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"content": "\u003cp>Serious issues demand to be taken seriously. That’s what I was taught from an early age, despite the best efforts of Lenny Bruce and Abbie Hoffman, and it’s the unquestioned aphorism that drives newscasts, newspapers and documentaries. But \u003cem>The Daily Show\u003c/em> and \u003cem>The Colbert Report\u003c/em> proved that it’s possible to inform and inspire a swath of the population through witty, barbed dissections of current events. The latter will never replace the former, of course, but it’s an invaluable compliment.\u003c/p>\n\u003cp>Building on the idea that comedy opens people’s ears—to ugly realities and uncomfortable truths, Bay Area producers David Munro and Xandra Castleton made \u003ci>Stand Up Planet\u003c/i>, a one-hour documentary following an Indian-American comic as he searches for comedic talent in some of the poorest areas in the world. \u003c/p>\n\u003cp>On one level, \u003cem>Stand Up Planet\u003c/em> is an enlightened travelogue in which charismatic comic and host Hasan Minhaj ventures to India and South Africa in search of local comedians with the guts to take on social issues and the talent to get laughs. An important secondary goal is bringing a couple of those comedians to Los Angeles to perform at the Laugh Factory. In addition to offering a personal and career boon for the two aspiring talents, the gig could demonstrate that a given culture’s problems and humor can be deeply understood by another. Suffering may be universal, but so is empathy; is comedy?\u003c/p>\n\u003cfigure id=\"attachment_10135789\" class=\"wp-caption alignright\" style=\"max-width: 1024px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Castleton_Munro_byTommyLau_02-1-1024x682.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Castleton_Munro_byTommyLau_02-1-1024x682.jpg\" alt=\"Stand Up Planet co-creators, Xandra Castleton & David Munro\" width=\"1024\" height=\"682\" class=\"size-full wp-image-10135789\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Castleton_Munro_byTommyLau_02-1-1024x682.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Castleton_Munro_byTommyLau_02-1-1024x682-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Castleton_Munro_byTommyLau_02-1-1024x682-300x199.jpg 300w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stand Up Planet co-creators, Xandra Castleton & David Munro \u003ccite>(Tommy Lau )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Traditional social issue documentaries leave out the ‘life goes on’ part, where people laugh and love, and just focus to an extreme on the problem,” Munro explains. “I think they not only leave out a big part of the story, but make people tune out when it’s presented that way. You can’t keep living if all there is is poverty and hopelessness.”\u003c/p>\n\u003cp>The producers looked at a lot of comics before settling on the likable, intelligent Minhaj (from MTV’s \u003cem>Failosophy\u003c/em>) as Stand Up Planet’s host, guide and ringleader. It happened to be pilot season in L.A., and Minhaj had various options. He chose \u003ci>Stand Up Planet\u003c/i>, in part, because he recognized that he was increasingly drawing on his own life for his stand-up act.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He was in a time of discovery for his own work, and [the program] was an experience that would broaden his scope,” Munro says. “And also connect some dots, to go back to India and go through this Ralph Ellison experience. ‘What if my family hadn’t left? Would I have been a comedian? A computer engineer?’ It closed a circle, in a way, and opened one up.”\u003c/p>\n\u003cp>Minhaj’s trip to Mumbai uncovers a handful of courageous, outspoken English-language comics who primarily perform in small venues such as restaurants. Their audience largely consists of young, educated elites, but that’s an influential segment of the population. On the street, bulky comic Tanmay Bhat takes Minhat on a neighborhood tour to illustrate the reality behind one of his most trenchant bits: 54 percent of Indians defecate outdoors. Every day, 1,600 children die of sanitation-related illnesses.\u003c/p>\n\u003cp>In Johannesburg, Minhaj and the filmmakers encounter black stars who launched their careers with daring sketch-comedy shows that made fun of the tendency to blame now-banned apartheid for every ill. \u003c/p>\n\u003cp>“Everyone was walking on eggshells, no one wanted to touch the third rail of flat-out truth,” Munro says. “The comics were willing to. Some of the stuff they did on the TV show caught a lot of flak from the government.”\u003c/p>\n\u003cp>\u003cem>Stand Up Planet\u003c/em> goes to great pains to avoid condescending to the native comics and populations, which should be commended. At the same time, Munro says he sees the progression and history of American comedy mirrored in India and South Africa.\u003c/p>\n\u003cp>“Before stand-up, just like in this country, mass-appeal mainstream comedy tends to be broad, almost like vaudeville,” he explains. “So what we saw in these countries was an accelerated evolution of what happened here. The performers start out as filler (on a long bill) and slowly become the main draw.”\u003c/p>\n\u003cp>One of the surprising thing about \u003cem>Stand Up Planet\u003c/em> is when the scouted talent that were invited to L.A. at Minhaj’s invitation are treated to a private visit with Bill Cosby, which rocks their world.\u003c/p>\n\u003cp>“The way it works for me is as the passing of the torch, that dangerous comedy is not a new invention,” Munro says. “It’s going to the mountain,” Castleton concurs. “All these comics grew up watching \u003cem>The Cosby Show\u003c/em>.”\u003c/p>\n\u003cp>The show also had a huge impact in South Africa, simply by depicting that a black man and his wife could be professionals and live in a nice house. According to Munro, the inmates on Robben Island used to write in sand, recounting what happened the night before on \u003cem>The Cosby Show\u003c/em>.\u003c/p>\n\u003cp>In other words, never discount the power of comedy. \u003cem>Stand Up Planet\u003c/em> carries on the fight with a contemporary voice and ample laughs.\u003c/p>\n\u003cp>\u003ci>Stand Up Planet\u003c/i> has its broadcast premiere Wednesday, May 14 on Link TV, Pivot and KCET.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For more information, visit \u003ca href=\"http://www.standupplanet.org/\" target=\"”_blank”\" rel=\"noopener\"> www.standupplanet.org.\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Serious issues demand to be taken seriously. That’s what I was taught from an early age, despite the best efforts of Lenny Bruce and Abbie Hoffman, and it’s the unquestioned aphorism that drives newscasts, newspapers and documentaries. But \u003cem>The Daily Show\u003c/em> and \u003cem>The Colbert Report\u003c/em> proved that it’s possible to inform and inspire a swath of the population through witty, barbed dissections of current events. The latter will never replace the former, of course, but it’s an invaluable compliment.\u003c/p>\n\u003cp>Building on the idea that comedy opens people’s ears—to ugly realities and uncomfortable truths, Bay Area producers David Munro and Xandra Castleton made \u003ci>Stand Up Planet\u003c/i>, a one-hour documentary following an Indian-American comic as he searches for comedic talent in some of the poorest areas in the world. \u003c/p>\n\u003cp>On one level, \u003cem>Stand Up Planet\u003c/em> is an enlightened travelogue in which charismatic comic and host Hasan Minhaj ventures to India and South Africa in search of local comedians with the guts to take on social issues and the talent to get laughs. An important secondary goal is bringing a couple of those comedians to Los Angeles to perform at the Laugh Factory. In addition to offering a personal and career boon for the two aspiring talents, the gig could demonstrate that a given culture’s problems and humor can be deeply understood by another. Suffering may be universal, but so is empathy; is comedy?\u003c/p>\n\u003cfigure id=\"attachment_10135789\" class=\"wp-caption alignright\" style=\"max-width: 1024px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Castleton_Munro_byTommyLau_02-1-1024x682.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/05/Castleton_Munro_byTommyLau_02-1-1024x682.jpg\" alt=\"Stand Up Planet co-creators, Xandra Castleton & David Munro\" width=\"1024\" height=\"682\" class=\"size-full wp-image-10135789\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Castleton_Munro_byTommyLau_02-1-1024x682.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Castleton_Munro_byTommyLau_02-1-1024x682-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/05/Castleton_Munro_byTommyLau_02-1-1024x682-300x199.jpg 300w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stand Up Planet co-creators, Xandra Castleton & David Munro \u003ccite>(Tommy Lau )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Traditional social issue documentaries leave out the ‘life goes on’ part, where people laugh and love, and just focus to an extreme on the problem,” Munro explains. “I think they not only leave out a big part of the story, but make people tune out when it’s presented that way. You can’t keep living if all there is is poverty and hopelessness.”\u003c/p>\n\u003cp>The producers looked at a lot of comics before settling on the likable, intelligent Minhaj (from MTV’s \u003cem>Failosophy\u003c/em>) as Stand Up Planet’s host, guide and ringleader. It happened to be pilot season in L.A., and Minhaj had various options. He chose \u003ci>Stand Up Planet\u003c/i>, in part, because he recognized that he was increasingly drawing on his own life for his stand-up act.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He was in a time of discovery for his own work, and [the program] was an experience that would broaden his scope,” Munro says. “And also connect some dots, to go back to India and go through this Ralph Ellison experience. ‘What if my family hadn’t left? Would I have been a comedian? A computer engineer?’ It closed a circle, in a way, and opened one up.”\u003c/p>\n\u003cp>Minhaj’s trip to Mumbai uncovers a handful of courageous, outspoken English-language comics who primarily perform in small venues such as restaurants. Their audience largely consists of young, educated elites, but that’s an influential segment of the population. On the street, bulky comic Tanmay Bhat takes Minhat on a neighborhood tour to illustrate the reality behind one of his most trenchant bits: 54 percent of Indians defecate outdoors. Every day, 1,600 children die of sanitation-related illnesses.\u003c/p>\n\u003cp>In Johannesburg, Minhaj and the filmmakers encounter black stars who launched their careers with daring sketch-comedy shows that made fun of the tendency to blame now-banned apartheid for every ill. \u003c/p>\n\u003cp>“Everyone was walking on eggshells, no one wanted to touch the third rail of flat-out truth,” Munro says. “The comics were willing to. Some of the stuff they did on the TV show caught a lot of flak from the government.”\u003c/p>\n\u003cp>\u003cem>Stand Up Planet\u003c/em> goes to great pains to avoid condescending to the native comics and populations, which should be commended. At the same time, Munro says he sees the progression and history of American comedy mirrored in India and South Africa.\u003c/p>\n\u003cp>“Before stand-up, just like in this country, mass-appeal mainstream comedy tends to be broad, almost like vaudeville,” he explains. “So what we saw in these countries was an accelerated evolution of what happened here. The performers start out as filler (on a long bill) and slowly become the main draw.”\u003c/p>\n\u003cp>One of the surprising thing about \u003cem>Stand Up Planet\u003c/em> is when the scouted talent that were invited to L.A. at Minhaj’s invitation are treated to a private visit with Bill Cosby, which rocks their world.\u003c/p>\n\u003cp>“The way it works for me is as the passing of the torch, that dangerous comedy is not a new invention,” Munro says. “It’s going to the mountain,” Castleton concurs. “All these comics grew up watching \u003cem>The Cosby Show\u003c/em>.”\u003c/p>\n\u003cp>The show also had a huge impact in South Africa, simply by depicting that a black man and his wife could be professionals and live in a nice house. According to Munro, the inmates on Robben Island used to write in sand, recounting what happened the night before on \u003cem>The Cosby Show\u003c/em>.\u003c/p>\n\u003cp>In other words, never discount the power of comedy. \u003cem>Stand Up Planet\u003c/em> carries on the fight with a contemporary voice and ample laughs.\u003c/p>\n\u003cp>\u003ci>Stand Up Planet\u003c/i> has its broadcast premiere Wednesday, May 14 on Link TV, Pivot and KCET.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For more information, visit \u003ca href=\"http://www.standupplanet.org/\" target=\"”_blank”\" rel=\"noopener\"> www.standupplanet.org.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The TV series \u003ci>Glee\u003c/i> recently popularized the musical genre of teenagers engaging in conventionally un-hip competitive performance, complicated by social stratification and acute adolescent drama. But you could say they stole the routine. Long before the stuck-up Cheerios of \u003ci>Glee\u003c/i>, there were the stuck up cheerleaders of \u003ca href=\"http://www.imdb.com/title/tt0204946/\">\u003ci>Bring it On\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>In the 2000 teen flick, Kirsten Dunst stars as a head cheerleader who must decide if the championship is worth choreographic plagiarism. The film, like \u003ci>Glee\u003c/i> is yummy with high school dishiness, ambition and deceit.\u003c/p>\n\u003cp>But if we’re talking moves and grooves and attitudes, the super clever \u003ci>Bring It On, The Musical\u003c/i> has them both beat. In an unprecedented screen-to-stage occurrence, this new Broadway-bound \u003ci>movical\u003c/i> has a more complex and more engaging plot than its progenitor.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bringiton4.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Photo: Craig Schwartz\u003c/p>\n\u003cp>Our current appetite for all things retro has made ’80s movies ripe for screen-to-stage adaptations. These guilty pleasure flicks are now campy musicals: \u003ci>Xanadu, the Musical\u003c/i>, \u003ci>Legally Blonde, the Musical\u003c/i>, \u003ci>Urban Cowboy\u003c/i>, \u003ci>9 to 5\u003c/i>, \u003ci>Saturday Night Fever\u003c/i> and on and on and on. (\u003ci>Ghost, The Musical\u003c/i> coming in 2012).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Turns out, \u003ci>Bring it On, The Musical\u003c/i> is not simply a gimmick. It’s much more than a shortcut to box office success via brand recognition.\u003c/p>\n\u003cp>True, the talent is recognizable: \u003ci>Bring it On\u003c/i> has a book by Jeff Whitty (\u003ci>Avenue Q\u003c/i>); music by Pulitzer Prize and Tony Award-winning composer Tom Kitt (\u003ci>Next to Normal\u003c/i>) and Lin-Manuel Miranda (\u003ci>In The Heights\u003c/i>), and lyrics by Miranda and \u003ci>High Fidelity’s\u003c/i> Amanda Green.\u003c/p>\n\u003cp>Combined, this dream team produced a savvy musical that achieves what \u003ci>Glee\u003c/i> only achieved during its first season: a winking way to have its cake and eat it too. That is, this largely tongue-in-cheek show blends sharp satire with sincerity. \u003ci>Bring it On\u003c/i> 2011 mocks its genre even while it serves up quality music and movement. There’s romance and betrayal and high-flying synchronized cheering. And it wouldn’t be a high school musical without underdog versus mean girl catfights.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bringiton1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Taylor Louderman and Adrienne Warren, Photo: Craig Schwartz\u003c/p>\n\u003cp>In the film, Dunst’s cheerleading squad is teeming with popularity, entitlement and blondes. Their formidable competition is a squad from an inner city school (black girls). The bring-it-on standoff between the blondes and the blacks is actually a small part of the movie. The East Compton Clovers are righteous and sassy, but mostly generic underprivileged students.\u003c/p>\n\u003cp>The stage version puts the minorities at the center of the plot, setting the story in their school and giving these kids actual dimension. With this change of focus, the story is flipped on its ear.\u003c/p>\n\u003cp>\u003c/p>\u003cp>Taylor Louderman plays Campbell, the Kirsten Dunst role. The cheerleading captain at her old school, Campbell is inexplicably transferred to a new school due to abrupt redistricting. Like a fish out of water and down the rabbit hole, she becomes the outsider who is teased and hopelessly mocked.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bringiton3.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Ryann Redmond and Nicolas Womack, Photo: Craig Schwartz\u003c/p>\n\u003cp>Adrienne Warren plays Danielle, the ringleader of the girl gang, a group that embraces outsiders — including a terrific Gregory Haney as the tranny diva La Cienega. Even the chubby outsider Bridgid, (a wonderfully odd-ball performance by Ryann Redmond) is accepted at her new school. But Danielle’s clique have a hip hop \u003ci>crew\u003c/i> not a cheerleading \u003ci>squad\u003c/i>. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bringiton4.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Gregory Haney, Photo: Craig Schwartz\u003c/p>\n\u003cp>As she adjusts to the new social order, Campbell tries to figure out the mystery of the fishy redistricting, and strives to convince the crew to form a competitive cheerleading squad. Warren and Louderman are both dynamic performers; we watch their relationship go from enemies to frenemies to friends. \u003c/p>\n\u003cp>Elle Mclemore gives a scrumptious performance as the villain-in-sheep’s clothes, Eva. She transforms from an innocent brunette to a blonde be-atch in her evil plan to conquer the world of competitive cheerleading.\u003c/p>\n\u003cp>With sly spoofery, the musical pays homage to classics like \u003ci>Grease\u003c/i>,\u003ci>All About Eve\u003c/i>, Hitchcock and \u003ci>Single White Female\u003c/i>. 2011’s \u003ci>Bring It On\u003c/i>updates the film’s decade-old (ancient!) teen culture with hip-hop and Facebook. While the dance sequences/cheerleading routines are full of action and energy and altitude, they tend to involve more synchronized body tossing than dance chops. And while hip hop may be all that, as far as musical theater goes, it’s nothing to sing all the way home about.\u003c/p>\n\u003cp>Even so, \u003ci>Bring It On\u003c/i> 2011 is the Bring it On that \u003cb>Bring it On\u003c/b>2000 should have been. And like \u003ci>The Producers\u003c/i> and \u003ci>Hairspray\u003c/i> before it, it probably should be made into the movie of the play of the movie.\u003c/p>\n\u003cp>\u003ci>Bring It On\u003c/i> runs through Jan. 7, 2012 at The Orpheum Theatre in San Francisco. For \u003ca href=\"http://www.shnsf.com/shows/BringItOn\">tickets and information\u003c/a> visit shnsf.com or call 888-SHN-1799.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\n\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The TV series \u003ci>Glee\u003c/i> recently popularized the musical genre of teenagers engaging in conventionally un-hip competitive performance, complicated by social stratification and acute adolescent drama. But you could say they stole the routine. Long before the stuck-up Cheerios of \u003ci>Glee\u003c/i>, there were the stuck up cheerleaders of \u003ca href=\"http://www.imdb.com/title/tt0204946/\">\u003ci>Bring it On\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>In the 2000 teen flick, Kirsten Dunst stars as a head cheerleader who must decide if the championship is worth choreographic plagiarism. The film, like \u003ci>Glee\u003c/i> is yummy with high school dishiness, ambition and deceit.\u003c/p>\n\u003cp>But if we’re talking moves and grooves and attitudes, the super clever \u003ci>Bring It On, The Musical\u003c/i> has them both beat. In an unprecedented screen-to-stage occurrence, this new Broadway-bound \u003ci>movical\u003c/i> has a more complex and more engaging plot than its progenitor.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bringiton4.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Photo: Craig Schwartz\u003c/p>\n\u003cp>Our current appetite for all things retro has made ’80s movies ripe for screen-to-stage adaptations. These guilty pleasure flicks are now campy musicals: \u003ci>Xanadu, the Musical\u003c/i>, \u003ci>Legally Blonde, the Musical\u003c/i>, \u003ci>Urban Cowboy\u003c/i>, \u003ci>9 to 5\u003c/i>, \u003ci>Saturday Night Fever\u003c/i> and on and on and on. (\u003ci>Ghost, The Musical\u003c/i> coming in 2012).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Turns out, \u003ci>Bring it On, The Musical\u003c/i> is not simply a gimmick. It’s much more than a shortcut to box office success via brand recognition.\u003c/p>\n\u003cp>True, the talent is recognizable: \u003ci>Bring it On\u003c/i> has a book by Jeff Whitty (\u003ci>Avenue Q\u003c/i>); music by Pulitzer Prize and Tony Award-winning composer Tom Kitt (\u003ci>Next to Normal\u003c/i>) and Lin-Manuel Miranda (\u003ci>In The Heights\u003c/i>), and lyrics by Miranda and \u003ci>High Fidelity’s\u003c/i> Amanda Green.\u003c/p>\n\u003cp>Combined, this dream team produced a savvy musical that achieves what \u003ci>Glee\u003c/i> only achieved during its first season: a winking way to have its cake and eat it too. That is, this largely tongue-in-cheek show blends sharp satire with sincerity. \u003ci>Bring it On\u003c/i> 2011 mocks its genre even while it serves up quality music and movement. There’s romance and betrayal and high-flying synchronized cheering. And it wouldn’t be a high school musical without underdog versus mean girl catfights.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bringiton1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Taylor Louderman and Adrienne Warren, Photo: Craig Schwartz\u003c/p>\n\u003cp>In the film, Dunst’s cheerleading squad is teeming with popularity, entitlement and blondes. Their formidable competition is a squad from an inner city school (black girls). The bring-it-on standoff between the blondes and the blacks is actually a small part of the movie. The East Compton Clovers are righteous and sassy, but mostly generic underprivileged students.\u003c/p>\n\u003cp>The stage version puts the minorities at the center of the plot, setting the story in their school and giving these kids actual dimension. With this change of focus, the story is flipped on its ear.\u003c/p>\n\u003cp>\u003c/p>\u003cp>Taylor Louderman plays Campbell, the Kirsten Dunst role. The cheerleading captain at her old school, Campbell is inexplicably transferred to a new school due to abrupt redistricting. Like a fish out of water and down the rabbit hole, she becomes the outsider who is teased and hopelessly mocked.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bringiton3.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Ryann Redmond and Nicolas Womack, Photo: Craig Schwartz\u003c/p>\n\u003cp>Adrienne Warren plays Danielle, the ringleader of the girl gang, a group that embraces outsiders — including a terrific Gregory Haney as the tranny diva La Cienega. Even the chubby outsider Bridgid, (a wonderfully odd-ball performance by Ryann Redmond) is accepted at her new school. But Danielle’s clique have a hip hop \u003ci>crew\u003c/i> not a cheerleading \u003ci>squad\u003c/i>. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/bringiton4.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Gregory Haney, Photo: Craig Schwartz\u003c/p>\n\u003cp>As she adjusts to the new social order, Campbell tries to figure out the mystery of the fishy redistricting, and strives to convince the crew to form a competitive cheerleading squad. Warren and Louderman are both dynamic performers; we watch their relationship go from enemies to frenemies to friends. \u003c/p>\n\u003cp>Elle Mclemore gives a scrumptious performance as the villain-in-sheep’s clothes, Eva. She transforms from an innocent brunette to a blonde be-atch in her evil plan to conquer the world of competitive cheerleading.\u003c/p>\n\u003cp>With sly spoofery, the musical pays homage to classics like \u003ci>Grease\u003c/i>,\u003ci>All About Eve\u003c/i>, Hitchcock and \u003ci>Single White Female\u003c/i>. 2011’s \u003ci>Bring It On\u003c/i>updates the film’s decade-old (ancient!) teen culture with hip-hop and Facebook. While the dance sequences/cheerleading routines are full of action and energy and altitude, they tend to involve more synchronized body tossing than dance chops. And while hip hop may be all that, as far as musical theater goes, it’s nothing to sing all the way home about.\u003c/p>\n\u003cp>Even so, \u003ci>Bring It On\u003c/i> 2011 is the Bring it On that \u003cb>Bring it On\u003c/b>2000 should have been. And like \u003ci>The Producers\u003c/i> and \u003ci>Hairspray\u003c/i> before it, it probably should be made into the movie of the play of the movie.\u003c/p>\n\u003cp>\u003ci>Bring It On\u003c/i> runs through Jan. 7, 2012 at The Orpheum Theatre in San Francisco. For \u003ca href=\"http://www.shnsf.com/shows/BringItOn\">tickets and information\u003c/a> visit shnsf.com or call 888-SHN-1799.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\n\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Survivor: South Bronx",
"headTitle": "Survivor: South Bronx | KQED",
"content": "\u003cp>The other day I saw an ad for the twelfth season of \u003ca href=\"http://www.cbs.com/primetime/survivor12\">\u003cb>Survivor\u003c/b>\u003c/a> based in Panama. This time there’s a “twist” and every week a member of the “tribe” will get sent to something called Exile Island. For the span of a television season, a swarthy group of sixteen middle class, mostly Caucasian, participants will pretend to live as if they were truly destitute. They will have to actually — gasp! — fend for themselves AND play group games for the chance to win a million US dollars.\u003c/p>\n\u003cp>I can see marketing material for potential participants now: Yes, you too, can learn to live like you were truly poor AND have a chance at winning a million dollars! That’s not surviving. That’s like going on a poverty vacation. Furthermore, in some circles that’s called “detox”. Here’s a reality check: those who are really poor just stay that way; they don’t win nothin’.\u003c/p>\n\u003cp>And why do these folks have to go all the way to Panama? If it’s supposed to be REALITY TV why not make it interesting? Why not drop them off in the middle of the South Bronx? Without any money. Or clothes. Better yet, why not drop them in the favelas of Rio de Janeiro? Or the slums of Calcutta? Or the shantytowns/townships outside Johannesburg where AIDS has ravaged whole populations? Now that’s REAL surviving. Day One’s task could consist of contestants running around trying not to get shot as they found a way to clothe themselves and begged for money and food. But I guess America’s viewing public wouldn’t want to see something like that; it would hit too close too home. They would rather watch an artificial environment of abjectness be created than witness the real thing.\u003c/p>\n\u003cp>If one of our intrepid, Machiavellian contestants could make it out of one of these places alive, they would deserve the million dollars. Which raises the question: what is TRUE survival? Is it being shipped via private jet courtesy of CBS studios to some tropical paradise and hanging out for several weeks while cameras watched your every move? Is it getting voted off and making rounds on the talk show circuit and then, if you’re lucky, landing a bit part in some B-minus comedy alongside an old SNL cast member? Is it actually winning the million dollars and, after thirty percent of it gets taken away by the government, getting to buy a new S.U.V., getting some massages and eating your weight in McDonald’s? Is that survival? I think not.\u003c/p>\n\u003cp>Is this the best we can come up with? On one channel you have model wannabes eating worms and swimming around vats of cow innards trying to fish out sheep testicles with their teeth for a million dollars while on another channel you have some surgically-enhanced narcissists trying to score a lifemate as well as a million dollars. True survival is living with starvation, disease, poverty, crime, a disability, overwhelming social and cultural obstacles etc. and living to see the next day without succumbing to the perils and addictions around you. The person who deserves that million dollars is someone who makes it out of these communities intact. Not some office manager or stock broker or performance artist who took some time off of their day job so that they could yuck it up on national television.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Shows like \u003cb>Survivor\u003c/b> are a true example of all the ridiculous ways in which the bourgeoisie like to amuse themselves. Their lives aren’t really all that bad so they seek ways in which to make it more “exciting”. Is \u003cb>Survivor\u003c/b> the gladiatorial spectacle of our day? Is it a slice of voyeuristic suffering for the masses so that we are appeased enough not to analyze the current social and political issues? Is reality TV the new opium of the masses?\u003c/p>\n\u003cp>If you were really starving and if you were really homeless, you wouldn’t have a need to go through it for entertainment purposes. If you were from an actual slum living in these conditions, you wouldn’t need to be thrown on some island in order to prove how you could “survive”. If our forefathers hadn’t destroyed ninety percent of the indigenous culture when they settled this land maybe these people wouldn’t have to go all the way to Panama to experience the dynamics of being in a tribe; the \u003cb>Survivor: South Bronx\u003c/b> edition would have people placed in actual gangs.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Moreover, \u003cb>Survivor\u003c/b> celebrates the absolute worst in people. Instead of encouraging contestants to band together in the face of adversity and build a solid, supportive community, they are pitted against one another in true \u003cb>Lord of the Flies\u003c/b> style. \u003cb>Survivor\u003c/b> is a microcosm of avarice, which is not only celebrated but also rewarded. You get a million dollars for being the biggest back-stabbing jerk you can be! I propose a another “twist”, I propose a million dollars be rewarded to the viewer who survives yet another ridiculous season of \u003cb>Survivor\u003c/b>.\u003c/p>\n\n",
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"excerpt": "The other day I saw an ad for the twelfth season of \u003ca href=\"http://www.cbs.com/primetime/survivor12\">\u003cb>Survivor\u003c/b>\u003c/a> based in Panama. This time there's a \"twist\" and every week a member of the \"tribe\" will get sent to something called Exile Island. For the span of a television season, a swarthy group of sixteen middle class, mostly Caucasian, participants will pretend to live as if they were truly destitute. They will have to actually -- gasp! -- fend for themselves AND play group games for the chance to win a million US dollars.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The other day I saw an ad for the twelfth season of \u003ca href=\"http://www.cbs.com/primetime/survivor12\">\u003cb>Survivor\u003c/b>\u003c/a> based in Panama. This time there’s a “twist” and every week a member of the “tribe” will get sent to something called Exile Island. For the span of a television season, a swarthy group of sixteen middle class, mostly Caucasian, participants will pretend to live as if they were truly destitute. They will have to actually — gasp! — fend for themselves AND play group games for the chance to win a million US dollars.\u003c/p>\n\u003cp>I can see marketing material for potential participants now: Yes, you too, can learn to live like you were truly poor AND have a chance at winning a million dollars! That’s not surviving. That’s like going on a poverty vacation. Furthermore, in some circles that’s called “detox”. Here’s a reality check: those who are really poor just stay that way; they don’t win nothin’.\u003c/p>\n\u003cp>And why do these folks have to go all the way to Panama? If it’s supposed to be REALITY TV why not make it interesting? Why not drop them off in the middle of the South Bronx? Without any money. Or clothes. Better yet, why not drop them in the favelas of Rio de Janeiro? Or the slums of Calcutta? Or the shantytowns/townships outside Johannesburg where AIDS has ravaged whole populations? Now that’s REAL surviving. Day One’s task could consist of contestants running around trying not to get shot as they found a way to clothe themselves and begged for money and food. But I guess America’s viewing public wouldn’t want to see something like that; it would hit too close too home. They would rather watch an artificial environment of abjectness be created than witness the real thing.\u003c/p>\n\u003cp>If one of our intrepid, Machiavellian contestants could make it out of one of these places alive, they would deserve the million dollars. Which raises the question: what is TRUE survival? Is it being shipped via private jet courtesy of CBS studios to some tropical paradise and hanging out for several weeks while cameras watched your every move? Is it getting voted off and making rounds on the talk show circuit and then, if you’re lucky, landing a bit part in some B-minus comedy alongside an old SNL cast member? Is it actually winning the million dollars and, after thirty percent of it gets taken away by the government, getting to buy a new S.U.V., getting some massages and eating your weight in McDonald’s? Is that survival? I think not.\u003c/p>\n\u003cp>Is this the best we can come up with? On one channel you have model wannabes eating worms and swimming around vats of cow innards trying to fish out sheep testicles with their teeth for a million dollars while on another channel you have some surgically-enhanced narcissists trying to score a lifemate as well as a million dollars. True survival is living with starvation, disease, poverty, crime, a disability, overwhelming social and cultural obstacles etc. and living to see the next day without succumbing to the perils and addictions around you. The person who deserves that million dollars is someone who makes it out of these communities intact. Not some office manager or stock broker or performance artist who took some time off of their day job so that they could yuck it up on national television.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Shows like \u003cb>Survivor\u003c/b> are a true example of all the ridiculous ways in which the bourgeoisie like to amuse themselves. Their lives aren’t really all that bad so they seek ways in which to make it more “exciting”. Is \u003cb>Survivor\u003c/b> the gladiatorial spectacle of our day? Is it a slice of voyeuristic suffering for the masses so that we are appeased enough not to analyze the current social and political issues? Is reality TV the new opium of the masses?\u003c/p>\n\u003cp>If you were really starving and if you were really homeless, you wouldn’t have a need to go through it for entertainment purposes. If you were from an actual slum living in these conditions, you wouldn’t need to be thrown on some island in order to prove how you could “survive”. If our forefathers hadn’t destroyed ninety percent of the indigenous culture when they settled this land maybe these people wouldn’t have to go all the way to Panama to experience the dynamics of being in a tribe; the \u003cb>Survivor: South Bronx\u003c/b> edition would have people placed in actual gangs.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Moreover, \u003cb>Survivor\u003c/b> celebrates the absolute worst in people. Instead of encouraging contestants to band together in the face of adversity and build a solid, supportive community, they are pitted against one another in true \u003cb>Lord of the Flies\u003c/b> style. \u003cb>Survivor\u003c/b> is a microcosm of avarice, which is not only celebrated but also rewarded. You get a million dollars for being the biggest back-stabbing jerk you can be! I propose a another “twist”, I propose a million dollars be rewarded to the viewer who survives yet another ridiculous season of \u003cb>Survivor\u003c/b>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I don’t get much time to watch TV. Don’t get me wrong, I love TV. I love daytime TV, I love celebrity gossip TV, I love VH1 countdowns, I love Seinfeld reruns, I love just about anything except prime time TV, because that usually blows. And that’s a good thing, because by the time we get the kid to bed, do the dishes, return e-mails and whatnot, we’re lucky if we can catch one late-night Simpsons before we conk out. That is, if we’re both not into the books we’re currently reading. Or if there’s not an Us Weekly magazine lying around to capture my attention like a little cat toy with a bell inside. Oooh, pictures of Paris Hilton — ding-a-ling-a-ling…\u003c/p>\n\u003cp>[aside tag='fashion, dance' count=5 title='Fashion Coverage' sites='arts, news']\u003c/p>\n\u003cp>The thing I love the most about TV these days is the DVD releases of seasons of shows that I never got to watch when they were on. Especially all those killer HBO shows like Six Feet Under (oh, wherefore art thou Season Five, I’m dying out here!) and Curb Your Enthusiasm. I am currently obsessed with Season One of Lost, but as I am only halfway through it (and jonesing til the weekend when we can dive back in and stay up til 1 a.m. with reckless abandon), that gushing review will have to wait. But let me tell you one other fantastic thing about TV: \u003cb>Project Runway\u003c/b>.\u003c/p>\n\u003cp>The advantage of getting hooked on a Bravo series is that they are usually on late at night, after the kids go to bed, and they rerun the current episode ad nauseum for the entire week so you never feel like you’re gonna get screwed if you miss one. Since I would never invest in a Tivo, this is extremely generous of Bravo. Season Two of \u003cb>Project Runway\u003c/b> just started, and trust me, now is the time to dive in and get hooked. It totally rules.\u003c/p>\n\u003cp>[pullquote size=small align=right citation=\"Jason Herring, Avid Fan\"]The advantage of getting hooked on a Bravo series is that they are usually on late at night, after the kids go to bed, and they rerun the current episode ad nauseum for the entire week so you never feel like you’re gonna get screwed if you miss one.[/pullquote]\u003c/p>\n\u003cp>I stumbled upon \u003cb>Project Runway\u003c/b> last time around just by accident, and was completely sucked in by the format of it. Unlike most reality shows, which consist of beautiful people either trying to sing, eat gross stuff, win a bunch of money or get married, this one is about ART. The participants on this show are aspiring (or already successful) fashion designers competing for the chance to show their designs at Fashion Week and win some cash to start their own line. So, assuming you like fashion (which I do, even though my hips and thighs preclude me from ever participating in such nonsense), and assuming you like arts & crafts and really quirky funny people, \u003cb>Project Runway\u003c/b> is for you.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even though the show is hosted by annoying but endearing supermodel Heidi Klum, with her chirpy, Germanic catch phrase “Either you’re in, or you’re out,” and judged by such middling luminaries as designer Michael Kors, the bitchy editor of Elle magazine, and soggy guest judges like Diane von Furstenberg, the contestants are usually incredibly creative and driven people. Most of the show is spent watching them work furiously in the Parsons School of Design fashion workroom under the watchful eye of Parsons fashion guru Tim Gunn, who basically storms in shouting “15 minutes people!” or stands behind them as they work and says really evil things like “I don’t see where you’re going with this,” just to totally stress them out. I love Tim Gunn. Meanwhile these poor souls are designing clothes with crazy limitations set on them like: use only materials found in a grocery store! Or: must double as a functional swimsuit and an evening gown!\u003c/p>\n\u003cp>The contestants on Season One were so captivating in their confidence, their sense of style, and their work ethics that I was entranced by them, especially Austin Scarlett, the swishy femme boy with full face make-up and attitude to burn. And Kara Saun, the no-nonsense hot mama designer from LA who looked like she was gonna win until — she CHEATED! By commissioning a bunch of fancy shoes for her final show that were not part of her budget! And the winner of last season, Jay McCarroll, whose running catty commentary throughout the season, coupled with his wacky hats, pudgy build, and amazing designs, really kept it all together. I’m so glad he won.\u003c/p>\n\u003cp>This year appears to be just as cool, if not better, than last year. My front-runner so far has got to be Santino, who in my opinion is HOT HOT HOT, and even if he’s knock-down drag out gay, I am glad to have a contestant I can lust after. He is about 8 feet tall with greasy black hair and a weird biker/rocker/gypsy look that I find thoroughly delicious. There’s even a bit of nail-biting action as the simpy contestant who got cut first last year, Daniel the tailor, is back for another beating.\u003c/p>\n\u003cp>In addition to the designers, there are of course, as always in fashion — models! These models get cut from the show as the designers get cut, and although they don’t get much camera time (thank god), they do add a bit of pathos to the proceedings, since they’re so damn skinny and stupid. Hooray for models.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So please do yourself a favor and check it out. New episodes air Wednesdays at 10 pm on Bravo. And every other day and hour after that til the next one airs. Thanks, Bravo. You’re in. You may leave the runway.\u003c/p>\n\n",
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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"order": 8
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},
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"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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"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.",
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"source": "Commonwealth Club of California"
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"order": 9
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"hidden-brain": {
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"airtime": "SUN 7pm-8pm",
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"airtime": "SUN 7:30pm-8pm",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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"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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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"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": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"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>",
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}
},
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},
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"isBot": true
}
}
