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"bio": "The Do List scours the Bay Area for superb and surprising performing arts events, with an eye for local talent, new discoveries, and fun opportunities across the price spectrum. Every Friday morning at 6:23 and 8:23am on KQED Radio, you can hear Do List regulars Cy Musiker and David Wiegand discuss the upcoming week's best picks.",
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"bio": "\u003cb id=\"yui_3_16_0_1_1416414652499_5365\" class=\"yiv3033141065\">Dani Burlison\u003c/b> is an award-winning writer, teacher and North Bay resident with a special interest in California's fascinating subcultures. You can find her commentary on writing, feminism, social justice and life with two teen daughters on Twitter at @DaniBurlison.",
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"slug": "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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"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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"excerpt": "Tarell Alvin McCraney is probably the only person born and raised in Miami’s impoverished Liberty City neighborhood, to become the International Playwright in Residence for the Royal Shakespeare Theater Company.",
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"title": "'Genius' Playwright Asking Why Bad Things Happen to Good People | KQED",
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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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"title": "10 Fun Ways to Get in Shape While Supporting the Arts",
"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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"title": "Lots of Questions But No Easy Answers at the Berkeley Ideas Fest",
"headTitle": "Lots of Questions But No Easy Answers at the Berkeley Ideas Fest | KQED",
"content": "\u003cp>Among the topics discussed at the \u003ca href=\"http://www.berkeleyideas.com/\" target=\"_blank\" rel=\"noopener\">Uncharted: A Festival of Ideas\u003c/a> on Friday and Saturday in Berkeley was Moravec’s Paradox — the notion that hard problems are easy and easy problems are hard. The concept was first framed by scientists working in artificial intelligence when they realized getting robots to pick up a sippy cup or recognize Uncle George’s face was harder than making them play chess.\u003c/p>\n\u003cfigure id=\"attachment_10144657\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/iffrin-at-Uncharted-2014.-Photo-Pete-Rosos.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10144657 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/iffrin-at-Uncharted-2014.-Photo-Pete-Rosos-800x521.png\" alt=\"Andrés Roemer, Uncharted 2014, October 24, 2014; photo by Pete Rosos\" width=\"800\" height=\"521\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/iffrin-at-Uncharted-2014.-Photo-Pete-Rosos-800x521.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/iffrin-at-Uncharted-2014.-Photo-Pete-Rosos-400x260.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/iffrin-at-Uncharted-2014.-Photo-Pete-Rosos.png 993w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Andrés Roemer talks about dangerous ideas with Daniel Schifrin . Photo by Pete Rosos\u003c/figcaption>\u003c/figure>\n\u003cp>Uncharted speaker Andrés Roemer, who is the General Consul of Mexico in San Francisco, the author of 16 books and the organizer of his own festival — \u003ca href=\"http://www.ciudaddelasideas.com/\">La Ciudad de las Ideas\u003c/a>, in Puebla, Mexico — captured the spirit of the Berkeley gathering with his notion that “the really dangerous idea is something that goes against the status quo.” The status quo was always in question during two days of conversation with leading scientists, artists, authors, researchers and activists. Change is occurring at such an exponential rate in the era we live in that even the architects of the scientific and technological advances driving the change cannot themselves fully understand the potential impacts or ethical implications.\u003c/p>\n\u003cp>Jennifer Doudna and Randy Schekman are both top scientists in molecular and cell biology at U.C. Berkeley.\u003c/p>\n\u003cfigure id=\"attachment_10144655\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Laura-Carstensen-at-Uncharted-2014.-Photo-Pete-Rosos.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10144655 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Laura-Carstensen-at-Uncharted-2014.-Photo-Pete-Rosos-400x316.png\" alt=\"Jennifer Doudna discusses her gene editing technique. Photo by Pete Rosos\" width=\"400\" height=\"316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Laura-Carstensen-at-Uncharted-2014.-Photo-Pete-Rosos-400x316.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Laura-Carstensen-at-Uncharted-2014.-Photo-Pete-Rosos-759x600.png 759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Laura-Carstensen-at-Uncharted-2014.-Photo-Pete-Rosos.png 930w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jennifer Doudna discusses her gene editing technique. Photo by Pete Rosos\u003c/figcaption>\u003c/figure>\n\u003cp>Doudna’s \u003ca href=\"http://www.nytimes.com/2014/03/04/health/a-powerful-new-way-to-edit-dna.html\">CRISPR technique \u003c/a>makes it possible to easily edit the genome of any species. Profoundly powerful, it’s also disconcerting, and Doudna has founded the \u003ca href=\"http://innovativegenomics.org/\">Innovative Genomics Initiative\u003c/a> to look at the vast implications. “Technology is always out in front of the understanding of ethical issues,” she said.\u003c/p>\n\u003cp>Randy Schekman won the \u003ca href=\"http://www.nobelprize.org/nobel_prizes/medicine/laureates/2013/schekman-facts.html\">Nobel Prize in Medicine in 2013\u003c/a> for his work understanding transportation inside the cell on a molecular level. After calling for “curiosity-based science” rather than “top-down science” driven by corporate and government interests, he said “We may reach a point where we control our own evolution.” Neither Schekman, or anyone else, knew what to say to that potential status quo.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dev Patnaik, \u003ca href=\"http://www.wiredtocare.com/\">CEO of the strategy firm Jump Associates\u003c/a>, talked about the massive changes coming in a world that will soon swell to 9 billion with growing inequality and other challenges. Most people, however, when told the world is changing and they have to act, resist. Only 17 percent are future oriented. According to Patnaik, most change happens only when the pain of changing is less than the pain of staying the same. With health care, for example, when people finally realized the US didn’t have the best system in the world, reforms at last started to happen. “We have to make the current state of \u003cem>crapitude\u003c/em> tangible,” he said.\u003c/p>\n\u003cp>\u003ca href=\"http://solarfuelshub.org/personnel/nate-lewis.html\">Nate Lewis, the scientific director of the Joint Center for Artificial Photosynthesis\u003c/a>, definitely feels the urgency. He and his colleagues are racing to develop a carbon-neutral power solution — an artificial leaf that uses micro semi-conductors instead of chlorophylls to capture energy. “We have to do this in 20 years because planet is a ticking time bomb,” he said.\u003c/p>\n\u003cp>\u003ca href=\"http://www.ligtt.org/people/shashi-buluswar\">Shashi Buluswar\u003c/a> leads the Lawrence Berkeley National Laboratory Institute for Globally Transformative Technologies, which is developing sustainable technologies to fight global poverty and serve a need that charity, governments or the private sector can’t or won’t fill. Their first product is a portable, solar refrigerator to transport vaccines, which easily spoil. “There’s a moral imperative to succeed” because hundreds of thousands of unvaccinated children die needlessly every year.\u003c/p>\n\u003cp>Since 1900, Americans have gained 30 years of life expectancy — a wonderful thing. But living longer isn’t just about extending old age. “We have to carefully redesign the whole life cycle,” said Stanford psychologist Laura Carstensen. “We need to improve the quality of life for all ages.” In her vision, people will be working longer, but better – maybe fewer hours a week. Leisure doesn’t have to begin at 65.\u003c/p>\n\u003cp>Being part of the culture of change is imperative yet many are excluded from it. Among other things, this creates a poverty of ideas. Kalimah Priforce of \u003ca href=\"http://www.qeyno.com/\">Qeyno Labs\u003c/a> in Oakland runs minority-focused hack-a-thons. “These kids design different apps because they have different needs,” he said. Instead of a pizza delivery app, one girl built an app to help stop trafficking of young women.\u003c/p>\n\u003cfigure id=\"attachment_10144658\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Coffee-break-at-Uncharted-2014.-Photo-Nancy-Rubin.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10144658 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Coffee-break-at-Uncharted-2014.-Photo-Nancy-Rubin-800x549.png\" alt=\"Coffee break at Uncharted 2014; Photo by Nancy Rubin\" width=\"800\" height=\"549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Coffee-break-at-Uncharted-2014.-Photo-Nancy-Rubin-800x549.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Coffee-break-at-Uncharted-2014.-Photo-Nancy-Rubin-400x274.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Coffee-break-at-Uncharted-2014.-Photo-Nancy-Rubin.png 973w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Coffee break at Uncharted 2014; Photo by Nancy Rubin\u003c/figcaption>\u003c/figure>\n\u003cp>And in the midst of so much change, what does it mean to be ourselves relative to robots and artificial intelligence that are becoming increasingly sophisticated thanks to the networked “robo-brain” in the cloud? Or in social media environments that both facilitate and control our communication?\u003c/p>\n\u003cp>For \u003ca href=\"http://www.katelosse.tv/\">Kate Losse\u003c/a>, author and former Facebook employee who used to write Mark Zuckerberg’s posts, the answer has been to start her own simple website where she can publish one article and control how it is framed instead of having her expression shaped by the algorithms on Facebook that choose what goes when, where. “The algorithm is a blunt instrument,” she said.\u003c/p>\n\u003cp>As for robots, it’s somewhat reassuring to know that “saying something interesting is a deeper problem than saying something true,” according to Brian Christian, author of \u003ca href=\"http://brian-christian.com/the-most-human-human/\">The Most Human Human\u003c/a>. In other words, the open-channel communication that takes place in a cafe or bar when we naturally process sensory input and memories while we converse requires “theory of mind,” something computers definitely lack. But as the \u003ca href=\"http://www.wired.com/2014/08/robobrain/\">“robo-brain”\u003c/a> acquires vast amounts of data and well-tested algorithms to process it, we may think we’re more like robots than we really are.\u003c/p>\n\u003cp>When asked whether it was possible to encode ethical behavior into machines, Ken Goldberg, a robotics scientist and artist from U.C. Berkeley, said that humans also have ethical challenges. “Do you swerve to avoid the old lady, or the child?” Goldberg said computers do not have initiative. “But we have to be careful how we program them.”\u003c/p>\n\u003cp>Of course language and art are the most mysterious and powerful of human technologies. Sadly, composer John Adams had to cancel his talk on why he makes music. In the wake of protests lat week at the New York opening of his opera \u003cem>The Death of Klinghoffer\u003c/em>, about the 1985 hijacking of the Achille Lauro cruise ship by the Palestine Liberation Front\u003cem>,\u003c/em> he needed “to remove himself from the public realm and finish his commissions.” But as the managing director of Berkeley Repertory Theater Susan Medak said, the controversy over the opera showed that music and words “actually do matter.”\u003c/p>\n\u003cfigure id=\"attachment_10144663\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Vincent-Medina-Jr-at-Uncharted-2014-Photo-Nancy-Rubin.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10144663 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Vincent-Medina-Jr-at-Uncharted-2014-Photo-Nancy-Rubin-400x294.png\" alt=\"Vincent Medina Jr., Uncharted 2014, October 24, 2014; Photo by Nancy Rubin\" width=\"400\" height=\"294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Vincent-Medina-Jr-at-Uncharted-2014-Photo-Nancy-Rubin-400x294.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Vincent-Medina-Jr-at-Uncharted-2014-Photo-Nancy-Rubin-800x588.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Vincent-Medina-Jr-at-Uncharted-2014-Photo-Nancy-Rubin.png 1000w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Vincent Medina recites an Ohlone prayer in the Chochenyo language. Photo by Nancy Rubin\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Among the words that mattered most at Uncharted were those spoken by \u003ca href=\"https://heydaybooks.com/qa-with-vincent-medina/\">Vincent Medina, Jr.\u003c/a>, a young Ohlone Indian. The last two speakers of the Chochenyo language died in the 1930s, and the tongue had been declared dead. But a curious Medina started researching and found forgotten recordings and notes on grammar in the Bancroft Library at U.C. Berkeley. Now Medina, together with members of his tribe and linguists, have brought Chochenyo back to life. “I like to say the language was asleep and is now being nudged back into consciousness,” Medina said, after reciting a prayer to the creator in Chochenyo. “There are the oldest words of this area that we now call Berkeley.”\u003c/p>\n\u003cp>Uncharted gave all the ideas I mentioned above and many I didn’t have space for an ecumenical airing. In the parlance of Brian Christian, it was \u003cem>full duplex\u003c/em> — open channel cross talk like in a bar — not the reductive \u003cem>half duplex\u003c/em> talk of one at a time messaging, which is what a robot can handle.\u003c/p>\n\u003cp>In such as atmosphere, easy problems may still be hard (for robots and some of us humans). But hard problems are at least easy to talk about.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Among the topics discussed at the \u003ca href=\"http://www.berkeleyideas.com/\" target=\"_blank\" rel=\"noopener\">Uncharted: A Festival of Ideas\u003c/a> on Friday and Saturday in Berkeley was Moravec’s Paradox — the notion that hard problems are easy and easy problems are hard. The concept was first framed by scientists working in artificial intelligence when they realized getting robots to pick up a sippy cup or recognize Uncle George’s face was harder than making them play chess.\u003c/p>\n\u003cfigure id=\"attachment_10144657\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/iffrin-at-Uncharted-2014.-Photo-Pete-Rosos.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10144657 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/iffrin-at-Uncharted-2014.-Photo-Pete-Rosos-800x521.png\" alt=\"Andrés Roemer, Uncharted 2014, October 24, 2014; photo by Pete Rosos\" width=\"800\" height=\"521\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/iffrin-at-Uncharted-2014.-Photo-Pete-Rosos-800x521.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/iffrin-at-Uncharted-2014.-Photo-Pete-Rosos-400x260.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/iffrin-at-Uncharted-2014.-Photo-Pete-Rosos.png 993w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Andrés Roemer talks about dangerous ideas with Daniel Schifrin . Photo by Pete Rosos\u003c/figcaption>\u003c/figure>\n\u003cp>Uncharted speaker Andrés Roemer, who is the General Consul of Mexico in San Francisco, the author of 16 books and the organizer of his own festival — \u003ca href=\"http://www.ciudaddelasideas.com/\">La Ciudad de las Ideas\u003c/a>, in Puebla, Mexico — captured the spirit of the Berkeley gathering with his notion that “the really dangerous idea is something that goes against the status quo.” The status quo was always in question during two days of conversation with leading scientists, artists, authors, researchers and activists. Change is occurring at such an exponential rate in the era we live in that even the architects of the scientific and technological advances driving the change cannot themselves fully understand the potential impacts or ethical implications.\u003c/p>\n\u003cp>Jennifer Doudna and Randy Schekman are both top scientists in molecular and cell biology at U.C. Berkeley.\u003c/p>\n\u003cfigure id=\"attachment_10144655\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Laura-Carstensen-at-Uncharted-2014.-Photo-Pete-Rosos.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10144655 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Laura-Carstensen-at-Uncharted-2014.-Photo-Pete-Rosos-400x316.png\" alt=\"Jennifer Doudna discusses her gene editing technique. Photo by Pete Rosos\" width=\"400\" height=\"316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Laura-Carstensen-at-Uncharted-2014.-Photo-Pete-Rosos-400x316.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Laura-Carstensen-at-Uncharted-2014.-Photo-Pete-Rosos-759x600.png 759w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Laura-Carstensen-at-Uncharted-2014.-Photo-Pete-Rosos.png 930w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jennifer Doudna discusses her gene editing technique. Photo by Pete Rosos\u003c/figcaption>\u003c/figure>\n\u003cp>Doudna’s \u003ca href=\"http://www.nytimes.com/2014/03/04/health/a-powerful-new-way-to-edit-dna.html\">CRISPR technique \u003c/a>makes it possible to easily edit the genome of any species. Profoundly powerful, it’s also disconcerting, and Doudna has founded the \u003ca href=\"http://innovativegenomics.org/\">Innovative Genomics Initiative\u003c/a> to look at the vast implications. “Technology is always out in front of the understanding of ethical issues,” she said.\u003c/p>\n\u003cp>Randy Schekman won the \u003ca href=\"http://www.nobelprize.org/nobel_prizes/medicine/laureates/2013/schekman-facts.html\">Nobel Prize in Medicine in 2013\u003c/a> for his work understanding transportation inside the cell on a molecular level. After calling for “curiosity-based science” rather than “top-down science” driven by corporate and government interests, he said “We may reach a point where we control our own evolution.” Neither Schekman, or anyone else, knew what to say to that potential status quo.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dev Patnaik, \u003ca href=\"http://www.wiredtocare.com/\">CEO of the strategy firm Jump Associates\u003c/a>, talked about the massive changes coming in a world that will soon swell to 9 billion with growing inequality and other challenges. Most people, however, when told the world is changing and they have to act, resist. Only 17 percent are future oriented. According to Patnaik, most change happens only when the pain of changing is less than the pain of staying the same. With health care, for example, when people finally realized the US didn’t have the best system in the world, reforms at last started to happen. “We have to make the current state of \u003cem>crapitude\u003c/em> tangible,” he said.\u003c/p>\n\u003cp>\u003ca href=\"http://solarfuelshub.org/personnel/nate-lewis.html\">Nate Lewis, the scientific director of the Joint Center for Artificial Photosynthesis\u003c/a>, definitely feels the urgency. He and his colleagues are racing to develop a carbon-neutral power solution — an artificial leaf that uses micro semi-conductors instead of chlorophylls to capture energy. “We have to do this in 20 years because planet is a ticking time bomb,” he said.\u003c/p>\n\u003cp>\u003ca href=\"http://www.ligtt.org/people/shashi-buluswar\">Shashi Buluswar\u003c/a> leads the Lawrence Berkeley National Laboratory Institute for Globally Transformative Technologies, which is developing sustainable technologies to fight global poverty and serve a need that charity, governments or the private sector can’t or won’t fill. Their first product is a portable, solar refrigerator to transport vaccines, which easily spoil. “There’s a moral imperative to succeed” because hundreds of thousands of unvaccinated children die needlessly every year.\u003c/p>\n\u003cp>Since 1900, Americans have gained 30 years of life expectancy — a wonderful thing. But living longer isn’t just about extending old age. “We have to carefully redesign the whole life cycle,” said Stanford psychologist Laura Carstensen. “We need to improve the quality of life for all ages.” In her vision, people will be working longer, but better – maybe fewer hours a week. Leisure doesn’t have to begin at 65.\u003c/p>\n\u003cp>Being part of the culture of change is imperative yet many are excluded from it. Among other things, this creates a poverty of ideas. Kalimah Priforce of \u003ca href=\"http://www.qeyno.com/\">Qeyno Labs\u003c/a> in Oakland runs minority-focused hack-a-thons. “These kids design different apps because they have different needs,” he said. Instead of a pizza delivery app, one girl built an app to help stop trafficking of young women.\u003c/p>\n\u003cfigure id=\"attachment_10144658\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Coffee-break-at-Uncharted-2014.-Photo-Nancy-Rubin.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10144658 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Coffee-break-at-Uncharted-2014.-Photo-Nancy-Rubin-800x549.png\" alt=\"Coffee break at Uncharted 2014; Photo by Nancy Rubin\" width=\"800\" height=\"549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Coffee-break-at-Uncharted-2014.-Photo-Nancy-Rubin-800x549.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Coffee-break-at-Uncharted-2014.-Photo-Nancy-Rubin-400x274.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Coffee-break-at-Uncharted-2014.-Photo-Nancy-Rubin.png 973w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Coffee break at Uncharted 2014; Photo by Nancy Rubin\u003c/figcaption>\u003c/figure>\n\u003cp>And in the midst of so much change, what does it mean to be ourselves relative to robots and artificial intelligence that are becoming increasingly sophisticated thanks to the networked “robo-brain” in the cloud? Or in social media environments that both facilitate and control our communication?\u003c/p>\n\u003cp>For \u003ca href=\"http://www.katelosse.tv/\">Kate Losse\u003c/a>, author and former Facebook employee who used to write Mark Zuckerberg’s posts, the answer has been to start her own simple website where she can publish one article and control how it is framed instead of having her expression shaped by the algorithms on Facebook that choose what goes when, where. “The algorithm is a blunt instrument,” she said.\u003c/p>\n\u003cp>As for robots, it’s somewhat reassuring to know that “saying something interesting is a deeper problem than saying something true,” according to Brian Christian, author of \u003ca href=\"http://brian-christian.com/the-most-human-human/\">The Most Human Human\u003c/a>. In other words, the open-channel communication that takes place in a cafe or bar when we naturally process sensory input and memories while we converse requires “theory of mind,” something computers definitely lack. But as the \u003ca href=\"http://www.wired.com/2014/08/robobrain/\">“robo-brain”\u003c/a> acquires vast amounts of data and well-tested algorithms to process it, we may think we’re more like robots than we really are.\u003c/p>\n\u003cp>When asked whether it was possible to encode ethical behavior into machines, Ken Goldberg, a robotics scientist and artist from U.C. Berkeley, said that humans also have ethical challenges. “Do you swerve to avoid the old lady, or the child?” Goldberg said computers do not have initiative. “But we have to be careful how we program them.”\u003c/p>\n\u003cp>Of course language and art are the most mysterious and powerful of human technologies. Sadly, composer John Adams had to cancel his talk on why he makes music. In the wake of protests lat week at the New York opening of his opera \u003cem>The Death of Klinghoffer\u003c/em>, about the 1985 hijacking of the Achille Lauro cruise ship by the Palestine Liberation Front\u003cem>,\u003c/em> he needed “to remove himself from the public realm and finish his commissions.” But as the managing director of Berkeley Repertory Theater Susan Medak said, the controversy over the opera showed that music and words “actually do matter.”\u003c/p>\n\u003cfigure id=\"attachment_10144663\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Vincent-Medina-Jr-at-Uncharted-2014-Photo-Nancy-Rubin.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10144663 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Vincent-Medina-Jr-at-Uncharted-2014-Photo-Nancy-Rubin-400x294.png\" alt=\"Vincent Medina Jr., Uncharted 2014, October 24, 2014; Photo by Nancy Rubin\" width=\"400\" height=\"294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Vincent-Medina-Jr-at-Uncharted-2014-Photo-Nancy-Rubin-400x294.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Vincent-Medina-Jr-at-Uncharted-2014-Photo-Nancy-Rubin-800x588.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/Vincent-Medina-Jr-at-Uncharted-2014-Photo-Nancy-Rubin.png 1000w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Vincent Medina recites an Ohlone prayer in the Chochenyo language. Photo by Nancy Rubin\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Among the words that mattered most at Uncharted were those spoken by \u003ca href=\"https://heydaybooks.com/qa-with-vincent-medina/\">Vincent Medina, Jr.\u003c/a>, a young Ohlone Indian. The last two speakers of the Chochenyo language died in the 1930s, and the tongue had been declared dead. But a curious Medina started researching and found forgotten recordings and notes on grammar in the Bancroft Library at U.C. Berkeley. Now Medina, together with members of his tribe and linguists, have brought Chochenyo back to life. “I like to say the language was asleep and is now being nudged back into consciousness,” Medina said, after reciting a prayer to the creator in Chochenyo. “There are the oldest words of this area that we now call Berkeley.”\u003c/p>\n\u003cp>Uncharted gave all the ideas I mentioned above and many I didn’t have space for an ecumenical airing. In the parlance of Brian Christian, it was \u003cem>full duplex\u003c/em> — open channel cross talk like in a bar — not the reductive \u003cem>half duplex\u003c/em> talk of one at a time messaging, which is what a robot can handle.\u003c/p>\n\u003cp>In such as atmosphere, easy problems may still be hard (for robots and some of us humans). But hard problems are at least easy to talk about.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>This week, David Wiegand and Suzie Racho share their picks for great events around the Bay Area.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2014/10/20141010tdl.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-10143665\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/robertfrancisc.jpg\" alt=\"Robert Francis\" width=\"400\" height=\"265\">Robert Francis & the Night Tide\u003c/h3>\n\u003cp>Overcoming a near-breakdown after his last record, the prodigiously talented Robert Francis is back with a new album, \u003cem>Heaven\u003c/em>, and a new backing band, the Night Tide. Catch him as part of a larger bill at Brick & Mortar on Saturday, Oct. 11. \u003ca href=\"http://ww2.kqed.org/events/pick/robert-francis-the-night-tide/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bywAl0Lnxew\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>‘Sweeney Todd’\u003c/h3>\n\u003cp>This wicked musical has been a repertory staple since its debut in 1979, owing largely to lyrics and music by Stephen Sondheim. In this staging, Theatreworks Silicon Valley updates the time period to World War II, placing the story of the demon barber firmly within the “Keep Calm and Carry On” era. \u003ca href=\"http://ww2.kqed.org/events/pick/sweeney-todd/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qmtcHvkRHT0\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10143670\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Haden-e1412892938847.jpg\" alt=\"Charlie Haden\" width=\"300\" height=\"202\">‘Remembering Charlie Haden’\u003c/h3>\n\u003cp>The great jazz bassist Charlie Haden died this year, leaving behind an incredible canon of music and a lifetime of memories. As a longtime repeat guest of the Healdsburg Jazz Festival—he performed there five separate times—Haden is honored in a free evening of music, stories, and a screening of the biography film \u003cem>Ramblin’ Boy\u003c/em>, which tracks his life from rural Shenandoah to central Los Angeles, where he joined Ornette Coleman’s pioneering avant-garde quartet. Expect a warm tribute to a dear musician and friend. \u003ca href=\"http://ww2.kqed.org/events/pick/remembering-charlie-haden/\">RSVP for free tickets here\u003c/a>; also, be sure to read \u003ca href=\"http://www.californiareport.org/archive/R201407181630/e\">California Report’s remembrance of Haden\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10143668\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/marc-maron-e1412893101634.jpg\" alt=\"Marc Maron\" width=\"400\" height=\"300\">Litquake 2014\u003c/h3>\n\u003cp>Now in its 15th year, San Francisco’s massive festival of all things lit returns with another excellent lineup. Among the fiction authors, comic artists, travel writers, poets, \u003cem>New Yorker\u003c/em> illustrators and more, there are appearances by Marc Maron (pictured), Rebecca Solnit, Piper Kerman, Boots Riley and many, many others. \u003ca href=\"http://ww2.kqed.org/events/pick/litquake-2014/\">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-10143673\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/exhex-400x266.jpg\" alt=\"Ex Hex\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/exhex-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/exhex-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/exhex-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/exhex.jpg 1280w\" sizes=\"(max-width: 400px) 100vw, 400px\">Ex Hex\u003c/h3>\n\u003cp>Indie-rock stalwart Mary Timony made a splash in the ’90s with the band Helium, and after a spin as a solo artist, she joined members of Sleater-Kinney and Quasi to form Wild Flag. Her new band, Ex Hex, just dropped their debut record, \u003cem>Rips\u003c/em>, on Merge. On Tuesday, they’ll be opening for Speedy Ortiz at the Rickshaw Stop. \u003ca href=\"http://ww2.kqed.org/events/pick/ex-hex/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2bhLw3v_tiY\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-10143665\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/robertfrancisc.jpg\" alt=\"Robert Francis\" width=\"400\" height=\"265\">Robert Francis & the Night Tide\u003c/h3>\n\u003cp>Overcoming a near-breakdown after his last record, the prodigiously talented Robert Francis is back with a new album, \u003cem>Heaven\u003c/em>, and a new backing band, the Night Tide. Catch him as part of a larger bill at Brick & Mortar on Saturday, Oct. 11. \u003ca href=\"http://ww2.kqed.org/events/pick/robert-francis-the-night-tide/\">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/bywAl0Lnxew'\n title='//www.youtube.com/embed/bywAl0Lnxew'\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>‘Sweeney Todd’\u003c/h3>\n\u003cp>This wicked musical has been a repertory staple since its debut in 1979, owing largely to lyrics and music by Stephen Sondheim. In this staging, Theatreworks Silicon Valley updates the time period to World War II, placing the story of the demon barber firmly within the “Keep Calm and Carry On” era. \u003ca href=\"http://ww2.kqed.org/events/pick/sweeney-todd/\">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/qmtcHvkRHT0'\n title='//www.youtube.com/embed/qmtcHvkRHT0'\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-full wp-image-10143670\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/Haden-e1412892938847.jpg\" alt=\"Charlie Haden\" width=\"300\" height=\"202\">‘Remembering Charlie Haden’\u003c/h3>\n\u003cp>The great jazz bassist Charlie Haden died this year, leaving behind an incredible canon of music and a lifetime of memories. As a longtime repeat guest of the Healdsburg Jazz Festival—he performed there five separate times—Haden is honored in a free evening of music, stories, and a screening of the biography film \u003cem>Ramblin’ Boy\u003c/em>, which tracks his life from rural Shenandoah to central Los Angeles, where he joined Ornette Coleman’s pioneering avant-garde quartet. Expect a warm tribute to a dear musician and friend. \u003ca href=\"http://ww2.kqed.org/events/pick/remembering-charlie-haden/\">RSVP for free tickets here\u003c/a>; also, be sure to read \u003ca href=\"http://www.californiareport.org/archive/R201407181630/e\">California Report’s remembrance of Haden\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10143668\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/marc-maron-e1412893101634.jpg\" alt=\"Marc Maron\" width=\"400\" height=\"300\">Litquake 2014\u003c/h3>\n\u003cp>Now in its 15th year, San Francisco’s massive festival of all things lit returns with another excellent lineup. Among the fiction authors, comic artists, travel writers, poets, \u003cem>New Yorker\u003c/em> illustrators and more, there are appearances by Marc Maron (pictured), Rebecca Solnit, Piper Kerman, Boots Riley and many, many others. \u003ca href=\"http://ww2.kqed.org/events/pick/litquake-2014/\">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-10143673\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/exhex-400x266.jpg\" alt=\"Ex Hex\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/exhex-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/exhex-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/exhex-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/exhex.jpg 1280w\" sizes=\"(max-width: 400px) 100vw, 400px\">Ex Hex\u003c/h3>\n\u003cp>Indie-rock stalwart Mary Timony made a splash in the ’90s with the band Helium, and after a spin as a solo artist, she joined members of Sleater-Kinney and Quasi to form Wild Flag. Her new band, Ex Hex, just dropped their debut record, \u003cem>Rips\u003c/em>, on Merge. On Tuesday, they’ll be opening for Speedy Ortiz at the Rickshaw Stop. \u003ca href=\"http://ww2.kqed.org/events/pick/ex-hex/\">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/2bhLw3v_tiY'\n title='//www.youtube.com/embed/2bhLw3v_tiY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "what-to-do-this-fall-from-who-else-the-do-list-hosts",
"title": "Arts Preview: What To Do this Fall from (Who Else?) the 'Do List' Hosts",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Cy Musiker and David Wiegand discuss their lists on \u003ci>Forum\u003c/i>, which aired on Sept. 3, 2014\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/forum/2014/09/20140903bforum.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/fall-arts-preview-2014/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/FallArtsPreview-300x250-3.png\" alt=\"FAll arts preview 2014\" width=\"300\" height=\"250\" class=\"alignright size-full wp-image-10136791\">\u003c/a>As co-hosts of \u003cem>The Do List\u003c/em> – KQED’s weekly radio arts-calendar program — Cy Musiker and David Wiegand are masters at reading through reams of press releases, announcements and listings to find the Bay Area’s gold-star arts and entertainment events.\u003c/p>\n\u003cp>Each September, as theaters, arts organizations and artists of all kinds roll out their schedules of some of the year’s most important offerings, Cy and David each compile their own must-see lists. Below are the \u003cem>Do List\u003c/em> hosts’ picks for fall’s top shows and events.\u003c/p>\n\u003ch2>DAVID WIEGAND’S LIST\u003c/h2>\n\u003cp> \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141671\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Weill-Hall-Audra1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141671\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Weill-Hall-Audra1-400x266.jpg\" alt=\"Audra McDonald will perform at Weill Hall\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Weill-Hall-Audra1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Weill-Hall-Audra1-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Weill-Hall-Audra1.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Audra McDonald will perform at Weill Hall\u003c/figcaption>\u003c/figure>\n\u003ch3>Weill Hall, Schroeder Hall, Green Music Center\u003c/h3>\n\u003ch5>Sept. 3, Sonoma State University, Rohnert Park\u003cbr>\n\u003ca href=\"http://gmc.sonoma.edu/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Weill Hall and the Green Music Center have become a major Bay Area venue, as evidenced by this year’s offerings: Elvis Costello and the Imposters (Sept 3, Weill); the intriguing singer Storm Large, with her band, Le Bonheur (Oct. 5, Schroeder); San Francisco Symphony (Oct. 16, Weill); Laurie Anderson (Oct. 25, Weill) and the great Audra McDonald (Dec. 5, Weill) are just part of the rich mix of pop, jazz, classical and country music you’ll find in the North Bay.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141666\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Pippin_ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10141666 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Pippin_ed-400x266.jpg\" alt='The cast of \"Pippin\"' width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Pippin_ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Pippin_ed-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Pippin_ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The cast of \u003cem>Pippin\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Pippin\u003c/i>\u003c/h3>\n\u003ch5>Sept. 23 to Oct. 19,\u003cbr>\nGolden Gate Theatre, San Francisco\u003cbr>\n\u003ca href=\"http://www.san-francisco-theater.com/theaters/golden-gate-theater/pippin.php\" target=\"_blank\" rel=\"noopener\">Information and Tickets\u003c/a>\u003c/h5>\n\u003cp>Stephen Schwartz’s endearingly weird musical about Charles the X won some Tonys when it premiered on Broadway with a cast that included Jill Clayburgh, Ben Vereen and Irene “Granny Clampett” Ryan. It is a true charmer by the composer of \u003cem>Wicked\u003c/em> and was long overdue for the Broadway revival of last year, which settles in for almost a month at the Golden Gate. Grab your own “Little Corner of the Sky” and get your ticket now.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141665\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Mack-Morris-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141665\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Mack-Morris-ed-400x266.jpg\" alt=\"Photo, Amber Star Merkens\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Mack-Morris-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Mack-Morris-ed-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Mack-Morris-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo, Amber Star Merkens\u003c/figcaption>\u003c/figure>\n\u003ch3>Mark Morris Dance Group and Music Ensemble\u003c/h3>\n\u003ch5>Sept. 25-28,\u003cbr>\nCal Performances, UC Berkeley\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2014-15/dance/mark-morris-dance-group.php\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>The Bay Area is Mark Morris’ home away from home, but it’s rare for him to bring his company here with two mixed rep programs. In addition, only one of the dances has been seen before in our neck of the woods, his wonderfully loopy take on \u003cem>The Rite of Spring, \u003c/em> \u003cem>Spring, Spring, Spring,\u003c/em> with Stravinsky’s music reconceived by jazz trio The Bad Plus. Morris remains one of the most vital forces in dance, as both a modernist and an adoring classicist.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141673\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Sam-smith.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141673\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Sam-smith-400x266.jpg\" alt=\"Sam Smith\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Sam-smith-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Sam-smith-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Sam-smith.jpg 1000w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sam Smith\u003c/figcaption>\u003c/figure>\n\u003ch3>Sam Smith\u003c/h3>\n\u003ch5>Sept. 28,\u003cbr>\nFox Theatre, Oakland\u003c/h5>\n\u003cp>Yes, it’s sold out, but if you can snag a ticket, take out a second mortgage to pay for it. Or at least download his CD. His appearance on \u003cem>Saturday Night Live\u003c/em> this year confirmed he is one of the most gifted, original talents in pop music in quite some time. His other-worldly vocals combined with the heartbreaking lyricism of his songwriting make Smith the voice of the year. Any year, for that matter.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141667\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Pixies-black-francis.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141667\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Pixies-black-francis-400x266.jpg\" alt=\"Black Francis of The Pixies\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Pixies-black-francis-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Pixies-black-francis-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Pixies-black-francis.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Pixies’ Black Francis\u003c/figcaption>\u003c/figure>\n\u003ch3>The Pixies\u003c/h3>\n\u003ch5>Sept. 30,\u003cbr>\nMasonic Auditorium, San Francisco\u003cbr>\n\u003ca href=\"http://www.livenation.com/events/361743-sep-30-2014-pixies\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Talk about Boston strong — the Pixies have been going strong since 1986 (despite a hiatus from 1993-2004). Bassist Kim Deal is no longer with the band, but Black Francis is and they still put on one of the best live shows you’ll ever attend. You can also check out the newly revamped Masonic, which now becomes a major venue in the Bay Area pop music scene.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141663\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Hardly-Strictly-Lucinda-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141663\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Hardly-Strictly-Lucinda-ed-400x266.jpg\" alt=\"Lucinda Williams \" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Hardly-Strictly-Lucinda-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Hardly-Strictly-Lucinda-ed-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Hardly-Strictly-Lucinda-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lucinda Williams will play Hardly Strictly\u003c/figcaption>\u003c/figure>\n\u003ch3>Hardly Strictly Bluegrass 2014\u003c/h3>\n\u003ch5>Oct. 3-5,\u003cbr>\nGolden Gate Park, San Francisco\u003cbr>\n\u003ca href=\"http://www.hardlystrictlybluegrass.com/2014/\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>The late Warren Hellman’s greatest gift to the city he loved remains the Hardly Strictly Bluegrass Festival, which is not only a jaw-dropping showcase for great music — not to mention free of charge — but remains the best-organized annual outdoor concert in San Francisco. The 14th edition of the festival includes Lucinda Williams, Ralph Stanley, Ryan Adams, Yo La Tengo, Cibo Matto, X, Chris Isaak and, of course, the silver-haired, golden-voiced Emmylou Harris.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141685\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141685\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2-400x406.jpg\" alt=\"Keith Haring, Untitled, 1982\" width=\"400\" height=\"406\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2-400x406.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Keith Haring, Untitled, 1982\u003c/figcaption>\u003c/figure>\n\u003ch3>Keith Haring, \u003ci>The Political Line\u003c/i>\u003c/h3>\n\u003ch5>Nov. 8 to Feb. 16,\u003cbr>\nDe Young Museum, San Francisco\u003cbr>\n\u003ca href=\"https://deyoung.famsf.org/press-room/keith-haring-political-line\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Although Keith Haring rose to prominence in the 1980s and died in 1990, to view his art only in historical context is to miss its timeless value. Haring, who brought street art into galleries and public consciousness in an unprecedented way, endures. The show at the de Young marks the first major exhibit of Haring’s work on the West Coast in 20 years. The 130 paintings, sculptures and drawings it comprises tell us not only how much we’ve evolved over the last 30 years, but how relevant his sensibility remains to our lives today.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141662\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Curlew-River-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141662\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Curlew-River-ed-400x266.jpg\" alt=\"Photo courtesy Cal Performances\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Curlew-River-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Curlew-River-ed-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Curlew-River-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo courtesy Cal Performances\u003c/figcaption>\u003c/figure>\n\u003ch3>Benjamin Britten, \u003ci>Curlew River\u003c/i>\u003c/h3>\n\u003ch5>Nov. 14 and 15,\u003cbr>\nBarbican Centre and Cal Performances, UC Berkeley\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2014-15/special-events/britten-curlew-river.php\" target=\"_blank\" rel=\"noopener\">Information and tickets \u003c/a>\u003c/h5>\n\u003cp>The centennial of Benjamin Britten’s birth in 2013 reminded us of his artistic greatness — and that there is so much more to him than the \u003cem>War Requiem\u003c/em> and \u003cem>Peter Grimes.\u003c/em> Britten wrote \u003cem>Curlew River\u003c/em> as a so-called “church parable” after he traveled to Japan with singer (and life partner) Peter Pears and witnessed Noh theatre. This Cal Performances co-production with the Barbican Theatre is the first major Bay Area production of the brilliantly disturbing work since Chantlicleer staged it at Theatre Artaud in 1995. British tenor Ian Bostridge will play the lead role of the Madwoman, created for Pears.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141668\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/promises-promises-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141668\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/promises-promises-ed-400x266.jpg\" alt=\"Poster for <i>Promises, Promises</i>\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/promises-promises-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/promises-promises-ed-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/promises-promises-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Poster for \u003ci>Promises, Promises\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Promises, Promises\u003c/em>\u003c/h3>\n\u003ch5>Nov. 18 to Jan. 10,\u003cbr>\nSF Playhouse, San Francisco\u003cbr>\n\u003ca href=\"http://sfplayhouse.org/sfph/promises-promises/\" target=\"_blank\" rel=\"noopener\">Information and tickets \u003c/a>\u003c/h5>\n\u003cp>The 1968 musical represented a kind of bookend with another show of its era, \u003cem>Hair.\u003c/em> In their way, both shows represented attempts by Broadway to become more with it, as we said in the day. \u003cem>Hair\u003c/em> got naked, \u003cem>Promises, Promises\u003c/em> got Burt Bacharach and Hal David, who created the music for a stage treatment of Billy Wilder’s \u003cem>The Apartment.\u003c/em> You know the title song; other hits from the show were “I Say a Little Prayer,” “A House Is Not a Home” and “I’ll Never Fall in Love Again.” How groovy for SF Playhouse to revive this \u003cem>Mad Men\u003c/em>-era benchmark.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141687\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/TheOldWoman8_credit_detail.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141687\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/TheOldWoman8_credit_detail-400x266.jpg\" alt=\"Photo Courtesy Cal Performances\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/TheOldWoman8_credit_detail-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/TheOldWoman8_credit_detail-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/TheOldWoman8_credit_detail.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo Courtesy Cal Performances\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>The Old Woman\u003c/i>\u003c/h3>\n\u003ch5>Nov. 21-23,\u003cbr>\nCal Performances, UC Berkeley\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2014-15/special-events/robert-wilson-mikhail-baryshnikov-willem-dafoe-the-old-woman.php\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Put legendary avant-garde director Robert Wilson together with Mikhail Baryshnikov and Willem Dafoe and you’re not in for a revival of \u003cem>Charley’s Aunt.\u003c/em> Wilson oversees the production of Russian poet Daniil Kharms’ take on a surreal, disorienting world invaded by an unwanted houseguest. The producers bill it as a black comedy with envelope-pushing elements of vaudeville and abstract storytelling.\u003c/p>\n\u003c/div>\n\u003ch2>CY MUSIKER’S LIST\u003c/h2>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141691\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Rapture-Blister-Burn-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141691\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Rapture-Blister-Burn-ed-400x285.jpg\" alt=\"Photo by David Allen\" width=\"400\" height=\"285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Rapture-Blister-Burn-ed-400x285.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Rapture-Blister-Burn-ed-300x214.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Rapture-Blister-Burn-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo by David Allen\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Rapture, Blister, Burn\u003c/em>\u003c/h3>\n\u003ch5>Aug. 29 to Sept. 28,\u003cbr>\nAurora Theatre, San Francisco\u003cbr>\n\u003ca href=\"https://auroratheatre.org/index.php?option=com_theatre&view=show&id=99\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Gina Gionfriddo wrote the sexually provocative and funny-as-hell Pulitzer Prize nominee \u003cem>Becky Shaw,\u003c/em> which got a terrific mounting at San Francisco Playhouse a few years ago. In \u003cem>Rapture, Blister, Burn\u003c/em> (a finalist for the 2013 Pulitzer), she offers theme and variations on modern feminism, the role of a wife and mother and what director Desdemona Chiang calls the stigma of spinsterhood. Chiang praises Gionfriddo’s writing as “effortless dialogue” – and she’s funny.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141692\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/MTT-20th-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141692\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/MTT-20th-ed-400x266.jpg\" alt=\"Michael Tilson Thomas with the SF Symphony\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/MTT-20th-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/MTT-20th-ed-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/MTT-20th-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas with the SF Symphony\u003c/figcaption>\u003c/figure>\n\u003ch3>MTT’s 20th Year with San Francisco Symphony\u003c/h3>\n\u003ch5>Season opens Sept. 3,\u003cbr>\nDavies Hall, San Francisco\u003cbr>\n\u003ca href=\"http://www.sfsymphony.org/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>San Francisco Symphony Music Director Michael Tilson Thomas, who turns 70 in December, has led the company since 1995, and it’s been an exciting and enlightening time. He’s brought contemporary works to Davies Hall on a regular basis, still a rare thing for mainstream orchestras, and produced Grammy winning recordings of Mahler. And MTT somehow managed to avoid any taint from the bitter labor strife of last spring. MTT has programmed lots of Beethoven this season, but also a John Adams commission. And the SFS will record Mason Bates’ \u003cem>Alternative Energy\u003c/em> during live performances Sept. 9 to 13. The colossal piece for orchestra and sampled sound was fabulous when the Chicago Symphony performed it here in 2012.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141693\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/robert-frank-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10141693 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/robert-frank-ed-400x266.jpg\" alt='Robert Frank. \"Detroit, 1955\"' width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/robert-frank-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/robert-frank-ed-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/robert-frank-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Robert Frank. “Detroit, 1955”\u003c/figcaption>\u003c/figure>\n\u003ch3>The Anderson Collection and Robert Frank\u003c/h3>\n\u003ch5>\u003cem>Robert Frank in America,\u003c/em>\u003cbr>\nSept. 10 to Jan. 5\u003cbr>\n\u003ca href=\"http://museum.stanford.edu/news_room/frank.html\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003cbr>\nAnderson Collection opening day,\u003cbr>\nSept. 21\u003cbr>\n\u003ca href=\"https://anderson.stanford.edu/\" target=\"_blank\" rel=\"noopener\">Information and tickets \u003c/a>\u003c/h5>\n\u003cp>On Sept. 21, Stanford University opens a new museum devoted to the Anderson Collection, a jaw-droppingly fine selection of contemporary art by the likes of Rothko, Diebenkorn, de Kooning, Mitchell and Pollock, donated to the school by its Palo Alto neighbors Harry and Mary Anderson. Then go next door to the Cantor for the photo exhibit \u003cem>Robert Frank in America.\u003c/em> The photographs, largely drawn from the Cantor’s own permanent collection, form a vital addendum to Frank’s seminal 1959 photo essay, \u003cem>The Americans.\u003c/em> That book’s honest recording of American faces and scenes threw a shadow on the idea that America was a land of suburban bliss. Stanford is offering timed tickets for the Anderson collection, to avoid crowds, but admission to the new museum and the Cantor is, as always, free.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141694\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/SFJAZZ-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141694\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/SFJAZZ-ed-400x266.jpg\" alt=\"Joshua Redman. Photo, Richard Conde\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/SFJAZZ-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/SFJAZZ-ed-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/SFJAZZ-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joshua Redman. Photo, Richard Conde\u003c/figcaption>\u003c/figure>\n\u003ch3>SFJAZZ Season 3\u003c/h3>\n\u003ch5>Sept. 11,\u003cbr>\nSFJAZZ Center, San Francisco\u003cbr>\n\u003ca href=\"http://www.sfjazz.org/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Season 3 at the center offers some shows that should dazzle: the thoughtful saxophonist Joshua Redman, a founding member of the SFJAZZ Collective, brings his trio to play Oct. 2-5; tabla master Zakir Hussain reunites with Charles Lloyd and Eric Harland Oct 9-12; and Ravi Coltrane and a handpicked ensemble do a tribute to Coltrane senior’s seminal \u003cem>A Love Supreme.\u003c/em> Wow.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141695\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Brandy-Clark-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141695\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Brandy-Clark-ed-400x266.jpg\" alt=\"Brandy Clark. Photo Becky Fluke\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Brandy-Clark-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Brandy-Clark-ed-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Brandy-Clark-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brandy Clark. Photo Becky Fluke\u003c/figcaption>\u003c/figure>\n\u003ch3>Jennifer Nettles with Brandy Clark\u003c/h3>\n\u003ch5>Sept. 11,\u003cbr>\nWells Fargo Center, Santa Rosa\u003cbr>\n\u003ca href=\"http://tickets.wellsfargocenterarts.org/single/eventDetail.aspx?p=1433\" target=\"_blank\" rel=\"noopener\">Information and tickets \u003c/a>\u003c/h5>\n\u003cp>No one puts stories to country music better than Brandy Clark. Every song on her debut album last year, \u003cem>12 Stories,\u003c/em> was a winner, full of humor and heartache. She’s touring in support of country star Jennifer Nettles, for whom Clark wrote a number about an abusive husband called “His Hands.” It should be a great show and a chance to support the stirrings of a feminist wave in country music.\u003c/p>\n\u003c/div>\n\u003cp>http://youtu.be/xySHuL7hDEk\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141717\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Patricia-LockwoodTwitterCrop.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141717\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Patricia-LockwoodTwitterCrop-400x264.jpg\" alt=\"Patricia Lockwood\" width=\"400\" height=\"264\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Patricia-LockwoodTwitterCrop-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Patricia-LockwoodTwitterCrop-300x198.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Patricia-LockwoodTwitterCrop.jpg 524w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Patricia Lockwood \u003ccite>(Courtesy of Twitter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Patricia Lockwood\u003c/h3>\n\u003ch5>Sept. 22,\u003cbr>\nJewish Community Center, San Francisco\u003cbr>\n\u003ca href=\"https://www.jccsf.org/arts-ideas/lectures/literary/patricia-lockwood/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Lockwood has become famous for “Rape Joke,” a not-at-all funny poem that reads like a series of brilliant and disturbing tweets exploring the often twisted relations between a rapist and his victim. Her most recent book of poems, \u003cem>Motherland Fatherland Homelandsexuals,\u003c/em> is full of odd and sexually explicit ideas that include a deer that does porn, a talking basketball and the Loch Ness Monster. A literary event that’s likely to sell out — for a poet who’s anything but.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141054\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/AiWeiWei.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141054\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/AiWeiWei-400x200.jpg\" alt=\"Ai Weiwei in the elevator when taken into custody by the police, Sichuan, China, 2009; Courtesy the artist\" width=\"400\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/AiWeiWei-400x200.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/AiWeiWei-300x150.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/AiWeiWei.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ai Weiwei in the elevator when taken into custody by the police, Sichuan, China, 2009; Courtesy the artist\u003c/figcaption>\u003c/figure>\n\u003ch3>@Large: Ai Weiwei on Alcatraz\u003c/h3>\n\u003ch5>Sept. 27 to April 26,\u003cbr>\nAlcatraz Island\u003cbr>\n\u003ca href=\"http://www.for-site.org/project/ai-weiwei-alcatraz/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Beijing’s Ai Weiwei is one of the world’s foremost artists and human-rights activists. The Chinese government once jailed him for 81 days and currently limits his travel. Now he’s overseeing a set of art installations on the meaning of confinement and political speech in what was once America’s most formidable military and federal prison. Kudos to San Francisco’s For-Site Foundation for commissioning the work, (Ai is taking no fee), and to the administrators at the Golden Gate National Recreation Area for giving Ai artistic freedom. Getting to Alcatraz will be half the fun and half the battle. Admission will be free, but you’ll have to ride the heavily booked \u003ca href=\"http://www.alcatrazislandtickets.com/\" target=\"_blank\" rel=\"noopener\">Alcatraz Ferry\u003c/a> to the island (adults $38.00). Best to reserve a full 90 days in advance (the furthest ahead you can book).\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141697\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Bengsons-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141697\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Bengsons-ed-400x266.jpg\" alt=\"Photo, Mark Leialoha\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Bengsons-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Bengsons-ed-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Bengsons-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo, Mark Leialoha\u003c/figcaption>\u003c/figure>\n\u003ch3>The Bengsons\u003c/h3>\n\u003ch5>Sept. 29,\u003cbr>\nFreight and Salvage, Berkeley\u003cbr>\n\u003ca href=\"http://www.thefreight.org/bengsons-shaina-taub-friends\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Shaun and Abigail Bengson have carved out a unique niche that combines experimental, folk-alt-art-rock and musical theatre. Their \u003cem>Hundred Days\u003c/em> at Z Space early this year tenderly wedded lush folk-rock with a gender-reversed take on La Boheme. Brilliant.\u003c/p>\n\u003c/div>\n\u003cp>http://youtu.be/a3dg-3EXBag\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141698\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Stlawrence-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141698\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Stlawrence-ed-400x266.jpg\" alt=\"Photo, Eric Cheng\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Stlawrence-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Stlawrence-ed-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Stlawrence-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo, Eric Cheng\u003c/figcaption>\u003c/figure>\n\u003ch3>St Lawrence String Quartet\u003c/h3>\n\u003ch5>Starting Oct. 10,\u003cbr>\nVarious locations\u003cbr>\n\u003ca href=\"http://www.slsq.com/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Stanford’s resident St. Lawrence String Quartet is one of the best in the world. This fall the group, led by the charming Geoff Nuttall, is continuing the celebration of its 25th anniversary with a series of concerts at Stanford and around the Bay, including new work written for the quartet by Berkeley’s John Adams and Stanford composers Jonathan Berger and Jaroslaw Kapuscinski. \u003ca href=\"https://live.stanford.edu/calendar/october-2014/st-lawrence-string-quartet\" target=\"_blank\" rel=\"noopener\">Local concerts begin Oct. 19\u003c/a> with one at Bing Hall, and \u003ca href=\"http://calperformances.org/performances/2014-15/chamber-orchestra/st-lawrence-string-quartet.php\" target=\"_blank\" rel=\"noopener\">another Nov. 23\u003c/a> at UC Berkeley’s Hertz Hall.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10140839\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/fall014-partyppl.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10140839 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/fall014-partyppl-400x266.jpg\" alt=\"Party People; photo: Jenny Graham\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/fall014-partyppl-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/fall014-partyppl-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/fall014-partyppl.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Party People\u003c/i>; photo: Jenny Graham\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Party People\u003c/i>\u003c/h3>\n\u003ch5>Oct. 17 to Nov. 16,\u003cbr>\nBerkeley Rep, Berkeley\u003cbr>\n\u003ca href=\"http://www.berkeleyrep.org/season/1415/8235.asp\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>The NYC troupe Universes debuted this show about the Black Panthers and the Young Lords at the Oregon Shakespeare Festival in 2012. It’s based on interviews with leaders and rank-and-file members of the two radical groups. The formidable Liesl Tommy, Berkeley Rep’s assistant artistic director, is directing as she did in 2012, and she says she’s helping Universes polish the script for an audience that will include some who know the Panthers’ story firsthand. And it’s a musical, filled with jazz, blues, hip-hop, boleros and salsa. A great prelude for the 50th anniversary (1966) of the founding of the Black Panthers in Oakland.\u003c/p>\n\u003c/div>\n\u003cp>http://youtu.be/1QgK7HEZrng\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Each September, as theaters, arts organizations and artists of all kinds roll out schedules of the year’s most important shows, Cy Musiker and David Wiegand — hosts of KQED’s \u003cem>The Do List\u003c/em> -- compile their own lists of gold-star arts and entertainment events.",
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"title": "Arts Preview: What To Do this Fall from (Who Else?) the 'Do List' Hosts | KQED",
"description": "Each September, as theaters, arts organizations and artists of all kinds roll out schedules of the year’s most important shows, Cy Musiker and David Wiegand — hosts of KQED’s The Do List -- compile their own lists of gold-star arts and entertainment events.",
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"headline": "Arts Preview: What To Do this Fall from (Who Else?) the 'Do List' Hosts",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>Listen to Cy Musiker and David Wiegand discuss their lists on \u003ci>Forum\u003c/i>, which aired on Sept. 3, 2014\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/forum/2014/09/20140903bforum.mp3\u003cbr>\n\u003c/p>\u003c/aside>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/fall-arts-preview-2014/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/FallArtsPreview-300x250-3.png\" alt=\"FAll arts preview 2014\" width=\"300\" height=\"250\" class=\"alignright size-full wp-image-10136791\">\u003c/a>As co-hosts of \u003cem>The Do List\u003c/em> – KQED’s weekly radio arts-calendar program — Cy Musiker and David Wiegand are masters at reading through reams of press releases, announcements and listings to find the Bay Area’s gold-star arts and entertainment events.\u003c/p>\n\u003cp>Each September, as theaters, arts organizations and artists of all kinds roll out their schedules of some of the year’s most important offerings, Cy and David each compile their own must-see lists. Below are the \u003cem>Do List\u003c/em> hosts’ picks for fall’s top shows and events.\u003c/p>\n\u003ch2>DAVID WIEGAND’S LIST\u003c/h2>\n\u003cp> \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141671\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Weill-Hall-Audra1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141671\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Weill-Hall-Audra1-400x266.jpg\" alt=\"Audra McDonald will perform at Weill Hall\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Weill-Hall-Audra1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Weill-Hall-Audra1-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Weill-Hall-Audra1.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Audra McDonald will perform at Weill Hall\u003c/figcaption>\u003c/figure>\n\u003ch3>Weill Hall, Schroeder Hall, Green Music Center\u003c/h3>\n\u003ch5>Sept. 3, Sonoma State University, Rohnert Park\u003cbr>\n\u003ca href=\"http://gmc.sonoma.edu/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Weill Hall and the Green Music Center have become a major Bay Area venue, as evidenced by this year’s offerings: Elvis Costello and the Imposters (Sept 3, Weill); the intriguing singer Storm Large, with her band, Le Bonheur (Oct. 5, Schroeder); San Francisco Symphony (Oct. 16, Weill); Laurie Anderson (Oct. 25, Weill) and the great Audra McDonald (Dec. 5, Weill) are just part of the rich mix of pop, jazz, classical and country music you’ll find in the North Bay.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141666\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Pippin_ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10141666 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Pippin_ed-400x266.jpg\" alt='The cast of \"Pippin\"' width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Pippin_ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Pippin_ed-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Pippin_ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The cast of \u003cem>Pippin\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Pippin\u003c/i>\u003c/h3>\n\u003ch5>Sept. 23 to Oct. 19,\u003cbr>\nGolden Gate Theatre, San Francisco\u003cbr>\n\u003ca href=\"http://www.san-francisco-theater.com/theaters/golden-gate-theater/pippin.php\" target=\"_blank\" rel=\"noopener\">Information and Tickets\u003c/a>\u003c/h5>\n\u003cp>Stephen Schwartz’s endearingly weird musical about Charles the X won some Tonys when it premiered on Broadway with a cast that included Jill Clayburgh, Ben Vereen and Irene “Granny Clampett” Ryan. It is a true charmer by the composer of \u003cem>Wicked\u003c/em> and was long overdue for the Broadway revival of last year, which settles in for almost a month at the Golden Gate. Grab your own “Little Corner of the Sky” and get your ticket now.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141665\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Mack-Morris-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141665\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Mack-Morris-ed-400x266.jpg\" alt=\"Photo, Amber Star Merkens\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Mack-Morris-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Mack-Morris-ed-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Mack-Morris-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo, Amber Star Merkens\u003c/figcaption>\u003c/figure>\n\u003ch3>Mark Morris Dance Group and Music Ensemble\u003c/h3>\n\u003ch5>Sept. 25-28,\u003cbr>\nCal Performances, UC Berkeley\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2014-15/dance/mark-morris-dance-group.php\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>The Bay Area is Mark Morris’ home away from home, but it’s rare for him to bring his company here with two mixed rep programs. In addition, only one of the dances has been seen before in our neck of the woods, his wonderfully loopy take on \u003cem>The Rite of Spring, \u003c/em> \u003cem>Spring, Spring, Spring,\u003c/em> with Stravinsky’s music reconceived by jazz trio The Bad Plus. Morris remains one of the most vital forces in dance, as both a modernist and an adoring classicist.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141673\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Sam-smith.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141673\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Sam-smith-400x266.jpg\" alt=\"Sam Smith\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Sam-smith-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Sam-smith-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Sam-smith.jpg 1000w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sam Smith\u003c/figcaption>\u003c/figure>\n\u003ch3>Sam Smith\u003c/h3>\n\u003ch5>Sept. 28,\u003cbr>\nFox Theatre, Oakland\u003c/h5>\n\u003cp>Yes, it’s sold out, but if you can snag a ticket, take out a second mortgage to pay for it. Or at least download his CD. His appearance on \u003cem>Saturday Night Live\u003c/em> this year confirmed he is one of the most gifted, original talents in pop music in quite some time. His other-worldly vocals combined with the heartbreaking lyricism of his songwriting make Smith the voice of the year. Any year, for that matter.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141667\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Pixies-black-francis.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141667\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Pixies-black-francis-400x266.jpg\" alt=\"Black Francis of The Pixies\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Pixies-black-francis-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Pixies-black-francis-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Pixies-black-francis.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Pixies’ Black Francis\u003c/figcaption>\u003c/figure>\n\u003ch3>The Pixies\u003c/h3>\n\u003ch5>Sept. 30,\u003cbr>\nMasonic Auditorium, San Francisco\u003cbr>\n\u003ca href=\"http://www.livenation.com/events/361743-sep-30-2014-pixies\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Talk about Boston strong — the Pixies have been going strong since 1986 (despite a hiatus from 1993-2004). Bassist Kim Deal is no longer with the band, but Black Francis is and they still put on one of the best live shows you’ll ever attend. You can also check out the newly revamped Masonic, which now becomes a major venue in the Bay Area pop music scene.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141663\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Hardly-Strictly-Lucinda-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141663\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Hardly-Strictly-Lucinda-ed-400x266.jpg\" alt=\"Lucinda Williams \" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Hardly-Strictly-Lucinda-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Hardly-Strictly-Lucinda-ed-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Hardly-Strictly-Lucinda-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lucinda Williams will play Hardly Strictly\u003c/figcaption>\u003c/figure>\n\u003ch3>Hardly Strictly Bluegrass 2014\u003c/h3>\n\u003ch5>Oct. 3-5,\u003cbr>\nGolden Gate Park, San Francisco\u003cbr>\n\u003ca href=\"http://www.hardlystrictlybluegrass.com/2014/\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>The late Warren Hellman’s greatest gift to the city he loved remains the Hardly Strictly Bluegrass Festival, which is not only a jaw-dropping showcase for great music — not to mention free of charge — but remains the best-organized annual outdoor concert in San Francisco. The 14th edition of the festival includes Lucinda Williams, Ralph Stanley, Ryan Adams, Yo La Tengo, Cibo Matto, X, Chris Isaak and, of course, the silver-haired, golden-voiced Emmylou Harris.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141685\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141685\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2-400x406.jpg\" alt=\"Keith Haring, Untitled, 1982\" width=\"400\" height=\"406\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2-400x406.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Keith-Haring-ed2.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Keith Haring, Untitled, 1982\u003c/figcaption>\u003c/figure>\n\u003ch3>Keith Haring, \u003ci>The Political Line\u003c/i>\u003c/h3>\n\u003ch5>Nov. 8 to Feb. 16,\u003cbr>\nDe Young Museum, San Francisco\u003cbr>\n\u003ca href=\"https://deyoung.famsf.org/press-room/keith-haring-political-line\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Although Keith Haring rose to prominence in the 1980s and died in 1990, to view his art only in historical context is to miss its timeless value. Haring, who brought street art into galleries and public consciousness in an unprecedented way, endures. The show at the de Young marks the first major exhibit of Haring’s work on the West Coast in 20 years. The 130 paintings, sculptures and drawings it comprises tell us not only how much we’ve evolved over the last 30 years, but how relevant his sensibility remains to our lives today.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141662\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Curlew-River-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141662\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Curlew-River-ed-400x266.jpg\" alt=\"Photo courtesy Cal Performances\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Curlew-River-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Curlew-River-ed-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Curlew-River-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo courtesy Cal Performances\u003c/figcaption>\u003c/figure>\n\u003ch3>Benjamin Britten, \u003ci>Curlew River\u003c/i>\u003c/h3>\n\u003ch5>Nov. 14 and 15,\u003cbr>\nBarbican Centre and Cal Performances, UC Berkeley\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2014-15/special-events/britten-curlew-river.php\" target=\"_blank\" rel=\"noopener\">Information and tickets \u003c/a>\u003c/h5>\n\u003cp>The centennial of Benjamin Britten’s birth in 2013 reminded us of his artistic greatness — and that there is so much more to him than the \u003cem>War Requiem\u003c/em> and \u003cem>Peter Grimes.\u003c/em> Britten wrote \u003cem>Curlew River\u003c/em> as a so-called “church parable” after he traveled to Japan with singer (and life partner) Peter Pears and witnessed Noh theatre. This Cal Performances co-production with the Barbican Theatre is the first major Bay Area production of the brilliantly disturbing work since Chantlicleer staged it at Theatre Artaud in 1995. British tenor Ian Bostridge will play the lead role of the Madwoman, created for Pears.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141668\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/promises-promises-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141668\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/promises-promises-ed-400x266.jpg\" alt=\"Poster for <i>Promises, Promises</i>\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/promises-promises-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/promises-promises-ed-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/promises-promises-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Poster for \u003ci>Promises, Promises\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Promises, Promises\u003c/em>\u003c/h3>\n\u003ch5>Nov. 18 to Jan. 10,\u003cbr>\nSF Playhouse, San Francisco\u003cbr>\n\u003ca href=\"http://sfplayhouse.org/sfph/promises-promises/\" target=\"_blank\" rel=\"noopener\">Information and tickets \u003c/a>\u003c/h5>\n\u003cp>The 1968 musical represented a kind of bookend with another show of its era, \u003cem>Hair.\u003c/em> In their way, both shows represented attempts by Broadway to become more with it, as we said in the day. \u003cem>Hair\u003c/em> got naked, \u003cem>Promises, Promises\u003c/em> got Burt Bacharach and Hal David, who created the music for a stage treatment of Billy Wilder’s \u003cem>The Apartment.\u003c/em> You know the title song; other hits from the show were “I Say a Little Prayer,” “A House Is Not a Home” and “I’ll Never Fall in Love Again.” How groovy for SF Playhouse to revive this \u003cem>Mad Men\u003c/em>-era benchmark.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141687\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/TheOldWoman8_credit_detail.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141687\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/TheOldWoman8_credit_detail-400x266.jpg\" alt=\"Photo Courtesy Cal Performances\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/TheOldWoman8_credit_detail-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/TheOldWoman8_credit_detail-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/TheOldWoman8_credit_detail.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo Courtesy Cal Performances\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>The Old Woman\u003c/i>\u003c/h3>\n\u003ch5>Nov. 21-23,\u003cbr>\nCal Performances, UC Berkeley\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2014-15/special-events/robert-wilson-mikhail-baryshnikov-willem-dafoe-the-old-woman.php\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Put legendary avant-garde director Robert Wilson together with Mikhail Baryshnikov and Willem Dafoe and you’re not in for a revival of \u003cem>Charley’s Aunt.\u003c/em> Wilson oversees the production of Russian poet Daniil Kharms’ take on a surreal, disorienting world invaded by an unwanted houseguest. The producers bill it as a black comedy with envelope-pushing elements of vaudeville and abstract storytelling.\u003c/p>\n\u003c/div>\n\u003ch2>CY MUSIKER’S LIST\u003c/h2>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141691\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Rapture-Blister-Burn-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141691\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Rapture-Blister-Burn-ed-400x285.jpg\" alt=\"Photo by David Allen\" width=\"400\" height=\"285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Rapture-Blister-Burn-ed-400x285.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Rapture-Blister-Burn-ed-300x214.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Rapture-Blister-Burn-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo by David Allen\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Rapture, Blister, Burn\u003c/em>\u003c/h3>\n\u003ch5>Aug. 29 to Sept. 28,\u003cbr>\nAurora Theatre, San Francisco\u003cbr>\n\u003ca href=\"https://auroratheatre.org/index.php?option=com_theatre&view=show&id=99\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Gina Gionfriddo wrote the sexually provocative and funny-as-hell Pulitzer Prize nominee \u003cem>Becky Shaw,\u003c/em> which got a terrific mounting at San Francisco Playhouse a few years ago. In \u003cem>Rapture, Blister, Burn\u003c/em> (a finalist for the 2013 Pulitzer), she offers theme and variations on modern feminism, the role of a wife and mother and what director Desdemona Chiang calls the stigma of spinsterhood. Chiang praises Gionfriddo’s writing as “effortless dialogue” – and she’s funny.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141692\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/MTT-20th-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141692\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/MTT-20th-ed-400x266.jpg\" alt=\"Michael Tilson Thomas with the SF Symphony\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/MTT-20th-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/MTT-20th-ed-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/MTT-20th-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Michael Tilson Thomas with the SF Symphony\u003c/figcaption>\u003c/figure>\n\u003ch3>MTT’s 20th Year with San Francisco Symphony\u003c/h3>\n\u003ch5>Season opens Sept. 3,\u003cbr>\nDavies Hall, San Francisco\u003cbr>\n\u003ca href=\"http://www.sfsymphony.org/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>San Francisco Symphony Music Director Michael Tilson Thomas, who turns 70 in December, has led the company since 1995, and it’s been an exciting and enlightening time. He’s brought contemporary works to Davies Hall on a regular basis, still a rare thing for mainstream orchestras, and produced Grammy winning recordings of Mahler. And MTT somehow managed to avoid any taint from the bitter labor strife of last spring. MTT has programmed lots of Beethoven this season, but also a John Adams commission. And the SFS will record Mason Bates’ \u003cem>Alternative Energy\u003c/em> during live performances Sept. 9 to 13. The colossal piece for orchestra and sampled sound was fabulous when the Chicago Symphony performed it here in 2012.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141693\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/robert-frank-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10141693 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/robert-frank-ed-400x266.jpg\" alt='Robert Frank. \"Detroit, 1955\"' width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/robert-frank-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/robert-frank-ed-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/robert-frank-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Robert Frank. “Detroit, 1955”\u003c/figcaption>\u003c/figure>\n\u003ch3>The Anderson Collection and Robert Frank\u003c/h3>\n\u003ch5>\u003cem>Robert Frank in America,\u003c/em>\u003cbr>\nSept. 10 to Jan. 5\u003cbr>\n\u003ca href=\"http://museum.stanford.edu/news_room/frank.html\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003cbr>\nAnderson Collection opening day,\u003cbr>\nSept. 21\u003cbr>\n\u003ca href=\"https://anderson.stanford.edu/\" target=\"_blank\" rel=\"noopener\">Information and tickets \u003c/a>\u003c/h5>\n\u003cp>On Sept. 21, Stanford University opens a new museum devoted to the Anderson Collection, a jaw-droppingly fine selection of contemporary art by the likes of Rothko, Diebenkorn, de Kooning, Mitchell and Pollock, donated to the school by its Palo Alto neighbors Harry and Mary Anderson. Then go next door to the Cantor for the photo exhibit \u003cem>Robert Frank in America.\u003c/em> The photographs, largely drawn from the Cantor’s own permanent collection, form a vital addendum to Frank’s seminal 1959 photo essay, \u003cem>The Americans.\u003c/em> That book’s honest recording of American faces and scenes threw a shadow on the idea that America was a land of suburban bliss. Stanford is offering timed tickets for the Anderson collection, to avoid crowds, but admission to the new museum and the Cantor is, as always, free.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141694\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/SFJAZZ-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141694\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/SFJAZZ-ed-400x266.jpg\" alt=\"Joshua Redman. Photo, Richard Conde\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/SFJAZZ-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/SFJAZZ-ed-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/SFJAZZ-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Joshua Redman. Photo, Richard Conde\u003c/figcaption>\u003c/figure>\n\u003ch3>SFJAZZ Season 3\u003c/h3>\n\u003ch5>Sept. 11,\u003cbr>\nSFJAZZ Center, San Francisco\u003cbr>\n\u003ca href=\"http://www.sfjazz.org/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Season 3 at the center offers some shows that should dazzle: the thoughtful saxophonist Joshua Redman, a founding member of the SFJAZZ Collective, brings his trio to play Oct. 2-5; tabla master Zakir Hussain reunites with Charles Lloyd and Eric Harland Oct 9-12; and Ravi Coltrane and a handpicked ensemble do a tribute to Coltrane senior’s seminal \u003cem>A Love Supreme.\u003c/em> Wow.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141695\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Brandy-Clark-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141695\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Brandy-Clark-ed-400x266.jpg\" alt=\"Brandy Clark. Photo Becky Fluke\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Brandy-Clark-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Brandy-Clark-ed-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Brandy-Clark-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brandy Clark. Photo Becky Fluke\u003c/figcaption>\u003c/figure>\n\u003ch3>Jennifer Nettles with Brandy Clark\u003c/h3>\n\u003ch5>Sept. 11,\u003cbr>\nWells Fargo Center, Santa Rosa\u003cbr>\n\u003ca href=\"http://tickets.wellsfargocenterarts.org/single/eventDetail.aspx?p=1433\" target=\"_blank\" rel=\"noopener\">Information and tickets \u003c/a>\u003c/h5>\n\u003cp>No one puts stories to country music better than Brandy Clark. Every song on her debut album last year, \u003cem>12 Stories,\u003c/em> was a winner, full of humor and heartache. She’s touring in support of country star Jennifer Nettles, for whom Clark wrote a number about an abusive husband called “His Hands.” It should be a great show and a chance to support the stirrings of a feminist wave in country music.\u003c/p>\n\u003c/div>\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/xySHuL7hDEk'\n title='//www.youtube.com/embed/xySHuL7hDEk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141717\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Patricia-LockwoodTwitterCrop.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141717\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Patricia-LockwoodTwitterCrop-400x264.jpg\" alt=\"Patricia Lockwood\" width=\"400\" height=\"264\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Patricia-LockwoodTwitterCrop-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Patricia-LockwoodTwitterCrop-300x198.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Patricia-LockwoodTwitterCrop.jpg 524w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Patricia Lockwood \u003ccite>(Courtesy of Twitter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Patricia Lockwood\u003c/h3>\n\u003ch5>Sept. 22,\u003cbr>\nJewish Community Center, San Francisco\u003cbr>\n\u003ca href=\"https://www.jccsf.org/arts-ideas/lectures/literary/patricia-lockwood/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Lockwood has become famous for “Rape Joke,” a not-at-all funny poem that reads like a series of brilliant and disturbing tweets exploring the often twisted relations between a rapist and his victim. Her most recent book of poems, \u003cem>Motherland Fatherland Homelandsexuals,\u003c/em> is full of odd and sexually explicit ideas that include a deer that does porn, a talking basketball and the Loch Ness Monster. A literary event that’s likely to sell out — for a poet who’s anything but.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141054\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/AiWeiWei.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141054\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/AiWeiWei-400x200.jpg\" alt=\"Ai Weiwei in the elevator when taken into custody by the police, Sichuan, China, 2009; Courtesy the artist\" width=\"400\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/AiWeiWei-400x200.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/AiWeiWei-300x150.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/AiWeiWei.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ai Weiwei in the elevator when taken into custody by the police, Sichuan, China, 2009; Courtesy the artist\u003c/figcaption>\u003c/figure>\n\u003ch3>@Large: Ai Weiwei on Alcatraz\u003c/h3>\n\u003ch5>Sept. 27 to April 26,\u003cbr>\nAlcatraz Island\u003cbr>\n\u003ca href=\"http://www.for-site.org/project/ai-weiwei-alcatraz/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Beijing’s Ai Weiwei is one of the world’s foremost artists and human-rights activists. The Chinese government once jailed him for 81 days and currently limits his travel. Now he’s overseeing a set of art installations on the meaning of confinement and political speech in what was once America’s most formidable military and federal prison. Kudos to San Francisco’s For-Site Foundation for commissioning the work, (Ai is taking no fee), and to the administrators at the Golden Gate National Recreation Area for giving Ai artistic freedom. Getting to Alcatraz will be half the fun and half the battle. Admission will be free, but you’ll have to ride the heavily booked \u003ca href=\"http://www.alcatrazislandtickets.com/\" target=\"_blank\" rel=\"noopener\">Alcatraz Ferry\u003c/a> to the island (adults $38.00). Best to reserve a full 90 days in advance (the furthest ahead you can book).\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141697\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Bengsons-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141697\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Bengsons-ed-400x266.jpg\" alt=\"Photo, Mark Leialoha\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Bengsons-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Bengsons-ed-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Bengsons-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo, Mark Leialoha\u003c/figcaption>\u003c/figure>\n\u003ch3>The Bengsons\u003c/h3>\n\u003ch5>Sept. 29,\u003cbr>\nFreight and Salvage, Berkeley\u003cbr>\n\u003ca href=\"http://www.thefreight.org/bengsons-shaina-taub-friends\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Shaun and Abigail Bengson have carved out a unique niche that combines experimental, folk-alt-art-rock and musical theatre. Their \u003cem>Hundred Days\u003c/em> at Z Space early this year tenderly wedded lush folk-rock with a gender-reversed take on La Boheme. Brilliant.\u003c/p>\n\u003c/div>\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/a3dg-3EXBag'\n title='//www.youtube.com/embed/a3dg-3EXBag'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141698\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Stlawrence-ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141698\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Stlawrence-ed-400x266.jpg\" alt=\"Photo, Eric Cheng\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Stlawrence-ed-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Stlawrence-ed-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/Stlawrence-ed.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo, Eric Cheng\u003c/figcaption>\u003c/figure>\n\u003ch3>St Lawrence String Quartet\u003c/h3>\n\u003ch5>Starting Oct. 10,\u003cbr>\nVarious locations\u003cbr>\n\u003ca href=\"http://www.slsq.com/\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>Stanford’s resident St. Lawrence String Quartet is one of the best in the world. This fall the group, led by the charming Geoff Nuttall, is continuing the celebration of its 25th anniversary with a series of concerts at Stanford and around the Bay, including new work written for the quartet by Berkeley’s John Adams and Stanford composers Jonathan Berger and Jaroslaw Kapuscinski. \u003ca href=\"https://live.stanford.edu/calendar/october-2014/st-lawrence-string-quartet\" target=\"_blank\" rel=\"noopener\">Local concerts begin Oct. 19\u003c/a> with one at Bing Hall, and \u003ca href=\"http://calperformances.org/performances/2014-15/chamber-orchestra/st-lawrence-string-quartet.php\" target=\"_blank\" rel=\"noopener\">another Nov. 23\u003c/a> at UC Berkeley’s Hertz Hall.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10140839\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/fall014-partyppl.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10140839 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/fall014-partyppl-400x266.jpg\" alt=\"Party People; photo: Jenny Graham\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/fall014-partyppl-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/fall014-partyppl-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/fall014-partyppl.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Party People\u003c/i>; photo: Jenny Graham\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>Party People\u003c/i>\u003c/h3>\n\u003ch5>Oct. 17 to Nov. 16,\u003cbr>\nBerkeley Rep, Berkeley\u003cbr>\n\u003ca href=\"http://www.berkeleyrep.org/season/1415/8235.asp\" target=\"_blank\" rel=\"noopener\">Information and tickets\u003c/a>\u003c/h5>\n\u003cp>The NYC troupe Universes debuted this show about the Black Panthers and the Young Lords at the Oregon Shakespeare Festival in 2012. It’s based on interviews with leaders and rank-and-file members of the two radical groups. The formidable Liesl Tommy, Berkeley Rep’s assistant artistic director, is directing as she did in 2012, and she says she’s helping Universes polish the script for an audience that will include some who know the Panthers’ story firsthand. And it’s a musical, filled with jazz, blues, hip-hop, boleros and salsa. A great prelude for the 50th anniversary (1966) of the founding of the Black Panthers in Oakland.\u003c/p>\n\u003c/div>\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/1QgK7HEZrng'\n title='//www.youtube.com/embed/1QgK7HEZrng'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"title": "Stay in the East Bay for Art and Music this Fall",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/fall-arts-preview-2014/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/FallArtsPreview-300x250-3.png\" alt=\"FAll arts preview 2014\" width=\"300\" height=\"250\" class=\"alignright size-full wp-image-10136791\">\u003c/a>If you don’t already live in the East Bay, your friends probably do, and it might be time to consider a move over the bridge anyway. There are endless opportunities for fall entertainment in the East Bay, so those of us who live here can stay put and avoid parking nightmares and tourists in SF. Many of us have to work in The City, so we appreciate being able to stay on the east side for spectacular weekend fun.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141336\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Lorde.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141336\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Lorde-400x264.png\" alt=\"Lorde\" width=\"400\" height=\"264\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Lorde-400x264.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Lorde-300x198.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Lorde.png 580w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lorde\u003c/figcaption>\u003c/figure>\n\u003ch3>Lorde\u003c/h3>\n\u003ch5>Oct. 2\u003cbr>\nGreek Theatre, UC Berkeley\u003cbr>\n\u003ca href=\"http://www.thegreektheatreberkeley.com/events/lorde/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>If you’re kind of over getting told to throw your hands up in the air like Lorde claims to be, then you can both happily keep your hands down during her show at The Greek on Oct. 2. Find your darkest lipstick and moodiest moves. You will never be royal, but you will be vibing out in a charming local outdoor venue while teenager Lorde perfects her stage presence.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141348\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Mavis-Staples.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10141348\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Mavis-Staples.png\" alt=\"Mavis Staples\" width=\"400\" height=\"327\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Mavis-Staples.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Mavis-Staples-300x245.png 300w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mavis Staples\u003c/figcaption>\u003c/figure>\n\u003ch3>Mavis Staples\u003c/h3>\n\u003ch5>Oct. 30\u003cbr>\nZellerbach Hall, UC Berkeley\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2014-15/jazz/mavis-staples.php\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Mavis Staples was the youngest member of the Staple Singers, who were famous for “Respect Yourself” and lending their talents to the Free Speech movement. Mavis funny as hell and she’ll be performing, as she has been her entire life, with her whole heart and soul, at Cal Performances. And listen to some great storytelling by Mavis on a recent episode of \u003ca href=\"http://www.npr.org/2014/08/16/340647455/not-my-job-mavis-staples-gets-quizzed-on-office-supples\" target=\"_blank\" rel=\"noopener\">Wait, wait… Don’t Tell Me\u003c/a>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141363\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/BAM-American-Wonder.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10141363\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/BAM-American-Wonder.jpg\" alt='\"Portrait of a Boy in Green\" by Brewster, John, Jr. ' width=\"400\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/BAM-American-Wonder.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/BAM-American-Wonder-293x300.jpg 293w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/BAM-American-Wonder-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/BAM-American-Wonder-64x64.jpg 64w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Portrait of a Boy in Green” by Brewster, John, Jr.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cb>American Wonder: Folk Art from the Collection\u003c/b>\u003c/h3>\n\u003ch5>Oct. 1\u003cbr>\nBerkeley Art Museum, Berkeley\u003cbr>\n\u003ca href=\"http://www.bampfa.berkeley.edu/exhibition/americanwonder\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>I love folk art. Folk art reminds us that anyone can make art, and you don’t need a fancy MFA degree to do it. The Berkeley Art Museum is dusting off their collection of American Folk Art for a new exhibit. Check it out before heading to the PFA’s outdoor movie screenings nearby.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141337\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-pee-wee-title.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141337\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-pee-wee-title-400x300.jpg\" alt=\"<i>Pee-Wee's Big Adventure</i>\" width=\"400\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-pee-wee-title-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-pee-wee-title-300x225.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-pee-wee-title.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Pee-Wee’s Big Adventure\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>Endless Summer Cinema\u003c/h3>\n\u003ch5>Oct. 3 & 10\u003cbr>\nPacific Film Archive\u003cbr>\n\u003ca href=\"http://bampfa.berkeley.edu/filmseries/endlesssummer\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>The Pacific Film Archive will present outdoor screenings of two classics, \u003ci>Pee-wee’s Big Adventure\u003c/i> and \u003ci>This is Spinal Tap\u003c/i> . Bring a blanket and some snacks, and it’ll feel like the good old days when you could always watch movies outdoors and Netflix didn’t exist.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141368\" class=\"wp-caption alignleft\" style=\"max-width: 399px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Oakland-Underground-Film-Fest-e1409181810925.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10141368 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Oakland-Underground-Film-Fest-e1409181810925.png\" alt=\"Oakland Underground Film Festival\" width=\"399\" height=\"321\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Oakland Underground Film Festival\u003c/figcaption>\u003c/figure>\n\u003ch3>Oakland Underground Film Festival\u003c/h3>\n\u003ch5>Sept. 25-28\u003cbr>\nGrand Lake Theater and Humanist Hall, Oakland\u003cbr>\n\u003ca href=\"http://www.oakuff.org/index.html\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>If you’d rather catch films of a different nature, check out the Oakland Underground Film Festival. The festival defines underground as “unconventional, bottom-up, misfit, badass, outsider, outlaw, rebel, underdog, minority, local, urban, green, and revolutionary.” So you know what you’re in for.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141343\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Sedaris.png\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Sedaris-400x315.png\" alt=\"David Sedaris\" width=\"400\" height=\"315\" class=\"size-thumbnail wp-image-10141343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Sedaris-400x315.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Sedaris-300x236.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Sedaris.png 410w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">David Sedaris\u003c/figcaption>\u003c/figure>\n\u003ch3>David Sedaris\u003c/h3>\n\u003ch5>Nov. 15\u003cbr>\nZellerbach Hall, UC Berkeley\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2014-15/berkeley-talks/david-sedaris.php\" target=\"_blank\" rel=\"noopener\">Tickets and Informatiuon\u003c/a>\u003c/h5>\n\u003cp>David Sedaris never disappoints and he’s making a classy appearance at Cal Performances where he’ll be in conversation with UC Berkeley chancellor Nicholas Dirks. Read Sedaris’s latest book, \u003ci>Let’s Explore Diabetes with Owls\u003c/i> before you head over the Zellerbach Hall to see the man himself.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141334\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Fertile-Ground.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Fertile-Ground-400x265.jpg\" alt=\"An example of one of the pieces in Fertile Ground\" width=\"400\" height=\"265\" class=\"size-thumbnail wp-image-10141334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Fertile-Ground-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Fertile-Ground-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Fertile-Ground.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A work by Margaret Kilgallen in \u003cb>Fertile Ground\u003c/b>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cb>Fertile Ground\u003c/b>\u003c/h3>\n\u003ch5>Sept. 20-April 12\u003cbr>\nOakland Museum of California\u003cbr>\n\u003ca href=\"http://www.museumca.org/exhibit/fertile-ground-art-and-community-california\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>\u003cstrong>Fertile Ground\u003c/strong> is a joint exhibition organized by SFMOMA and the Oakland Museum featuring well-known schools of artists who lived, worked or studied in California. Highlighting art from both museums’ collections, the exhibit aims to expose the “relationships, breakthroughs and transformative social change” that make up the landscape of contemporary California art. You’ll see the usual suspects like Diebenkorn, Arneson and Thiebaud, along with artists who became known in the ‘90s Mission scene, including several of my favorite female painters, Margaret Kilgallen, Alicia McCarthy and Ruby Neri, along with recent Art School alum, \u003ca href=\"http://ww2.kqed.org/artschool/2014/02/22/at-adobe-books-with-chris-johanson/\" target=\"_blank\" rel=\"noopener\">Chris Johanson\u003c/a>, and another local hero, Barry McGee.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141333\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Diebenkorn.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Diebenkorn-400x247.jpg\" alt=\"An example of Diebenkorn's work\" width=\"400\" height=\"247\" class=\"size-thumbnail wp-image-10141333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Diebenkorn-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Diebenkorn-300x185.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Diebenkorn.jpg 613w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">An example of Diebenkorn’s work\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cb>Closely Considered: Diebenkorn in Berkeley\u003c/b>\u003c/h3>\n\u003ch5>Sept. 14-Nov. 16\u003cbr>\nRichmond Art Center, Richmond\u003cbr>\n\u003ca href=\"http://www.therac.org/html/exhibitions.html#diebenkorn\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>If you want more Diebenkorn, especially drawings from his Berkeley years, head to the Richmond Art Center for \u003cstrong>Closely Considered\u003c/strong>, an exhibit that will focus on Diebenkorn, but also feature his pals from the Bay Area Figurative art movement. The Art Center is close to Richmond BART and is worth the trip. You can even sign up for an art class if you’re feeling inspired after diving into Diebenkorn.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141341\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/misako.png\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/misako-400x298.png\" alt=\"An example of Misako Inaoka's work for <b>Fractured Fauna</b>\" width=\"400\" height=\"298\" class=\"size-thumbnail wp-image-10141341\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/misako-400x298.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/misako-300x224.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/misako.png 443w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artwork by Misako Inaoka\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cb>Fractured Fauna\u003c/b> featuring Misako Inaoka\u003c/h3>\n\u003ch5>Sept. 5\u003cbr>\nJohansson Projects\u003cbr>\n\u003ca href=\"http://johanssonprojects.com/shows/inaoka14_show.html\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Misako Inaoka creates curious, foreboding creatures out of unusual materials, and her latest mysterious menagerie is crafted with upholstery. See her latest series, \u003cstrong>Fractured Fauna,\u003c/strong> at Johansson Projects. The show opens Aug. 23 and the official reception, where you can meet the artist, is in early September.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141335\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Krowswork-miskowicz_seaformonbattery.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Krowswork-miskowicz_seaformonbattery-400x148.jpg\" alt=\"One of the pieces in Kim Miskowicz's <b>Formation</b>\" width=\"400\" height=\"148\" class=\"size-thumbnail wp-image-10141335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Krowswork-miskowicz_seaformonbattery-400x148.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Krowswork-miskowicz_seaformonbattery-300x111.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Krowswork-miskowicz_seaformonbattery.jpg 808w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">One of the pieces in Kim Miskowicz’s \u003cb>Formation\u003c/b>\u003c/figcaption>\u003c/figure>\n\u003ch3>Kim Miscowicz: Formation\u003c/h3>\n\u003ch5>Sept. 5- Oct. 11\u003cbr>\nKrowswork, Oakland\u003cbr>\n\u003ca href=\"http://www.krowswork.com/kimmiskowicz.html\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Not far from Johansson projects, Krowswork features ambitious art and film projects in their Oakland space. Kim Miscowicz opens a new show at Krowswork called \u003ci>Formation.\u003c/i> Her dreamy landscapes, created by melding video and painting together, are difficult to imagine. Clearly, they need to be seen in person.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141338\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Sarah-Applebaum.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Sarah-Applebaum-400x600.jpg\" alt=\"An example of Applebaum's worth\" width=\"400\" height=\"600\" class=\"size-thumbnail wp-image-10141338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Sarah-Applebaum-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Sarah-Applebaum-200x300.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Sarah-Applebaum.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artwork by Sarah Applebaum\u003c/figcaption>\u003c/figure>\n\u003ch3>The Way Somewhere\u003c/h3>\n\u003ch5>Sept. 5-Oct.5\u003cbr>\nRoyal Nonesuch Gallery, Oakland\u003cbr>\n\u003ca href=\"http://www.royalnonesuchgallery.com/index.php?/exhibitions/upcoming/2/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>A group show at Royal Nonesuch Gallery opens on Sept. 5 with four artists, including \u003ca href=\"http://bessmakhalaf.com/\" target=\"_blank\" rel=\"noopener\">Bessma Khalaf\u003c/a>, whose video work is mesmerizing and abruptly stunning, and Sarah Applebaum, who I befriended after covering \u003ca href=\"http://ww2.kqed.org/arts/2009/05/28/sarah_applebaum_is_soft_core/\" target=\"_blank\" rel=\"noopener\">one of her shows in 2009\u003c/a> in SF. Applebaum has narrowed her color palette over the last five years. Her new work is heavy with meaning and she always wows the crowd. Abraham McNally and Adam Thorman will also be exhibiting new work in this show.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141164\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/interpol.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/interpol-400x225.jpg\" alt=\"Interpol's new album, El Pintor, comes out on Sept. 9.\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10141164\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/interpol-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/interpol-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/interpol.jpg 1120w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Interpol’s new album, El Pintor, comes out on Sept. 9. \u003ccite>(Courtesy of the band)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Fall Lineup at The Fox\u003c/h3>\n\u003ch5>Sept. & Oct.\u003cbr>\nThe Fox Theater, Oakland\u003cbr>\n\u003ca href=\"http://www.thefoxoakland.com/calendar.php\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Let’s get back to the music. If you want to dance or rage, you can see Sam Smith (9/28), Thievery Corporation (10/2), Lykke Li (9/21) and Die Antwoord (9/25) at the Fox Theater this fall, or you can chill with the 30-something crowd and catch Interpol (9/20) after some artisan drinks at \u003ca href=\"http://www.yelp.com/biz/flora-restaurant-and-bar-oakland\" target=\"_blank\" rel=\"noopener\">Flora\u003c/a>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141339\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP4-Dead-winter-carpenters.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP4-Dead-winter-carpenters-400x266.jpg\" alt=\"Dead Winter Carpenters\" width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-10141339\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP4-Dead-winter-carpenters-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP4-Dead-winter-carpenters-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP4-Dead-winter-carpenters.jpg 625w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dead Winter Carpenters\u003c/figcaption>\u003c/figure>\n\u003ch3>Fall Lineup at The New Parrish\u003c/h3>\n\u003ch5>Sept. & Oct.\u003cbr>\nThe New Parrish, Oakland\u003cbr>\n\u003ca href=\"http://www.thenewparish.com/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>If mainstream music isn’t your jam, head over to the New Parrish. The fall lineup includes Kyrsten Bean (9/10), a local singer-songwriter who will appear in the upcoming documentary \u003ci>Clean and Sober Punx\u003c/i>. And Dead Winter Carpenters (9/5), who hail from Tahoe, are also on tap. Sample their album on \u003ca href=\"http://deadwintercarpenters.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Bandcamp\u003c/a> to see if you dig their fast, folky rock tunes.\n\u003c/p>\u003c/div>\n\u003cp>And there you have it—13+ reasons to stay in the East Bay this fall. Enjoy your arty adventures and leave a comment if you have a recommendation for this list.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Sick of dealing with finding parking in the city? Lucky for you there are endless opportunities for entertainment in the East Bay.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/fall-arts-preview-2014/\" target=\"_blank\" rel=\"noopener\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/FallArtsPreview-300x250-3.png\" alt=\"FAll arts preview 2014\" width=\"300\" height=\"250\" class=\"alignright size-full wp-image-10136791\">\u003c/a>If you don’t already live in the East Bay, your friends probably do, and it might be time to consider a move over the bridge anyway. There are endless opportunities for fall entertainment in the East Bay, so those of us who live here can stay put and avoid parking nightmares and tourists in SF. Many of us have to work in The City, so we appreciate being able to stay on the east side for spectacular weekend fun.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141336\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Lorde.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141336\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Lorde-400x264.png\" alt=\"Lorde\" width=\"400\" height=\"264\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Lorde-400x264.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Lorde-300x198.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Lorde.png 580w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Lorde\u003c/figcaption>\u003c/figure>\n\u003ch3>Lorde\u003c/h3>\n\u003ch5>Oct. 2\u003cbr>\nGreek Theatre, UC Berkeley\u003cbr>\n\u003ca href=\"http://www.thegreektheatreberkeley.com/events/lorde/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>If you’re kind of over getting told to throw your hands up in the air like Lorde claims to be, then you can both happily keep your hands down during her show at The Greek on Oct. 2. Find your darkest lipstick and moodiest moves. You will never be royal, but you will be vibing out in a charming local outdoor venue while teenager Lorde perfects her stage presence.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141348\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Mavis-Staples.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10141348\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Mavis-Staples.png\" alt=\"Mavis Staples\" width=\"400\" height=\"327\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Mavis-Staples.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Mavis-Staples-300x245.png 300w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mavis Staples\u003c/figcaption>\u003c/figure>\n\u003ch3>Mavis Staples\u003c/h3>\n\u003ch5>Oct. 30\u003cbr>\nZellerbach Hall, UC Berkeley\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2014-15/jazz/mavis-staples.php\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Mavis Staples was the youngest member of the Staple Singers, who were famous for “Respect Yourself” and lending their talents to the Free Speech movement. Mavis funny as hell and she’ll be performing, as she has been her entire life, with her whole heart and soul, at Cal Performances. And listen to some great storytelling by Mavis on a recent episode of \u003ca href=\"http://www.npr.org/2014/08/16/340647455/not-my-job-mavis-staples-gets-quizzed-on-office-supples\" target=\"_blank\" rel=\"noopener\">Wait, wait… Don’t Tell Me\u003c/a>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141363\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/BAM-American-Wonder.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10141363\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/BAM-American-Wonder.jpg\" alt='\"Portrait of a Boy in Green\" by Brewster, John, Jr. ' width=\"400\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/BAM-American-Wonder.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/BAM-American-Wonder-293x300.jpg 293w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/BAM-American-Wonder-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/09/BAM-American-Wonder-64x64.jpg 64w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Portrait of a Boy in Green” by Brewster, John, Jr.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cb>American Wonder: Folk Art from the Collection\u003c/b>\u003c/h3>\n\u003ch5>Oct. 1\u003cbr>\nBerkeley Art Museum, Berkeley\u003cbr>\n\u003ca href=\"http://www.bampfa.berkeley.edu/exhibition/americanwonder\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>I love folk art. Folk art reminds us that anyone can make art, and you don’t need a fancy MFA degree to do it. The Berkeley Art Museum is dusting off their collection of American Folk Art for a new exhibit. Check it out before heading to the PFA’s outdoor movie screenings nearby.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141337\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-pee-wee-title.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-10141337\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-pee-wee-title-400x300.jpg\" alt=\"<i>Pee-Wee's Big Adventure</i>\" width=\"400\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-pee-wee-title-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-pee-wee-title-300x225.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-pee-wee-title.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Pee-Wee’s Big Adventure\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>Endless Summer Cinema\u003c/h3>\n\u003ch5>Oct. 3 & 10\u003cbr>\nPacific Film Archive\u003cbr>\n\u003ca href=\"http://bampfa.berkeley.edu/filmseries/endlesssummer\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>The Pacific Film Archive will present outdoor screenings of two classics, \u003ci>Pee-wee’s Big Adventure\u003c/i> and \u003ci>This is Spinal Tap\u003c/i> . Bring a blanket and some snacks, and it’ll feel like the good old days when you could always watch movies outdoors and Netflix didn’t exist.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141368\" class=\"wp-caption alignleft\" style=\"max-width: 399px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Oakland-Underground-Film-Fest-e1409181810925.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10141368 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/09/Oakland-Underground-Film-Fest-e1409181810925.png\" alt=\"Oakland Underground Film Festival\" width=\"399\" height=\"321\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Oakland Underground Film Festival\u003c/figcaption>\u003c/figure>\n\u003ch3>Oakland Underground Film Festival\u003c/h3>\n\u003ch5>Sept. 25-28\u003cbr>\nGrand Lake Theater and Humanist Hall, Oakland\u003cbr>\n\u003ca href=\"http://www.oakuff.org/index.html\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>If you’d rather catch films of a different nature, check out the Oakland Underground Film Festival. The festival defines underground as “unconventional, bottom-up, misfit, badass, outsider, outlaw, rebel, underdog, minority, local, urban, green, and revolutionary.” So you know what you’re in for.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141343\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Sedaris.png\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/Sedaris-400x315.png\" alt=\"David Sedaris\" width=\"400\" height=\"315\" class=\"size-thumbnail wp-image-10141343\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Sedaris-400x315.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Sedaris-300x236.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/Sedaris.png 410w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">David Sedaris\u003c/figcaption>\u003c/figure>\n\u003ch3>David Sedaris\u003c/h3>\n\u003ch5>Nov. 15\u003cbr>\nZellerbach Hall, UC Berkeley\u003cbr>\n\u003ca href=\"http://calperformances.org/performances/2014-15/berkeley-talks/david-sedaris.php\" target=\"_blank\" rel=\"noopener\">Tickets and Informatiuon\u003c/a>\u003c/h5>\n\u003cp>David Sedaris never disappoints and he’s making a classy appearance at Cal Performances where he’ll be in conversation with UC Berkeley chancellor Nicholas Dirks. Read Sedaris’s latest book, \u003ci>Let’s Explore Diabetes with Owls\u003c/i> before you head over the Zellerbach Hall to see the man himself.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141334\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Fertile-Ground.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Fertile-Ground-400x265.jpg\" alt=\"An example of one of the pieces in Fertile Ground\" width=\"400\" height=\"265\" class=\"size-thumbnail wp-image-10141334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Fertile-Ground-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Fertile-Ground-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Fertile-Ground.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A work by Margaret Kilgallen in \u003cb>Fertile Ground\u003c/b>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cb>Fertile Ground\u003c/b>\u003c/h3>\n\u003ch5>Sept. 20-April 12\u003cbr>\nOakland Museum of California\u003cbr>\n\u003ca href=\"http://www.museumca.org/exhibit/fertile-ground-art-and-community-california\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>\u003cstrong>Fertile Ground\u003c/strong> is a joint exhibition organized by SFMOMA and the Oakland Museum featuring well-known schools of artists who lived, worked or studied in California. Highlighting art from both museums’ collections, the exhibit aims to expose the “relationships, breakthroughs and transformative social change” that make up the landscape of contemporary California art. You’ll see the usual suspects like Diebenkorn, Arneson and Thiebaud, along with artists who became known in the ‘90s Mission scene, including several of my favorite female painters, Margaret Kilgallen, Alicia McCarthy and Ruby Neri, along with recent Art School alum, \u003ca href=\"http://ww2.kqed.org/artschool/2014/02/22/at-adobe-books-with-chris-johanson/\" target=\"_blank\" rel=\"noopener\">Chris Johanson\u003c/a>, and another local hero, Barry McGee.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141333\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Diebenkorn.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Diebenkorn-400x247.jpg\" alt=\"An example of Diebenkorn's work\" width=\"400\" height=\"247\" class=\"size-thumbnail wp-image-10141333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Diebenkorn-400x247.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Diebenkorn-300x185.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Diebenkorn.jpg 613w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">An example of Diebenkorn’s work\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cb>Closely Considered: Diebenkorn in Berkeley\u003c/b>\u003c/h3>\n\u003ch5>Sept. 14-Nov. 16\u003cbr>\nRichmond Art Center, Richmond\u003cbr>\n\u003ca href=\"http://www.therac.org/html/exhibitions.html#diebenkorn\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>If you want more Diebenkorn, especially drawings from his Berkeley years, head to the Richmond Art Center for \u003cstrong>Closely Considered\u003c/strong>, an exhibit that will focus on Diebenkorn, but also feature his pals from the Bay Area Figurative art movement. The Art Center is close to Richmond BART and is worth the trip. You can even sign up for an art class if you’re feeling inspired after diving into Diebenkorn.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141341\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/misako.png\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/misako-400x298.png\" alt=\"An example of Misako Inaoka's work for <b>Fractured Fauna</b>\" width=\"400\" height=\"298\" class=\"size-thumbnail wp-image-10141341\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/misako-400x298.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/misako-300x224.png 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/misako.png 443w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artwork by Misako Inaoka\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cb>Fractured Fauna\u003c/b> featuring Misako Inaoka\u003c/h3>\n\u003ch5>Sept. 5\u003cbr>\nJohansson Projects\u003cbr>\n\u003ca href=\"http://johanssonprojects.com/shows/inaoka14_show.html\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Misako Inaoka creates curious, foreboding creatures out of unusual materials, and her latest mysterious menagerie is crafted with upholstery. See her latest series, \u003cstrong>Fractured Fauna,\u003c/strong> at Johansson Projects. The show opens Aug. 23 and the official reception, where you can meet the artist, is in early September.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141335\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Krowswork-miskowicz_seaformonbattery.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Krowswork-miskowicz_seaformonbattery-400x148.jpg\" alt=\"One of the pieces in Kim Miskowicz's <b>Formation</b>\" width=\"400\" height=\"148\" class=\"size-thumbnail wp-image-10141335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Krowswork-miskowicz_seaformonbattery-400x148.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Krowswork-miskowicz_seaformonbattery-300x111.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Krowswork-miskowicz_seaformonbattery.jpg 808w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">One of the pieces in Kim Miskowicz’s \u003cb>Formation\u003c/b>\u003c/figcaption>\u003c/figure>\n\u003ch3>Kim Miscowicz: Formation\u003c/h3>\n\u003ch5>Sept. 5- Oct. 11\u003cbr>\nKrowswork, Oakland\u003cbr>\n\u003ca href=\"http://www.krowswork.com/kimmiskowicz.html\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Not far from Johansson projects, Krowswork features ambitious art and film projects in their Oakland space. Kim Miscowicz opens a new show at Krowswork called \u003ci>Formation.\u003c/i> Her dreamy landscapes, created by melding video and painting together, are difficult to imagine. Clearly, they need to be seen in person.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141338\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Sarah-Applebaum.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP-Sarah-Applebaum-400x600.jpg\" alt=\"An example of Applebaum's worth\" width=\"400\" height=\"600\" class=\"size-thumbnail wp-image-10141338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Sarah-Applebaum-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Sarah-Applebaum-200x300.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP-Sarah-Applebaum.jpg 500w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artwork by Sarah Applebaum\u003c/figcaption>\u003c/figure>\n\u003ch3>The Way Somewhere\u003c/h3>\n\u003ch5>Sept. 5-Oct.5\u003cbr>\nRoyal Nonesuch Gallery, Oakland\u003cbr>\n\u003ca href=\"http://www.royalnonesuchgallery.com/index.php?/exhibitions/upcoming/2/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>A group show at Royal Nonesuch Gallery opens on Sept. 5 with four artists, including \u003ca href=\"http://bessmakhalaf.com/\" target=\"_blank\" rel=\"noopener\">Bessma Khalaf\u003c/a>, whose video work is mesmerizing and abruptly stunning, and Sarah Applebaum, who I befriended after covering \u003ca href=\"http://ww2.kqed.org/arts/2009/05/28/sarah_applebaum_is_soft_core/\" target=\"_blank\" rel=\"noopener\">one of her shows in 2009\u003c/a> in SF. Applebaum has narrowed her color palette over the last five years. Her new work is heavy with meaning and she always wows the crowd. Abraham McNally and Adam Thorman will also be exhibiting new work in this show.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141164\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/interpol.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/interpol-400x225.jpg\" alt=\"Interpol's new album, El Pintor, comes out on Sept. 9.\" width=\"400\" height=\"225\" class=\"size-thumbnail wp-image-10141164\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/interpol-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/interpol-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/interpol.jpg 1120w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Interpol’s new album, El Pintor, comes out on Sept. 9. \u003ccite>(Courtesy of the band)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Fall Lineup at The Fox\u003c/h3>\n\u003ch5>Sept. & Oct.\u003cbr>\nThe Fox Theater, Oakland\u003cbr>\n\u003ca href=\"http://www.thefoxoakland.com/calendar.php\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Let’s get back to the music. If you want to dance or rage, you can see Sam Smith (9/28), Thievery Corporation (10/2), Lykke Li (9/21) and Die Antwoord (9/25) at the Fox Theater this fall, or you can chill with the 30-something crowd and catch Interpol (9/20) after some artisan drinks at \u003ca href=\"http://www.yelp.com/biz/flora-restaurant-and-bar-oakland\" target=\"_blank\" rel=\"noopener\">Flora\u003c/a>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10141339\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP4-Dead-winter-carpenters.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/08/FP4-Dead-winter-carpenters-400x266.jpg\" alt=\"Dead Winter Carpenters\" width=\"400\" height=\"266\" class=\"size-thumbnail wp-image-10141339\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP4-Dead-winter-carpenters-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP4-Dead-winter-carpenters-300x200.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/08/FP4-Dead-winter-carpenters.jpg 625w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dead Winter Carpenters\u003c/figcaption>\u003c/figure>\n\u003ch3>Fall Lineup at The New Parrish\u003c/h3>\n\u003ch5>Sept. & Oct.\u003cbr>\nThe New Parrish, Oakland\u003cbr>\n\u003ca href=\"http://www.thenewparish.com/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>If mainstream music isn’t your jam, head over to the New Parrish. The fall lineup includes Kyrsten Bean (9/10), a local singer-songwriter who will appear in the upcoming documentary \u003ci>Clean and Sober Punx\u003c/i>. And Dead Winter Carpenters (9/5), who hail from Tahoe, are also on tap. Sample their album on \u003ca href=\"http://deadwintercarpenters.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Bandcamp\u003c/a> to see if you dig their fast, folky rock tunes.\n\u003c/p>\u003c/div>\n\u003cp>And there you have it—13+ reasons to stay in the East Bay this fall. Enjoy your arty adventures and leave a comment if you have a recommendation for this list.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
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"airtime": "SUN 7:30pm-8pm",
"meta": {
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},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
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"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
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