lose a football field of that land every two or three weeks.\u003c/p>\n\u003caside class=\"pullquote alignright\">\n“The journey of faith is a complicated story. Its deeply personal. For instance the question of why are we here. Why do things happen? What is my purpose?”\u003cbr>\n\u003ccite>Playwright Tarell Alvin McCraney\u003ccite>\u003cbr>\n\u003c/cite>\u003c/cite>\u003c/aside>\n\u003cp>\u003cstrong>Is there a metaphor there about what the Mississippi does to the land there and what fate, or God, does to the character of Shelah in your play?\u003c/strong>\u003c/p>\n\u003cp>I’m always interested that when I speak to people about the play and this place, they’re always like, ‘Oh, that sounds like a terrible place to live.’ And I think to myself that people live on fault lines that are going to blow up any day now. We all live in places, where as much as we think of earth as terra firma, that even the ground we stand on can be swept from under us, and those things happen to the best of people, and the least of us.\u003c/p>\n\u003cp>\u003cstrong>How did you first discover theater, growing up in Miami.\u003c/strong>\u003c/p>\n\u003cp>I grew up Liberty City, which is in the center of Miami. And I started theater fairly young there. In church we did plays, and I was in those plays. But there was also the African Heritage Cultural Arts Center, which was located a couple of blocks from my home. I did plays there since I was about 8 or 9, and then went to a middle school for theater and then went to a performing arts High School, and then undergraduate and graduate school all in acting and playwriting.\u003c/p>\n\u003cp>\u003cstrong>When did you think, “I’m going to be a playwright,” or work in theater?\u003c/strong>\u003c/p>\n\u003cp>I never thought it. It just was happening. My first job at 14 was in a rehabilitation program that used theater as peer education. So I did that till I was about 20. So there was never a decisive moment when I thought, ‘oh this is it.’\u003c/p>\n\u003cp>\u003cstrong>That must have been hard sometimes to tell your friends, “Oh, I’m going to rehearse a play,” instead of hanging out or playing sports.\u003c/strong>\u003c/p>\n\u003cp>I recognize you must think I had a lot of friends. But clearly, you’re mistaken. I’m much more or an introvert than that. And I didn’t have a lot of friends in middle school to tell I was on the way to anything. I went to rehearsal and went home. And most of my friends were in theater as well.\u003c/p>\n\u003cp>\u003cstrong>And your parents, did they support your choice?\u003c/strong>\u003c/p>\n\u003cp>For the most part. Yeah. I think my dad caught on late to what I was up to. And then he sort of went ‘Oh. That’s what you’ve been doing.’\u003c/p>\n\u003cp>\u003cstrong> What did he think when he finally caught on?\u003c/strong>\u003c/p>\n\u003cp>Well by that time, I had a scholarship as an undergrad (DePaul University). And he was happy I was going to college and not having to pay for it.\u003c/p>\n\u003cp>\u003cstrong> And your mom died when you were 22. What did she make of your choice of a life in theater?\u003c/strong>\u003c/p>\n\u003cp>I don’t know. I think she just wanted me to be happy. She always wanted me to feel free, I think, so she won. I feel free most of the time.\u003c/p>\n\u003cp>\u003cstrong>I wonder if your parents or elements of them ever inspire characters in your plays?\u003c/strong>\u003c/p>\n\u003caside class=\"pullquote alignright\">\n“God damn the day I was born, and the night that forced me from the womb. Why couldn’t I have died, as they pulled me out of the dark.”\u003cbr>\n\u003ccite>Stephen Mitchell’s translation of the Book of Job.\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>I often times look at The Crucible and think where are Arthur Miller’s parents in The Crucible, or where is he or the relationships he had. It’s interesting to me that rarely do people dissect his work that way.\u003c/p>\n\u003cp>I get this question often.\u003c/p>\n\u003cp>But no. The people in the plays aren’t based on anyone solely. But I’m sure they’re a hybrid of all the people I’ve met before.\u003c/p>\n\u003cp>Or as my brother says, much to my chagrin, they’re all Tarell. They’re all pieces of me that I don’t even know about myself. And I think that’s true of humanity. We can try to divorce ourselves from our work. But our thumbprint, the tent of us is on it. Whether we like it or not.\u003c/p>\n\u003cp>\u003cstrong>So where do the characters voices come from? Do you hear them in your head as you’re writing?\u003c/strong>\u003c/p>\n\u003cp>Yes, I can hear them. I type or I will talk it into a tape recorder. I just try to get it down before I forget it or it goes away.\u003c/p>\n\u003cp>\u003cstrong>So does that ever freak you out, when you hear their voices?\u003c/strong>\u003c/p>\n\u003cp>They’ve been there so long. No. They don’t send me running to the therapist. Not them, no. I’ve heard them all my life. It never felt odd. Sometimes they wake you up though.\u003c/p>\n\u003cp>\u003cstrong>You’re a black playwright. A gay playwright. Have those identities ever been barriers to getting your work produced? How have you been welcomed into the world of theater?\u003c/strong>\u003c/p>\n\u003cp>Most writers have hurdles they have to overcome. We know the American theater isn’t as diverse as we’d like it to be. We know that the American audience isn’t as diverse as we’d like it to be.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But I personally have been blessed with not feeling aggressively shunned or shut out. There have been times when people — they don’t want or like my voice. But I don’t think it’s necessarily because I’m black or gay, I think it’s because they didn’t like my voice. And that’s fine too. But I think it’s important to recognize the taste that we are allowed to have in the theater is skewed. And we have to allow as many voices into the theater as possible to really get the full palate of what the American experience is like today.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Radio Show: Gypsy Jazz, Alice Munro, and the Ghosts of Indie Rock",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>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/2015/03/20150313tdl.mp3\u003c/p>\n\u003c/aside>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Jorgenson-400x225.jpg\" alt=\"John Jorgenson Quintet\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10464855\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Jorgenson-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Jorgenson-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Jorgenson-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Jorgenson-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Jorgenson-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Jorgenson.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">Esprit de Django et Stephane Gypsy Jazz Festival\u003c/h3>\n\u003cp>Here’s a two-day event celebrating the legacy of the 1930s’ Paris-based duo, Django Reinhardt and Stéphane Grappelli, who revolutionized jazz by introducing lively strings to counteract the laid-back big-band sound that was popular at the time. Free events like busking and belly dancing are interspersed with performances by the Leftover Cuties, Tin Hat, the John Jorgenson Quintet (pictured at right) on Saturday; followed by Beso, George Cole Quintet, Mr. Sun, and Vaud & the Villains on Sunday. Purchase single show tickets or Saturday and Sunday passes for the showcases that start in the afternoon and go well into the evening. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/esprit-de-django-et-stephane-festival-gypsy-jazz-festival/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Munro-400x225.jpg\" alt=\"Munro\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10403045\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Munro-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Munro-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Munro-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Munro.jpg 1400w\" sizes=\"(max-width: 400px) 100vw, 400px\">Stories by Alice Munro\u003c/h3>\n\u003cp>Z Space and Word for Word Performing Arts Company present a double feature of plays based on the short stories of eminent Canadian author and 2013 Nobel Prize winner Alice Munro. “The Office” centers on a fledgling writer who determines that she needs her own office to succeed, before facing an obstacle from her landlord. In “Dolly,” an elderly couple struggles with the reemergence of one of the husband’s old lovers. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/stories-by-alice-munro/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/lakeeffect-400x225.jpg\" alt=\"The Lake Effect\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10428541\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/lakeeffect-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/lakeeffect-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/lakeeffect-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/lakeeffect-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/lakeeffect-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/lakeeffect.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">The Lake Effect\u003c/h3>\n\u003cp>The Bay Area can’t get enough of playwright Rajiv Joseph, from his Glickman Award-winning two-person high school suspense thriller \u003cem>The North Pool\u003c/em> at TheatreWorks to the sprawling and grim Iraq War fantasia \u003cem>Bengal Tiger at the Iraq Zoo\u003c/em> at San Francisco Playhouse. Now Joseph’s back with \u003cem>The Lake Effect\u003c/em>, in which an estranged brother and sister reunite in their late father’s Indian restaurant in Cleveland. When their dad’s former gambling bookie shows up, the sibs find out how little they knew about their own family. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-lake-effect/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/killingfields-400x225.jpg\" alt=\"Killing Fields of Dr. Hang S. Ngor\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10446100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/killingfields-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/killingfields-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/killingfields-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/killingfields-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/killingfields-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/killingfields.jpg 1426w\" sizes=\"(max-width: 400px) 100vw, 400px\">CAAMFest\u003c/h3>\n\u003cp>Along with discoveries from all over, the Bay Area’s preeminent Asian-American film (and food and music) festival spotlights former and current Bay Area filmmakers. Arthur Dong presents the world premiere of \u003cem>The Killing Fields of Dr. Haing S. Ngor\u003c/em> and his re-mastered 1989 excavation of local Chinese-American history, \u003cem>Forbidden City, USA\u003c/em>. Academy Award-winner Ruby Yang follows underprivileged Hong Kong students mounting a musical in \u003cem>My Voice My Life\u003c/em>, and reprises her 2009 study of movie theaters in San Francisco’s Chinatown, \u003cem>A Moment in Time\u003c/em>. In \u003cem>Chinese Couplets\u003c/em>, Felicia Lowe bravely explores her mother’s experiences as an adult in America and a child in China. As they say, all history is personal. \u003ca href=\"http://ww2.kqed.org/events/pick/caamfest-2015/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/robyn_hitchcock-400x225.jpg\" alt=\"Robyn Hitchcock\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10462424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/robyn_hitchcock-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/robyn_hitchcock-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/robyn_hitchcock-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/robyn_hitchcock-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/robyn_hitchcock-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/robyn_hitchcock.jpg 2000w\" sizes=\"(max-width: 400px) 100vw, 400px\">Robyn Hitchcock\u003c/h3>\n\u003cp>From his 1970s work fronting the Soft Boys to his classic 1984 album \u003cem>I Often Dream of Trains\u003c/em>, Robyn Hitchcock appeared out of the gate as a wry, clever songwriter with a literate sensibility and approachable-yet-emotive voice. All too often, these types of promising songwriters fall into obscurity, or become caricatures of themselves, or recycle old folk and blues forms to death. Hitchcock, to the benefit of smart ears everywhere, has instead remained fiercely creative, as evidenced on his 2014 album \u003cem>The Man Upstairs\u003c/em> — which includes among its original songs unique covers of the Psychedelic Furs, Grant Lee Phillips, and Roxy Music. There’s even a version of “The Crystal Ship” by the Doors that, in Hitchcock’s hands, resurfaces all the mysticism and strangeness of hearing Jim Morrison for the first time. Hitchcock’s back catalog is hundreds deep, so there’s no telling what you might hear when he performs — but each show is rewarding, and special. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/robyn-hitchcock/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Kristin-Hersh-400x228.jpg\" alt=\"Kristin Hersh\" width=\"400\" height=\"228\" class=\"alignright size-thumbnail wp-image-10458736\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Kristin-Hersh-400x228.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Kristin-Hersh-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Kristin-Hersh-1180x674.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Kristin-Hersh-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Kristin-Hersh-320x183.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Kristin-Hersh.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">Kristin Hersh\u003c/h3>\n\u003cp>Kristin Hersh, of Throwing Muses, performs a solo set at the Chapel in San Francisco. Hersh founded Throwing Muses with her stepsister while still in high school, before becoming a pioneering group in what would later be known as alternative rock. Following two breakups in the 1990s, the band reunited in 2004 and continues to tour. Hersh also founded 50 Foot Wave and has recorded solo material regularly since the early ’90s \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/kristin-hersh/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/1401x788-JulianaHatfieldThree_2-400x225.jpg\" alt=\"Juliana Hatfield 3\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10458738\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1401x788-JulianaHatfieldThree_2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1401x788-JulianaHatfieldThree_2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1401x788-JulianaHatfieldThree_2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1401x788-JulianaHatfieldThree_2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1401x788-JulianaHatfieldThree_2-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1401x788-JulianaHatfieldThree_2.jpg 1401w\" sizes=\"(max-width: 400px) 100vw, 400px\">The Juliana Hatfield Three\u003c/h3>\n\u003cp>Recently reformed after nearly twenty years, The Juliana Hatfield Three plays together at the Chapel in San Francisco. The trio was originally formed by Hatfield in 1992 following the breakup of college rock band Blake Babies. The Juliana Hatfield Three is most well known for their song “My Sister,” which topped the \u003cem>Billboard\u003c/em> Modern Rock Tracks chart in 1993. Their 2015 release, \u003cem>Whatever, My Love\u003c/em>, is the band’s first album since 1993. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-juliana-hatfield-three/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Jorgenson-400x225.jpg\" alt=\"John Jorgenson Quintet\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10464855\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Jorgenson-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Jorgenson-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Jorgenson-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Jorgenson-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Jorgenson-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Jorgenson.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">Esprit de Django et Stephane Gypsy Jazz Festival\u003c/h3>\n\u003cp>Here’s a two-day event celebrating the legacy of the 1930s’ Paris-based duo, Django Reinhardt and Stéphane Grappelli, who revolutionized jazz by introducing lively strings to counteract the laid-back big-band sound that was popular at the time. Free events like busking and belly dancing are interspersed with performances by the Leftover Cuties, Tin Hat, the John Jorgenson Quintet (pictured at right) on Saturday; followed by Beso, George Cole Quintet, Mr. Sun, and Vaud & the Villains on Sunday. Purchase single show tickets or Saturday and Sunday passes for the showcases that start in the afternoon and go well into the evening. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/esprit-de-django-et-stephane-festival-gypsy-jazz-festival/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/Munro-400x225.jpg\" alt=\"Munro\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10403045\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Munro-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Munro-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Munro-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/Munro.jpg 1400w\" sizes=\"(max-width: 400px) 100vw, 400px\">Stories by Alice Munro\u003c/h3>\n\u003cp>Z Space and Word for Word Performing Arts Company present a double feature of plays based on the short stories of eminent Canadian author and 2013 Nobel Prize winner Alice Munro. “The Office” centers on a fledgling writer who determines that she needs her own office to succeed, before facing an obstacle from her landlord. In “Dolly,” an elderly couple struggles with the reemergence of one of the husband’s old lovers. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/stories-by-alice-munro/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/02/lakeeffect-400x225.jpg\" alt=\"The Lake Effect\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10428541\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/lakeeffect-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/lakeeffect-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/lakeeffect-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/lakeeffect-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/lakeeffect-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/02/lakeeffect.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">The Lake Effect\u003c/h3>\n\u003cp>The Bay Area can’t get enough of playwright Rajiv Joseph, from his Glickman Award-winning two-person high school suspense thriller \u003cem>The North Pool\u003c/em> at TheatreWorks to the sprawling and grim Iraq War fantasia \u003cem>Bengal Tiger at the Iraq Zoo\u003c/em> at San Francisco Playhouse. Now Joseph’s back with \u003cem>The Lake Effect\u003c/em>, in which an estranged brother and sister reunite in their late father’s Indian restaurant in Cleveland. When their dad’s former gambling bookie shows up, the sibs find out how little they knew about their own family. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-lake-effect/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/killingfields-400x225.jpg\" alt=\"Killing Fields of Dr. Hang S. Ngor\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10446100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/killingfields-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/killingfields-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/killingfields-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/killingfields-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/killingfields-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/killingfields.jpg 1426w\" sizes=\"(max-width: 400px) 100vw, 400px\">CAAMFest\u003c/h3>\n\u003cp>Along with discoveries from all over, the Bay Area’s preeminent Asian-American film (and food and music) festival spotlights former and current Bay Area filmmakers. Arthur Dong presents the world premiere of \u003cem>The Killing Fields of Dr. Haing S. Ngor\u003c/em> and his re-mastered 1989 excavation of local Chinese-American history, \u003cem>Forbidden City, USA\u003c/em>. Academy Award-winner Ruby Yang follows underprivileged Hong Kong students mounting a musical in \u003cem>My Voice My Life\u003c/em>, and reprises her 2009 study of movie theaters in San Francisco’s Chinatown, \u003cem>A Moment in Time\u003c/em>. In \u003cem>Chinese Couplets\u003c/em>, Felicia Lowe bravely explores her mother’s experiences as an adult in America and a child in China. As they say, all history is personal. \u003ca href=\"http://ww2.kqed.org/events/pick/caamfest-2015/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/robyn_hitchcock-400x225.jpg\" alt=\"Robyn Hitchcock\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10462424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/robyn_hitchcock-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/robyn_hitchcock-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/robyn_hitchcock-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/robyn_hitchcock-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/robyn_hitchcock-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/robyn_hitchcock.jpg 2000w\" sizes=\"(max-width: 400px) 100vw, 400px\">Robyn Hitchcock\u003c/h3>\n\u003cp>From his 1970s work fronting the Soft Boys to his classic 1984 album \u003cem>I Often Dream of Trains\u003c/em>, Robyn Hitchcock appeared out of the gate as a wry, clever songwriter with a literate sensibility and approachable-yet-emotive voice. All too often, these types of promising songwriters fall into obscurity, or become caricatures of themselves, or recycle old folk and blues forms to death. Hitchcock, to the benefit of smart ears everywhere, has instead remained fiercely creative, as evidenced on his 2014 album \u003cem>The Man Upstairs\u003c/em> — which includes among its original songs unique covers of the Psychedelic Furs, Grant Lee Phillips, and Roxy Music. There’s even a version of “The Crystal Ship” by the Doors that, in Hitchcock’s hands, resurfaces all the mysticism and strangeness of hearing Jim Morrison for the first time. Hitchcock’s back catalog is hundreds deep, so there’s no telling what you might hear when he performs — but each show is rewarding, and special. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/robyn-hitchcock/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/Kristin-Hersh-400x228.jpg\" alt=\"Kristin Hersh\" width=\"400\" height=\"228\" class=\"alignright size-thumbnail wp-image-10458736\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Kristin-Hersh-400x228.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Kristin-Hersh-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Kristin-Hersh-1180x674.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Kristin-Hersh-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Kristin-Hersh-320x183.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/Kristin-Hersh.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">Kristin Hersh\u003c/h3>\n\u003cp>Kristin Hersh, of Throwing Muses, performs a solo set at the Chapel in San Francisco. Hersh founded Throwing Muses with her stepsister while still in high school, before becoming a pioneering group in what would later be known as alternative rock. Following two breakups in the 1990s, the band reunited in 2004 and continues to tour. Hersh also founded 50 Foot Wave and has recorded solo material regularly since the early ’90s \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/kristin-hersh/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/03/1401x788-JulianaHatfieldThree_2-400x225.jpg\" alt=\"Juliana Hatfield 3\" width=\"400\" height=\"225\" class=\"alignright size-thumbnail wp-image-10458738\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1401x788-JulianaHatfieldThree_2-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1401x788-JulianaHatfieldThree_2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1401x788-JulianaHatfieldThree_2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1401x788-JulianaHatfieldThree_2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1401x788-JulianaHatfieldThree_2-320x180.jpg 320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/03/1401x788-JulianaHatfieldThree_2.jpg 1401w\" sizes=\"(max-width: 400px) 100vw, 400px\">The Juliana Hatfield Three\u003c/h3>\n\u003cp>Recently reformed after nearly twenty years, The Juliana Hatfield Three plays together at the Chapel in San Francisco. The trio was originally formed by Hatfield in 1992 following the breakup of college rock band Blake Babies. The Juliana Hatfield Three is most well known for their song “My Sister,” which topped the \u003cem>Billboard\u003c/em> Modern Rock Tracks chart in 1993. Their 2015 release, \u003cem>Whatever, My Love\u003c/em>, is the band’s first album since 1993. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-juliana-hatfield-three/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Slam Poet Bob Holman Tracks Endangered Languages in New Film",
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"content": "\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/events/pick/language-matters-a-celebration-of-mother-tongues/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>‘Language Matters’\u003c/h4>\n\u003cdiv class=\"event-desc\">Musical celebration and discussion of documentary film.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Jan. 24, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The Exploratorium\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/language-matters-a-celebration-of-mother-tongues/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>\u003ca href=\"http://www.bobholman.com/\" target=\"_blank\" rel=\"noopener\">Bob Holman\u003c/a> is a word man. His decades of frenetic activity in the slam poetry, hip-hop and spoken-word scenes once led Henry Louis Gates, Jr. to call him “the postmodern promoter who has done more to bring poetry to cafes and bars than anyone since Ferlinghetti.”\u003c/p>\n\u003cp>Now, Holman is pouring his love for words into a movement to save the world’s endangered languages. There are roughly 6,500 languages spoken around the world today; linguists estimate that by the end of the century, that number could be cut in half. That’s right: Some 3,000 languages could soon pass away from this sweet earth.\u003c/p>\n\u003cp>“Every language contains a singular way of looking at the world,” Holman tells me by email. “The brain may be infinite, but we’ve only been able to invent 6,000 of these ways of looking at things. To lose one of these is a tragedy.”\u003c/p>\n\u003cfigure id=\"attachment_10316789\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Welsh-Folk-Singer_HI.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10316789 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Welsh-Folk-Singer_HI-800x533.jpg\" alt=\"Aron Jones performing at the Y Tap Pub in Wales. Photo by James Callanan.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Welsh-Folk-Singer_HI-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Welsh-Folk-Singer_HI-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Welsh-Folk-Singer_HI-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Welsh-Folk-Singer_HI.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Aron Jones performing at the Y Tap Pub in Wales. (Photo: James Callanan)\u003c/figcaption>\u003c/figure>\n\u003cp>The precipitous disappearance of mother tongues is the subject of \u003ca href=\"http://www.languagemattersfilm.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Language Matters with Bob Holman\u003c/em>\u003c/a>, a new documentary by David Grubin that airs nationwide on PBS in January (Jan. 25, 6-8 pm on KQED). Holman and Grubin will be at \u003ca href=\"http://www.exploratorium.edu/visit/calendar/language-matters\" target=\"_blank\" rel=\"noopener\">the Exploratorium on Saturday, Jan. 24,\u003c/a> to screen excerpts from the film with language activists from the Bay Area’s Hawaiian and Native American communities. The native rock band \u003ca href=\"http://newsfromnativecalifornia.com/blog/walan-amana/%20\" target=\"_blank\" rel=\"noopener\">Walan Amana\u003c/a> are slated to play music in the \u003ca href=\"http://www.native-languages.org/maidu.htm\" target=\"_blank\" rel=\"noopener\">Nisenan\u003c/a> language from the Sierra Nevada, \u003ca href=\"http://ohlone.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Vincent Medina\u003c/a> will perform in Ohlone, a Bay Area Indian language, and Carolyn Melenani Kuali`i and other Hawaiian artists will sing and dance Hawaiian meles, or chants. Other linguistic surprises will be in store as well at the event, which is co-sponsored by Heyday Books, the Center for the Art of Translation, Pacific Islanders in Communications, and KQED.\u003c/p>\n\u003cp>Like shrinking biodiversity, the problem of endangered languages is shocking, but as the Exploratorium event will show, efforts to keep languages vital are profound and filled with joy. Imagine if the language in which your mother sang lullabies were no longer, or rarely spoken, and then one day people started to sing it again. (English is so dominant that it’s hard to imagine it disappearing, but if the language of “\u003ca href=\"http://www.lullaby-link.com/hush-little-baby.html\" target=\"_blank\" rel=\"noopener\">Hush Little Baby\u003c/a>” were to go away, I wouldn’t know my own soul.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Holman’s journey into endangered language began with his hip-hop-oriented students who claimed that their writing was original, that they “just made shit up.” Holman explained that hip-hop could be better seen as a current iteration of the African-American oral tradition. To understand the lineage better, he journeyed to Africa where he encountered the griots, the poet-musicians and keepers of the West African oral tradition, and also learned about many languages that were endangered. “I owe it all to hip-hop,” Holman said.\u003c/p>\n\u003cp>In \u003cem>Language Matters\u003c/em>, Holman and Grubin travel to Australia, Wales and Hawaii to tell three in-depth stories about language’s threat, preservation and survival. In the Australian outback, we meet Charlie Mangulda, an aboriginal “song man,” or poet, who is the very last speaker of \u003ca href=\"http://www.endangeredlanguages.com/lang/amg\" target=\"_blank\" rel=\"noopener\">Amurdak\u003c/a>, as well as a remote island community of 400 in which 10 different languages are spoken, all in danger of fading out of existence. Then it’s on to Wales, where the feisty Welsh have managed to protect the kernel of their language in spite of centuries of English domination, and where the schools are now bilingual and the country hosts a hugely popular annual poetry competition in Welsh—essentially, their World Series. Finally, in Hawaii, we learn how one Hawaiian-only elementary school founded in the ’80s has helped incubate a resurgence of Hawaiian language and culture that had been in danger of disappearing since the United States toppled Queen Liliuokalani in 1898.\u003c/p>\n\u003cp>On Maui, Holman talks with the great 87-year-old poet/translator/Buddhist monk W.S. Merwin, who reflects on what is lost when languages disappear. “Where will meanings be,” Merwin asks, “when the words are forgotten?”\u003c/p>\n\u003cp>Holman’s journey contains a lot of music, because music, song and dance are the memory banks for language. Although Charlie Mangulda is the last Amurdak speaker, bits of the language have migrated into other “song men’s” songs. In Hawaii, language was preserved in the chants that accompany every hula.\u003c/p>\n\u003cfigure id=\"attachment_10316794\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Bob-on-Stage-at-Stomp_HI.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10316794 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Bob-on-Stage-at-Stomp_HI-800x533.jpg\" alt=\"Bob Holman performing in The Stomp at the 2012 Eisteddfod in Wales. Photo by David Grubin.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Bob-on-Stage-at-Stomp_HI-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Bob-on-Stage-at-Stomp_HI-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Bob-on-Stage-at-Stomp_HI-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Bob-on-Stage-at-Stomp_HI.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bob Holman performing in The Stomp at the 2012 Eisteddfod in Wales. (Photo: David Grubin)\u003c/figcaption>\u003c/figure>\n\u003cp>In the film, Holman is an infectious participant journalist, sharing his poet’s heart with the people he meets. In Cardiff, he even writes a poem in Welsh and competes in the local poetry slam. (Spoiler alert: He doesn’t win.) But as Gwyneth Lewis, the former national poet of Wales, says in the film, “Language should be a meeting place.” That point is certainly felt in the film.\u003c/p>\n\u003cp>Globalization made it possible for Holman and Grubin to buzz around the world and make \u003cem>Language Matters\u003c/em>. But the same wired world of global travel and instant communication that many of us enjoy has also led to cultural homogenization and a battle of “just trying to preserve our own identities,” Holman tells me.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Thinking that language is solely a means of communication, having big languages gobble up smaller ones—we are losing what it means to be human,” says Holman. “No Pringleazation! Humans aren’t all the same shaped potato chip! We refuse to fit in a tube!”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"event-info alignright\">\n\u003cfigure>\u003ca href=\"http://ww2.kqed.org/arts/programs/the-do-list/\">\u003cimg decoding=\"async\" src=\"http://ww2.kqed.org/wp-content/themes/KQED-unified/img/thedolist_icon.png\" alt=\"\" width=\"100\">\u003c/a>\u003c/figure>\n\u003ch3>\u003ca href=\"http://ww2.kqed.org/events/pick/language-matters-a-celebration-of-mother-tongues/\" target=\"_blank\" rel=\"noopener\">Event Information\u003c/a>\u003c/h3>\n\u003ch4>‘Language Matters’\u003c/h4>\n\u003cdiv class=\"event-desc\">Musical celebration and discussion of documentary film.\u003c/div>\n\u003cdiv class=\"event-dates\">\n\u003ch4>Jan. 24, 2015\u003c/h4>\n\u003c/div>\n\u003cdiv class=\"event-venue\">The Exploratorium\u003c/div>\n\u003cul>\n\u003cli>\u003ca href=\"http://ww2.kqed.org/events/pick/language-matters-a-celebration-of-mother-tongues/\" target=\"_blank\" rel=\"noopener\">Details and tickets\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>\u003ca href=\"http://www.bobholman.com/\" target=\"_blank\" rel=\"noopener\">Bob Holman\u003c/a> is a word man. His decades of frenetic activity in the slam poetry, hip-hop and spoken-word scenes once led Henry Louis Gates, Jr. to call him “the postmodern promoter who has done more to bring poetry to cafes and bars than anyone since Ferlinghetti.”\u003c/p>\n\u003cp>Now, Holman is pouring his love for words into a movement to save the world’s endangered languages. There are roughly 6,500 languages spoken around the world today; linguists estimate that by the end of the century, that number could be cut in half. That’s right: Some 3,000 languages could soon pass away from this sweet earth.\u003c/p>\n\u003cp>“Every language contains a singular way of looking at the world,” Holman tells me by email. “The brain may be infinite, but we’ve only been able to invent 6,000 of these ways of looking at things. To lose one of these is a tragedy.”\u003c/p>\n\u003cfigure id=\"attachment_10316789\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Welsh-Folk-Singer_HI.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10316789 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Welsh-Folk-Singer_HI-800x533.jpg\" alt=\"Aron Jones performing at the Y Tap Pub in Wales. Photo by James Callanan.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Welsh-Folk-Singer_HI-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Welsh-Folk-Singer_HI-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Welsh-Folk-Singer_HI-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Welsh-Folk-Singer_HI.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Aron Jones performing at the Y Tap Pub in Wales. (Photo: James Callanan)\u003c/figcaption>\u003c/figure>\n\u003cp>The precipitous disappearance of mother tongues is the subject of \u003ca href=\"http://www.languagemattersfilm.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Language Matters with Bob Holman\u003c/em>\u003c/a>, a new documentary by David Grubin that airs nationwide on PBS in January (Jan. 25, 6-8 pm on KQED). Holman and Grubin will be at \u003ca href=\"http://www.exploratorium.edu/visit/calendar/language-matters\" target=\"_blank\" rel=\"noopener\">the Exploratorium on Saturday, Jan. 24,\u003c/a> to screen excerpts from the film with language activists from the Bay Area’s Hawaiian and Native American communities. The native rock band \u003ca href=\"http://newsfromnativecalifornia.com/blog/walan-amana/%20\" target=\"_blank\" rel=\"noopener\">Walan Amana\u003c/a> are slated to play music in the \u003ca href=\"http://www.native-languages.org/maidu.htm\" target=\"_blank\" rel=\"noopener\">Nisenan\u003c/a> language from the Sierra Nevada, \u003ca href=\"http://ohlone.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Vincent Medina\u003c/a> will perform in Ohlone, a Bay Area Indian language, and Carolyn Melenani Kuali`i and other Hawaiian artists will sing and dance Hawaiian meles, or chants. Other linguistic surprises will be in store as well at the event, which is co-sponsored by Heyday Books, the Center for the Art of Translation, Pacific Islanders in Communications, and KQED.\u003c/p>\n\u003cp>Like shrinking biodiversity, the problem of endangered languages is shocking, but as the Exploratorium event will show, efforts to keep languages vital are profound and filled with joy. Imagine if the language in which your mother sang lullabies were no longer, or rarely spoken, and then one day people started to sing it again. (English is so dominant that it’s hard to imagine it disappearing, but if the language of “\u003ca href=\"http://www.lullaby-link.com/hush-little-baby.html\" target=\"_blank\" rel=\"noopener\">Hush Little Baby\u003c/a>” were to go away, I wouldn’t know my own soul.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Holman’s journey into endangered language began with his hip-hop-oriented students who claimed that their writing was original, that they “just made shit up.” Holman explained that hip-hop could be better seen as a current iteration of the African-American oral tradition. To understand the lineage better, he journeyed to Africa where he encountered the griots, the poet-musicians and keepers of the West African oral tradition, and also learned about many languages that were endangered. “I owe it all to hip-hop,” Holman said.\u003c/p>\n\u003cp>In \u003cem>Language Matters\u003c/em>, Holman and Grubin travel to Australia, Wales and Hawaii to tell three in-depth stories about language’s threat, preservation and survival. In the Australian outback, we meet Charlie Mangulda, an aboriginal “song man,” or poet, who is the very last speaker of \u003ca href=\"http://www.endangeredlanguages.com/lang/amg\" target=\"_blank\" rel=\"noopener\">Amurdak\u003c/a>, as well as a remote island community of 400 in which 10 different languages are spoken, all in danger of fading out of existence. Then it’s on to Wales, where the feisty Welsh have managed to protect the kernel of their language in spite of centuries of English domination, and where the schools are now bilingual and the country hosts a hugely popular annual poetry competition in Welsh—essentially, their World Series. Finally, in Hawaii, we learn how one Hawaiian-only elementary school founded in the ’80s has helped incubate a resurgence of Hawaiian language and culture that had been in danger of disappearing since the United States toppled Queen Liliuokalani in 1898.\u003c/p>\n\u003cp>On Maui, Holman talks with the great 87-year-old poet/translator/Buddhist monk W.S. Merwin, who reflects on what is lost when languages disappear. “Where will meanings be,” Merwin asks, “when the words are forgotten?”\u003c/p>\n\u003cp>Holman’s journey contains a lot of music, because music, song and dance are the memory banks for language. Although Charlie Mangulda is the last Amurdak speaker, bits of the language have migrated into other “song men’s” songs. In Hawaii, language was preserved in the chants that accompany every hula.\u003c/p>\n\u003cfigure id=\"attachment_10316794\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Bob-on-Stage-at-Stomp_HI.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10316794 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Bob-on-Stage-at-Stomp_HI-800x533.jpg\" alt=\"Bob Holman performing in The Stomp at the 2012 Eisteddfod in Wales. Photo by David Grubin.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Bob-on-Stage-at-Stomp_HI-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Bob-on-Stage-at-Stomp_HI-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Bob-on-Stage-at-Stomp_HI-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Bob-on-Stage-at-Stomp_HI.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bob Holman performing in The Stomp at the 2012 Eisteddfod in Wales. (Photo: David Grubin)\u003c/figcaption>\u003c/figure>\n\u003cp>In the film, Holman is an infectious participant journalist, sharing his poet’s heart with the people he meets. In Cardiff, he even writes a poem in Welsh and competes in the local poetry slam. (Spoiler alert: He doesn’t win.) But as Gwyneth Lewis, the former national poet of Wales, says in the film, “Language should be a meeting place.” That point is certainly felt in the film.\u003c/p>\n\u003cp>Globalization made it possible for Holman and Grubin to buzz around the world and make \u003cem>Language Matters\u003c/em>. But the same wired world of global travel and instant communication that many of us enjoy has also led to cultural homogenization and a battle of “just trying to preserve our own identities,” Holman tells me.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Thinking that language is solely a means of communication, having big languages gobble up smaller ones—we are losing what it means to be human,” says Holman. “No Pringleazation! Humans aren’t all the same shaped potato chip! We refuse to fit in a tube!”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "10 Fun Ways to Get in Shape While Supporting the Arts | KQED",
"content": "\u003cp>It’s that very special time of the year when you can’t escape people (including yourself) bemoaning their New Year’s resolution to get in shape and banish that holiday pudge. Lately, people have also been ranting about the \u003ca href=\"http://ww2.kqed.org/arts/series/pricedout/\">exodus of artists and the diminishing art spaces in the Bay Area\u003c/a>. So I decided to put together a list of fun ways to get in shape in the New Year while also supporting local arts organizations.\u003c/p>\n\u003cp>If you can still afford to live here, you can put your money (rather than all of those holiday sweets) were your mouth is. Oh, and if you think that you are too old or not physically fit enough to dance, (re)watch this viral gem:\u003cbr>\nhttp://youtu.be/fgMBUIIt8TE\u003c/p>\n\u003col>\n\u003cli>\n\u003ch3>Aerial Dance:\u003c/h3>\n\u003cp>For the more adventurous types, aerial dance is an amazing way to whittle away at that pesky arm waddle. \u003ca title=\"Zaccho\" href=\"http://www.zaccho.org/classes.html\" target=\"_blank\" rel=\"noopener\">Zaccho Dance Theater\u003c/a> offers weekly aerial yoga and dance classes. Both \u003ca title=\"Flyaway Productions\" href=\"http://flyawayproductions.com/upcoming-events/\" target=\"_blank\" rel=\"noopener\">Flyaway Productions\u003c/a> and \u003ca title=\"Bandaloop\" href=\"http://bandaloop.org/school/workshop-registration/\" target=\"_blank\" rel=\"noopener\">Bandaloop\u003c/a> in Oakland (pictured above) offer workshops throughout the year. And if you are afraid of heights, then at least check out these groups’ inspiring performances.\u003c/p>\u003c/li>\n\u003cli>\n\u003ch3>Ballroom:\u003c/h3>\n\u003cp>If, from the comfort of your couch, you’ve ever watched \u003ci>Dancing with the Stars\u003c/i> and thought, “Geez, I could totally do that,” then maybe it’s time you give it a twirl. And you can even take classes at the studio founded by \u003ca title=\"Cheryl Burke\" href=\"http://www.cherylburkedance.com/classes/\" target=\"_blank\" rel=\"noopener\">Cheryl Burke\u003c/a>, one of the \u003ci>Dancing with the Stars\u003c/i> champs, in Mountain View. For those in the north, there’s the \u003ca title=\"Arthur Murray Dance \" href=\"http://www.sonomadancesport.com/medalist-programs/\" target=\"_blank\" rel=\"noopener\">Arthur Murray Dance Center \u003c/a>(Santa Rosa), which is currently offering one free private lesson for new customers. Additionally, \u003ca href=\"http://metronomesf.com/schedules.php\" title=\"The Metronome\" target=\"_blank\" rel=\"noopener\">The Metronome\u003c/a> on Potrero Hill in San Francisco offers a variety of beginning classes on a weekly basis, as well as hosting a number of social events to practice your fancy new steps with partners — or complete strangers.\u003c/p>\u003c/li>\n\u003cli>\n\u003ch3>Bhangra:\u003c/h3>\n\u003cp>For fans of Bollywood films, check out bhangra, which is a high-energy workout for both men and women. \u003ca title=\"Dholrhythms\" href=\"http://dholrhythms.com\" target=\"_blank\" rel=\"noopener\">Dholrythms\u003c/a> offers bhangra classes in both San Francisco and Berkeley. \u003ca title=\"Dance Mission\" href=\"http://www.dancemission.com/adult_program/index.html\" target=\"_blank\" rel=\"noopener\">Dance Mission\u003c/a> offers a class on Monday nights. And once you’ve got some moves under your sari, you can show them off at \u003ca title=\"Non Stop Bhangra\" href=\"http://nonstopbhangra.com/non-stop-bhangra/\" target=\"_blank\" rel=\"noopener\">Non Stop Bhangra\u003c/a>, a monthly dance party at \u003ca title=\"Public Works\" href=\"http://publicsf.com/listing\" target=\"_blank\" rel=\"noopener\">Public Works\u003c/a>. No idea what I’m talking about? Get schooled along with Conan O’Brien.\u003c/p>\u003c/li>\n\u003cp>http://youtu.be/vi8zF2lm3BU\u003c/p>\n\u003cli>\n\u003ch3>Circus Arts:\u003c/h3>\n\u003cp>On the (very) rare occasion that I’m asked how I stay in shape, people tend to be surprised to hear that my answer is acrobatics. Although I’m not sure why the amazement, since who doesn’t want to do cartwheels (in a very safe environment)? You too can get your tumbling on at the \u003ca title=\"Circus Center\" href=\"http://circuscenter.org/class-descriptions/\" target=\"_blank\" rel=\"noopener\">Circus Center\u003c/a> and at \u003ca title=\"Acrosports\" href=\"http://www.acrosports.org/classes/teen-adult-classes/\" target=\"_blank\" rel=\"noopener\">Acrosports\u003c/a>. Both offer acrobatics as well as introductory classes in many other circus arts, like contortion, tight rope walking, trampoline, and tissu. \u003ca title=\"Athletic Playground\" href=\"http://www.athleticplayground.com/schedule.html\" target=\"_blank\" rel=\"noopener\">Athletic Playground\u003c/a> in Emeryville also offers beginning classes in acrobatics, aerial skills, and acroyoga. For the adrenaline junkie, check out trapeze classes at the \u003ca title=\"Circus Center\" href=\"http://circuscenter.org/class-descriptions/\" target=\"_blank\" rel=\"noopener\">Circus Center\u003c/a> or at \u003ca title=\"Kinetic Arts\" href=\"http://www.kineticartscenter.com/classes/\" target=\"_blank\" rel=\"noopener\">Kinetic Arts\u003c/a> in Oakland.\u003c/p>\u003c/li>\n\u003cli>\n\u003ch3>Dance-Pop:\u003c/h3>\n\u003cp>To be honest, before writing this article I didn’t know that “\u003ca title=\"Wikipedia\" href=\"http://en.wikipedia.org/wiki/Dance-pop\" target=\"_blank\" rel=\"noopener\">dance-pop\u003c/a>” was the terminology used for the choreography that one tends to see in popular music videos from the likes of Lady Gaga and Britney Spears. It’s ironic since it is one of my favorite genres! Both \u003ca title=\"ODC\" href=\"https://clients.mindbodyonline.com/classic/home?studioid=2717\" target=\"_blank\" rel=\"noopener\">ODC\u003c/a> and \u003ca title=\"Dance Mission\" href=\"http://www.dancemission.com/adult_program/index.html\" target=\"_blank\" rel=\"noopener\">Dance Mission\u003c/a> offer a Vogue and Tone class — yes, we are talking about Vogueing a la Madonna-style. And there’s a group out there, called \u003ca href=\"http://www.popstartechnique.com/#!classes/cwlb\" title=\"Pop Star Technique\" target=\"_blank\" rel=\"noopener\">Pop Star Technique\u003c/a> that teaches a Beyonce-inspired dance class, which we hear might be hard to get into (since it fills up quickly and is not offered regularly), but is worth the effort if you can get a coveted spot. Read more about it on \u003ca href=\"http://ww2.kqed.org/pop/2014/09/19/learn-how-to-move-like-beyonce-thanks-to-bay-area-dance-teacher/\">KQED Pop.\u003c/a>\u003c/p>\n\u003cp>But wait, there’s more… Yes, that same group is dedicated to choreographing to crowd favorites like Michael Jackson and Justin Timberlake, rehearsing for weeks, and then performing the routines as the \u003ca title=\"Bay Area Flash Mob\" href=\"http://www.bayareaflashmob.com/\" target=\"_blank\" rel=\"noopener\">Bay Area Flash Mob\u003c/a>. They are always looking for more dancers. Here’s one their performances:\u003c/p>\u003c/li>\n\u003cp>http://youtu.be/gA5dFHHHHic\u003c/p>\n\u003cli>\n\u003ch3>Fire Performance:\u003c/h3>\n\u003cp> For those with tendencies towards pyromania, you can build up to dancing with fire at \u003ca title=\"Temple of Poi\" href=\"http://templeofpoi.wordpress.com/schedule/\" target=\"_blank\" rel=\"noopener\">Temple of Poi\u003c/a>, starting with a 6-week series for absolute beginners. \u003ca title=\"The Crucible\" href=\"http://thecrucible.org/classes/departments/fire-performance/\" target=\"_blank\" rel=\"noopener\">The Crucible\u003c/a> in Oakland also offers classes in a variety of genres, including poi, fire staff, and fire eating.\u003c/p>\u003c/li>\n\u003cli>\n\u003ch3>Hip Hop and Break Dancing:\u003c/h3>\n\u003cp>Have you seen this KQED video yet?\u003cbr>\nhttp://youtu.be/pLVGrZGSFXg\u003cbr>\nIf that inspired you to do some popping and locking in front of the mirror, then head over to \u003ca title=\"City Dance\" href=\"http://www.citydance.org/\" target=\"_blank\" rel=\"noopener\">City Dance\u003c/a>, where they offer weekly classes devoted to both of these classic moves. They also offer beginning break dancing and hip hop. \u003ca title=\"Acrosports\" href=\"http://www.acrosports.org/classes/teen-adult-classes/\" target=\"_blank\" rel=\"noopener\">Acrosports\u003c/a> offers a beginning break dancing class as well, but in a room that has a decent supply of padding should you be brave enough to try something more ambitious, like wind milling or the worm. And for those who just want plain old, hip hop classes, you can find them at a variety of places including \u003ca title=\"ODC\" href=\"https://clients.mindbodyonline.com/classic/home?studioid=2717\" target=\"_blank\" rel=\"noopener\">ODC\u003c/a>, \u003ca title=\"Dance Mission\" href=\"http://www.dancemission.com/adult_program/index.html\" target=\"_blank\" rel=\"noopener\">Dance Mission\u003c/a>, and the \u003ca title=\"Malonga\" href=\"http://mccatheater.com/class-schedule/\" target=\"_blank\" rel=\"noopener\">Malonga Casquelourd Center for the Arts\u003c/a> in Oakland.\u003c/p>\u003c/li>\n\u003cli>\n\u003ch3>Hula Hooping:\u003c/h3>\n\u003cp>Battling muffin-top? Want to look cool on The Playa? Then check out a workshop series with \u003ca title=\"Cherry Hoops\" href=\"http://www.cherryhoops.com/Services.html\" target=\"_blank\" rel=\"noopener\">Cherry Hoop\u003c/a> or at \u003ca title=\"Hoop the Flow\" href=\"http://www.hooptheflow.com\" target=\"_blank\" rel=\"noopener\">Hoop the Flow\u003c/a>. If you are feeling particularly hardcore, \u003ca title=\"The Crucible\" href=\"http://thecrucible.org/classes/departments/fire-performance/\" target=\"_blank\" rel=\"noopener\">The Crucible\u003c/a> offers a fire hooping class. Hot.\u003c/p>\u003c/li>\n\u003cli>\n\u003ch3>Roller Skating:\u003c/h3>\n\u003cp>Is retro more your thing? Disco skaters have been gathering in Golden Gate Park (near 6th Avenue and JKF Drive) weekly since the ’70s. Why not join them? You can also take lessons or just practice at \u003ca title=\"Church of 8 Wheels\" href=\"http://www.churchof8wheels.com/\" target=\"_blank\" rel=\"noopener\">The Church of 8 Wheels\u003c/a>. They are open to the public Tuesday through Saturday. Plus, they have a roller disco themed camp at Burning Man.\u003c/p>\u003c/li>\n\u003cli>\n\u003ch3>World Dance:\u003c/h3>\n\u003cp> Are you a world traveler? Indulge in the wide variety of world dance classes around the Bay Area while you daydream about your next trip. You can learn Mexican folk dance, Argentine tango, or Brazilian samba at the \u003ca title=\"Mission Cultural Center\" href=\"http://www.missionculturalcenter.org/MCCLA_New/classes.html\" target=\"_blank\" rel=\"noopener\">Mission Cultural Center\u003c/a>. \u003ca title=\"ODC\" href=\"https://clients.mindbodyonline.com/classic/home?studioid=2717\" target=\"_blank\" rel=\"noopener\">ODC\u003c/a> also offers samba, along with flamenco, hula, and many more. Live in the East Bay? Then why not try Balkan dance, Cape Breton Scottish-style step, or Egyptian belly dancing at \u003ca title=\"Ashkenaz\" href=\"http://www.ashkenaz.com/classes.php\" target=\"_blank\" rel=\"noopener\">Ashkenaz\u003c/a> in Berkeley? Or Congolese dance, Chicago stepping, or Haitian folkoric dance at the \u003ca title=\"Malonga\" href=\"http://mccatheater.com/class-schedule/\" target=\"_blank\" rel=\"noopener\">Malonga Casquelourd Center for the Arts\u003c/a>?\u003c/p>\u003c/li>\n\u003c/ol>\n\u003cp>If you have any other ideas of fun ways to get in shape while supporting our vibrant art scene, please include suggestions in the comments below.\u003c/p>\n\u003cp>\u003cstrong>Editor’s Note: The following changes were made to this post: On January, 7, 2015: Dyon Lain was replaced with Pop Star Technique; On January 22, 2015: “… take classes with Cheryl Burke” was replaced with “… take classes at the studio founded by Cheryl Burke.”\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s that very special time of the year when you can’t escape people (including yourself) bemoaning their New Year’s resolution to get in shape and banish that holiday pudge. Lately, people have also been ranting about the \u003ca href=\"http://ww2.kqed.org/arts/series/pricedout/\">exodus of artists and the diminishing art spaces in the Bay Area\u003c/a>. So I decided to put together a list of fun ways to get in shape in the New Year while also supporting local arts organizations.\u003c/p>\n\u003cp>If you can still afford to live here, you can put your money (rather than all of those holiday sweets) were your mouth is. Oh, and if you think that you are too old or not physically fit enough to dance, (re)watch this viral gem:\u003cbr>\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/fgMBUIIt8TE'\n title='//www.youtube.com/embed/fgMBUIIt8TE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003col>\n\u003cli>\n\u003ch3>Aerial Dance:\u003c/h3>\n\u003cp>For the more adventurous types, aerial dance is an amazing way to whittle away at that pesky arm waddle. \u003ca title=\"Zaccho\" href=\"http://www.zaccho.org/classes.html\" target=\"_blank\" rel=\"noopener\">Zaccho Dance Theater\u003c/a> offers weekly aerial yoga and dance classes. Both \u003ca title=\"Flyaway Productions\" href=\"http://flyawayproductions.com/upcoming-events/\" target=\"_blank\" rel=\"noopener\">Flyaway Productions\u003c/a> and \u003ca title=\"Bandaloop\" href=\"http://bandaloop.org/school/workshop-registration/\" target=\"_blank\" rel=\"noopener\">Bandaloop\u003c/a> in Oakland (pictured above) offer workshops throughout the year. And if you are afraid of heights, then at least check out these groups’ inspiring performances.\u003c/p>\u003c/li>\n\u003cli>\n\u003ch3>Ballroom:\u003c/h3>\n\u003cp>If, from the comfort of your couch, you’ve ever watched \u003ci>Dancing with the Stars\u003c/i> and thought, “Geez, I could totally do that,” then maybe it’s time you give it a twirl. And you can even take classes at the studio founded by \u003ca title=\"Cheryl Burke\" href=\"http://www.cherylburkedance.com/classes/\" target=\"_blank\" rel=\"noopener\">Cheryl Burke\u003c/a>, one of the \u003ci>Dancing with the Stars\u003c/i> champs, in Mountain View. For those in the north, there’s the \u003ca title=\"Arthur Murray Dance \" href=\"http://www.sonomadancesport.com/medalist-programs/\" target=\"_blank\" rel=\"noopener\">Arthur Murray Dance Center \u003c/a>(Santa Rosa), which is currently offering one free private lesson for new customers. Additionally, \u003ca href=\"http://metronomesf.com/schedules.php\" title=\"The Metronome\" target=\"_blank\" rel=\"noopener\">The Metronome\u003c/a> on Potrero Hill in San Francisco offers a variety of beginning classes on a weekly basis, as well as hosting a number of social events to practice your fancy new steps with partners — or complete strangers.\u003c/p>\u003c/li>\n\u003cli>\n\u003ch3>Bhangra:\u003c/h3>\n\u003cp>For fans of Bollywood films, check out bhangra, which is a high-energy workout for both men and women. \u003ca title=\"Dholrhythms\" href=\"http://dholrhythms.com\" target=\"_blank\" rel=\"noopener\">Dholrythms\u003c/a> offers bhangra classes in both San Francisco and Berkeley. \u003ca title=\"Dance Mission\" href=\"http://www.dancemission.com/adult_program/index.html\" target=\"_blank\" rel=\"noopener\">Dance Mission\u003c/a> offers a class on Monday nights. And once you’ve got some moves under your sari, you can show them off at \u003ca title=\"Non Stop Bhangra\" href=\"http://nonstopbhangra.com/non-stop-bhangra/\" target=\"_blank\" rel=\"noopener\">Non Stop Bhangra\u003c/a>, a monthly dance party at \u003ca title=\"Public Works\" href=\"http://publicsf.com/listing\" target=\"_blank\" rel=\"noopener\">Public Works\u003c/a>. No idea what I’m talking about? Get schooled along with Conan O’Brien.\u003c/p>\u003c/li>\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/vi8zF2lm3BU'\n title='//www.youtube.com/embed/vi8zF2lm3BU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cli>\n\u003ch3>Circus Arts:\u003c/h3>\n\u003cp>On the (very) rare occasion that I’m asked how I stay in shape, people tend to be surprised to hear that my answer is acrobatics. Although I’m not sure why the amazement, since who doesn’t want to do cartwheels (in a very safe environment)? You too can get your tumbling on at the \u003ca title=\"Circus Center\" href=\"http://circuscenter.org/class-descriptions/\" target=\"_blank\" rel=\"noopener\">Circus Center\u003c/a> and at \u003ca title=\"Acrosports\" href=\"http://www.acrosports.org/classes/teen-adult-classes/\" target=\"_blank\" rel=\"noopener\">Acrosports\u003c/a>. Both offer acrobatics as well as introductory classes in many other circus arts, like contortion, tight rope walking, trampoline, and tissu. \u003ca title=\"Athletic Playground\" href=\"http://www.athleticplayground.com/schedule.html\" target=\"_blank\" rel=\"noopener\">Athletic Playground\u003c/a> in Emeryville also offers beginning classes in acrobatics, aerial skills, and acroyoga. For the adrenaline junkie, check out trapeze classes at the \u003ca title=\"Circus Center\" href=\"http://circuscenter.org/class-descriptions/\" target=\"_blank\" rel=\"noopener\">Circus Center\u003c/a> or at \u003ca title=\"Kinetic Arts\" href=\"http://www.kineticartscenter.com/classes/\" target=\"_blank\" rel=\"noopener\">Kinetic Arts\u003c/a> in Oakland.\u003c/p>\u003c/li>\n\u003cli>\n\u003ch3>Dance-Pop:\u003c/h3>\n\u003cp>To be honest, before writing this article I didn’t know that “\u003ca title=\"Wikipedia\" href=\"http://en.wikipedia.org/wiki/Dance-pop\" target=\"_blank\" rel=\"noopener\">dance-pop\u003c/a>” was the terminology used for the choreography that one tends to see in popular music videos from the likes of Lady Gaga and Britney Spears. It’s ironic since it is one of my favorite genres! Both \u003ca title=\"ODC\" href=\"https://clients.mindbodyonline.com/classic/home?studioid=2717\" target=\"_blank\" rel=\"noopener\">ODC\u003c/a> and \u003ca title=\"Dance Mission\" href=\"http://www.dancemission.com/adult_program/index.html\" target=\"_blank\" rel=\"noopener\">Dance Mission\u003c/a> offer a Vogue and Tone class — yes, we are talking about Vogueing a la Madonna-style. And there’s a group out there, called \u003ca href=\"http://www.popstartechnique.com/#!classes/cwlb\" title=\"Pop Star Technique\" target=\"_blank\" rel=\"noopener\">Pop Star Technique\u003c/a> that teaches a Beyonce-inspired dance class, which we hear might be hard to get into (since it fills up quickly and is not offered regularly), but is worth the effort if you can get a coveted spot. Read more about it on \u003ca href=\"http://ww2.kqed.org/pop/2014/09/19/learn-how-to-move-like-beyonce-thanks-to-bay-area-dance-teacher/\">KQED Pop.\u003c/a>\u003c/p>\n\u003cp>But wait, there’s more… Yes, that same group is dedicated to choreographing to crowd favorites like Michael Jackson and Justin Timberlake, rehearsing for weeks, and then performing the routines as the \u003ca title=\"Bay Area Flash Mob\" href=\"http://www.bayareaflashmob.com/\" target=\"_blank\" rel=\"noopener\">Bay Area Flash Mob\u003c/a>. They are always looking for more dancers. Here’s one their performances:\u003c/p>\u003c/li>\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/gA5dFHHHHic'\n title='//www.youtube.com/embed/gA5dFHHHHic'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cli>\n\u003ch3>Fire Performance:\u003c/h3>\n\u003cp> For those with tendencies towards pyromania, you can build up to dancing with fire at \u003ca title=\"Temple of Poi\" href=\"http://templeofpoi.wordpress.com/schedule/\" target=\"_blank\" rel=\"noopener\">Temple of Poi\u003c/a>, starting with a 6-week series for absolute beginners. \u003ca title=\"The Crucible\" href=\"http://thecrucible.org/classes/departments/fire-performance/\" target=\"_blank\" rel=\"noopener\">The Crucible\u003c/a> in Oakland also offers classes in a variety of genres, including poi, fire staff, and fire eating.\u003c/p>\u003c/li>\n\u003cli>\n\u003ch3>Hip Hop and Break Dancing:\u003c/h3>\n\u003cp>Have you seen this KQED video yet?\u003cbr>\nhttp://youtu.be/pLVGrZGSFXg\u003cbr>\nIf that inspired you to do some popping and locking in front of the mirror, then head over to \u003ca title=\"City Dance\" href=\"http://www.citydance.org/\" target=\"_blank\" rel=\"noopener\">City Dance\u003c/a>, where they offer weekly classes devoted to both of these classic moves. They also offer beginning break dancing and hip hop. \u003ca title=\"Acrosports\" href=\"http://www.acrosports.org/classes/teen-adult-classes/\" target=\"_blank\" rel=\"noopener\">Acrosports\u003c/a> offers a beginning break dancing class as well, but in a room that has a decent supply of padding should you be brave enough to try something more ambitious, like wind milling or the worm. And for those who just want plain old, hip hop classes, you can find them at a variety of places including \u003ca title=\"ODC\" href=\"https://clients.mindbodyonline.com/classic/home?studioid=2717\" target=\"_blank\" rel=\"noopener\">ODC\u003c/a>, \u003ca title=\"Dance Mission\" href=\"http://www.dancemission.com/adult_program/index.html\" target=\"_blank\" rel=\"noopener\">Dance Mission\u003c/a>, and the \u003ca title=\"Malonga\" href=\"http://mccatheater.com/class-schedule/\" target=\"_blank\" rel=\"noopener\">Malonga Casquelourd Center for the Arts\u003c/a> in Oakland.\u003c/p>\u003c/li>\n\u003cli>\n\u003ch3>Hula Hooping:\u003c/h3>\n\u003cp>Battling muffin-top? Want to look cool on The Playa? Then check out a workshop series with \u003ca title=\"Cherry Hoops\" href=\"http://www.cherryhoops.com/Services.html\" target=\"_blank\" rel=\"noopener\">Cherry Hoop\u003c/a> or at \u003ca title=\"Hoop the Flow\" href=\"http://www.hooptheflow.com\" target=\"_blank\" rel=\"noopener\">Hoop the Flow\u003c/a>. If you are feeling particularly hardcore, \u003ca title=\"The Crucible\" href=\"http://thecrucible.org/classes/departments/fire-performance/\" target=\"_blank\" rel=\"noopener\">The Crucible\u003c/a> offers a fire hooping class. Hot.\u003c/p>\u003c/li>\n\u003cli>\n\u003ch3>Roller Skating:\u003c/h3>\n\u003cp>Is retro more your thing? Disco skaters have been gathering in Golden Gate Park (near 6th Avenue and JKF Drive) weekly since the ’70s. Why not join them? You can also take lessons or just practice at \u003ca title=\"Church of 8 Wheels\" href=\"http://www.churchof8wheels.com/\" target=\"_blank\" rel=\"noopener\">The Church of 8 Wheels\u003c/a>. They are open to the public Tuesday through Saturday. Plus, they have a roller disco themed camp at Burning Man.\u003c/p>\u003c/li>\n\u003cli>\n\u003ch3>World Dance:\u003c/h3>\n\u003cp> Are you a world traveler? Indulge in the wide variety of world dance classes around the Bay Area while you daydream about your next trip. You can learn Mexican folk dance, Argentine tango, or Brazilian samba at the \u003ca title=\"Mission Cultural Center\" href=\"http://www.missionculturalcenter.org/MCCLA_New/classes.html\" target=\"_blank\" rel=\"noopener\">Mission Cultural Center\u003c/a>. \u003ca title=\"ODC\" href=\"https://clients.mindbodyonline.com/classic/home?studioid=2717\" target=\"_blank\" rel=\"noopener\">ODC\u003c/a> also offers samba, along with flamenco, hula, and many more. Live in the East Bay? Then why not try Balkan dance, Cape Breton Scottish-style step, or Egyptian belly dancing at \u003ca title=\"Ashkenaz\" href=\"http://www.ashkenaz.com/classes.php\" target=\"_blank\" rel=\"noopener\">Ashkenaz\u003c/a> in Berkeley? Or Congolese dance, Chicago stepping, or Haitian folkoric dance at the \u003ca title=\"Malonga\" href=\"http://mccatheater.com/class-schedule/\" target=\"_blank\" rel=\"noopener\">Malonga Casquelourd Center for the Arts\u003c/a>?\u003c/p>\u003c/li>\n\u003c/ol>\n\u003cp>If you have any other ideas of fun ways to get in shape while supporting our vibrant art scene, please include suggestions in the comments below.\u003c/p>\n\u003cp>\u003cstrong>Editor’s Note: The following changes were made to this post: On January, 7, 2015: Dyon Lain was replaced with Pop Star Technique; On January 22, 2015: “… take classes with Cheryl Burke” was replaced with “… take classes at the studio founded by Cheryl Burke.”\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Radio Show: Trash, Thrills, and Testament",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>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/2014/10/20141031tdl.mp3\u003c/p>\n\u003c/aside>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-10144778\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/pomp-vid-400x225.jpg\" alt=\"Pomplamoose video\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/pomp-vid-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/pomp-vid.jpg 479w\" sizes=\"(max-width: 400px) 100vw, 400px\">Pomplamoose\u003c/h3>\n\u003cp>It’d be easy to dismiss Pomplamoose as a YouTube sensation, but there’s more to this duo than meets the eye. While they’re known for their covers of hit songs (“Single Ladies,” “Beat It,” “All About That Bass”), their appeal is based on fresh visual ideas and consistently unique musical arrangements, usually altering entire chord structures and other key elements from the original recordings. Live, the two perform with a full band, alternating between stoic calm (Nataly Dawn) and unleashed excitement (Jack Conte) in a mix of covers and originals. Both alumni of Stanford, the couple return for a special concert on campus. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/pomplamoose/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-10144823\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/alarcon-400x278.jpg\" alt=\"Daniel Alarcon\" width=\"400\" height=\"278\">Radio Ambulante Live\u003c/h3>\n\u003cp>Founded by novelist Daniel Alarcón, who hails from Peru but lives and works in the Bay Area, the podcast \u003cem>Radio Ambulante\u003c/em> focuses on stories from “wherever Spanish is spoken.” This weekend, you can enjoy a live taping of this always-lively show at the Yerba Buena Center for the Arts, with subtitles to support monolingual speakers of both English and Spanish. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/outsiders-radio-ambulante-live/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-10144818\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/JD-McPherson-400x282.jpg\" alt=\"JD-McPherson\" width=\"400\" height=\"282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/JD-McPherson-400x282.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/JD-McPherson-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/JD-McPherson.jpg 1032w\" sizes=\"(max-width: 400px) 100vw, 400px\">JD McPherson\u003c/h3>\n\u003cp>Performing at Great American Music Hall on Nov. 5, JD McPherson offers a fusion of ’50s boogie, R&B and rockabilly. Call it “vintage” if you must, but don’t mistake it for being dated. The singer’s 2012 album \u003cem>Signs & Signifiers\u003c/em> is rich with retro soul, but the power in McPherson’s silky voice bursts with modern energy. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/jd-mcpherson/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=066ZhVlK1mQ\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-10144819\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/TestamentEvent-e1414705572370-400x269.jpg\" alt=\"Seana McKenna\" width=\"400\" height=\"269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/TestamentEvent-e1414705572370-400x269.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/TestamentEvent-e1414705572370.jpg 478w\" sizes=\"(max-width: 400px) 100vw, 400px\">‘Testament’\u003c/h3>\n\u003cp>From playwright Colm Tóibín comes this portrait of the Virgin Mary, originally staged on Broadway as The Testament of Mary. The story of a mother whose son, as the description notes, “has been taken from her by men she regards as fanatics,” the play has faced criticism from Catholic groups for its so-called blasphemous portrayal. The indefatigable Carey Perloff directs and \u003cspan id=\"article-body\">Seana McKenna\u003c/span> stars in this production by A.C.T.. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/testament/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-10144820\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/gayracula-400x237.jpg\" alt=\"Total Trash\" width=\"400\" height=\"237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/gayracula-400x237.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/gayracula.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">Total Trash Halloween Bash\u003c/h3>\n\u003cp>It’s not uncommon for local bands to “dress up” on Halloween as other, more famous bands, but this year’s Total Trash Halloween Bash promises a very large tongue in the proverbial cheek. Shannon and the Clams appear as “Metallica”; Yogurt Brain as “Smashing Pumpkins”; Pookie and the Poodles as “The Donnas” and more. Hosted by Hunx (pictured) as “Gayracula,” the two-night shindig takes place in two venues in the East Bay: Leo’s Music Club (Oct. 31) and Eli’s Mile High Club (Nov. 1, with headliners the Phantom Surfers). Tickets available separately, or as a weekend pass. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/total-trash-halloween-bash-2014/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-10144778\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/pomp-vid-400x225.jpg\" alt=\"Pomplamoose video\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/pomp-vid-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/pomp-vid.jpg 479w\" sizes=\"(max-width: 400px) 100vw, 400px\">Pomplamoose\u003c/h3>\n\u003cp>It’d be easy to dismiss Pomplamoose as a YouTube sensation, but there’s more to this duo than meets the eye. While they’re known for their covers of hit songs (“Single Ladies,” “Beat It,” “All About That Bass”), their appeal is based on fresh visual ideas and consistently unique musical arrangements, usually altering entire chord structures and other key elements from the original recordings. Live, the two perform with a full band, alternating between stoic calm (Nataly Dawn) and unleashed excitement (Jack Conte) in a mix of covers and originals. Both alumni of Stanford, the couple return for a special concert on campus. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/pomplamoose/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-10144823\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/alarcon-400x278.jpg\" alt=\"Daniel Alarcon\" width=\"400\" height=\"278\">Radio Ambulante Live\u003c/h3>\n\u003cp>Founded by novelist Daniel Alarcón, who hails from Peru but lives and works in the Bay Area, the podcast \u003cem>Radio Ambulante\u003c/em> focuses on stories from “wherever Spanish is spoken.” This weekend, you can enjoy a live taping of this always-lively show at the Yerba Buena Center for the Arts, with subtitles to support monolingual speakers of both English and Spanish. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/outsiders-radio-ambulante-live/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-10144818\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/JD-McPherson-400x282.jpg\" alt=\"JD-McPherson\" width=\"400\" height=\"282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/JD-McPherson-400x282.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/JD-McPherson-800x565.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/JD-McPherson.jpg 1032w\" sizes=\"(max-width: 400px) 100vw, 400px\">JD McPherson\u003c/h3>\n\u003cp>Performing at Great American Music Hall on Nov. 5, JD McPherson offers a fusion of ’50s boogie, R&B and rockabilly. Call it “vintage” if you must, but don’t mistake it for being dated. The singer’s 2012 album \u003cem>Signs & Signifiers\u003c/em> is rich with retro soul, but the power in McPherson’s silky voice bursts with modern energy. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/jd-mcpherson/\">Details and ticket information here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/066ZhVlK1mQ'\n title='//www.youtube.com/embed/066ZhVlK1mQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-10144819\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/TestamentEvent-e1414705572370-400x269.jpg\" alt=\"Seana McKenna\" width=\"400\" height=\"269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/TestamentEvent-e1414705572370-400x269.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/TestamentEvent-e1414705572370.jpg 478w\" sizes=\"(max-width: 400px) 100vw, 400px\">‘Testament’\u003c/h3>\n\u003cp>From playwright Colm Tóibín comes this portrait of the Virgin Mary, originally staged on Broadway as The Testament of Mary. The story of a mother whose son, as the description notes, “has been taken from her by men she regards as fanatics,” the play has faced criticism from Catholic groups for its so-called blasphemous portrayal. The indefatigable Carey Perloff directs and \u003cspan id=\"article-body\">Seana McKenna\u003c/span> stars in this production by A.C.T.. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/testament/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-10144820\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/gayracula-400x237.jpg\" alt=\"Total Trash\" width=\"400\" height=\"237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/gayracula-400x237.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/gayracula.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">Total Trash Halloween Bash\u003c/h3>\n\u003cp>It’s not uncommon for local bands to “dress up” on Halloween as other, more famous bands, but this year’s Total Trash Halloween Bash promises a very large tongue in the proverbial cheek. Shannon and the Clams appear as “Metallica”; Yogurt Brain as “Smashing Pumpkins”; Pookie and the Poodles as “The Donnas” and more. Hosted by Hunx (pictured) as “Gayracula,” the two-night shindig takes place in two venues in the East Bay: Leo’s Music Club (Oct. 31) and Eli’s Mile High Club (Nov. 1, with headliners the Phantom Surfers). Tickets available separately, or as a weekend pass. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/total-trash-halloween-bash-2014/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
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