Best Theater of 2014: A Year Full to Bursting with Powerful Performances
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Anatomy of a Made-for-TV Christmas Movie
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Holiday Theater Guide, Hold the Chestnuts
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WebThriftStore Makes Cleaning Out the Closet - and Donating to Charity - a ThriftSNAP
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He loves live performance, especially great theater, jazz, roots music, anything by Mahler. Cy has an MJ from UC Berkeley's School of Journalism, and got his BA from Hampshire College. His work has been recognized by the Society for Professional Journalists with their Sigma Delta Chi Award for Public Service in Journalism. When he can, Cy likes to swim in Tomales Bay, run with his dog in the East Bay Hills, and hike the Sierra.","avatar":"https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["Contributor","subscriber"]},{"site":"news","roles":["author"]},{"site":"bayareabites","roles":["contributor"]}],"headData":{"title":"Cy Musiker | KQED","description":"KQED Contributor","ogImgSrc":"https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/05eaba5c5696ce8f062e4ea2df428a43?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/cmusiker"},"shotchkiss":{"type":"authors","id":"61","meta":{"index":"authors_1591205172","id":"61","found":true},"name":"Sarah Hotchkiss","firstName":"Sarah","lastName":"Hotchkiss","slug":"shotchkiss","email":"shotchkiss@kqed.org","display_author_email":true,"staff_mastheads":["arts"],"title":"Senior Associate Editor","bio":"Sarah Hotchkiss is a San Francisco \u003ca href=\"http://www.sarahhotchkiss.com\">artist\u003c/a> and arts writer. In 2019, she received the Dorothea & Leo Rabkin Foundation grant for visual art journalism and in 2020 she received a Society of Professional Journalists, Northern California award for excellence in arts and culture reporting.","avatar":"https://secure.gravatar.com/avatar/ca38c7f54590856cd4947d26274f8a90?s=600&d=blank&r=g","twitter":"sahotchkiss","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"","roles":["editor"]},{"site":"arts","roles":["Contributor","administrator"]},{"site":"artschool","roles":["administrator"]},{"site":"news","roles":["editor"]},{"site":"pop","roles":["administrator"]},{"site":"bayareabites","roles":["editor"]},{"site":"spark","roles":["editor"]},{"site":"checkplease","roles":["editor"]}],"headData":{"title":"Sarah Hotchkiss | KQED","description":"Senior Associate Editor","ogImgSrc":"https://secure.gravatar.com/avatar/ca38c7f54590856cd4947d26274f8a90?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/ca38c7f54590856cd4947d26274f8a90?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/shotchkiss"},"ablaine":{"type":"authors","id":"72","meta":{"index":"authors_1591205172","id":"72","found":true},"name":"Adrienne Blaine","firstName":"Adrienne","lastName":"Blaine","slug":"ablaine","email":"adrienneblaine@hotmail.com","display_author_email":false,"staff_mastheads":[],"title":null,"bio":"Adrienne Blaine is a Millennial writer from the South Bay. She has a BA in Comparative Literary and Cultural Studies combined with Communications and Media Studies from Franklin University Switzerland. Living in Switzerland for four years and traveling from Morocco to Iceland introduced her to diverse art, culture and food. She currently lives in San Francisco and writes about these topics.","avatar":"https://secure.gravatar.com/avatar/10d0a10a2189067e5e3f6fc9fc4ebdf2?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["Contributor","contributor"]},{"site":"bayareabites","roles":["contributor"]},{"site":"food","roles":["contributor"]}],"headData":{"title":"Adrienne Blaine | KQED","description":null,"ogImgSrc":"https://secure.gravatar.com/avatar/10d0a10a2189067e5e3f6fc9fc4ebdf2?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/10d0a10a2189067e5e3f6fc9fc4ebdf2?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/ablaine"},"shurwitt":{"type":"authors","id":"76","meta":{"index":"authors_1591205172","id":"76","found":true},"name":"Sam Hurwitt","firstName":"Sam","lastName":"Hurwitt","slug":"shurwitt","email":"samhurwitt@yahoo.com","display_author_email":false,"staff_mastheads":[],"title":null,"bio":"Sam Hurwitt is a freelance theater critic for \u003cem>KQED Arts\u003c/em>, the \u003ci>Marin Independent Journal \u003c/i>and the \u003cem>San Jose Mercury News\u003c/em> in addition to his own theater and culture blog, \u003ci>\u003ca href=\"http://theidiolect.com\">The Idiolect\u003c/a>\u003c/i>. You can find him on Twitter cleverly camouflaged as \u003ca href=\"http://twitter.com/shurwitt\">shurwitt\u003c/a>.","avatar":"https://secure.gravatar.com/avatar/d1a4f050e83a1dc4c0512ff16a0aacee?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["Contributor","contributor"]}],"headData":{"title":"Sam Hurwitt | KQED","description":null,"ogImgSrc":"https://secure.gravatar.com/avatar/d1a4f050e83a1dc4c0512ff16a0aacee?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/d1a4f050e83a1dc4c0512ff16a0aacee?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/shurwitt"},"kjones":{"type":"authors","id":"93","meta":{"index":"authors_1591205172","id":"93","found":true},"name":"Kevin L. Jones","firstName":"Kevin","lastName":"Jones","slug":"kjones","email":"kjones@kqed.org","display_author_email":false,"staff_mastheads":[],"title":null,"bio":null,"avatar":"https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["subscriber"]},{"site":"styleguide","roles":["contributor"]},{"site":"artschool","roles":["subscriber"]},{"site":"news","roles":["subscriber"]},{"site":"pop","roles":["subscriber"]}],"headData":{"title":"Kevin L. Jones | KQED","description":null,"ogImgSrc":"https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/12c65b5633ed39d0a59bb7f497eff645?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/kjones"},"bmyers":{"type":"authors","id":"3226","meta":{"index":"authors_1591205172","id":"3226","found":true},"name":"Brynn Myers","firstName":"Brynn","lastName":"Myers","slug":"bmyers","email":"bmyers@KQED.org","display_author_email":false,"staff_mastheads":[],"title":null,"bio":"Brynn Myers is a ballet fan who worked with New York City Ballet for a decade and currently serves as Director, Foundation and Government Support at KQED.","avatar":"https://secure.gravatar.com/avatar/995baae6d2ee40e199a64fd49045c774?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["contributor"]}],"headData":{"title":"Brynn Myers | KQED","description":null,"ogImgSrc":"https://secure.gravatar.com/avatar/995baae6d2ee40e199a64fd49045c774?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/995baae6d2ee40e199a64fd49045c774?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/bmyers"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"arts_10219554":{"type":"posts","id":"arts_10219554","meta":{"index":"posts_1591205157","site":"arts","id":"10219554","score":null,"sort":[1419948051000]},"guestAuthors":[],"slug":"best-theater-of-2014-a-year-full-to-bursting-with-powerful-performances","title":"Best Theater of 2014: A Year Full to Bursting with Powerful Performances","publishDate":1419948051,"format":"standard","headTitle":"Best Theater of 2014: A Year Full to Bursting with Powerful Performances | KQED","labelTerm":{"term":745,"site":"arts"},"content":"\u003cp>Looking back on a year of theatergoing in the Bay Area, it’s staggering how much impressive, vital and memorable work has been produced. Every year it seems like the local theater community manages to cram five years-worth of challenging new plays, solo shows and reimagined classics into just 12 months.\u003c/p>\n\u003cp>This feast of vibrant work makes it difficult to choose a list of the best shows of the year. With that in mind, I’ve tried to make the following roundup more than just an exercise in reminiscence about isolated, exceptional productions that have come and gone. Instead, I hope you’ll read it as a recognition of the people in your neighborhoods who are doing great work — and whom you should get to know. In that spirit, here are my picks for this year’s top ten productions, in chronological order.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10219563\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/2014-scion.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10219563 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/2014-scion-400x595.jpg\" alt=\"Brian Copeland explores the pitfalls of privilege in The Scion; photo: Carla Befera.\" width=\"400\" height=\"595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/2014-scion-400x595.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/2014-scion.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brian Copeland explores the pitfalls of privilege in \u003ci>The Scion\u003c/i>; photo: Carla Befera.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Scion\u003c/em>\u003c/h3>\n\u003ch5>The Marsh\u003c/h5>\n\u003cp>Comedian and talk show host turned solo theater artist Brian Copeland just keeps creating powerful monologues that take on terribly difficult subjects with honesty and humor. His 2004 piece \u003cem>Not a Genuine Black Man,\u003c/em> about growing up as one of the first black families in San Leandro when it was known as one of America’s most racist suburbs, became the longest-running solo show in San Francisco history. His 2012 follow-up, \u003cem>The Waiting Period,\u003c/em> was an intensely personal examination of struggling with suicidal depression. \u003ca href=\"http://ww2.kqed.org/arts/2014/02/05/brian-copeland-and-marga-gomez-get-impersonal-at-the-marsh/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Scion\u003c/em>\u003c/a> turns Copeland’s wry and discerning eye to the all-too-timely subject of privilege. He deftly contrasts his own experience of being routinely pulled over and questioned just for being a young African-American male with the very different rearing of another San Leandran—“sausage king” Stuart Alexander—who learned early on that his family’s wealth could make any problems with the law go away. At least, it did until he killed three meat inspectors at the family sausage factory.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10219559\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/2014-house1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10219559 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/2014-house1-400x266.jpg\" alt=\"Tiffany Rachelle Stewart, Flor De Liz Perez and Joniece Abbott-Pratt in The House that will not Stand; photo: kevinberne.com.\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/2014-house1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/2014-house1.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tiffany Rachelle Stewart, Flor De Liz Perez and Joniece Abbott-Pratt in \u003ci>The House that will not Stand\u003c/i>; photo: kevinberne.com.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The House That Will Not Stand\u003c/em>\u003c/h3>\n\u003ch5>Berkeley Repertory Theatre\u003c/h5>\n\u003cp>Though based in New York, West Oakland native \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=17964\" target=\"_blank\" rel=\"noopener\">Marcus Gardley\u003c/a> keeps coming back to the Bay Area with impressive new plays, such as his densely poetic mythic mashup \u003cem>….And Jesus Moonwalks the Mississippi\u003c/em>, which managed to combine Jesus, Bre’r Rabbit and Yoruba Orishas into a story set during the Civil War. Even so, his latest, \u003ca href=\"http://ww2.kqed.org/arts/2014/02/09/the-house-that-will-not-stand-delivers/\" target=\"_blank\" rel=\"noopener\">\u003cem>The House That Will Not Stand\u003c/em>\u003c/a>, feels like a significant leap forward for the 36-year-old playwright. Gardley seamlessly weaves together the basic plot of Federico Garcia Lorca’s play \u003cem>The House of Bernarda Alba \u003c/em>with the plight of free people of color (particularly the long-term mistresses of wealthy white men) in 1836 New Orleans, a time when the old customs of the former French colony were being subsumed by the more draconian laws of the American South. The play was powerfully brought to life in February at Berkeley Rep by director Patricia McGregor, who frequently works at California Shakespeare Theater (\u003cem>Spunk\u003c/em>, \u003cem>The Winter’s Tale, A Raisin in the Sun\u003c/em>).\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10219560\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/2014-hundred.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10219560 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/2014-hundred-400x218.jpg\" alt=\"Abigail and Shaun Bengson rock the house in Hundred Days at Z Space; photo: Mark Leialoha.\" width=\"400\" height=\"218\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/2014-hundred-400x218.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/2014-hundred.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Abigail and Shaun Bengson rock the house in \u003ci>Hundred Days\u003c/i> at Z Space; photo: Mark Leialoha.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Hundred Days\u003c/em>\u003c/h3>\n\u003ch5>Z Space\u003c/h5>\n\u003cp>Every once in a while there comes a musical so full of passion and joy that you can’t help but get caught up in it. That was certainly the case with \u003ca href=\"http://ww2.kqed.org/arts/2014/03/04/the-bengsons-pack-a-lifetime-of-joy-into-indie-rock-opera-hundred-days/\" target=\"_blank\" rel=\"noopener\">\u003cem>Hundred Days\u003c/em>\u003c/a>, the bittersweet love story that Z Space premiered in March, which went on to win a \u003ca href=\"http://www.theatrebayarea.org/?page=awards\" target=\"_blank\" rel=\"noopener\">TBA Award\u003c/a> for outstanding world premiere musical. The story in Kate E. Ryan’s libretto is sad but beautiful: no sooner has a young couple met and fallen in love than they find out one of them has a terminal illness. The two shut themselves off from the world and live their remaining 100 days together as if they were 60 years of marriage. What really drives it all home are the propulsive, exuberant indie-rock \u003ca href=\"http://bengsons.com/watchlisten/\" target=\"_blank\" rel=\"noopener\">songs\u003c/a> of Abigail and Shaun Bengson, of the band the Bengsons. The couple also starred in the musical alongside young local actors such as Reggie White and Amy Lizardo, who just finished up a run of \u003ca href=\"http://ww2.kqed.org/arts/2014/10/27/aint-no-party-like-the-black-panther-party-at-berkeley-rep/\" target=\"_blank\" rel=\"noopener\">\u003cem>Party People\u003c/em>\u003c/a> at Berkeley Rep, and El Beh, who’s currently in Shotgun Players’ production \u003ca href=\"https://shotgunplayers.org/Online/ourtown\" target=\"_blank\" rel=\"noopener\">\u003cem>Our Town\u003c/em>\u003c/a>, also featuring live music by the Bengsons.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10219564\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/2014-triassic.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10219564 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/2014-triassic-400x266.jpg\" alt=\"Alex Rodriguez, Javi Harnly, Monica Turner, Chelsea Holifield, David Naughton and Lewis Rawlinson in Triassic Parq; photo: Erik Scanlon. \" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/2014-triassic-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/2014-triassic.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alex Rodriguez, Javi Harnly, Monica Turner, Chelsea Holifield, David Naughton and Lewis Rawlinson in \u003ci>Triassic Parq\u003c/i>; photo: Erik Scanlon.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Triassic Parq\u003c/em>\u003c/h3>\n\u003ch5>Ray of Light Theatre\u003c/h5>\n\u003cp>San Francisco’s Ray of Light Theatre excels at offbeat and slightly warped contemporary musicals like \u003cem>Carrie\u003c/em> \u003cem>the Musical \u003c/em>or \u003cem>Jerry Springer the Opera\u003c/em>. This year the company managed to do an entire season with almost no human characters. First up was the dinosaur sex comedy \u003ca href=\"http://ww2.kqed.org/arts/2014/06/10/a-midsummer-nights-dinosaur-sex-comedy/\">\u003cem>Triassic Parq\u003c/em>\u003c/a>, followed by \u003ca href=\"http://theidiolect.com/theater/consider-the-yeasts/\" target=\"_blank\" rel=\"noopener\">\u003cem>Yeast Nation (the triumph of life)\u003c/em>\u003c/a>, an inspirational love story about single-celled organisms from the makers of \u003cem>Urinetown\u003c/em>. (Oddly, both were about young lovers rebelling against the doctrinaire theocracy of their society.) The bawdy reptilian romp \u003cem>Triassic Parq \u003c/em>isn’t set during the age of the dinosaurs but amid a genetically-revived population in an ill-considered theme park — the same one we may know from \u003cem>Jurassic Park\u003c/em>. But Marshall Pailet, Bryce Norbitz and Steve Wargo’s hilarious story is told entirely from the point of view of the velociraptors and Tyrannosaurs themselves, an all-female population whose world is rocked when one of them spontaneously turns male.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10219558\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/2014-godfights.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10219558 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/2014-godfights-400x266.jpg\" alt=\"Dezi Gallegos plays many parts in God Fights the Plague at the Marsh; photo: Molly DeCoudreaux.\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/2014-godfights-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/2014-godfights.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dezi Gallegos plays many parts in \u003ci>God Fights the Plague\u003c/i> at the Marsh; photo: Molly DeCoudreaux.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>God Fights the Plague\u003c/em>\u003c/h3>\n\u003ch5>The Marsh\u003c/h5>\n\u003cp>Now in its 25th year, the Marsh is a hotbed of long-running solo shows from such deft local writer-performers as Charlie Varon, Marga Gomez, Don Reed, Geoff Hoyle, Dan Hoyle, Josh Kornbluth, and the aforementioned Brian Copeland. This June, Petaluma 18-year-old Dezi Gallegos joined those esteemed ranks with \u003ca href=\"http://ww2.kqed.org/arts/2014/06/24/are-you-there-god-its-me-dezi/\" target=\"_blank\" rel=\"noopener\">\u003cem>God Fights the Plague\u003c/em>\u003c/a>, chronicling his search for God through interviews with ten people representing different religions or atheistic philosophies — all of them embodied with chameleonlike versatility by Gallegos himself. What makes the piece so resonant is Dezi’s own journey and his account of the personal crises that set him in search of something larger to rely on.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10219557\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/2014-everybody.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10219557 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/2014-everybody-400x266.jpg\" alt=\"Dan Kurtz, Nick Trengove and Mikka Bonel are a love triangle in Everybody Here Says Hello!; photo: Jim Norrena.\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/2014-everybody-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/2014-everybody.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dan Kurtz, Nick Trengove and Mikka Bonel are a love triangle in \u003ci>Everybody Here Says Hello!\u003c/i>; photo: Jim Norrena.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Everybody Here Says Hello!\u003c/em>\u003c/h3>\n\u003ch5>Wily West Productions\u003c/h5>\n\u003cp>Local writer-director-producer Stuart Bousel has been impressively prolific this year, premiering his stage adaptation of Throwing Muses singer-songwriter Kristin Hersh’s memoir, \u003cem>\u003ca href=\"http://ww2.kqed.org/arts/2014/05/07/throwing-muses-musical-is-first/\" target=\"_blank\" rel=\"noopener\">Rat Girl\u003c/a>,\u003c/em> and his backstage comedy \u003ca href=\"http://ww2.kqed.org/arts/2014/10/14/a-little-backstage-drama-for-theater-cognoscenti/\">\u003cem>Pastorella\u003c/em>\u003c/a>. But it was Bousel’s \u003ca href=\"http://www.wilywestproductions.com/season-2014.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Everybody Here Says Hello!\u003c/em>\u003c/a> that really knocked it out of the park this year (enough so that it won a TBA Award for outstanding world premiere play). This whip-smart and hysterically funny romantic comedy follows a smarmy sexual opportunist in a long-term relationship with a man who strikes up a romance with a straight friend’s girlfriend — and then wants to continue to date them both. “I am the most amazing heterosexual woman in the world!” his new lover crows when she finds out he’s not only mostly gay but also a drag performer. The play is packed with clever soliloquies from pretty much every character and a bit of meta-commentary about characters who are hard to tell apart because the same actor plays them (and because they’re similar characters to begin with, such as a pair of clingy exes).\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10219562\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/2014-raptureblister.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10219562 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/2014-raptureblister-400x293.jpg\" alt=\"Avery (Nicole Javier) and Alice (Lilain Bogovich) try to talk Catherine (Marilee Talkington*) out of the relationship doldrums in Aurora Theatre Company's Rapture, Blister, Burn; photo: David Allen.\" width=\"400\" height=\"293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/2014-raptureblister-400x293.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/2014-raptureblister.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Avery (Nicole Javier) and Alice (Lilain Bogovich) try to talk Catherine (Marilee Talkington) out of the relationship doldrums in Aurora Theatre Company’s \u003ci>Rapture, Blister, Burn\u003c/i>; photo: David Allen.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Rapture, Blister, Burn\u003c/em>\u003c/h3>\n\u003ch5>Aurora Theatre Company\u003c/h5>\n\u003cp>Gina Gionfriddo’s \u003ca href=\"http://theidiolect.com/theater/yes-ive-paid-the-price/\" target=\"_blank\" rel=\"noopener\">\u003cem>Rapture, Blister, Burn\u003c/em>\u003c/a> comes down to four women sitting around and talking about feminism. The conversations are loaded by the fact that one of those women is married to the other’s grad school boyfriend, whom she “stole” years ago. Now one’s a stay-at-home mom with a frustratingly unambitious husband, and the other’s a hotshot feminist academic who never married. Each envies the other’s life. Add to this mix a post-feminist babysitter who wants to be a reality star and the academic’s ailing mother, who just wants to serve everyone cocktails. Stir in the man in the middle, and you have a sharp and funny comedy with unflinching insights about human nature in all its faults. Up-and-coming director Desdemona Chiang works with a terrific cast headed by Marilee Talkington—next seen in Berkeley Rep’s \u003ca href=\"http://www.berkeleyrep.org/season/1415/8241.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>X’s and O’s (A Football Love Story)\u003c/em>\u003c/a>—as the formidable theorist and Gabriel Marin and Rebecca Schweitzer as the troubled couple, who’ll both next be seen in \u003ca href=\"http://www.centerrep.org/season1415/thebookclubplay.php\" target=\"_blank\" rel=\"noopener\">\u003cem>The Book Club Play\u003c/em>\u003c/a> at Center Rep.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10219555\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/2014-arguendo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10219555 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/2014-arguendo-400x266.jpg\" alt=\"Mike Iveson and Vin Knight as Supreme Court justices in Arguendo at Z Space; photo: Joan Marcus.\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/2014-arguendo-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/2014-arguendo.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mike Iveson and Vin Knight as Supreme Court justices in \u003ci>Arguendo\u003c/i> at Z Space; photo: Joan Marcus.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Arguendo\u003c/em> \u003c/h3>\n\u003ch5>Z Space\u003c/h5>\n\u003cp>Who knew Supreme Court arguments could be so entertaining? Acclaimed New York experimental theater company Elevator Repair Service made a thunderous San Francisco debut over Halloween weekend with \u003ca href=\"http://zspace.org/new-work/arguendo\" target=\"_blank\" rel=\"noopener\">\u003cem>Arguendo\u003c/em>\u003c/a>\u003cem>,\u003c/em> performing the oral arguments in the 1991 case \u003cem>Barnes v. Glen Theatre \u003c/em>verbatim. The case is about whether laws about public nudity should apply to erotic dancers, leading to some amusing wrangling over what forms of artistic expression constitute constitutionally protected speech. But what’s particularly impressive is how dynamically the ERS ensemble brings the argument to life, with Supreme Court justices closing in on the lawyers on rolling chairs and animated text projections zooming back and forth between the legal precedents being discussed. In addition to acting as a hub for homegrown new work, Z Space has been attracting more and more distinguished visitors to San Francisco, such as New York’s legendary Wooster Group this coming February with \u003ca href=\"http://zspace.org/new-work/the-wooster-groups-early-shaker-spirituals\" target=\"_blank\" rel=\"noopener\">\u003cem>Early Shaker Spirituals\u003c/em>\u003c/a>\u003cem>,\u003c/em> featuring Frances McDormand and Suzzy Roche.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10219556\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/2014-dragon.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10219556 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/2014-dragon-400x266.jpg\" alt=\"Jed Parsario flirts with danger -- and with Lindsey Schmeltzer's dragon girl -- in The Dragon Play at Impact Theatre.\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/2014-dragon-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/2014-dragon.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jed Parsario flirts with danger — and with Lindsey Schmeltzer’s dragon girl — in \u003ci>The Dragon Play\u003c/i> at Impact Theatre.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Dragon Play\u003c/em>\u003c/h3>\n\u003ch5>Impact Theatre\u003c/h5>\n\u003cp>Hidden away in a North Berkeley pizza-parlor basement, Impact Theatre has long been the proving ground where you can catch the dynamic work of the actors, directors and playwrights whose work will be all over the larger theaters in years to come. But even for an Impact fan like me, \u003ca href=\"http://ww2.kqed.org/arts/2014/11/12/a-heartrending-romance-of-boy-and-dragon-at-impact-theatre/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Dragon Play\u003c/em>\u003c/a> represents a significant stepping-up of the company’s game. Jenny Connell Davis’ bittersweet love story between a boy and a dragon girl blends the mythic and the contemporary, sensuality and resentment, humor and sorrow in ways that feel fresh, exciting and breathtakingly beautiful. It’s elegantly staged by Tracy Ward, a local director who’s worked with Shotgun Players, AlterTheater and other Bay Area companies.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10219561\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/2014-pussy.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10219561 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/2014-pussy-400x602.jpg\" alt=\"Maura Halloran as the titular cat in Pussy; photo by Claire Rice.\" width=\"400\" height=\"602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/2014-pussy-400x602.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/2014-pussy-398x600.jpg 398w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/2014-pussy.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Maura Halloran as the titular cat in \u003ci>Pussy\u003c/i>; photo by Claire Rice.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Pussy\u003c/em>\u003c/h3>\n\u003ch5>New Conservatory Theatre Center\u003c/h5>\n\u003cp>A revival of a one-woman show that played the EXIT Theatre’s DIVAfest two years ago, Maura Halloran’s \u003ca href=\"http://www.nctcsf.org/shows/pussy\">\u003cem>Pussy\u003c/em>\u003c/a> is a marvelously sweet, funny, exasperating and ultimately satisfying portrait of a lesbian couple whose relationship is on the rocks. An eager-to-please, conservative Canadian is far too willing to be treated like a doormat by her cruelly manipulative English girlfriend. Watching disapprovingly are their homophobic but curious Russian landlady, who seems to have a crush on one of them, and the slinking, casually destructive cat that’s clearly the dominant force in the household. Halloran slips between the roles with captivating smoothness, especially impressive in the role of the titular feline. Herself a Canadian import who’s become a welcome addition to the Bay Area performing scene, Halloran will next be seen in Central Works’ \u003cem>\u003ca href=\"http://zspace.org/new-work/the-wooster-groups-early-shaker-spirituals\" target=\"_blank\" rel=\"noopener\">Enemies: Foreign and Domestic\u003c/a> \u003c/em>at the Berkeley City Club.\n\u003c/p>\u003c/div>\n\u003cp>One encouraging trend is that so many plays this year have tackled the question of privilege in a direct and sobering way. You couldn’t come out of Lauren Gunderson’s \u003cem>\u003ca href=\"http://ww2.kqed.org/arts/2014/01/25/seeking-answers-in-a-silent-sky/\">Silent Sky\u003c/a>\u003c/em>, Carson Kreitzer’s \u003cem>\u003ca href=\"http://www.marinij.com/entertainment/ci_25234379/theater-review-mtcs-tangled-lasso-ropes-you\" target=\"_blank\" rel=\"noopener\">Lasso of Truth\u003c/a> \u003c/em> or Gina Gionfriddo’s \u003cem>\u003ca href=\"http://theidiolect.com/theater/yes-ive-paid-the-price/\" target=\"_blank\" rel=\"noopener\">Rapture, Blister, Burn\u003c/a>\u003c/em> without pondering the secondary status of women in American society. At least four local productions this year have talked directly about police targeting young African-American men—Chinaka Hodge’s \u003ca href=\"http://ww2.kqed.org/arts/2014/05/14/new-play-shows-young-mans-trajectory-from-fear-to-madness/\" target=\"_blank\" rel=\"noopener\">\u003cem>Chasing Mehserle\u003c/em>\u003c/a>, Rhett Rossi’s \u003ca href=\"http://sfplayhouse.org/sfph/sandbox-series-red-black/\" target=\"_blank\" rel=\"noopener\">\u003cem>From Red to Black\u003c/em>\u003c/a>\u003cem>,\u003c/em> Jinho “the Piper” Ferreira’s \u003ca href=\"http://themarsh.org/cops_and_robbers/jinho-the-piper-ferreira/\">\u003cem>Cops and Robbers\u003c/em>\u003c/a> and Brian Copeland’s \u003cem>\u003ca href=\"http://ww2.kqed.org/arts/2014/02/05/brian-copeland-and-marga-gomez-get-impersonal-at-the-marsh/\" target=\"_blank\" rel=\"noopener\">The Scion\u003c/a>\u003c/em>—and it’s hard not to think about those plays all over again when people are out in the streets protesting the deadly consequences of that dysfunctional relationship between the police and people of color.\u003c/p>\n\u003cp>In this season of reflection, it’s easy for me to see that there’s always too much going on in the Bay Area theater community for any one person to see. Even having attended 121 plays and musicals this year, I’m all too keenly aware of dozens of important plays that I couldn’t make it to. Still, I’m thankful: it’s a great problem to have.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"The Bay Area theater community manages to cram five years’ worth of challenging new plays, solo shows and reimagined classics into every 12 months. ","status":"publish","parent":0,"modified":1705047813,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":2294},"headData":{"title":"Best Theater of 2014: A Year Full to Bursting with Powerful Performances | KQED","description":"The Bay Area theater community manages to cram five years’ worth of challenging new plays, solo shows and reimagined classics into every 12 months. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Best Theater of 2014: A Year Full to Bursting with Powerful Performances","datePublished":"2014-12-30T14:00:51.000Z","dateModified":"2024-01-12T08:23:33.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/10219554/best-theater-of-2014-a-year-full-to-bursting-with-powerful-performances","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking back on a year of theatergoing in the Bay Area, it’s staggering how much impressive, vital and memorable work has been produced. Every year it seems like the local theater community manages to cram five years-worth of challenging new plays, solo shows and reimagined classics into just 12 months.\u003c/p>\n\u003cp>This feast of vibrant work makes it difficult to choose a list of the best shows of the year. With that in mind, I’ve tried to make the following roundup more than just an exercise in reminiscence about isolated, exceptional productions that have come and gone. Instead, I hope you’ll read it as a recognition of the people in your neighborhoods who are doing great work — and whom you should get to know. In that spirit, here are my picks for this year’s top ten productions, in chronological order.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10219563\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/2014-scion.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10219563 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/2014-scion-400x595.jpg\" alt=\"Brian Copeland explores the pitfalls of privilege in The Scion; photo: Carla Befera.\" width=\"400\" height=\"595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/2014-scion-400x595.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/2014-scion.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brian Copeland explores the pitfalls of privilege in \u003ci>The Scion\u003c/i>; photo: Carla Befera.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Scion\u003c/em>\u003c/h3>\n\u003ch5>The Marsh\u003c/h5>\n\u003cp>Comedian and talk show host turned solo theater artist Brian Copeland just keeps creating powerful monologues that take on terribly difficult subjects with honesty and humor. His 2004 piece \u003cem>Not a Genuine Black Man,\u003c/em> about growing up as one of the first black families in San Leandro when it was known as one of America’s most racist suburbs, became the longest-running solo show in San Francisco history. His 2012 follow-up, \u003cem>The Waiting Period,\u003c/em> was an intensely personal examination of struggling with suicidal depression. \u003ca href=\"http://ww2.kqed.org/arts/2014/02/05/brian-copeland-and-marga-gomez-get-impersonal-at-the-marsh/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Scion\u003c/em>\u003c/a> turns Copeland’s wry and discerning eye to the all-too-timely subject of privilege. He deftly contrasts his own experience of being routinely pulled over and questioned just for being a young African-American male with the very different rearing of another San Leandran—“sausage king” Stuart Alexander—who learned early on that his family’s wealth could make any problems with the law go away. At least, it did until he killed three meat inspectors at the family sausage factory.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10219559\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/2014-house1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10219559 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/2014-house1-400x266.jpg\" alt=\"Tiffany Rachelle Stewart, Flor De Liz Perez and Joniece Abbott-Pratt in The House that will not Stand; photo: kevinberne.com.\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/2014-house1-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/2014-house1.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tiffany Rachelle Stewart, Flor De Liz Perez and Joniece Abbott-Pratt in \u003ci>The House that will not Stand\u003c/i>; photo: kevinberne.com.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The House That Will Not Stand\u003c/em>\u003c/h3>\n\u003ch5>Berkeley Repertory Theatre\u003c/h5>\n\u003cp>Though based in New York, West Oakland native \u003ca href=\"http://www.kqed.org/arts/programs/spark/profile.jsp?essid=17964\" target=\"_blank\" rel=\"noopener\">Marcus Gardley\u003c/a> keeps coming back to the Bay Area with impressive new plays, such as his densely poetic mythic mashup \u003cem>….And Jesus Moonwalks the Mississippi\u003c/em>, which managed to combine Jesus, Bre’r Rabbit and Yoruba Orishas into a story set during the Civil War. Even so, his latest, \u003ca href=\"http://ww2.kqed.org/arts/2014/02/09/the-house-that-will-not-stand-delivers/\" target=\"_blank\" rel=\"noopener\">\u003cem>The House That Will Not Stand\u003c/em>\u003c/a>, feels like a significant leap forward for the 36-year-old playwright. Gardley seamlessly weaves together the basic plot of Federico Garcia Lorca’s play \u003cem>The House of Bernarda Alba \u003c/em>with the plight of free people of color (particularly the long-term mistresses of wealthy white men) in 1836 New Orleans, a time when the old customs of the former French colony were being subsumed by the more draconian laws of the American South. The play was powerfully brought to life in February at Berkeley Rep by director Patricia McGregor, who frequently works at California Shakespeare Theater (\u003cem>Spunk\u003c/em>, \u003cem>The Winter’s Tale, A Raisin in the Sun\u003c/em>).\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10219560\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/2014-hundred.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10219560 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/2014-hundred-400x218.jpg\" alt=\"Abigail and Shaun Bengson rock the house in Hundred Days at Z Space; photo: Mark Leialoha.\" width=\"400\" height=\"218\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/2014-hundred-400x218.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/2014-hundred.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Abigail and Shaun Bengson rock the house in \u003ci>Hundred Days\u003c/i> at Z Space; photo: Mark Leialoha.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Hundred Days\u003c/em>\u003c/h3>\n\u003ch5>Z Space\u003c/h5>\n\u003cp>Every once in a while there comes a musical so full of passion and joy that you can’t help but get caught up in it. That was certainly the case with \u003ca href=\"http://ww2.kqed.org/arts/2014/03/04/the-bengsons-pack-a-lifetime-of-joy-into-indie-rock-opera-hundred-days/\" target=\"_blank\" rel=\"noopener\">\u003cem>Hundred Days\u003c/em>\u003c/a>, the bittersweet love story that Z Space premiered in March, which went on to win a \u003ca href=\"http://www.theatrebayarea.org/?page=awards\" target=\"_blank\" rel=\"noopener\">TBA Award\u003c/a> for outstanding world premiere musical. The story in Kate E. Ryan’s libretto is sad but beautiful: no sooner has a young couple met and fallen in love than they find out one of them has a terminal illness. The two shut themselves off from the world and live their remaining 100 days together as if they were 60 years of marriage. What really drives it all home are the propulsive, exuberant indie-rock \u003ca href=\"http://bengsons.com/watchlisten/\" target=\"_blank\" rel=\"noopener\">songs\u003c/a> of Abigail and Shaun Bengson, of the band the Bengsons. The couple also starred in the musical alongside young local actors such as Reggie White and Amy Lizardo, who just finished up a run of \u003ca href=\"http://ww2.kqed.org/arts/2014/10/27/aint-no-party-like-the-black-panther-party-at-berkeley-rep/\" target=\"_blank\" rel=\"noopener\">\u003cem>Party People\u003c/em>\u003c/a> at Berkeley Rep, and El Beh, who’s currently in Shotgun Players’ production \u003ca href=\"https://shotgunplayers.org/Online/ourtown\" target=\"_blank\" rel=\"noopener\">\u003cem>Our Town\u003c/em>\u003c/a>, also featuring live music by the Bengsons.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10219564\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/2014-triassic.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10219564 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/2014-triassic-400x266.jpg\" alt=\"Alex Rodriguez, Javi Harnly, Monica Turner, Chelsea Holifield, David Naughton and Lewis Rawlinson in Triassic Parq; photo: Erik Scanlon. \" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/2014-triassic-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/2014-triassic.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Alex Rodriguez, Javi Harnly, Monica Turner, Chelsea Holifield, David Naughton and Lewis Rawlinson in \u003ci>Triassic Parq\u003c/i>; photo: Erik Scanlon.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Triassic Parq\u003c/em>\u003c/h3>\n\u003ch5>Ray of Light Theatre\u003c/h5>\n\u003cp>San Francisco’s Ray of Light Theatre excels at offbeat and slightly warped contemporary musicals like \u003cem>Carrie\u003c/em> \u003cem>the Musical \u003c/em>or \u003cem>Jerry Springer the Opera\u003c/em>. This year the company managed to do an entire season with almost no human characters. First up was the dinosaur sex comedy \u003ca href=\"http://ww2.kqed.org/arts/2014/06/10/a-midsummer-nights-dinosaur-sex-comedy/\">\u003cem>Triassic Parq\u003c/em>\u003c/a>, followed by \u003ca href=\"http://theidiolect.com/theater/consider-the-yeasts/\" target=\"_blank\" rel=\"noopener\">\u003cem>Yeast Nation (the triumph of life)\u003c/em>\u003c/a>, an inspirational love story about single-celled organisms from the makers of \u003cem>Urinetown\u003c/em>. (Oddly, both were about young lovers rebelling against the doctrinaire theocracy of their society.) The bawdy reptilian romp \u003cem>Triassic Parq \u003c/em>isn’t set during the age of the dinosaurs but amid a genetically-revived population in an ill-considered theme park — the same one we may know from \u003cem>Jurassic Park\u003c/em>. But Marshall Pailet, Bryce Norbitz and Steve Wargo’s hilarious story is told entirely from the point of view of the velociraptors and Tyrannosaurs themselves, an all-female population whose world is rocked when one of them spontaneously turns male.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10219558\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/2014-godfights.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10219558 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/2014-godfights-400x266.jpg\" alt=\"Dezi Gallegos plays many parts in God Fights the Plague at the Marsh; photo: Molly DeCoudreaux.\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/2014-godfights-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/2014-godfights.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dezi Gallegos plays many parts in \u003ci>God Fights the Plague\u003c/i> at the Marsh; photo: Molly DeCoudreaux.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>God Fights the Plague\u003c/em>\u003c/h3>\n\u003ch5>The Marsh\u003c/h5>\n\u003cp>Now in its 25th year, the Marsh is a hotbed of long-running solo shows from such deft local writer-performers as Charlie Varon, Marga Gomez, Don Reed, Geoff Hoyle, Dan Hoyle, Josh Kornbluth, and the aforementioned Brian Copeland. This June, Petaluma 18-year-old Dezi Gallegos joined those esteemed ranks with \u003ca href=\"http://ww2.kqed.org/arts/2014/06/24/are-you-there-god-its-me-dezi/\" target=\"_blank\" rel=\"noopener\">\u003cem>God Fights the Plague\u003c/em>\u003c/a>, chronicling his search for God through interviews with ten people representing different religions or atheistic philosophies — all of them embodied with chameleonlike versatility by Gallegos himself. What makes the piece so resonant is Dezi’s own journey and his account of the personal crises that set him in search of something larger to rely on.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10219557\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/2014-everybody.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10219557 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/2014-everybody-400x266.jpg\" alt=\"Dan Kurtz, Nick Trengove and Mikka Bonel are a love triangle in Everybody Here Says Hello!; photo: Jim Norrena.\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/2014-everybody-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/2014-everybody.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Dan Kurtz, Nick Trengove and Mikka Bonel are a love triangle in \u003ci>Everybody Here Says Hello!\u003c/i>; photo: Jim Norrena.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Everybody Here Says Hello!\u003c/em>\u003c/h3>\n\u003ch5>Wily West Productions\u003c/h5>\n\u003cp>Local writer-director-producer Stuart Bousel has been impressively prolific this year, premiering his stage adaptation of Throwing Muses singer-songwriter Kristin Hersh’s memoir, \u003cem>\u003ca href=\"http://ww2.kqed.org/arts/2014/05/07/throwing-muses-musical-is-first/\" target=\"_blank\" rel=\"noopener\">Rat Girl\u003c/a>,\u003c/em> and his backstage comedy \u003ca href=\"http://ww2.kqed.org/arts/2014/10/14/a-little-backstage-drama-for-theater-cognoscenti/\">\u003cem>Pastorella\u003c/em>\u003c/a>. But it was Bousel’s \u003ca href=\"http://www.wilywestproductions.com/season-2014.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Everybody Here Says Hello!\u003c/em>\u003c/a> that really knocked it out of the park this year (enough so that it won a TBA Award for outstanding world premiere play). This whip-smart and hysterically funny romantic comedy follows a smarmy sexual opportunist in a long-term relationship with a man who strikes up a romance with a straight friend’s girlfriend — and then wants to continue to date them both. “I am the most amazing heterosexual woman in the world!” his new lover crows when she finds out he’s not only mostly gay but also a drag performer. The play is packed with clever soliloquies from pretty much every character and a bit of meta-commentary about characters who are hard to tell apart because the same actor plays them (and because they’re similar characters to begin with, such as a pair of clingy exes).\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10219562\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/2014-raptureblister.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10219562 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/2014-raptureblister-400x293.jpg\" alt=\"Avery (Nicole Javier) and Alice (Lilain Bogovich) try to talk Catherine (Marilee Talkington*) out of the relationship doldrums in Aurora Theatre Company's Rapture, Blister, Burn; photo: David Allen.\" width=\"400\" height=\"293\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/2014-raptureblister-400x293.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/2014-raptureblister.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Avery (Nicole Javier) and Alice (Lilain Bogovich) try to talk Catherine (Marilee Talkington) out of the relationship doldrums in Aurora Theatre Company’s \u003ci>Rapture, Blister, Burn\u003c/i>; photo: David Allen.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Rapture, Blister, Burn\u003c/em>\u003c/h3>\n\u003ch5>Aurora Theatre Company\u003c/h5>\n\u003cp>Gina Gionfriddo’s \u003ca href=\"http://theidiolect.com/theater/yes-ive-paid-the-price/\" target=\"_blank\" rel=\"noopener\">\u003cem>Rapture, Blister, Burn\u003c/em>\u003c/a> comes down to four women sitting around and talking about feminism. The conversations are loaded by the fact that one of those women is married to the other’s grad school boyfriend, whom she “stole” years ago. Now one’s a stay-at-home mom with a frustratingly unambitious husband, and the other’s a hotshot feminist academic who never married. Each envies the other’s life. Add to this mix a post-feminist babysitter who wants to be a reality star and the academic’s ailing mother, who just wants to serve everyone cocktails. Stir in the man in the middle, and you have a sharp and funny comedy with unflinching insights about human nature in all its faults. Up-and-coming director Desdemona Chiang works with a terrific cast headed by Marilee Talkington—next seen in Berkeley Rep’s \u003ca href=\"http://www.berkeleyrep.org/season/1415/8241.asp\" target=\"_blank\" rel=\"noopener\">\u003cem>X’s and O’s (A Football Love Story)\u003c/em>\u003c/a>—as the formidable theorist and Gabriel Marin and Rebecca Schweitzer as the troubled couple, who’ll both next be seen in \u003ca href=\"http://www.centerrep.org/season1415/thebookclubplay.php\" target=\"_blank\" rel=\"noopener\">\u003cem>The Book Club Play\u003c/em>\u003c/a> at Center Rep.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10219555\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/2014-arguendo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10219555 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/2014-arguendo-400x266.jpg\" alt=\"Mike Iveson and Vin Knight as Supreme Court justices in Arguendo at Z Space; photo: Joan Marcus.\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/2014-arguendo-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/2014-arguendo.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Mike Iveson and Vin Knight as Supreme Court justices in \u003ci>Arguendo\u003c/i> at Z Space; photo: Joan Marcus.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Arguendo\u003c/em> \u003c/h3>\n\u003ch5>Z Space\u003c/h5>\n\u003cp>Who knew Supreme Court arguments could be so entertaining? Acclaimed New York experimental theater company Elevator Repair Service made a thunderous San Francisco debut over Halloween weekend with \u003ca href=\"http://zspace.org/new-work/arguendo\" target=\"_blank\" rel=\"noopener\">\u003cem>Arguendo\u003c/em>\u003c/a>\u003cem>,\u003c/em> performing the oral arguments in the 1991 case \u003cem>Barnes v. Glen Theatre \u003c/em>verbatim. The case is about whether laws about public nudity should apply to erotic dancers, leading to some amusing wrangling over what forms of artistic expression constitute constitutionally protected speech. But what’s particularly impressive is how dynamically the ERS ensemble brings the argument to life, with Supreme Court justices closing in on the lawyers on rolling chairs and animated text projections zooming back and forth between the legal precedents being discussed. In addition to acting as a hub for homegrown new work, Z Space has been attracting more and more distinguished visitors to San Francisco, such as New York’s legendary Wooster Group this coming February with \u003ca href=\"http://zspace.org/new-work/the-wooster-groups-early-shaker-spirituals\" target=\"_blank\" rel=\"noopener\">\u003cem>Early Shaker Spirituals\u003c/em>\u003c/a>\u003cem>,\u003c/em> featuring Frances McDormand and Suzzy Roche.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10219556\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/2014-dragon.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10219556 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/2014-dragon-400x266.jpg\" alt=\"Jed Parsario flirts with danger -- and with Lindsey Schmeltzer's dragon girl -- in The Dragon Play at Impact Theatre.\" width=\"400\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/2014-dragon-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/2014-dragon.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jed Parsario flirts with danger — and with Lindsey Schmeltzer’s dragon girl — in \u003ci>The Dragon Play\u003c/i> at Impact Theatre.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Dragon Play\u003c/em>\u003c/h3>\n\u003ch5>Impact Theatre\u003c/h5>\n\u003cp>Hidden away in a North Berkeley pizza-parlor basement, Impact Theatre has long been the proving ground where you can catch the dynamic work of the actors, directors and playwrights whose work will be all over the larger theaters in years to come. But even for an Impact fan like me, \u003ca href=\"http://ww2.kqed.org/arts/2014/11/12/a-heartrending-romance-of-boy-and-dragon-at-impact-theatre/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Dragon Play\u003c/em>\u003c/a> represents a significant stepping-up of the company’s game. Jenny Connell Davis’ bittersweet love story between a boy and a dragon girl blends the mythic and the contemporary, sensuality and resentment, humor and sorrow in ways that feel fresh, exciting and breathtakingly beautiful. It’s elegantly staged by Tracy Ward, a local director who’s worked with Shotgun Players, AlterTheater and other Bay Area companies.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10219561\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/2014-pussy.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10219561 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/2014-pussy-400x602.jpg\" alt=\"Maura Halloran as the titular cat in Pussy; photo by Claire Rice.\" width=\"400\" height=\"602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/2014-pussy-400x602.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/2014-pussy-398x600.jpg 398w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/2014-pussy.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Maura Halloran as the titular cat in \u003ci>Pussy\u003c/i>; photo by Claire Rice.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Pussy\u003c/em>\u003c/h3>\n\u003ch5>New Conservatory Theatre Center\u003c/h5>\n\u003cp>A revival of a one-woman show that played the EXIT Theatre’s DIVAfest two years ago, Maura Halloran’s \u003ca href=\"http://www.nctcsf.org/shows/pussy\">\u003cem>Pussy\u003c/em>\u003c/a> is a marvelously sweet, funny, exasperating and ultimately satisfying portrait of a lesbian couple whose relationship is on the rocks. An eager-to-please, conservative Canadian is far too willing to be treated like a doormat by her cruelly manipulative English girlfriend. Watching disapprovingly are their homophobic but curious Russian landlady, who seems to have a crush on one of them, and the slinking, casually destructive cat that’s clearly the dominant force in the household. Halloran slips between the roles with captivating smoothness, especially impressive in the role of the titular feline. Herself a Canadian import who’s become a welcome addition to the Bay Area performing scene, Halloran will next be seen in Central Works’ \u003cem>\u003ca href=\"http://zspace.org/new-work/the-wooster-groups-early-shaker-spirituals\" target=\"_blank\" rel=\"noopener\">Enemies: Foreign and Domestic\u003c/a> \u003c/em>at the Berkeley City Club.\n\u003c/p>\u003c/div>\n\u003cp>One encouraging trend is that so many plays this year have tackled the question of privilege in a direct and sobering way. You couldn’t come out of Lauren Gunderson’s \u003cem>\u003ca href=\"http://ww2.kqed.org/arts/2014/01/25/seeking-answers-in-a-silent-sky/\">Silent Sky\u003c/a>\u003c/em>, Carson Kreitzer’s \u003cem>\u003ca href=\"http://www.marinij.com/entertainment/ci_25234379/theater-review-mtcs-tangled-lasso-ropes-you\" target=\"_blank\" rel=\"noopener\">Lasso of Truth\u003c/a> \u003c/em> or Gina Gionfriddo’s \u003cem>\u003ca href=\"http://theidiolect.com/theater/yes-ive-paid-the-price/\" target=\"_blank\" rel=\"noopener\">Rapture, Blister, Burn\u003c/a>\u003c/em> without pondering the secondary status of women in American society. At least four local productions this year have talked directly about police targeting young African-American men—Chinaka Hodge’s \u003ca href=\"http://ww2.kqed.org/arts/2014/05/14/new-play-shows-young-mans-trajectory-from-fear-to-madness/\" target=\"_blank\" rel=\"noopener\">\u003cem>Chasing Mehserle\u003c/em>\u003c/a>, Rhett Rossi’s \u003ca href=\"http://sfplayhouse.org/sfph/sandbox-series-red-black/\" target=\"_blank\" rel=\"noopener\">\u003cem>From Red to Black\u003c/em>\u003c/a>\u003cem>,\u003c/em> Jinho “the Piper” Ferreira’s \u003ca href=\"http://themarsh.org/cops_and_robbers/jinho-the-piper-ferreira/\">\u003cem>Cops and Robbers\u003c/em>\u003c/a> and Brian Copeland’s \u003cem>\u003ca href=\"http://ww2.kqed.org/arts/2014/02/05/brian-copeland-and-marga-gomez-get-impersonal-at-the-marsh/\" target=\"_blank\" rel=\"noopener\">The Scion\u003c/a>\u003c/em>—and it’s hard not to think about those plays all over again when people are out in the streets protesting the deadly consequences of that dysfunctional relationship between the police and people of color.\u003c/p>\n\u003cp>In this season of reflection, it’s easy for me to see that there’s always too much going on in the Bay Area theater community for any one person to see. Even having attended 121 plays and musicals this year, I’m all too keenly aware of dozens of important plays that I couldn’t make it to. Still, I’m thankful: it’s a great problem to have.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/10219554/best-theater-of-2014-a-year-full-to-bursting-with-powerful-performances","authors":["76"],"series":["arts_745"],"categories":["arts_1003"],"tags":["arts_596"],"featImg":"arts_10219565","label":"arts_745"},"arts_10205777":{"type":"posts","id":"arts_10205777","meta":{"index":"posts_1591205157","site":"arts","id":"10205777","score":null,"sort":[1418677241000]},"guestAuthors":[],"slug":"rummaging-through-the-east-bay","title":"Rummaging Through the East Bay","publishDate":1418677241,"format":"standard","headTitle":"Rummaging Through the East Bay | KQED","labelTerm":{"term":745,"site":"arts"},"content":"\u003cp>If I didn’t realize the idea of creating a guide to rummage stores in the East Bay was ludicrous at the outset, I soon came to understand the implausibility once I got started. Naturally I chose the rainiest days of the year — so far — to drive over 150 miles and still just barely scratch the surface of what’s available in the quote East Bay unquote. \u003c/p>\n\u003cp>For one, how much of the East Bay, which people rightfully point out is “Beast” in pig Latin, was I prepared to bite off? It’s a vast geographic region, which is one of the salient characteristics of what I found once I began to rummage. In striking contrast to San Francisco, the rummage/vintage/thrift stores I visited in the East Bay were characterized first by their large spaces, which led naturally to an ability to show and sell a much more diverse — and less highly curated — range of goods. \u003c/p>\n\u003cp>The other element that pops up in the East Bay is the necessity of actually rummaging. More space equals more stuff equals more digging, which also means more effort on the shopper’s part can translate into more surprising discoveries at lower prices.\u003c/p>\n\u003cp>The East Bay has some pretty colossal spaces to start out in. First is the big \u003ca href=\"http://www.westwinddi.com/westwind/\" target=\"_blank\" rel=\"noopener\">daily flea market\u003c/a> near the Oakland Coliseum, but you have to calculate exactly how much effort you want to put in — and how much imported junk you are willing to dig through. More akin to San Francisco’s Alemany Flea, are the \u003ca href=\"https://www.facebook.com/pages/Laney-Flea-Market/103678716359011\" target=\"_blank\" rel=\"noopener\">Laney Flea Market\u003c/a>, held every Sunday in the Laney College parking lot, and the \u003ca href=\"http://www.berkeleyfleamarket.com/home\" target=\"_blank\" rel=\"noopener\">Berkeley Flea Market\u003c/a>, which runs every weekend outside the Ashby BART station. But once again, treasures can be found if one is willing to root about to find them.\u003c/p>\n\u003cp>The grandaddy of fleas, and the most fun with the most interesting stuff, is the high-falutin’-sounding \u003ca href=\"http://www.alamedapointantiquesfaire.com/\" target=\"_blank\" rel=\"noopener\">Alameda Point Antiques Faire\u003c/a>, which happens the first Sunday of each month. With over 800 dealers and a rule that items sold there need to be at least 20 years old, this is the place where you are most likely to encounter the vintage find you’ve been hankering after. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There is also the Oakland Museum of CA’s annual \u003ca href=\"http://whiteelephantsale.org/shop/white-elephant-sale-and-preview/\" target=\"_blank\" rel=\"noopener\">White Elephant Sale\u003c/a>, which is huge and involves buying advance tickets — if you want to attend the preview and get while the gettin’s still good. \u003c/p>\n\u003cp>On the other end of the spectrum is \u003ca href=\"http://urbanore.com/\" target=\"_blank\" rel=\"noopener\">Urban Ore\u003c/a>, a massive building materials recycling plant located right off Ashby on the south end of Berkeley. Sinks, tubs, windows, doors, electrical goo gaws (that is the technical term) — you name it, you can probably find it inside or out of this gigantic warehouse, which is constantly replenishing its supply of materials culled from remodeled and demolished buildings. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Though this is hardly representative, I humbly give you my pick of eleven great places to scratch about in the East Bay. Please share your favorites in the comments below.\u003c/p>\n\u003cdiv class=\"callout noborder\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/collectors2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/collectors2.jpg\" alt=\"collectors2\" width=\"400\" height=\"532\" class=\"alignleft size-full wp-image-10208625\">\u003c/a>\n\u003ch3>Collector’s Choice Antiques\u003c/h3>\n\u003ch5>3574 Mt. Diablo Boulevard, Lafayette, CA\u003cbr>\n\u003ca href=\"http://www.collectors-antiques.com/\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>Former husband and wife team Kathy and Carl Himmelman opened Collector’s Choice four years ago, after both retired. Carl has a background as a picker and buyer mostly in Manhattan. The two started small, renting space in another antique store and then slowly expanded into the 6,000 square foot building they inhabit today. Kathy is attracted to Bakelite from the 1930s, which shows up in the store as radios, handles on antique furniture and in a wide selection of jewelry. Carl’s business in slot machines inhabits a sizable space in the store’s ground floor, and, true to current trends in the roaring return of analog media, the Himmelmans are opening a listening room, where customers can try out vintage console record players and listen to vinyl the way it was meant to be heard. \u003c/p>\n\u003cp>The thing that Kathy enjoys most about spending her retirement in an antique store is the history lessons she witnesses daily. Parents bring their kids into the shop, or vice versa, and talk about the origins of the mysterious objects on view.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/found2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/found2.jpg\" alt=\"found2\" width=\"400\" height=\"600\" class=\"alignleft size-full wp-image-10208626\">\u003c/a>\n\u003ch3>Found on Piedmont\u003c/h3>\n\u003ch5>4125 Piedmont Ave., Oakland, CA\u003cbr>\n510-420-8900\u003c/h5>\n\u003cp>Marc Weber and brothers Mike and Ed Martinez opened Found last February next to the Martinezes’ father’s shop, Piedmont Lane Gallery, the second oldest business on the street. The two stores are a study in contrast. Found is clean and focused on creating a casual vibe, providing quality housewares and more at a good price point. Weber’s tastes are eclectic, but he is hoping to provide good value to the folks in the neighborhood, while also creating a space for community activity. Found features new art shows each month and has a stage where local musicians play during openings, which align with the \u003ca href=\"http://www.piedmontavestroll.org/\" target=\"_blank\" rel=\"noopener\">Piedmont Avenue Stroll\u003c/a> the third Thursday of each month. \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/piedmont.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/piedmont.jpg\" alt=\"piedmont\" width=\"400\" height=\"600\" class=\"alignright size-full wp-image-10208609\">\u003c/a>\u003c/p>\n\u003cp>Next door, Marty Martinez’s shop is a place built for serious rummaging. The store is piled high and requires some real effort — the exact opposite of Found’s clean curation. Martinez, who celebrated his 86th birthday last week, is a painter who graduated from CCAC — California College of Art and Craft — in 1951 (back before the school shed that final C). He raised 5 boys in the Piedmont neighborhood where his store has been located for 45 years. His interest in painting has led to a large (and somewhat unruly) collection of frames and canvases piled dozens deep. Martinez says that if you know what you’re looking at, there is treasure to be found within.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/katz2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/katz2.jpg\" alt=\"katz2\" width=\"400\" height=\"600\" class=\"alignleft size-full wp-image-10208627\">\u003c/a>\n\u003ch3>Katz Modern\u003c/h3>\n\u003ch5>1605 Ashby Ave., Berkeley, CA\u003cbr>\n\u003ca href=\"http://www.katzmodern.com/\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>I’ve never been inside Katz Modern, but I can say that, hands down, the place is full of the coolest items I saw in my adventures around the bay. Only open on Saturdays or by appointment, Katz specializes in mid-century modern furniture and art. The store has only been at its current location for four months, but Michael Katz has been around the block more than a few times. He says that he started collecting weird antiques about 25-30 years ago, when he was a self-described “dope fiend” with a shopping cart on the lookout for items he could trade or sell. Luckily he made friends along the way who helped guide him into rehab and onto his current path. He makes most of his sales online and at indoor modern furniture shows; most of his stuff ends up in L.A. and Manhattan.\u003c/p>\n\u003cp>Katz opens on Saturdays to “give the public a chance to maybe buy something.” But he warns that he doesn’t sell things for cheap. “You have to know what you’re looking at in my store.” And be willing to pay a fair price. What I saw through the building’s picture windows was a whole lot of amazing stuff. Katz has come through his journey with a great eye and a strong focus. \u003c/p>\n\u003cp>On Saturdays he shares the store with his buddy, Rockabilly musician Chris Ford’s Hercules Records, which sells vinyl and runs a country radio station out of the place. \u003c/p>\n\u003cp>Katz says, “I don’t know anything about having a perfect business. I just kinda do what I like and it works.” Yup.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/lacis.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/lacis.jpg\" alt=\"lacis\" width=\"400\" height=\"600\" class=\"alignleft size-full wp-image-10208611\">\u003c/a>\n\u003ch3>Lacis Museum of Lace and Textiles\u003c/h3>\n\u003ch5>2982 Adeline St., Berkeley, CA\u003cbr>\n\u003ca href=\"http://lacismuseum.org/\">Information\u003c/a>\u003c/h5>\n\u003cp>I don’t know anything about lace or textiles, but, while wandering around Berkeley, I spied a museum devoted to such and went in. The folks there have many great examples on sale and run classes in how to make different kinds of traditional laces and garments for yourself. Located at the intersection of Addison and Ashby — also known as the Art and Antiques (district? intersection?) — Lacis is located near a whole bunch of traditional antique stores. \u003c/p>\n\u003cp>The store has been around in one form or another since 1965, but incorporated as a museum in 2002. The museum part is in the space’s back room and features exhibitions of needlework, historical costume and the like twice a year.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/lostandfound.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/lostandfound.jpg\" alt=\"lostandfound\" width=\"400\" height=\"600\" class=\"alignleft size-full wp-image-10208612\">\u003c/a>\n\u003ch3>Lost and Found\u003c/h3>\n\u003ch5>5357 College Ave., Oakland, CA\u003cbr>\n\u003ca href=\"http://lostandfoundstore.squarespace.com/\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>This relatively new space, opened by local furniture designer Alison McLennan with a couple of friends, including vintage scavenger Erik Whittaker, was once a garage. Lost and Found features a large, interesting mix of styles; vintage finds blend nicely with McLennan’s contemporary furniture designs and other handmade housewares. The space has a lived-in feeling, which was exactly what McLennan was looking to create — after showing her furniture in galleries, she wanted to demonstrate how comfortably it might fit into a home.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/mixedpickles.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/mixedpickles.jpg\" alt=\"mixedpickles\" width=\"400\" height=\"606\" class=\"alignleft size-full wp-image-10208613\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/mixedpickles.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/mixedpickles-396x600.jpg 396w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\n\u003ch3>Mixed Pickles\u003c/h3>\n\u003ch5>6395 Telegraph Ave., Oakland, CA\u003cbr>\n\u003ca href=\"http://mixedpicklesvintage.blogspot.com/\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>The place that I actually enjoyed visiting most was Mixed Pickles. Started by Sharon Hoyle and Roger Williams, the collective of seven dealers has been around for about four years. I spoke with Zach Rossman, one of the seven, who was manning the store the day I visited. He’s interested in Victorian science and natural history, which shows up in the shop as paper prints, anatomical charts and old medical books. Mixed Pickles specializes in unusual home décor, but there was also some trench art (art objects made out of old ammunition), costume jewelry and vintage clothing on display. \u003c/p>\n\u003cp>Overall, the space is really playful. Rossman says that people come in regularly just to see what’s changed, treating the space like a gallery that is in constant flux. Whatever they are doing at Mixed Pickles totally works. The seven dealers have complimentary aesthetics and the staging looks a lot like installation art, but with everything for sale. If you are looking for an amazing unusual oddity, check out Mixed Pickles, and while you’re there visit TEL (see below) next door.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/montclair.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/montclair.jpg\" alt=\"montclair\" width=\"400\" height=\"267\" class=\"alignleft size-full wp-image-10208614\">\u003c/a>\n\u003ch3>Montclair Estates\u003c/h3>\n\u003ch5>4268 Piedmont Ave., Oakland, CA\u003cbr>\n\u003ca href=\"http://montclairestates.com/\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>Niels Dahl-Jensen is the CEO of Montclair Estates, which got its start not on Pietmont, but in Oakland’s Montclair district — hence the name. Jensen’s business began when he started doing Ebay sales for other people who didn’t have the time or the interest in joining Ebay just to sell a few items. He still provides that service today. The store is kind of a mish mash, with lots of jewelry, a pretty hefty collection of vinyl and a whole mess of old camera equipment. Those last two collections come from the liquidation of a former record store and a camera shop.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/omega.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/omega.jpg\" alt=\"omega\" width=\"400\" height=\"600\" class=\"alignleft size-full wp-image-10208615\">\u003c/a>\n\u003ch3>Omega Salvage\u003c/h3>\n\u003ch5>2407 San Pablo Ave., Berkeley, CA\u003cbr>\n\u003ca href=\"http://www.ohmegasalvage.com/\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>I have been visiting Omega Salvage for years. It’s kind of a welcome antidote after spending time at Urban Ore, which is just down the street. Where Urban Ore is piled full of things that need sorting, Omega Salvage, which like Urban Ore specializes in materials salvaged from remodels and demolitions, has already done the sorting for you. If you are looking for stained glass windows culled from an old church, go to Omega. I covet the 1930s era bathtubs that sit in the yard. There is also this deco tiling that I have lusted after for years, but one, I don’t have anywhere to put it and two, yikes, it’s really expensive! They have amazing rare items there — mostly located on the west side of San Pablo Ave. and then things that are a little more common and affordable located in Omega’s other lot on the east side of the street. \u003c/p>\n\u003cp>Omega has really good sorters, which results in drawers full of keys, hinges, door knobs, latches; they have rooms full of light fixtures, globes, chains, mounts, whatever. It’s two buildings and two parking lots full of stuff. So, there’s bound to be something of interest, no?\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/tel.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/tel.jpg\" alt=\"tel\" width=\"400\" height=\"267\" class=\"alignleft size-full wp-image-10208616\">\u003c/a>\n\u003ch3>TEL\u003c/h3>\n\u003ch5>6371 Telegraph Ave., Oakland, CA\u003cbr>\n\u003ca href=\"http://www.totalestateliquidation.com/\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>TEL stands for Total Estate Liquidation, which is what owner Kathy Pimpan has been doing for the last 14 years, when she took a break from writing her PhD dissertation (about what accumulation means to Americans) at Cal. Pimpan spends most of her time doing estate sales for others and has figured out a way to make her expertise contribute something back to the community while she’s at it. She introduced the concept of estate sales to the Alameda County Public Guardian’s Office and the Sheriff’s Department as a way for elderly people who can no longer take care of themselves to come up with the funds needed for their own health care and nursing home expenses. Pimpan’s a Virgo; I understand they are service oriented. “It really makes a difference knowing that you are helping, whether the people being helped know it or not,” she says. \u003c/p>\n\u003cp>Pimpan also believes in karma, and applies this belief to her business, paying fair prices for the things she picks up for her store, which she describes as having a “hippie bohemian” vibe to it. When I asked her what she was attracted to most, or what she featured in her store, she first answered that the store didn’t necessarily reflect her interests. Then she looked around and described what was there: Danish modern, teak and rosewood furniture; estate jewelry; 20th century abstract art; vintage clothing. “Hmm. I guess it does reflect what I am attracted to.” Imagine.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/urbanisland.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/urbanisland.jpg\" alt=\"urbanisland\" width=\"400\" height=\"600\" class=\"alignleft size-full wp-image-10208617\">\u003c/a>\n\u003ch3>Urban Island\u003c/h3>\n\u003ch5>1901 Broadway, Alameda, CA\u003cbr>\n\u003ca href=\"http://www.urbanislandfurnishings.com/\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>Steve Ferguson opened Urban Island five years ago, after leaving a tech job and embracing the “frustrated designer” he had been suppressing for years. He has lived in Alameda for 16 years and when he decided to open a shop, he knew it should be in town. Ferguson found the perfect location, a U-shaped complex that houses an eclectic mix of furnishing, books, etc. The original section of the building was a lumberyard that dates to the late 1800s, according to Ferguson. The building later became a manufacturing complex for vinyl siding and roofing. Now it houses at least five rooms full of furniture and other items for the home. \u003c/p>\n\u003cp>When I asked him what kinds of objects attracted him, Ferguson said the first thing that had to go out the window when he started the business was his own personal taste. (He didn’t specify, but apparently whatever he liked most wasn’t what folks were buying.) Urban Island calls itself the “East Bay’s largest consignment furniture store,” which is infinitely believable given the size of the structure. They like to “stay on trend” at the store, but given the diverse architecture found throughout the East Bay, Urban Island finds success with a large variety of styles. \u003c/p>\n\u003c/div>\n","blocks":[],"excerpt":"OK. Now we know it's not really possible to encapsulate the East Bay vintage/thrift/rummage store scene in just one post. But we go ahead and do so at our own peril. ","status":"publish","parent":0,"modified":1705047865,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":31,"wordCount":2524},"headData":{"title":"Rummaging Through the East Bay | KQED","description":"OK. Now we know it's not really possible to encapsulate the East Bay vintage/thrift/rummage store scene in just one post. But we go ahead and do so at our own peril. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Rummaging Through the East Bay","datePublished":"2014-12-15T21:00:41.000Z","dateModified":"2024-01-12T08:24:25.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/10205777/rummaging-through-the-east-bay","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If I didn’t realize the idea of creating a guide to rummage stores in the East Bay was ludicrous at the outset, I soon came to understand the implausibility once I got started. Naturally I chose the rainiest days of the year — so far — to drive over 150 miles and still just barely scratch the surface of what’s available in the quote East Bay unquote. \u003c/p>\n\u003cp>For one, how much of the East Bay, which people rightfully point out is “Beast” in pig Latin, was I prepared to bite off? It’s a vast geographic region, which is one of the salient characteristics of what I found once I began to rummage. In striking contrast to San Francisco, the rummage/vintage/thrift stores I visited in the East Bay were characterized first by their large spaces, which led naturally to an ability to show and sell a much more diverse — and less highly curated — range of goods. \u003c/p>\n\u003cp>The other element that pops up in the East Bay is the necessity of actually rummaging. More space equals more stuff equals more digging, which also means more effort on the shopper’s part can translate into more surprising discoveries at lower prices.\u003c/p>\n\u003cp>The East Bay has some pretty colossal spaces to start out in. First is the big \u003ca href=\"http://www.westwinddi.com/westwind/\" target=\"_blank\" rel=\"noopener\">daily flea market\u003c/a> near the Oakland Coliseum, but you have to calculate exactly how much effort you want to put in — and how much imported junk you are willing to dig through. More akin to San Francisco’s Alemany Flea, are the \u003ca href=\"https://www.facebook.com/pages/Laney-Flea-Market/103678716359011\" target=\"_blank\" rel=\"noopener\">Laney Flea Market\u003c/a>, held every Sunday in the Laney College parking lot, and the \u003ca href=\"http://www.berkeleyfleamarket.com/home\" target=\"_blank\" rel=\"noopener\">Berkeley Flea Market\u003c/a>, which runs every weekend outside the Ashby BART station. But once again, treasures can be found if one is willing to root about to find them.\u003c/p>\n\u003cp>The grandaddy of fleas, and the most fun with the most interesting stuff, is the high-falutin’-sounding \u003ca href=\"http://www.alamedapointantiquesfaire.com/\" target=\"_blank\" rel=\"noopener\">Alameda Point Antiques Faire\u003c/a>, which happens the first Sunday of each month. With over 800 dealers and a rule that items sold there need to be at least 20 years old, this is the place where you are most likely to encounter the vintage find you’ve been hankering after. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There is also the Oakland Museum of CA’s annual \u003ca href=\"http://whiteelephantsale.org/shop/white-elephant-sale-and-preview/\" target=\"_blank\" rel=\"noopener\">White Elephant Sale\u003c/a>, which is huge and involves buying advance tickets — if you want to attend the preview and get while the gettin’s still good. \u003c/p>\n\u003cp>On the other end of the spectrum is \u003ca href=\"http://urbanore.com/\" target=\"_blank\" rel=\"noopener\">Urban Ore\u003c/a>, a massive building materials recycling plant located right off Ashby on the south end of Berkeley. Sinks, tubs, windows, doors, electrical goo gaws (that is the technical term) — you name it, you can probably find it inside or out of this gigantic warehouse, which is constantly replenishing its supply of materials culled from remodeled and demolished buildings. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though this is hardly representative, I humbly give you my pick of eleven great places to scratch about in the East Bay. Please share your favorites in the comments below.\u003c/p>\n\u003cdiv class=\"callout noborder\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/collectors2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/collectors2.jpg\" alt=\"collectors2\" width=\"400\" height=\"532\" class=\"alignleft size-full wp-image-10208625\">\u003c/a>\n\u003ch3>Collector’s Choice Antiques\u003c/h3>\n\u003ch5>3574 Mt. Diablo Boulevard, Lafayette, CA\u003cbr>\n\u003ca href=\"http://www.collectors-antiques.com/\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>Former husband and wife team Kathy and Carl Himmelman opened Collector’s Choice four years ago, after both retired. Carl has a background as a picker and buyer mostly in Manhattan. The two started small, renting space in another antique store and then slowly expanded into the 6,000 square foot building they inhabit today. Kathy is attracted to Bakelite from the 1930s, which shows up in the store as radios, handles on antique furniture and in a wide selection of jewelry. Carl’s business in slot machines inhabits a sizable space in the store’s ground floor, and, true to current trends in the roaring return of analog media, the Himmelmans are opening a listening room, where customers can try out vintage console record players and listen to vinyl the way it was meant to be heard. \u003c/p>\n\u003cp>The thing that Kathy enjoys most about spending her retirement in an antique store is the history lessons she witnesses daily. Parents bring their kids into the shop, or vice versa, and talk about the origins of the mysterious objects on view.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/found2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/found2.jpg\" alt=\"found2\" width=\"400\" height=\"600\" class=\"alignleft size-full wp-image-10208626\">\u003c/a>\n\u003ch3>Found on Piedmont\u003c/h3>\n\u003ch5>4125 Piedmont Ave., Oakland, CA\u003cbr>\n510-420-8900\u003c/h5>\n\u003cp>Marc Weber and brothers Mike and Ed Martinez opened Found last February next to the Martinezes’ father’s shop, Piedmont Lane Gallery, the second oldest business on the street. The two stores are a study in contrast. Found is clean and focused on creating a casual vibe, providing quality housewares and more at a good price point. Weber’s tastes are eclectic, but he is hoping to provide good value to the folks in the neighborhood, while also creating a space for community activity. Found features new art shows each month and has a stage where local musicians play during openings, which align with the \u003ca href=\"http://www.piedmontavestroll.org/\" target=\"_blank\" rel=\"noopener\">Piedmont Avenue Stroll\u003c/a> the third Thursday of each month. \u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/piedmont.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/piedmont.jpg\" alt=\"piedmont\" width=\"400\" height=\"600\" class=\"alignright size-full wp-image-10208609\">\u003c/a>\u003c/p>\n\u003cp>Next door, Marty Martinez’s shop is a place built for serious rummaging. The store is piled high and requires some real effort — the exact opposite of Found’s clean curation. Martinez, who celebrated his 86th birthday last week, is a painter who graduated from CCAC — California College of Art and Craft — in 1951 (back before the school shed that final C). He raised 5 boys in the Piedmont neighborhood where his store has been located for 45 years. His interest in painting has led to a large (and somewhat unruly) collection of frames and canvases piled dozens deep. Martinez says that if you know what you’re looking at, there is treasure to be found within.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/katz2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/katz2.jpg\" alt=\"katz2\" width=\"400\" height=\"600\" class=\"alignleft size-full wp-image-10208627\">\u003c/a>\n\u003ch3>Katz Modern\u003c/h3>\n\u003ch5>1605 Ashby Ave., Berkeley, CA\u003cbr>\n\u003ca href=\"http://www.katzmodern.com/\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>I’ve never been inside Katz Modern, but I can say that, hands down, the place is full of the coolest items I saw in my adventures around the bay. Only open on Saturdays or by appointment, Katz specializes in mid-century modern furniture and art. The store has only been at its current location for four months, but Michael Katz has been around the block more than a few times. He says that he started collecting weird antiques about 25-30 years ago, when he was a self-described “dope fiend” with a shopping cart on the lookout for items he could trade or sell. Luckily he made friends along the way who helped guide him into rehab and onto his current path. He makes most of his sales online and at indoor modern furniture shows; most of his stuff ends up in L.A. and Manhattan.\u003c/p>\n\u003cp>Katz opens on Saturdays to “give the public a chance to maybe buy something.” But he warns that he doesn’t sell things for cheap. “You have to know what you’re looking at in my store.” And be willing to pay a fair price. What I saw through the building’s picture windows was a whole lot of amazing stuff. Katz has come through his journey with a great eye and a strong focus. \u003c/p>\n\u003cp>On Saturdays he shares the store with his buddy, Rockabilly musician Chris Ford’s Hercules Records, which sells vinyl and runs a country radio station out of the place. \u003c/p>\n\u003cp>Katz says, “I don’t know anything about having a perfect business. I just kinda do what I like and it works.” Yup.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/lacis.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/lacis.jpg\" alt=\"lacis\" width=\"400\" height=\"600\" class=\"alignleft size-full wp-image-10208611\">\u003c/a>\n\u003ch3>Lacis Museum of Lace and Textiles\u003c/h3>\n\u003ch5>2982 Adeline St., Berkeley, CA\u003cbr>\n\u003ca href=\"http://lacismuseum.org/\">Information\u003c/a>\u003c/h5>\n\u003cp>I don’t know anything about lace or textiles, but, while wandering around Berkeley, I spied a museum devoted to such and went in. The folks there have many great examples on sale and run classes in how to make different kinds of traditional laces and garments for yourself. Located at the intersection of Addison and Ashby — also known as the Art and Antiques (district? intersection?) — Lacis is located near a whole bunch of traditional antique stores. \u003c/p>\n\u003cp>The store has been around in one form or another since 1965, but incorporated as a museum in 2002. The museum part is in the space’s back room and features exhibitions of needlework, historical costume and the like twice a year.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/lostandfound.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/lostandfound.jpg\" alt=\"lostandfound\" width=\"400\" height=\"600\" class=\"alignleft size-full wp-image-10208612\">\u003c/a>\n\u003ch3>Lost and Found\u003c/h3>\n\u003ch5>5357 College Ave., Oakland, CA\u003cbr>\n\u003ca href=\"http://lostandfoundstore.squarespace.com/\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>This relatively new space, opened by local furniture designer Alison McLennan with a couple of friends, including vintage scavenger Erik Whittaker, was once a garage. Lost and Found features a large, interesting mix of styles; vintage finds blend nicely with McLennan’s contemporary furniture designs and other handmade housewares. The space has a lived-in feeling, which was exactly what McLennan was looking to create — after showing her furniture in galleries, she wanted to demonstrate how comfortably it might fit into a home.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/mixedpickles.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/mixedpickles.jpg\" alt=\"mixedpickles\" width=\"400\" height=\"606\" class=\"alignleft size-full wp-image-10208613\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/mixedpickles.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/mixedpickles-396x600.jpg 396w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\n\u003ch3>Mixed Pickles\u003c/h3>\n\u003ch5>6395 Telegraph Ave., Oakland, CA\u003cbr>\n\u003ca href=\"http://mixedpicklesvintage.blogspot.com/\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>The place that I actually enjoyed visiting most was Mixed Pickles. Started by Sharon Hoyle and Roger Williams, the collective of seven dealers has been around for about four years. I spoke with Zach Rossman, one of the seven, who was manning the store the day I visited. He’s interested in Victorian science and natural history, which shows up in the shop as paper prints, anatomical charts and old medical books. Mixed Pickles specializes in unusual home décor, but there was also some trench art (art objects made out of old ammunition), costume jewelry and vintage clothing on display. \u003c/p>\n\u003cp>Overall, the space is really playful. Rossman says that people come in regularly just to see what’s changed, treating the space like a gallery that is in constant flux. Whatever they are doing at Mixed Pickles totally works. The seven dealers have complimentary aesthetics and the staging looks a lot like installation art, but with everything for sale. If you are looking for an amazing unusual oddity, check out Mixed Pickles, and while you’re there visit TEL (see below) next door.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/montclair.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/montclair.jpg\" alt=\"montclair\" width=\"400\" height=\"267\" class=\"alignleft size-full wp-image-10208614\">\u003c/a>\n\u003ch3>Montclair Estates\u003c/h3>\n\u003ch5>4268 Piedmont Ave., Oakland, CA\u003cbr>\n\u003ca href=\"http://montclairestates.com/\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>Niels Dahl-Jensen is the CEO of Montclair Estates, which got its start not on Pietmont, but in Oakland’s Montclair district — hence the name. Jensen’s business began when he started doing Ebay sales for other people who didn’t have the time or the interest in joining Ebay just to sell a few items. He still provides that service today. The store is kind of a mish mash, with lots of jewelry, a pretty hefty collection of vinyl and a whole mess of old camera equipment. Those last two collections come from the liquidation of a former record store and a camera shop.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/omega.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/omega.jpg\" alt=\"omega\" width=\"400\" height=\"600\" class=\"alignleft size-full wp-image-10208615\">\u003c/a>\n\u003ch3>Omega Salvage\u003c/h3>\n\u003ch5>2407 San Pablo Ave., Berkeley, CA\u003cbr>\n\u003ca href=\"http://www.ohmegasalvage.com/\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>I have been visiting Omega Salvage for years. It’s kind of a welcome antidote after spending time at Urban Ore, which is just down the street. Where Urban Ore is piled full of things that need sorting, Omega Salvage, which like Urban Ore specializes in materials salvaged from remodels and demolitions, has already done the sorting for you. If you are looking for stained glass windows culled from an old church, go to Omega. I covet the 1930s era bathtubs that sit in the yard. There is also this deco tiling that I have lusted after for years, but one, I don’t have anywhere to put it and two, yikes, it’s really expensive! They have amazing rare items there — mostly located on the west side of San Pablo Ave. and then things that are a little more common and affordable located in Omega’s other lot on the east side of the street. \u003c/p>\n\u003cp>Omega has really good sorters, which results in drawers full of keys, hinges, door knobs, latches; they have rooms full of light fixtures, globes, chains, mounts, whatever. It’s two buildings and two parking lots full of stuff. So, there’s bound to be something of interest, no?\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/tel.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/tel.jpg\" alt=\"tel\" width=\"400\" height=\"267\" class=\"alignleft size-full wp-image-10208616\">\u003c/a>\n\u003ch3>TEL\u003c/h3>\n\u003ch5>6371 Telegraph Ave., Oakland, CA\u003cbr>\n\u003ca href=\"http://www.totalestateliquidation.com/\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>TEL stands for Total Estate Liquidation, which is what owner Kathy Pimpan has been doing for the last 14 years, when she took a break from writing her PhD dissertation (about what accumulation means to Americans) at Cal. Pimpan spends most of her time doing estate sales for others and has figured out a way to make her expertise contribute something back to the community while she’s at it. She introduced the concept of estate sales to the Alameda County Public Guardian’s Office and the Sheriff’s Department as a way for elderly people who can no longer take care of themselves to come up with the funds needed for their own health care and nursing home expenses. Pimpan’s a Virgo; I understand they are service oriented. “It really makes a difference knowing that you are helping, whether the people being helped know it or not,” she says. \u003c/p>\n\u003cp>Pimpan also believes in karma, and applies this belief to her business, paying fair prices for the things she picks up for her store, which she describes as having a “hippie bohemian” vibe to it. When I asked her what she was attracted to most, or what she featured in her store, she first answered that the store didn’t necessarily reflect her interests. Then she looked around and described what was there: Danish modern, teak and rosewood furniture; estate jewelry; 20th century abstract art; vintage clothing. “Hmm. I guess it does reflect what I am attracted to.” Imagine.\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/urbanisland.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/urbanisland.jpg\" alt=\"urbanisland\" width=\"400\" height=\"600\" class=\"alignleft size-full wp-image-10208617\">\u003c/a>\n\u003ch3>Urban Island\u003c/h3>\n\u003ch5>1901 Broadway, Alameda, CA\u003cbr>\n\u003ca href=\"http://www.urbanislandfurnishings.com/\" target=\"_blank\" rel=\"noopener\">Information\u003c/a>\u003c/h5>\n\u003cp>Steve Ferguson opened Urban Island five years ago, after leaving a tech job and embracing the “frustrated designer” he had been suppressing for years. He has lived in Alameda for 16 years and when he decided to open a shop, he knew it should be in town. Ferguson found the perfect location, a U-shaped complex that houses an eclectic mix of furnishing, books, etc. The original section of the building was a lumberyard that dates to the late 1800s, according to Ferguson. The building later became a manufacturing complex for vinyl siding and roofing. Now it houses at least five rooms full of furniture and other items for the home. \u003c/p>\n\u003cp>When I asked him what kinds of objects attracted him, Ferguson said the first thing that had to go out the window when he started the business was his own personal taste. (He didn’t specify, but apparently whatever he liked most wasn’t what folks were buying.) Urban Island calls itself the “East Bay’s largest consignment furniture store,” which is infinitely believable given the size of the structure. They like to “stay on trend” at the store, but given the diverse architecture found throughout the East Bay, Urban Island finds success with a large variety of styles. \u003c/p>\n\u003c/div>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/10205777/rummaging-through-the-east-bay","authors":["8"],"series":["arts_745"],"categories":["arts_76"],"tags":["arts_1006","arts_596"],"featImg":"arts_10208618","label":"arts_745"},"arts_10179597":{"type":"posts","id":"arts_10179597","meta":{"index":"posts_1591205157","site":"arts","id":"10179597","score":null,"sort":[1418306404000]},"guestAuthors":[],"slug":"anatomy-of-a-made-for-tv-christmas-movie","title":"Anatomy of a Made-for-TV Christmas Movie","publishDate":1418306404,"format":"standard","headTitle":"Anatomy of a Made-for-TV Christmas Movie | KQED","labelTerm":{"term":745,"site":"arts"},"content":"\u003cp>I know good movies from bad. But like even the most hardened movie buff, I have an Achilles heel: low-budget Christmas movies on Netflix.\u003c/p>\n\u003cp>Of course, a lot of people like good Christmas movies. \u003cem>Home Alone\u003c/em>. \u003cem>A Christmas Story\u003c/em>. \u003cem>Miracle on 34th Street\u003c/em>. That’s not what I’m talking about. I’m talking about the ones starring Kevin Sorbo or Dean Cain or that guy from \u003cem>Melrose Place\u003c/em>. The ones most people skip over without thinking twice. 100% pure cornball.\u003c/p>\n\u003cp>The sane part of me knows these are terrible movies, films with production values (and plots) on par with \u003ca href=\"https://www.youtube.com/watch?v=I0B2GZsNbwE\">Paul from the Diamond Center commercials\u003c/a>. But another part of me just friggin’ loves them. That so many exist leads me to believe (hope?) I’m not the only one who eats this slop up with a fork and spoon.\u003c/p>\n\u003cp>So, why? What is it about these movies? Over the past week, I streamed six made-for-TV holiday flicks and (in between bouts of extreme self-loathing) made a few conclusions about what these films have in common, how they draw suckers in.\u003c/p>\n\u003cp>Sharpen up your scalpels, we’re about to dissect the bad Christmas movie and find the features they have in common.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>http://youtu.be/GZdWSTQ3wCE\u003c/p>\n\u003ch3>LONELY PROTAGONIST\u003c/h3>\n\u003cp>The first and perhaps most obvious trait these flicks share is a lonely main character. Somebody with a lot of love to give, but nobody to give it to, or at least nobody who appreciates them. The main character (more often than not a woman) is nearly perfect, but with a few quirky faults like, say, a maddening inability to see this perfection.\u003c/p>\n\u003cp>This was true in \u003ca href=\"https://www.youtube.com/watch?v=GZdWSTQ3wCE\">\u003cem>12 Dates of Christmas\u003c/em>\u003c/a> starring Amy Smart as a career-savvy but unlucky-in-love woman who finds herself in a \u003cem>Groundhog Day\u003c/em>-like scenario in which she has to relive Christmas Eve over and over until she gets it right.\u003c/p>\n\u003cp>Successful movies (I use that term loosely) want the audience to relate. Because most people see themselves as unappreciated (God knows I do), it’s a vital ingredient of the Christmas movie plot.\u003c/p>\n\u003cfigure id=\"attachment_10202632\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/christmas-town-04.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/christmas-town-04.jpeg\" alt=\"Christmas Town\" width=\"640\" height=\"368\" class=\"size-full wp-image-10202632\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/christmas-town-04.jpeg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/christmas-town-04-400x230.jpeg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Christmas Town\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>OLD-FASHIONED WINS\u003c/h3>\n\u003cp>If there’s one thing I’ve learned from watching made-for-TV Christmas movies, it’s that characters with old-fashioned values and mannerisms are always right.\u003c/p>\n\u003cp>What does that mean? Everything from the physical to the philosophical. People with the right values hold their hot chocolate with two hands. They talk (sagely) about the “meaning of Christmas.” And they realize that the guy who turned his back on a high-octane career to make furniture has the right idea. Oh, and they wear flannel.\u003c/p>\n\u003cp>If you’re feeling brave (like Navy SEAL level brave), check out \u003ca href=\"https://www.youtube.com/watch?v=46QwnxwSyzA\">\u003cem>Christmas Town\u003c/em>\u003c/a>, a movie about a realtor who moves to an unintentionally creepy town where everybody is ever so cheerful, for an example. It takes the “old-fashioned is best” idea and beats the viewer over the head with it. (Note to the film’s producers: feel free to use that quote on the DVD cover).\u003c/p>\n\u003cp>http://youtu.be/clyN4L6c90c\u003c/p>\n\u003ch3>MOVING ON\u003c/h3>\n\u003cp>It runs a bit contrary to the worship of all things nostalgic, but the idea of moving on is in just about every Christmas movie.\u003c/p>\n\u003cp>It can mean forgiving past slights, finally getting over your ex, coming to terms with the death of a loved one, whatever. \u003cem>All I Want for Christmas,\u003c/em> a doozy of a film about a boy who solicits a toy company to help find his mom a husband, is a prime example of stressing the importance of letting go of the past. Ditto for just about every other movie I watched.\u003c/p>\n\u003cp>http://youtu.be/kiFpiG_TKW0\u003c/p>\n\u003ch3>FAMILY\u003c/h3>\n\u003cp>In real estate, it’s location, location, location. In Christmas movies, it’s family, family, family. Never mind the fact that many people find their families a bit difficult to be around. In made-for-TV Christmas movies, the word “family” is always uttered with profound reverence.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.youtube.com/watch?v=pl61RmX1eWE\">\u003cem>Coming Home for Christmas\u003c/em>\u003c/a>, two sisters have a falling out but come back together and make amends when their parents’ marriage hits the rocks. Watching the movie, I couldn’t help but think that the mom and dad really should get a divorce.\u003c/p>\n\u003cp>Someday I’m going to make my own Christmas movie.\u003c/p>\n\u003ch3>NO SURPRISES ALLOWED\u003c/h3>\n\u003cp>Save the twists for Hitchcock. In bad Christmas movies, the viewer should be able to predict what’s going to happen 30 minutes before it happens. Part of the fun is feeling a lot smarter than the clueless characters, oblivious to the fact that the perfect person lives right across the hall and doesn’t use hair gel.\u003c/p>\n\u003ch3>END ON CHRISTMAS EVE\u003c/h3>\n\u003cp>Few Christmas movies can resist fading to black as the main characters kiss on Christmas Eve. Why not end on Christmas day? Because on Christmas Eve, the best — one hopes — is yet to come. There’s excitement and possibility, even if we, the audience, know there’s no way Gail O’Grady’s character is going to be happy with that newspaper reporter. No. Way.\u003c/p>\n\u003cp>Add those things together – a lonely and under-appreciated protagonist, the slow realization that the old way of doing things is best, a theme about moving on, the mention of the word “family” every 37 seconds, a complete lack of suspense, and end it on Christmas Eve – and you’ll have yourself a made-for-TV Christmas movie worthy of Mario Lopez. One that I’ll watch, anyway.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Or maybe not. After watching six of these things in a little more than four days, I can safely say I don’t like bad Christmas movies nearly as much as I thought. It’s a realization worthy of any holiday movie. If only I’d come to it on Christmas Eve, surrounded by family, in a charming barn, after deciding to make a very important life change…\u003c/p>\n\n","blocks":[],"excerpt":"Have a lonely and under-appreciated protagonist realize (slowly) that the old way of doing things is best. Throw in a theme about moving on, mention “family” every 37 seconds and make sure there is a complete lack of suspense. End the story with a kiss on Christmas Eve and you have yourself a made-for-TV Christmas movie worthy of Mario Lopez.","status":"publish","parent":0,"modified":1705047876,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":1032},"headData":{"title":"Anatomy of a Made-for-TV Christmas Movie | KQED","description":"Have a lonely and under-appreciated protagonist realize (slowly) that the old way of doing things is best. Throw in a theme about moving on, mention “family” every 37 seconds and make sure there is a complete lack of suspense. End the story with a kiss on Christmas Eve and you have yourself a made-for-TV Christmas movie worthy of Mario Lopez.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Anatomy of a Made-for-TV Christmas Movie","datePublished":"2014-12-11T14:00:04.000Z","dateModified":"2024-01-12T08:24:36.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Mike Krumboltz","path":"/arts/10179597/anatomy-of-a-made-for-tv-christmas-movie","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>I know good movies from bad. But like even the most hardened movie buff, I have an Achilles heel: low-budget Christmas movies on Netflix.\u003c/p>\n\u003cp>Of course, a lot of people like good Christmas movies. \u003cem>Home Alone\u003c/em>. \u003cem>A Christmas Story\u003c/em>. \u003cem>Miracle on 34th Street\u003c/em>. That’s not what I’m talking about. I’m talking about the ones starring Kevin Sorbo or Dean Cain or that guy from \u003cem>Melrose Place\u003c/em>. The ones most people skip over without thinking twice. 100% pure cornball.\u003c/p>\n\u003cp>The sane part of me knows these are terrible movies, films with production values (and plots) on par with \u003ca href=\"https://www.youtube.com/watch?v=I0B2GZsNbwE\">Paul from the Diamond Center commercials\u003c/a>. But another part of me just friggin’ loves them. That so many exist leads me to believe (hope?) I’m not the only one who eats this slop up with a fork and spoon.\u003c/p>\n\u003cp>So, why? What is it about these movies? Over the past week, I streamed six made-for-TV holiday flicks and (in between bouts of extreme self-loathing) made a few conclusions about what these films have in common, how they draw suckers in.\u003c/p>\n\u003cp>Sharpen up your scalpels, we’re about to dissect the bad Christmas movie and find the features they have in common.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/GZdWSTQ3wCE'\n title='//www.youtube.com/embed/GZdWSTQ3wCE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>LONELY PROTAGONIST\u003c/h3>\n\u003cp>The first and perhaps most obvious trait these flicks share is a lonely main character. Somebody with a lot of love to give, but nobody to give it to, or at least nobody who appreciates them. The main character (more often than not a woman) is nearly perfect, but with a few quirky faults like, say, a maddening inability to see this perfection.\u003c/p>\n\u003cp>This was true in \u003ca href=\"https://www.youtube.com/watch?v=GZdWSTQ3wCE\">\u003cem>12 Dates of Christmas\u003c/em>\u003c/a> starring Amy Smart as a career-savvy but unlucky-in-love woman who finds herself in a \u003cem>Groundhog Day\u003c/em>-like scenario in which she has to relive Christmas Eve over and over until she gets it right.\u003c/p>\n\u003cp>Successful movies (I use that term loosely) want the audience to relate. Because most people see themselves as unappreciated (God knows I do), it’s a vital ingredient of the Christmas movie plot.\u003c/p>\n\u003cfigure id=\"attachment_10202632\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/christmas-town-04.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/christmas-town-04.jpeg\" alt=\"Christmas Town\" width=\"640\" height=\"368\" class=\"size-full wp-image-10202632\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/christmas-town-04.jpeg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/christmas-town-04-400x230.jpeg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">\u003ci>Christmas Town\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>OLD-FASHIONED WINS\u003c/h3>\n\u003cp>If there’s one thing I’ve learned from watching made-for-TV Christmas movies, it’s that characters with old-fashioned values and mannerisms are always right.\u003c/p>\n\u003cp>What does that mean? Everything from the physical to the philosophical. People with the right values hold their hot chocolate with two hands. They talk (sagely) about the “meaning of Christmas.” And they realize that the guy who turned his back on a high-octane career to make furniture has the right idea. Oh, and they wear flannel.\u003c/p>\n\u003cp>If you’re feeling brave (like Navy SEAL level brave), check out \u003ca href=\"https://www.youtube.com/watch?v=46QwnxwSyzA\">\u003cem>Christmas Town\u003c/em>\u003c/a>, a movie about a realtor who moves to an unintentionally creepy town where everybody is ever so cheerful, for an example. It takes the “old-fashioned is best” idea and beats the viewer over the head with it. (Note to the film’s producers: feel free to use that quote on the DVD cover).\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/clyN4L6c90c'\n title='//www.youtube.com/embed/clyN4L6c90c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>MOVING ON\u003c/h3>\n\u003cp>It runs a bit contrary to the worship of all things nostalgic, but the idea of moving on is in just about every Christmas movie.\u003c/p>\n\u003cp>It can mean forgiving past slights, finally getting over your ex, coming to terms with the death of a loved one, whatever. \u003cem>All I Want for Christmas,\u003c/em> a doozy of a film about a boy who solicits a toy company to help find his mom a husband, is a prime example of stressing the importance of letting go of the past. Ditto for just about every other movie I watched.\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/kiFpiG_TKW0'\n title='//www.youtube.com/embed/kiFpiG_TKW0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>FAMILY\u003c/h3>\n\u003cp>In real estate, it’s location, location, location. In Christmas movies, it’s family, family, family. Never mind the fact that many people find their families a bit difficult to be around. In made-for-TV Christmas movies, the word “family” is always uttered with profound reverence.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.youtube.com/watch?v=pl61RmX1eWE\">\u003cem>Coming Home for Christmas\u003c/em>\u003c/a>, two sisters have a falling out but come back together and make amends when their parents’ marriage hits the rocks. Watching the movie, I couldn’t help but think that the mom and dad really should get a divorce.\u003c/p>\n\u003cp>Someday I’m going to make my own Christmas movie.\u003c/p>\n\u003ch3>NO SURPRISES ALLOWED\u003c/h3>\n\u003cp>Save the twists for Hitchcock. In bad Christmas movies, the viewer should be able to predict what’s going to happen 30 minutes before it happens. Part of the fun is feeling a lot smarter than the clueless characters, oblivious to the fact that the perfect person lives right across the hall and doesn’t use hair gel.\u003c/p>\n\u003ch3>END ON CHRISTMAS EVE\u003c/h3>\n\u003cp>Few Christmas movies can resist fading to black as the main characters kiss on Christmas Eve. Why not end on Christmas day? Because on Christmas Eve, the best — one hopes — is yet to come. There’s excitement and possibility, even if we, the audience, know there’s no way Gail O’Grady’s character is going to be happy with that newspaper reporter. No. Way.\u003c/p>\n\u003cp>Add those things together – a lonely and under-appreciated protagonist, the slow realization that the old way of doing things is best, a theme about moving on, the mention of the word “family” every 37 seconds, a complete lack of suspense, and end it on Christmas Eve – and you’ll have yourself a made-for-TV Christmas movie worthy of Mario Lopez. One that I’ll watch, anyway.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Or maybe not. After watching six of these things in a little more than four days, I can safely say I don’t like bad Christmas movies nearly as much as I thought. It’s a realization worthy of any holiday movie. If only I’d come to it on Christmas Eve, surrounded by family, in a charming barn, after deciding to make a very important life change…\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/10179597/anatomy-of-a-made-for-tv-christmas-movie","authors":["byline_arts_10179597"],"series":["arts_745"],"categories":["arts_74"],"tags":["arts_596"],"featImg":"arts_10179718","label":"arts_745"},"arts_10179989":{"type":"posts","id":"arts_10179989","meta":{"index":"posts_1591205157","site":"arts","id":"10179989","score":null,"sort":[1418072449000]},"guestAuthors":[],"slug":"cracking-the-nut-getting-inside-the-nutcracker","title":"Cracking the Nut: Getting Inside 'The Nutcracker'","publishDate":1418072449,"format":"standard","headTitle":"Cracking the Nut: Getting Inside ‘The Nutcracker’ | KQED","labelTerm":{"term":745,"site":"arts"},"content":"\u003cp>\u003cem>The Nutcracker\u003c/em> season is upon us, that time of year when audiences everywhere stream into theaters large and small to experience the magic, wonder and joy of this classic holiday production. For ballet companies, \u003cem>The Nutcracker\u003c/em> provides much-needed financial stability at the outset of their performance seasons, helping to sustain repertory well beyond the holidays. For dancers, \u003cem>The Nutcracker\u003c/em> ensures all are cast, many in multiple roles; while some secure additional opportunities to take on extra work as guest artists with other companies. For audiences, \u003cem>The Nutcracker\u003c/em> often represents a first-time encounter with ballet, opening the door to all this classical art form has to offer.\u003c/p>\n\u003cfigure id=\"attachment_10180119\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/nut21.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10180119\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/nut21.jpg\" alt=\"San Francisco Ballet in Helgi Tomasson's Nutcracker; Photo by Erik Tomasson\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/nut21.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/nut21-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco Ballet in Helgi Tomasson’s \u003cem>The\u003c/em> \u003ci>Nutcracker\u003c/i>; Photo by Erik Tomasson\u003c/figcaption>\u003c/figure>\n\u003ch4>Audiences\u003c/h4>\n\u003cp>There are many different versions of \u003cem>The Nutcracker\u003c/em>, but it all boils down to a two-part ballet that transports audiences from Act I’s traditional family gathering ’round the Christmas tree into a dream-time world of confections and delights that come to life in Act II. Marzipan, gingerbread, candy canes and hot chocolate are all personified and performed with great flair; and there’s even a sultry Arabian Coffee dance for all the daddies in the audience.\u003c/p>\n\u003cp>Part of what makes \u003cem>The Nutcracker\u003c/em> so popular and accessible for audiences is that it is based on a story. Ballets usually fall into two camps: “story” and “plotless.” Story ballets follow a specific narrative from beginning to end; plotless works have stories to tell but are generally more abstract and open to interpretation. A parallel here can be made in the visual arts, comparing figurative/representational to modern/abstract works. \u003cem>The Nutcracker\u003c/em> is pretty and pleasing — a Renoir or Monet — readily recognizable and easy on the eyes. Plotless works are more akin to the bifurcated blocks of hue in a Mark Rothko painting; a bright window of light in a James Turrell installation; or the densely layered abstraction of a Julie Mehretu canvas. For many balletomanes (people who are absolutely nuts about ballet), the latter realm — modern and contemporary work tending toward abstraction — is far more interesting on the stage. That said, \u003cem>The Nutcracker\u003c/em> is hard to resist and rounds out every balletomane’s overall experience with classical dance, especially when entertaining children, grandchildren and out-of-town guests during the holidays.\u003c/p>\n\u003cfigure id=\"attachment_10188758\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Oakland.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10188758\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Oakland.jpg\" alt=\"Oakland Ballet in Graham Lustig’s The Nutcracker; Photo by David DeSilva\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Oakland.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Oakland-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Oakland Ballet in Graham Lustig’s \u003ci>The Nutcracker\u003c/i>; Photo by David DeSilva\u003c/figcaption>\u003c/figure>\n\u003cp>Most major ballet companies anchor their season/s with \u003cem>The Nutcracker\u003c/em> and add in a few more story ballets — \u003cem>The Sleeping Beauty\u003c/em>, \u003cem>A Midsummer Night’s Dream\u003c/em>, \u003cem>Coppélia\u003c/em>, etc. — to draw the audience to other repertory scheduled around these works that may be less familiar to the uninitiated. Story ballets drive audiences, but if \u003cem>The Nutcracker\u003c/em> is really doing its job, it is also steering the public toward fuller participation in classical dance beyond the traditional story ballet. Ballet companies work very, very hard following the holidays to translate \u003cem>The Nutcracker\u003c/em> audiences into ballet-goers who will want to see and experience other work — modern ballets by master choreographers George Balanchine and Jerome Robbins; contemporary pieces by William Forsythe, Christopher Wheeldon and Alexei Ratmansky; the latest by Bay Area-based choreographers such as Alonzo King, Helgi Tomasson and Yuri Possokhov. \u003cem>The Nutcracker\u003c/em> provides a level of comfort with an art form that is not part of most Americans’ upbringing and experience. Will audiences come back to the ballet after the holidays to see works that may not tell a traditional “story,” per se, but rather welcome multiple and ever-changing interpretations? That is the million dollar question.\u003c/p>\n\u003cfigure id=\"attachment_10188759\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/PartyKids-e1417731825532.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10188759\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/PartyKids-e1417731825532.jpg\" alt=\"San Jose Ballet in The Nutcracker; Photo by Quinn B. Wharton\" width=\"640\" height=\"427\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ballet San Jose in Karen Gabay’s \u003cem>The Nutcracker\u003c/em>; Photo by Quinn B. Wharton\u003c/figcaption>\u003c/figure>\n\u003ch4>Ballet Companies\u003c/h4>\n\u003cp>What ballet companies do know is that “if we build it, they will come;” in short, \u003cem>The Nutcracker\u003c/em> gets people into seats. The production is staged by companies of all sizes from coast to coast because it practically guarantees box office success and can help bolster overall financial position at the beginning of a season, making it possible to stage less well-known work throughout the rest of the year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dance/USA’s most recent holiday survey of member companies indicates that ticket sales from \u003cem>The Nutcracker\u003c/em> and other holiday productions averaged just over 16% of a company’s total annual income, inclusive of all sources of support (grants, gifts, membership, sponsorships, tour fees, etc.), while representing nearly 50% of total gross income from all works being performed. The latter statistic is noteworthy, considering \u003cem>The Nutcracker\u003c/em> often represents only a small percentage of the repertory performed throughout the year. In short, \u003cem>The Nutcracker\u003c/em> pays the bills, helping companies to commission and stage other works, pay dancer and musician salaries and support educational/community outreach well beyond the holiday season.\u003c/p>\n\u003cfigure id=\"attachment_10188762\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/sanjose.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10188762\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/sanjose.jpg\" alt=\"Ballet in The Nutcracker; Photo by Quinn B. Wharton\" width=\"640\" height=\"896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/sanjose.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/sanjose-400x560.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/sanjose-428x600.jpg 428w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ballet San Jose in Karen Gabay’s \u003cem>The Nutcracker\u003c/em>; Photo by Quinn B. Wharton\u003c/figcaption>\u003c/figure>\n\u003ch4>Dancers\u003c/h4>\n\u003cp>For dancers, \u003cem>The Nutcracker\u003c/em> is more often than not cited as their first and transformative experience in heading toward a career in dance. This is perhaps especially true for boys who — unlike little girls fitted into leotards, ballet slippers and tutus almost as a rite of passage — may not actually see or experience ballet until attending \u003cem>The Nutcracker\u003c/em>. This is when they have their first “a-ha” moment, as the athleticism, musicality and explosive energy of ballet combine with the wonder and adventure in this classic holiday story to great effect. Either that or their sisters are taking ballet and somewhere along the line they find themselves drawn into a dance studio because boys are needed to fill male roles in productions precisely like \u003cem>The Nutcracker\u003c/em>. Often this is the first ballet in which they will perform.\u003c/p>\n\u003cp>In preparation for \u003cem>The Nutcracker\u003c/em>, dancers live, eat and breathe “Nuts” for weeks on end. Rehearsals involve many permutations and combinations of dancers, ballet masters/mistresses (those teaching the ballets) and studio space to work on each part and scene of the ballet in smaller sections before piecing it all together with lighting, sets/scenery and costumes. The performance schedule is also demanding, loaded with extra matinees and/or evening performances to accommodate the rush of audiences throughout the holiday season. This means dancers don’t get to spend very much time with loved ones during the holidays; a family gathering usually means parents, grandparents, siblings, aunts, uncles and cousins come together at the theater to see the dancer/s in their lives take to the stage in \u003cem>The Nutcracker\u003c/em>. And take to the stage they will, as there are so many roles in the ballet that everyone is cast, often in multiple roles. \u003cem>The Nutcracker\u003c/em> also offers opportunities to supplement dancers’ modest salaries with guest appearances in other companies’ productions.\u003c/p>\n\u003cp>With three levels of dancers in a company — corps de ballet, soloists and principals — this means that senior corps members or soloists who otherwise might wait years to perform choice principal roles can have a shot at Sugarplum Fairy, Dewdrop or Cavalier in another company, schedule permitting. In order to do so, dancers must seek permission from their home companies, which in turn must be amenable to building casts and rehearsal/performance schedules that allow for a few days between regularly scheduled parts for select dancers to appear as guest artists elsewhere. If this can be arranged, “guesting” benefits smaller companies grateful for the gravitas and/or star power these appearances afford, if only for a couple of special performances that can attract larger audiences. These dancers supplement their livelihoods for the season, boost the production value for the host company, and share their knowledge and experience with other dancers eager to learn from guest artists representing different perspectives and interpretations of roles. It’s a win-win-win.\u003c/p>\n\u003cfigure id=\"attachment_10180120\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/nut3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10180120\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/nut3.jpg\" alt=\"San Francisco Ballet in Helgi Tomasson's Nutcracker; Photo by Erik Tomasson\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/nut3.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/nut3-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco Ballet in Helgi Tomasson’s \u003cem>The \u003c/em>\u003ci>Nutcracker\u003c/i>; Photo by Erik Tomasson\u003c/figcaption>\u003c/figure>\n\u003ch4>Bay Area \u003cem>Nutcracker\u003c/em>s\u003c/h4>\n\u003cp>The Bay Area can take special pride in the fact that the first production of \u003cem>The Nutcracker\u003c/em> to premiere in the U.S. was at the San Francisco Ballet in 1944, choreographed by Willam Christensen. The company has since unveiled several iterations of the production and its current \u003cem>Nutcracker\u003c/em>, choreographed by Helgi Tomasson, has a very local flavor with scenes from San Francisco at the turn of the last century, including the Sutro Bath House, rows of Victorian homes, etc. If attending this version of \u003cem>The Nutcracker\u003c/em>, you can check out casting a week in advance at sfballet.org; and be sure to keep your eyes open for role debuts by up and coming dancers. Role debuts offer an exciting opportunity to see new generations of dancers take it to the next level.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>While San Francisco Ballet performs the largest and best-known production in the region, there are many other opportunities to experience this holiday classic performed by a range of Bay Area dancers — from the professional and pre-professional to student dancers in children’s roles; sometimes a mix of all three, as it takes armies of dancers to stage this production. If you haven’t bought your tickets yet, it’s not too late! The following is just a small sampling of \u003cem>Nutcracker\u003c/em>s and holiday dance productions in the Bay Area through the end of the month:\u003c/p>\n\u003cul>\n\u003cli>San Francisco Ballet: Dec. 12-29 at the War Memorial Opera House, San Francisco; $29-$415; 415-865-2000; \u003ca href=\"https://www.sfballet.org/tickets/production/overview/nutcracker\" target=\"_blank\" rel=\"noopener\">sfballet.org\u003c/a>\u003c/li>\n\u003cli>Ballet San Jose: Dec. 13-28 at the San Jose Center for the Performing Arts; $25-$110; 408-288-2800; \u003ca href=\"http://www.balletsj.org/nutcracker.html\" target=\"_blank\" rel=\"noopener\">balletsj.org\u003c/a>\u003c/li>\n\u003cli>Oakland Ballet Company: Dec. 20-21 at the Paramount Theatre, Oakland; $22-$70.50; 800-745-3000; \u003ca href=\"http://oaklandballet.org/wp/performances/graham-lustigs-the-nutcracker-2014/\" target=\"_blank\" rel=\"noopener\">oaklandballet.org\u003c/a>\u003c/li>\n\u003cli>Berkeley Ballet Theater: Dec. 12-14, 19-21 at the Julia Morgan Theater, Berkeley; $24-30; 510-830-9524;\u003ca href=\"http://www.berkeleyballet.org/nutcracker.php\" target=\"_blank\" rel=\"noopener\"> berkeleyballet.org\u003c/a>\u003c/li>\n\u003cli>Marin Ballet: Dec. 13 & 14 at the Marin Veterans’ Memorial Auditorium, San Rafael; $26-42; 415-473-6800;\u003ca href=\"http://www.marinballet.org/performance/nutcracker-season/nutcracker-2014/\" target=\"_blank\" rel=\"noopener\"> marinballet.org\u003c/a>\u003c/li>\n\u003c/ul>\n\u003ch4>Other Holiday Dance Productions\u003c/h4>\n\u003cul>\n\u003cli>ODC Dance’s \u003cem>The Velveteen Rabbit\u003c/em>: through Dec. 14 at the Yerba Buena Center for the Arts, San Francisco; $15-$75; 415-978-2787; \u003ca href=\"http://www.odcdance.org/performance.php?param=2\" target=\"_blank\" rel=\"noopener\">odcdance.org\u003c/a>\u003c/li>\n\u003cli>Smuin Ballet’s \u003cem>The Christmas Ballet\u003c/em>: through Dec. 27 in Walnut Creek, Carmel, Mountain View and San Francisco; ticket prices vary by venue; 415-912-1899; \u003ca href=\"http://smuinballet.org/uncorked/\" target=\"_blank\" rel=\"noopener\">smuinballet.org\u003c/a>\u003c/li>\n\u003c/ul>\n\n","blocks":[],"excerpt":"Why the perennial holiday favorite is so much more than a traditional Christmas world of confections and delights that come to life.","status":"publish","parent":0,"modified":1705047886,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":1750},"headData":{"title":"Cracking the Nut: Getting Inside 'The Nutcracker' | KQED","description":"Why the perennial holiday favorite is so much more than a traditional Christmas world of confections and delights that come to life.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Cracking the Nut: Getting Inside 'The Nutcracker'","datePublished":"2014-12-08T21:00:49.000Z","dateModified":"2024-01-12T08:24:46.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/10179989/cracking-the-nut-getting-inside-the-nutcracker","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The Nutcracker\u003c/em> season is upon us, that time of year when audiences everywhere stream into theaters large and small to experience the magic, wonder and joy of this classic holiday production. For ballet companies, \u003cem>The Nutcracker\u003c/em> provides much-needed financial stability at the outset of their performance seasons, helping to sustain repertory well beyond the holidays. For dancers, \u003cem>The Nutcracker\u003c/em> ensures all are cast, many in multiple roles; while some secure additional opportunities to take on extra work as guest artists with other companies. For audiences, \u003cem>The Nutcracker\u003c/em> often represents a first-time encounter with ballet, opening the door to all this classical art form has to offer.\u003c/p>\n\u003cfigure id=\"attachment_10180119\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/nut21.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10180119\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/nut21.jpg\" alt=\"San Francisco Ballet in Helgi Tomasson's Nutcracker; Photo by Erik Tomasson\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/nut21.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/nut21-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco Ballet in Helgi Tomasson’s \u003cem>The\u003c/em> \u003ci>Nutcracker\u003c/i>; Photo by Erik Tomasson\u003c/figcaption>\u003c/figure>\n\u003ch4>Audiences\u003c/h4>\n\u003cp>There are many different versions of \u003cem>The Nutcracker\u003c/em>, but it all boils down to a two-part ballet that transports audiences from Act I’s traditional family gathering ’round the Christmas tree into a dream-time world of confections and delights that come to life in Act II. Marzipan, gingerbread, candy canes and hot chocolate are all personified and performed with great flair; and there’s even a sultry Arabian Coffee dance for all the daddies in the audience.\u003c/p>\n\u003cp>Part of what makes \u003cem>The Nutcracker\u003c/em> so popular and accessible for audiences is that it is based on a story. Ballets usually fall into two camps: “story” and “plotless.” Story ballets follow a specific narrative from beginning to end; plotless works have stories to tell but are generally more abstract and open to interpretation. A parallel here can be made in the visual arts, comparing figurative/representational to modern/abstract works. \u003cem>The Nutcracker\u003c/em> is pretty and pleasing — a Renoir or Monet — readily recognizable and easy on the eyes. Plotless works are more akin to the bifurcated blocks of hue in a Mark Rothko painting; a bright window of light in a James Turrell installation; or the densely layered abstraction of a Julie Mehretu canvas. For many balletomanes (people who are absolutely nuts about ballet), the latter realm — modern and contemporary work tending toward abstraction — is far more interesting on the stage. That said, \u003cem>The Nutcracker\u003c/em> is hard to resist and rounds out every balletomane’s overall experience with classical dance, especially when entertaining children, grandchildren and out-of-town guests during the holidays.\u003c/p>\n\u003cfigure id=\"attachment_10188758\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Oakland.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10188758\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/Oakland.jpg\" alt=\"Oakland Ballet in Graham Lustig’s The Nutcracker; Photo by David DeSilva\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Oakland.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/Oakland-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Oakland Ballet in Graham Lustig’s \u003ci>The Nutcracker\u003c/i>; Photo by David DeSilva\u003c/figcaption>\u003c/figure>\n\u003cp>Most major ballet companies anchor their season/s with \u003cem>The Nutcracker\u003c/em> and add in a few more story ballets — \u003cem>The Sleeping Beauty\u003c/em>, \u003cem>A Midsummer Night’s Dream\u003c/em>, \u003cem>Coppélia\u003c/em>, etc. — to draw the audience to other repertory scheduled around these works that may be less familiar to the uninitiated. Story ballets drive audiences, but if \u003cem>The Nutcracker\u003c/em> is really doing its job, it is also steering the public toward fuller participation in classical dance beyond the traditional story ballet. Ballet companies work very, very hard following the holidays to translate \u003cem>The Nutcracker\u003c/em> audiences into ballet-goers who will want to see and experience other work — modern ballets by master choreographers George Balanchine and Jerome Robbins; contemporary pieces by William Forsythe, Christopher Wheeldon and Alexei Ratmansky; the latest by Bay Area-based choreographers such as Alonzo King, Helgi Tomasson and Yuri Possokhov. \u003cem>The Nutcracker\u003c/em> provides a level of comfort with an art form that is not part of most Americans’ upbringing and experience. Will audiences come back to the ballet after the holidays to see works that may not tell a traditional “story,” per se, but rather welcome multiple and ever-changing interpretations? That is the million dollar question.\u003c/p>\n\u003cfigure id=\"attachment_10188759\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/PartyKids-e1417731825532.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10188759\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/PartyKids-e1417731825532.jpg\" alt=\"San Jose Ballet in The Nutcracker; Photo by Quinn B. Wharton\" width=\"640\" height=\"427\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ballet San Jose in Karen Gabay’s \u003cem>The Nutcracker\u003c/em>; Photo by Quinn B. Wharton\u003c/figcaption>\u003c/figure>\n\u003ch4>Ballet Companies\u003c/h4>\n\u003cp>What ballet companies do know is that “if we build it, they will come;” in short, \u003cem>The Nutcracker\u003c/em> gets people into seats. The production is staged by companies of all sizes from coast to coast because it practically guarantees box office success and can help bolster overall financial position at the beginning of a season, making it possible to stage less well-known work throughout the rest of the year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dance/USA’s most recent holiday survey of member companies indicates that ticket sales from \u003cem>The Nutcracker\u003c/em> and other holiday productions averaged just over 16% of a company’s total annual income, inclusive of all sources of support (grants, gifts, membership, sponsorships, tour fees, etc.), while representing nearly 50% of total gross income from all works being performed. The latter statistic is noteworthy, considering \u003cem>The Nutcracker\u003c/em> often represents only a small percentage of the repertory performed throughout the year. In short, \u003cem>The Nutcracker\u003c/em> pays the bills, helping companies to commission and stage other works, pay dancer and musician salaries and support educational/community outreach well beyond the holiday season.\u003c/p>\n\u003cfigure id=\"attachment_10188762\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/sanjose.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10188762\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/sanjose.jpg\" alt=\"Ballet in The Nutcracker; Photo by Quinn B. Wharton\" width=\"640\" height=\"896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/sanjose.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/sanjose-400x560.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/sanjose-428x600.jpg 428w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ballet San Jose in Karen Gabay’s \u003cem>The Nutcracker\u003c/em>; Photo by Quinn B. Wharton\u003c/figcaption>\u003c/figure>\n\u003ch4>Dancers\u003c/h4>\n\u003cp>For dancers, \u003cem>The Nutcracker\u003c/em> is more often than not cited as their first and transformative experience in heading toward a career in dance. This is perhaps especially true for boys who — unlike little girls fitted into leotards, ballet slippers and tutus almost as a rite of passage — may not actually see or experience ballet until attending \u003cem>The Nutcracker\u003c/em>. This is when they have their first “a-ha” moment, as the athleticism, musicality and explosive energy of ballet combine with the wonder and adventure in this classic holiday story to great effect. Either that or their sisters are taking ballet and somewhere along the line they find themselves drawn into a dance studio because boys are needed to fill male roles in productions precisely like \u003cem>The Nutcracker\u003c/em>. Often this is the first ballet in which they will perform.\u003c/p>\n\u003cp>In preparation for \u003cem>The Nutcracker\u003c/em>, dancers live, eat and breathe “Nuts” for weeks on end. Rehearsals involve many permutations and combinations of dancers, ballet masters/mistresses (those teaching the ballets) and studio space to work on each part and scene of the ballet in smaller sections before piecing it all together with lighting, sets/scenery and costumes. The performance schedule is also demanding, loaded with extra matinees and/or evening performances to accommodate the rush of audiences throughout the holiday season. This means dancers don’t get to spend very much time with loved ones during the holidays; a family gathering usually means parents, grandparents, siblings, aunts, uncles and cousins come together at the theater to see the dancer/s in their lives take to the stage in \u003cem>The Nutcracker\u003c/em>. And take to the stage they will, as there are so many roles in the ballet that everyone is cast, often in multiple roles. \u003cem>The Nutcracker\u003c/em> also offers opportunities to supplement dancers’ modest salaries with guest appearances in other companies’ productions.\u003c/p>\n\u003cp>With three levels of dancers in a company — corps de ballet, soloists and principals — this means that senior corps members or soloists who otherwise might wait years to perform choice principal roles can have a shot at Sugarplum Fairy, Dewdrop or Cavalier in another company, schedule permitting. In order to do so, dancers must seek permission from their home companies, which in turn must be amenable to building casts and rehearsal/performance schedules that allow for a few days between regularly scheduled parts for select dancers to appear as guest artists elsewhere. If this can be arranged, “guesting” benefits smaller companies grateful for the gravitas and/or star power these appearances afford, if only for a couple of special performances that can attract larger audiences. These dancers supplement their livelihoods for the season, boost the production value for the host company, and share their knowledge and experience with other dancers eager to learn from guest artists representing different perspectives and interpretations of roles. It’s a win-win-win.\u003c/p>\n\u003cfigure id=\"attachment_10180120\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/nut3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10180120\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/nut3.jpg\" alt=\"San Francisco Ballet in Helgi Tomasson's Nutcracker; Photo by Erik Tomasson\" width=\"640\" height=\"426\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/nut3.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/nut3-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">San Francisco Ballet in Helgi Tomasson’s \u003cem>The \u003c/em>\u003ci>Nutcracker\u003c/i>; Photo by Erik Tomasson\u003c/figcaption>\u003c/figure>\n\u003ch4>Bay Area \u003cem>Nutcracker\u003c/em>s\u003c/h4>\n\u003cp>The Bay Area can take special pride in the fact that the first production of \u003cem>The Nutcracker\u003c/em> to premiere in the U.S. was at the San Francisco Ballet in 1944, choreographed by Willam Christensen. The company has since unveiled several iterations of the production and its current \u003cem>Nutcracker\u003c/em>, choreographed by Helgi Tomasson, has a very local flavor with scenes from San Francisco at the turn of the last century, including the Sutro Bath House, rows of Victorian homes, etc. If attending this version of \u003cem>The Nutcracker\u003c/em>, you can check out casting a week in advance at sfballet.org; and be sure to keep your eyes open for role debuts by up and coming dancers. Role debuts offer an exciting opportunity to see new generations of dancers take it to the next level.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While San Francisco Ballet performs the largest and best-known production in the region, there are many other opportunities to experience this holiday classic performed by a range of Bay Area dancers — from the professional and pre-professional to student dancers in children’s roles; sometimes a mix of all three, as it takes armies of dancers to stage this production. If you haven’t bought your tickets yet, it’s not too late! The following is just a small sampling of \u003cem>Nutcracker\u003c/em>s and holiday dance productions in the Bay Area through the end of the month:\u003c/p>\n\u003cul>\n\u003cli>San Francisco Ballet: Dec. 12-29 at the War Memorial Opera House, San Francisco; $29-$415; 415-865-2000; \u003ca href=\"https://www.sfballet.org/tickets/production/overview/nutcracker\" target=\"_blank\" rel=\"noopener\">sfballet.org\u003c/a>\u003c/li>\n\u003cli>Ballet San Jose: Dec. 13-28 at the San Jose Center for the Performing Arts; $25-$110; 408-288-2800; \u003ca href=\"http://www.balletsj.org/nutcracker.html\" target=\"_blank\" rel=\"noopener\">balletsj.org\u003c/a>\u003c/li>\n\u003cli>Oakland Ballet Company: Dec. 20-21 at the Paramount Theatre, Oakland; $22-$70.50; 800-745-3000; \u003ca href=\"http://oaklandballet.org/wp/performances/graham-lustigs-the-nutcracker-2014/\" target=\"_blank\" rel=\"noopener\">oaklandballet.org\u003c/a>\u003c/li>\n\u003cli>Berkeley Ballet Theater: Dec. 12-14, 19-21 at the Julia Morgan Theater, Berkeley; $24-30; 510-830-9524;\u003ca href=\"http://www.berkeleyballet.org/nutcracker.php\" target=\"_blank\" rel=\"noopener\"> berkeleyballet.org\u003c/a>\u003c/li>\n\u003cli>Marin Ballet: Dec. 13 & 14 at the Marin Veterans’ Memorial Auditorium, San Rafael; $26-42; 415-473-6800;\u003ca href=\"http://www.marinballet.org/performance/nutcracker-season/nutcracker-2014/\" target=\"_blank\" rel=\"noopener\"> marinballet.org\u003c/a>\u003c/li>\n\u003c/ul>\n\u003ch4>Other Holiday Dance Productions\u003c/h4>\n\u003cul>\n\u003cli>ODC Dance’s \u003cem>The Velveteen Rabbit\u003c/em>: through Dec. 14 at the Yerba Buena Center for the Arts, San Francisco; $15-$75; 415-978-2787; \u003ca href=\"http://www.odcdance.org/performance.php?param=2\" target=\"_blank\" rel=\"noopener\">odcdance.org\u003c/a>\u003c/li>\n\u003cli>Smuin Ballet’s \u003cem>The Christmas Ballet\u003c/em>: through Dec. 27 in Walnut Creek, Carmel, Mountain View and San Francisco; ticket prices vary by venue; 415-912-1899; \u003ca href=\"http://smuinballet.org/uncorked/\" target=\"_blank\" rel=\"noopener\">smuinballet.org\u003c/a>\u003c/li>\n\u003c/ul>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/10179989/cracking-the-nut-getting-inside-the-nutcracker","authors":["3226"],"series":["arts_745"],"categories":["arts_1003"],"tags":["arts_596"],"featImg":"arts_10180113","label":"arts_745"},"arts_10182755":{"type":"posts","id":"arts_10182755","meta":{"index":"posts_1591205157","site":"arts","id":"10182755","score":null,"sort":[1418047254000]},"guestAuthors":[],"slug":"seasonal-delights-onstage","title":"Holiday Theater Guide, Hold the Chestnuts","publishDate":1418047254,"format":"standard","headTitle":"Holiday Theater Guide, Hold the Chestnuts | KQED","labelTerm":{"term":745,"site":"arts"},"content":"\u003cp>’Tis the season when nearly every theater in town seems to be producing some kind of holiday crowd-pleaser to finish the year on a high note. Jacob Marley will rattle his chains in countless adaptations of Dickens’ \u003cem>A Christmas Carol \u003c/em>(traditional takes at \u003ca href=\"http://www.act-sf.org/home/box_office/mainstage/1415_carol.html\">American Conservatory Theater\u003c/a>, \u003ca href=\"http://www.centerrep.org/season1415/achristmascarol.php\">Center Rep\u003c/a> and \u003ca href=\"http://www.northsidetheatre.com/website/season.html\">Northside Theatre Company\u003c/a>; \u003cem>Scrooge the Musical \u003c/em>at \u003ca href=\"http://www.ci.rohnert-park.ca.us/index.aspx?page=231\">Spreckels Theatre Company\u003c/a> and a one-man version at the \u003ca href=\"http://www.brownpapertickets.com/event/904211\">Berkeley City Club\u003c/a>). Stage versions of holiday films will offer twists on familiar stories: \u003cem>\u003ca href=\"http://coastalrep.com/\">Miracle on 34th Street\u003c/a>\u003c/em>, \u003cem>\u003ca href=\"http://www.hillbarntheatre.org/shows/white-christmas/\">White Christmas\u003c/a>\u003c/em> and two versions of \u003cem>It’s a Wonderful Life\u003c/em> (at San Francisco’s \u003ca href=\"http://www.tidestheatre.org/theatre/\">Tides Theatre\u003c/a> and Lafayette’s \u003ca href=\"http://www.townhalltheatre.com/main-stage-performances/its-a-wonderful-life-a-live-radio-play\">Town Hall Theatre\u003c/a>). And then there are the uniquely San Francisco holiday traditions, like the \u003ca href=\"http://www.koshercomedy.com/\">Kung Pao Kosher Comedy\u003c/a>, celebrating 22 years of Jewish stand-up comedy in a Chinese restaurant on Christmas.\u003c/p>\n\u003cp>But the real gift that every year brings are the new contenders for yuletide theatrical traditions. Here are a few intriguing ones that will add spice to the this year’s season.\u003c/p>\n\u003cfigure id=\"attachment_10182759\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/xmas-truce.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10182759 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/xmas-truce-400x600.jpg\" alt=\"Drew Benjamin Jones plays soldier-poet Tommy in Truce. Photo by Mike Ko / siliconvalleydesigns.com.\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/xmas-truce-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/xmas-truce.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Drew Benjamin Jones plays soldier-poet Tommy in \u003ci>Truce\u003c/i>. Photo by Mike Ko / siliconvalleydesigns.com.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Truce: A Christmas Wish from the Great War\u003c/em>\u003c/h3>\n\u003ch5>Nov. 20- Dec. 21\u003cbr>\nCity Lights Theater Company, San Jose\u003cbr>\n\u003ca href=\"http://cltc.org/\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>San Jose’s City Lights Theater Company offers an alternative to the usual assortment of Christmas classics with this world premiere play by Kit Wilder and Jeffrey Bracco, local actors who costarred in City Lights’ recent production of \u003cem>Art\u003c/em>. \u003cem>Truce: A Christmas Wish from the Great War\u003c/em> is based on a historical incident from World War I, when opposing soldiers on the battlefield in France celebrated an impromptu ceasefire on Christmas Day, 1914, singing carols together and sharing provisions and holiday cheer before getting back to the important business of killing each other.\u003c/p>\n\u003cfigure id=\"attachment_10182761\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/xmas-juliana.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10182761 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/xmas-juliana-400x600.jpg\" alt=\"April Krautner plays Juliana in Jolly Juliana, or Her Fruitcake Has Nuts. Photo by Eric Chazankin.\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/xmas-juliana-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/xmas-juliana.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">April Krautner plays Juliana in \u003ci>Jolly Juliana, or Her Fruitcake Has Nuts\u003c/i>. Photo by Eric Chazankin.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Jolly Juliana, or Her Fruitcake Has Nuts\u003c/em>\u003c/h3>\n\u003ch5>Nov. 21- Dec. 21\u003cbr>\n6th Street Playhouse, Santa Rosa\u003cbr>\n\u003ca href=\"http://www.6thstreetplayhouse.com/season/gk-hardt-theatre/jolly-juliana-an-original-melodrama-vaudeville/\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Santa Rosa’s 6th Street Playhouse provides an old-time seasonal entertainment with \u003cem>Jolly Juliana, or Her Fruitcake Has Nuts\u003c/em>, an original melodrama of the type that was popular in Victorian times. It’s written and directed by Larry Williams, who also plays the villain that audiences are encouraged to hiss to their hearts’ content. The second act is a vaudeville variety show of song, dance and comedy as it might have been performed a century ago. On its second stage, 6th Street presents the ever-popular \u003cem>\u003ca href=\"http://www.6thstreetplayhouse.com/season/special-events/santaland-diaries/\">Santaland Diaries\u003c/a>\u003c/em>, the one-man show based on David Sedaris’ hilarious first-person account of the indignities he suffered as a department store elf, starring David Yen. (\u003ca href=\"http://www.cafearts.com/\">Combined Artform\u003c/a> is also presenting \u003cem>Santaland\u003c/em> in San Francisco for a 13th year, with David Sinaiko playing the much-abused Crumpet the Elf.)\u003c/p>\n\u003cfigure id=\"attachment_10182757\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/xmas-strangers.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10182757 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/xmas-strangers-400x603.jpg\" alt=\"Bob McIntyre is Jerri Blank in Strangers with XXXmas Candy. Photo courtesy of Dreams on the Rocks Productions.\" width=\"400\" height=\"603\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/xmas-strangers-400x603.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/xmas-strangers.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bob McIntyre is Jerri Blank in \u003ci>Strangers with XXXmas Candy\u003c/i>. Photo courtesy of Dreams on the Rocks Productions.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Strangers with XXXmas Candy\u003c/em>\u003c/h3>\n\u003ch5>Dec. 4-20\u003cbr>\nEXIT Theatre, San Francisco\u003cbr>\n\u003ca href=\"http://www.theexit.org/strangers/#more-1194\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>It wouldn’t be the holiday season in San Francisco without some seriously campy drag shows. \u003ca href=\"http://www.trannyshack.com/\">Trannyshack\u003c/a> is now in its ninth year of \u003cem>The Golden Girls: The Christmas Episodes\u003c/em> at the Victoria Theatre. Now it’s joined by yet another send-up of a beloved sitcom: \u003cem>Strangers with XXXmas Candy\u003c/em> is based on the ’90s Comedy Central series \u003cem>\u003ca href=\"http://www.cc.com/shows/strangers-with-candy\" target=\"_blank\" rel=\"noopener\">Strangers with Candy\u003c/a>, \u003c/em>co-created by and starring Amy Sedaris (sister of the aforementioned David ). A spoof of cautionary 1980s after-school specials, \u003cem>Strangers\u003c/em> was about a former “junkie whore” who returns to high school as a freshman at age 46. A parody of a parody with drag added to the mix, this version, by Dreams on the Rocks Productions, is directed by Dani Spinks with a script by Spinks, Ralph Hoy and Bob McIntyre, who plays the Sedaris role of the grotesquely grimacing Jerri Blank.\u003c/p>\n\u003cfigure id=\"attachment_10182756\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/xmas-kmlz.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10182756 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/xmas-kmlz-400x601.jpg\" alt=\"Damon Brennen, Paco Romane and Molly Benson in KMLZ: Holidaze. Photo courtesy of Killing My Lobster.\" width=\"400\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/xmas-kmlz-400x601.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/xmas-kmlz-399x600.jpg 399w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/xmas-kmlz.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Damon Brennen, Paco Romane and Molly Benson in \u003ci>KMLZ: Holidaze\u003c/i>. Photo courtesy of Killing My Lobster.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>KMLZ: Holidaze\u003c/em>\u003c/h3>\n\u003ch5>Dec. 12-13\u003cbr>\nZ Space, San Francisco\u003cbr>\n\u003ca href=\"http://www.killingmylobster.com/2014season/kmlz-holidaze/\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>San Francisco’s Killing My Lobster takes the time-honored approach of stuffing your stocking full of random odds and ends. The comedy troupe teams up with performing arts hub Z Space for \u003cem>KMLZ: Holidaze\u003c/em>, a variety show combining KML’s acclaimed sketch comedy with music, burlesque, “Chrismahanukkwanzika cheer” and a whole lot of drag acts. Special guests vary between the two nights but include musician Tommy Shepherd of the hip hop collective Felonious, queer nun provocateurs the Sisters of Perpetual Indulgence (as “Celebrity Bad Santas”), SF drag king champions the Momma’s Boyz, the self-explanatory Rubenesque Burlesque, local taiko drumming ensemble Jiten Daiko, and dancer Monique Jenkinson’s drag queen persona, Fauxnique. Shepherd’s longtime Felonious collaborator, actor-playwright Dan Wolf, directs. Comedian Nato Green hosts.\u003c/p>\n\u003cfigure id=\"attachment_10197948\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/latke.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10197948 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/latke.jpg\" alt=\"The screaming latke of <i>The Latke Who Couldn't Stop Screaming.</i> Photo courtesy of Peninsula Youth Theatre.\" width=\"400\" height=\"299\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The screaming latke of \u003ci>The Latke Who Couldn’t Stop Screaming.\u003c/i> Photo courtesy of Peninsula Youth Theatre.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Latke Who Couldn’t Stop Screaming \u003c/em>\u003c/h3>\n\u003ch5>Dec. 12-13\u003cbr>\nPeninsula Youth Theatre, Mountain View\u003cbr>\n\u003ca href=\"http://www.pytnet.org/\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>If this is all sounding way too Christmassy, we know a certain potato pancake who definitely feels the same way. In \u003cem>The Latke Who Couldn’t Stop Screaming, \u003c/em>based on the children’s book of the same title by San Francisco author Lemony Snicket, the traditional fried Hanukkah treat takes off running from the frying pan and runs around trying to educate all the candy canes, pine trees and other goyish holiday symbols about what the Jewish holiday is all about, screaming in frustration when they just don’t get it. Peninsula Youth Theatre presents a world premiere stage adaptation by Dexter Fidler (best known as a local fight choreographer) in the Mountain View Center for the Arts’ intimate second stage, performed by teen actors as part of the company’s Stories on Stage series.\u003c/p>\n\u003cfigure id=\"attachment_10182758\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/xmas-sweetcan1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10182758 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/xmas-sweetcan1-400x597.jpg\" alt=\"Sweet Can co-founder Kerri Kresinski performs an aerial silk act. Photo courtesy of Sweet Can Productions.\" width=\"400\" height=\"597\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/xmas-sweetcan1-400x597.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/xmas-sweetcan1.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sweet Can co-founder Kerri Kresinski performs an aerial silk act. Photo courtesy of Sweet Can Productions.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Mittens and Mistletoe: A Winter Circus Cabaret\u003c/em>\u003c/h3>\n\u003ch5>Dec. 19-28\u003cbr>\nDance Mission Theater, San Francisco\u003cbr>\n\u003ca href=\"http://sweetcanproductions.com/\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>The New Pickle Circus used to come out with a new show every December until its adoptive parent organization, Circus Center San Francisco, quietly retired the company a few years back. Since then other troupes have tumbled in to fill the gap in the same new-vaudeville tradition, which focuses on clowning, juggling and acrobatic acts. Cirque du Soleil’s steampunk \u003cem>\u003ca href=\"http://ww2.kqed.org/arts/2014/11/25/cirque-du-soleil-goes-steampunk/\">Kurios\u003c/a>\u003c/em> offers a glitzy touring version that will be at AT&T Park through January 18. But there’s something to be said for stripped-down, close-up circus magic in an intimate setting. That’s where San Francisco’s own Sweet Can Productions comes in with a holiday-themed variety show directed by local clown duo Coventry & Kaluza. Featuring live music by Berkeley’s Josh Garey (of Comfy Chair and the Gun & Doll Show), \u003cem>Mittens and Mistletoe \u003c/em>dazzles with trapeze, aerial accrobatics, hula hoop, juggling and clown acts from veteran performers such as former Pickle clown Diane “Pino” Wasnak.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n","blocks":[],"excerpt":"On beyond Dickens and \u003cem>White Christmas,\u003c/em> a feast of new and nontraditional holiday performance options awaits adventurous audiences. Critic Sam Hurwitt offers his list. ","status":"publish","parent":0,"modified":1705047889,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":1229},"headData":{"title":"Holiday Theater Guide, Hold the Chestnuts | KQED","description":"On beyond Dickens and White Christmas, a feast of new and nontraditional holiday performance options awaits adventurous audiences. Critic Sam Hurwitt offers his list. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Holiday Theater Guide, Hold the Chestnuts","datePublished":"2014-12-08T14:00:54.000Z","dateModified":"2024-01-12T08:24:49.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/10182755/seasonal-delights-onstage","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>’Tis the season when nearly every theater in town seems to be producing some kind of holiday crowd-pleaser to finish the year on a high note. Jacob Marley will rattle his chains in countless adaptations of Dickens’ \u003cem>A Christmas Carol \u003c/em>(traditional takes at \u003ca href=\"http://www.act-sf.org/home/box_office/mainstage/1415_carol.html\">American Conservatory Theater\u003c/a>, \u003ca href=\"http://www.centerrep.org/season1415/achristmascarol.php\">Center Rep\u003c/a> and \u003ca href=\"http://www.northsidetheatre.com/website/season.html\">Northside Theatre Company\u003c/a>; \u003cem>Scrooge the Musical \u003c/em>at \u003ca href=\"http://www.ci.rohnert-park.ca.us/index.aspx?page=231\">Spreckels Theatre Company\u003c/a> and a one-man version at the \u003ca href=\"http://www.brownpapertickets.com/event/904211\">Berkeley City Club\u003c/a>). Stage versions of holiday films will offer twists on familiar stories: \u003cem>\u003ca href=\"http://coastalrep.com/\">Miracle on 34th Street\u003c/a>\u003c/em>, \u003cem>\u003ca href=\"http://www.hillbarntheatre.org/shows/white-christmas/\">White Christmas\u003c/a>\u003c/em> and two versions of \u003cem>It’s a Wonderful Life\u003c/em> (at San Francisco’s \u003ca href=\"http://www.tidestheatre.org/theatre/\">Tides Theatre\u003c/a> and Lafayette’s \u003ca href=\"http://www.townhalltheatre.com/main-stage-performances/its-a-wonderful-life-a-live-radio-play\">Town Hall Theatre\u003c/a>). And then there are the uniquely San Francisco holiday traditions, like the \u003ca href=\"http://www.koshercomedy.com/\">Kung Pao Kosher Comedy\u003c/a>, celebrating 22 years of Jewish stand-up comedy in a Chinese restaurant on Christmas.\u003c/p>\n\u003cp>But the real gift that every year brings are the new contenders for yuletide theatrical traditions. Here are a few intriguing ones that will add spice to the this year’s season.\u003c/p>\n\u003cfigure id=\"attachment_10182759\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/xmas-truce.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10182759 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/xmas-truce-400x600.jpg\" alt=\"Drew Benjamin Jones plays soldier-poet Tommy in Truce. Photo by Mike Ko / siliconvalleydesigns.com.\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/xmas-truce-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/xmas-truce.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Drew Benjamin Jones plays soldier-poet Tommy in \u003ci>Truce\u003c/i>. Photo by Mike Ko / siliconvalleydesigns.com.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Truce: A Christmas Wish from the Great War\u003c/em>\u003c/h3>\n\u003ch5>Nov. 20- Dec. 21\u003cbr>\nCity Lights Theater Company, San Jose\u003cbr>\n\u003ca href=\"http://cltc.org/\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>San Jose’s City Lights Theater Company offers an alternative to the usual assortment of Christmas classics with this world premiere play by Kit Wilder and Jeffrey Bracco, local actors who costarred in City Lights’ recent production of \u003cem>Art\u003c/em>. \u003cem>Truce: A Christmas Wish from the Great War\u003c/em> is based on a historical incident from World War I, when opposing soldiers on the battlefield in France celebrated an impromptu ceasefire on Christmas Day, 1914, singing carols together and sharing provisions and holiday cheer before getting back to the important business of killing each other.\u003c/p>\n\u003cfigure id=\"attachment_10182761\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/xmas-juliana.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10182761 size-medium\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/xmas-juliana-400x600.jpg\" alt=\"April Krautner plays Juliana in Jolly Juliana, or Her Fruitcake Has Nuts. Photo by Eric Chazankin.\" width=\"400\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/xmas-juliana-400x600.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/xmas-juliana.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">April Krautner plays Juliana in \u003ci>Jolly Juliana, or Her Fruitcake Has Nuts\u003c/i>. Photo by Eric Chazankin.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Jolly Juliana, or Her Fruitcake Has Nuts\u003c/em>\u003c/h3>\n\u003ch5>Nov. 21- Dec. 21\u003cbr>\n6th Street Playhouse, Santa Rosa\u003cbr>\n\u003ca href=\"http://www.6thstreetplayhouse.com/season/gk-hardt-theatre/jolly-juliana-an-original-melodrama-vaudeville/\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Santa Rosa’s 6th Street Playhouse provides an old-time seasonal entertainment with \u003cem>Jolly Juliana, or Her Fruitcake Has Nuts\u003c/em>, an original melodrama of the type that was popular in Victorian times. It’s written and directed by Larry Williams, who also plays the villain that audiences are encouraged to hiss to their hearts’ content. The second act is a vaudeville variety show of song, dance and comedy as it might have been performed a century ago. On its second stage, 6th Street presents the ever-popular \u003cem>\u003ca href=\"http://www.6thstreetplayhouse.com/season/special-events/santaland-diaries/\">Santaland Diaries\u003c/a>\u003c/em>, the one-man show based on David Sedaris’ hilarious first-person account of the indignities he suffered as a department store elf, starring David Yen. (\u003ca href=\"http://www.cafearts.com/\">Combined Artform\u003c/a> is also presenting \u003cem>Santaland\u003c/em> in San Francisco for a 13th year, with David Sinaiko playing the much-abused Crumpet the Elf.)\u003c/p>\n\u003cfigure id=\"attachment_10182757\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/xmas-strangers.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10182757 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/xmas-strangers-400x603.jpg\" alt=\"Bob McIntyre is Jerri Blank in Strangers with XXXmas Candy. Photo courtesy of Dreams on the Rocks Productions.\" width=\"400\" height=\"603\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/xmas-strangers-400x603.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/xmas-strangers.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Bob McIntyre is Jerri Blank in \u003ci>Strangers with XXXmas Candy\u003c/i>. Photo courtesy of Dreams on the Rocks Productions.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Strangers with XXXmas Candy\u003c/em>\u003c/h3>\n\u003ch5>Dec. 4-20\u003cbr>\nEXIT Theatre, San Francisco\u003cbr>\n\u003ca href=\"http://www.theexit.org/strangers/#more-1194\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>It wouldn’t be the holiday season in San Francisco without some seriously campy drag shows. \u003ca href=\"http://www.trannyshack.com/\">Trannyshack\u003c/a> is now in its ninth year of \u003cem>The Golden Girls: The Christmas Episodes\u003c/em> at the Victoria Theatre. Now it’s joined by yet another send-up of a beloved sitcom: \u003cem>Strangers with XXXmas Candy\u003c/em> is based on the ’90s Comedy Central series \u003cem>\u003ca href=\"http://www.cc.com/shows/strangers-with-candy\" target=\"_blank\" rel=\"noopener\">Strangers with Candy\u003c/a>, \u003c/em>co-created by and starring Amy Sedaris (sister of the aforementioned David ). A spoof of cautionary 1980s after-school specials, \u003cem>Strangers\u003c/em> was about a former “junkie whore” who returns to high school as a freshman at age 46. A parody of a parody with drag added to the mix, this version, by Dreams on the Rocks Productions, is directed by Dani Spinks with a script by Spinks, Ralph Hoy and Bob McIntyre, who plays the Sedaris role of the grotesquely grimacing Jerri Blank.\u003c/p>\n\u003cfigure id=\"attachment_10182756\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/xmas-kmlz.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10182756 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/xmas-kmlz-400x601.jpg\" alt=\"Damon Brennen, Paco Romane and Molly Benson in KMLZ: Holidaze. Photo courtesy of Killing My Lobster.\" width=\"400\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/xmas-kmlz-400x601.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/xmas-kmlz-399x600.jpg 399w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/xmas-kmlz.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Damon Brennen, Paco Romane and Molly Benson in \u003ci>KMLZ: Holidaze\u003c/i>. Photo courtesy of Killing My Lobster.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>KMLZ: Holidaze\u003c/em>\u003c/h3>\n\u003ch5>Dec. 12-13\u003cbr>\nZ Space, San Francisco\u003cbr>\n\u003ca href=\"http://www.killingmylobster.com/2014season/kmlz-holidaze/\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>San Francisco’s Killing My Lobster takes the time-honored approach of stuffing your stocking full of random odds and ends. The comedy troupe teams up with performing arts hub Z Space for \u003cem>KMLZ: Holidaze\u003c/em>, a variety show combining KML’s acclaimed sketch comedy with music, burlesque, “Chrismahanukkwanzika cheer” and a whole lot of drag acts. Special guests vary between the two nights but include musician Tommy Shepherd of the hip hop collective Felonious, queer nun provocateurs the Sisters of Perpetual Indulgence (as “Celebrity Bad Santas”), SF drag king champions the Momma’s Boyz, the self-explanatory Rubenesque Burlesque, local taiko drumming ensemble Jiten Daiko, and dancer Monique Jenkinson’s drag queen persona, Fauxnique. Shepherd’s longtime Felonious collaborator, actor-playwright Dan Wolf, directs. Comedian Nato Green hosts.\u003c/p>\n\u003cfigure id=\"attachment_10197948\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/latke.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10197948 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/latke.jpg\" alt=\"The screaming latke of <i>The Latke Who Couldn't Stop Screaming.</i> Photo courtesy of Peninsula Youth Theatre.\" width=\"400\" height=\"299\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The screaming latke of \u003ci>The Latke Who Couldn’t Stop Screaming.\u003c/i> Photo courtesy of Peninsula Youth Theatre.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Latke Who Couldn’t Stop Screaming \u003c/em>\u003c/h3>\n\u003ch5>Dec. 12-13\u003cbr>\nPeninsula Youth Theatre, Mountain View\u003cbr>\n\u003ca href=\"http://www.pytnet.org/\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>If this is all sounding way too Christmassy, we know a certain potato pancake who definitely feels the same way. In \u003cem>The Latke Who Couldn’t Stop Screaming, \u003c/em>based on the children’s book of the same title by San Francisco author Lemony Snicket, the traditional fried Hanukkah treat takes off running from the frying pan and runs around trying to educate all the candy canes, pine trees and other goyish holiday symbols about what the Jewish holiday is all about, screaming in frustration when they just don’t get it. Peninsula Youth Theatre presents a world premiere stage adaptation by Dexter Fidler (best known as a local fight choreographer) in the Mountain View Center for the Arts’ intimate second stage, performed by teen actors as part of the company’s Stories on Stage series.\u003c/p>\n\u003cfigure id=\"attachment_10182758\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/xmas-sweetcan1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10182758 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/xmas-sweetcan1-400x597.jpg\" alt=\"Sweet Can co-founder Kerri Kresinski performs an aerial silk act. Photo courtesy of Sweet Can Productions.\" width=\"400\" height=\"597\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/xmas-sweetcan1-400x597.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/xmas-sweetcan1.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sweet Can co-founder Kerri Kresinski performs an aerial silk act. Photo courtesy of Sweet Can Productions.\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Mittens and Mistletoe: A Winter Circus Cabaret\u003c/em>\u003c/h3>\n\u003ch5>Dec. 19-28\u003cbr>\nDance Mission Theater, San Francisco\u003cbr>\n\u003ca href=\"http://sweetcanproductions.com/\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>The New Pickle Circus used to come out with a new show every December until its adoptive parent organization, Circus Center San Francisco, quietly retired the company a few years back. Since then other troupes have tumbled in to fill the gap in the same new-vaudeville tradition, which focuses on clowning, juggling and acrobatic acts. Cirque du Soleil’s steampunk \u003cem>\u003ca href=\"http://ww2.kqed.org/arts/2014/11/25/cirque-du-soleil-goes-steampunk/\">Kurios\u003c/a>\u003c/em> offers a glitzy touring version that will be at AT&T Park through January 18. But there’s something to be said for stripped-down, close-up circus magic in an intimate setting. That’s where San Francisco’s own Sweet Can Productions comes in with a holiday-themed variety show directed by local clown duo Coventry & Kaluza. Featuring live music by Berkeley’s Josh Garey (of Comfy Chair and the Gun & Doll Show), \u003cem>Mittens and Mistletoe \u003c/em>dazzles with trapeze, aerial accrobatics, hula hoop, juggling and clown acts from veteran performers such as former Pickle clown Diane “Pino” Wasnak.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/10182755/seasonal-delights-onstage","authors":["76"],"series":["arts_745"],"categories":["arts_1003"],"tags":["arts_596"],"featImg":"arts_10182760","label":"arts_745"},"arts_10185861":{"type":"posts","id":"arts_10185861","meta":{"index":"posts_1591205157","site":"arts","id":"10185861","score":null,"sort":[1417701611000]},"guestAuthors":[],"slug":"kids-books-the-gifts-that-never-wear-out","title":"Kids' Books: The Gifts That Never Wear Out","publishDate":1417701611,"format":"standard","headTitle":"Kids’ Books: The Gifts That Never Wear Out | KQED","labelTerm":{"term":745,"site":"arts"},"content":"\u003cp>I look forward every year to doing this story, a short list of new and classic children’s books that would make good gifts for Hanukkah, Kwanzaa or Christmas.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/underpants.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/underpants.jpg\" alt=\"underpants\" width=\"400\" height=\"523\" class=\"alignright size-full wp-image-10185983\">\u003c/a>\u003c/p>\n\u003cp>That’s partly because I get to visit the most enthusiastic booksellers in the world, like Valerie Lewis, owner of \u003ca href=\"http://www.hicklebees.com/\" target=\"_blank\" rel=\"noopener\">Hicklebee’s Books\u003c/a> in the Willow Glen neighborhood of San Jose. Lewis is very fond of \u003cem>The Frog Who Lost His Underpants\u003c/em>. “‘Walking through the jungle left foot, right foot. Kicking up the lakka leaves, making up a song. Walking through the jungle one step, two step, goes the teddy bear, when who should come along? Orange-spotted jungle frog!’ And that’s how it starts,” Lewis says. “It’s a rhythmic walk through the jungle.”\u003c/p>\n\u003cp>She is also a fan of \u003cem>El Deafo\u003c/em>, a memoir by Cece Bell. It’s a graphic novel featuring a rabbit — “They’re all rabbits,” Lewis notes — who has to wear a bulky hearing aid around her neck. “This is her story, about what it’s like to be that different kid,” Lewis says. “And throughout the story any child who feels different — whether it’s because they have a physical problem or they just feel they don’t fit in — they’ll eat this book up.”\u003c/p>\n\u003cp>Lewis also suggested a book for older readers that’s great to read aloud. Jacqueline Woodson’s \u003cem>Brown Girl Dreaming\u003c/em> won a National Book Award the day after Lewis and I talked. “‘Good enough name for me,’ my father said the day I was born. ‘Don’t see why she can’t have it, too.’\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“But the women said no. ‘We won’t have a girl named Jack,’ my mother said. And my father’s sisters whispered, ‘A boy named Jack was bad enough.’ But only so my mother could hear.”\u003c/p>\n\u003cp>“You don’t have to be a black girl born in the south and raised in New York to be able to identify with this,” says Lewis. “There’s so much about family. Things that’ll make you laugh. Things that’ll make you cry.”\u003c/p>\n\u003cp>\u003cem>Brown Girl Dreaming\u003c/em> is a rarity, NBA or not. It’s hard to find kids’ books by or about African-Americans. But not at \u003ca href=\"http://www.marcusbookstores.com/\" target=\"_blank\" rel=\"noopener\">Marcus Books\u003c/a> in Oakland.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/dancing.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/dancing.jpg\" alt=\"dancing\" width=\"400\" height=\"553\" class=\"alignright size-full wp-image-10185985\">\u003c/a>\u003c/p>\n\u003cp>“Not here. We specialize in that, so definitely not here.” Janese Irby works at \u003ca href=\"http://www.marcusbookstores.com/\" target=\"_blank\" rel=\"noopener\">Marcus Books\u003c/a> in North Oakland with its deep selection about black people everywhere. Irby says she fell in love with books because her mother read to her as a child. Now her list is shaped by her own three year old daughter, who adores ballet and, consequently, Debbie Allen’s classic \u003cem>Dancing in the Wings\u003c/em>. It features pictures by Kadir Nelson, an award-winning kids’ book illustrator from Los Angeles. The cover shows a little black girl in a pink tutu.\u003c/p>\n\u003cp>Irby’s daughter is also a fan of \u003cem>I Like Myself\u003c/em> by Karen Beaumont. “I like me wild, I like me tame. I like me fast, I like me slow. I like me everywhere I go.”\u003c/p>\n\u003cp>Irby says, “This one is one of those books where you can’t tell if it’s a girl or a boy, or really what race it is, and my daughter had me read this one for about 6 months straight.”\u003c/p>\n\u003cp>Race isn’t an issue in children’s books featuring non-human characters, and Simona Ciraolo nicely finesses the issue in \u003cem>Hug Me\u003c/em>, a story about a cactus named Felipe. It’s a favorite of Ashley Despain, the children’s book buyer at \u003ca href=\"http://www.greenapplebooks.com/\" target=\"_blank\" rel=\"noopener\">Green Apple Books\u003c/a> in San Francisco.\u003c/p>\n\u003cp>Despain says, “This one really kind of tugged at my heartstrings, because I was born in Arizona, and this is about a little cactus.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/shhhwe.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/shhhwe.jpg\" alt=\"shhhwe\" width=\"400\" height=\"419\" class=\"alignright size-full wp-image-10185986\">\u003c/a>\u003c/p>\n\u003cp>Despain has no kids of his own, but for years he’s tested his favorite books on his 24 nieces and nephews. One thing he has learned: skip the moral, as in \u003cem>Shh! We Have A Plan\u003c/em>, a beautiful picture book by Chris Haughton about some clumsy bird hunters.\u003c/p>\n\u003cp>“They’re not telling you, ‘Oh, you must be nice,’ or ‘Oh, you can’t harm birds,'” Despain says. “It tells these stories in a very subtle way that kids understand. It’s just really nice stories and you can take away from it what you will.”\u003c/p>\n\u003cp>This year, you can also enter the world — literally — of a popular kids book, one chronicling the adventures of a professional bird-chasing dog. Twenty years ago, Oakland’s J. Otto Seibold and Vivien Walsh published \u003cem>Mr. Lunch Takes a Plane Ride\u003c/em>, inspired by their own Jack Russell Terrier, Dexter Lunch, and his plane trip from New York to San Francisco.\u003c/p>\n\u003cp>And now the \u003ca href=\"http://www.thecjm.org/on-view/currently/j-otto-seibold-and-mr-lunch/about\" target=\"_blank\" rel=\"noopener\">Contemporary Jewish Museum\u003c/a> has filled a gallery with Seibold’s old sketches and layouts, plus kid-size versions of stuff from three Dexter Lunch books. There’s also a huge play area for kids, equipped with suitcases, a jet, and a boat; visitors enter through a security gate where they can get their passport stamped. \u003c/p>\n\u003cfigure id=\"attachment_10185987\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/siebold.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/siebold.jpg\" alt=\"Siebold at the Contemporary Jewish Museum\" width=\"640\" height=\"403\" class=\"size-full wp-image-10185987\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/siebold.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/siebold-400x251.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Siebold at the Contemporary Jewish Museum\u003c/figcaption>\u003c/figure>\n\u003cp>“[\u003cem>Mr. Lunch Takes a Plane Ride\u003c/em>] was definitely based on a true dog travel experience,” Siebold said recently as he walked me around the show. “I used to call him ‘Lawman’ because when we’d go to the park, he would break up dogfights. And I was just like, ‘that is an honorable guy right there.'”\u003c/p>\n\u003cp>Seibold is also famous for \u003cem>Olive the Other Reindeer\u003c/em>, which was made into a movie with the voice of Drew Barrymore. All of his books are filled with puns and cheerful, loony characters, which rather describes the tall, bearded Seibold himself. He plans to make regular visits to the exhibit during its run (through March 8, 2015) — all the better to encourage a bit of creative chaos.\u003c/p>\n\u003cp>“You can’t allow a bunch of children to come into a big fake jet and not have them jump all over it,” Seibold says. “I’ve raised three kids and things you couldn’t imagine happening have happened. So it’s almost a shoo-in.”\u003c/p>\n\u003cp>The great thing about giving books as presents, I think, is that they have such a long life. The wheels never fall off, the batteries never die, and the book we most loved as a child may become a favorite for the next generation.\u003c/p>\n\u003cp>“You very often find people picking up [a book],” says Hicklebee’s Valerie Lewis, “and holding it to their chest when they’re talking about it, because it’s dear to them. It’s sort of a natural thing you can do.”\u003c/p>\n\u003cp>I’m holding a copy of Ruth Stiles’ \u003cem>My Father’s Dragon\u003c/em> close to my chest right now.\u003c/p>\n\u003ch4>Books recommended by Valerie Lewis at Hicklebee’s:\u003c/h4>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/deafo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/deafo.jpg\" alt=\"deafo\" width=\"400\" height=\"600\" class=\"alignleft size-full wp-image-10185988\">\u003c/a>\u003cem>A Possum’s Tail\u003c/em> by Gabby Dawnay, Illustrated by Alex Barrow\u003cbr>\n“One of my favorites for the preschool set. Wherever young Samuel Drew goes, his dog-on-wheels goes too. There is much to see on every page as Samuel travels through town to the zoo and back — with possums and surprises in tow.\u003c/p>\n\u003cp>\u003cem>The Frog Who Lost His Underpants\u003c/em> by Juliett Maciver, Illustrated by Cat Chapman\u003cbr>\n“The idea of a frog with underpants is funny enough, but the illustrations of this frog in despair with his dear friend bear and the culprits who stole the beloved briefs will have youngsters laughing out loud.”\u003c/p>\n\u003cp>\u003cem>El Deafo\u003c/em> by Cece Bell\u003cbr> \u003cbr>\n“Starting a new school can be scary, but when you come with a giant hearing aid strapped to your chest it can be downright embarrassing. This warm, often funny graphic novel about growing up deaf will appeal to any youngster who feels different from the others in school.”\u003c/p>\n\u003cp>\u003cem>Brown Girl Dreaming \u003c/em>by Jacqueline Woodson\u003cbr>\n“In mesmerizing verse, Woodson tells the story of growing up as an African American in the ’60s and ’70s in South Carolina and New York City. Woodson has the rare ability to make the reader feel part of her conversation. Touching and powerful, each page — each poem — can be read as a story in itself.”\u003c/p>\n\u003cp>\u003cem>Accidental Highwayman\u003c/em> by Ben Tripp\u003cbr> \u003cbr>\n“A swashbuckling adventure for readers of fantasy that takes place in 18th-century England. Kit Bristol is the unwitting servant of notorious Whistling Jack who arrives one night bleeding from a mortal wound. Ben dons the man’s riding cloak to seek help, and changes the direction of his life. Magic, a feisty fairy princess, a magical map & true love.” \u003c/p>\n\u003ch4>Books recommended by Ashley Despain at Green Apple Books:\u003c/h4>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/stormwhale.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/stormwhale.jpg\" alt=\"stormwhale\" width=\"400\" height=\"353\" class=\"alignleft size-full wp-image-10185990\">\u003c/a>\u003cem>Shh! We Have A Plan \u003c/em>by Chris Haughton\u003cbr> \u003cbr>\n“Brilliantly nuanced illustration and design complement the story to a satisfying conclusion.”\u003c/p>\n\u003cp>\u003cem>Hug Me\u003c/em> by Simona Ciraolo\u003cbr> \u003cbr>\n“I have a soft spot for cacti, and this sweet gem of a story definitely tugged at my heart-strings.”\u003c/p>\n\u003cp>\u003cem>The Storm Whale\u003c/em> by Benji Davies\u003cbr> \u003cbr>\n“The story of a boy trying to rescue a beached whale, but if you look a little deeper you will uncover a very powerful relationship between a boy and his father.”\u003c/p>\n\u003cp>\u003cem>The Knight and the Dragon\u003c/em> by Tomi dePaola\u003cbr> \u003cbr>\n“My favorite classic picture book. Conflict resolution in the most creative way.”\u003c/p>\n\u003ch4>Books recommended by Janese Irby at Marcus Books:\u003c/h4>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/likeme.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/likeme.jpg\" alt=\"likeme\" width=\"400\" height=\"440\" class=\"alignleft size-full wp-image-10185989\">\u003c/a>\u003cbr>\n\u003cem>I Like Myself\u003c/em> by Karen Beaumont\u003c/p>\n\u003cp>\u003cem>Mufaro’s Beautiful Daughters\u003c/em> by John Steptoe\u003c/p>\n\u003cp>\u003cem>Dancing In The Wings\u003c/em> by Debbie Allen\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Honey I Love\u003c/em> by Eloise Greenfield\u003c/p>\n\n","blocks":[],"excerpt":"A short list of new and classic children's books that would make good gifts for the holidays.","status":"publish","parent":0,"modified":1705047904,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":40,"wordCount":1697},"headData":{"title":"Kids' Books: The Gifts That Never Wear Out | KQED","description":"A short list of new and classic children's books that would make good gifts for the holidays.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Kids' Books: The Gifts That Never Wear Out","datePublished":"2014-12-04T14:00:11.000Z","dateModified":"2024-01-12T08:25:04.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/10185861/kids-books-the-gifts-that-never-wear-out","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>I look forward every year to doing this story, a short list of new and classic children’s books that would make good gifts for Hanukkah, Kwanzaa or Christmas.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/underpants.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/underpants.jpg\" alt=\"underpants\" width=\"400\" height=\"523\" class=\"alignright size-full wp-image-10185983\">\u003c/a>\u003c/p>\n\u003cp>That’s partly because I get to visit the most enthusiastic booksellers in the world, like Valerie Lewis, owner of \u003ca href=\"http://www.hicklebees.com/\" target=\"_blank\" rel=\"noopener\">Hicklebee’s Books\u003c/a> in the Willow Glen neighborhood of San Jose. Lewis is very fond of \u003cem>The Frog Who Lost His Underpants\u003c/em>. “‘Walking through the jungle left foot, right foot. Kicking up the lakka leaves, making up a song. Walking through the jungle one step, two step, goes the teddy bear, when who should come along? Orange-spotted jungle frog!’ And that’s how it starts,” Lewis says. “It’s a rhythmic walk through the jungle.”\u003c/p>\n\u003cp>She is also a fan of \u003cem>El Deafo\u003c/em>, a memoir by Cece Bell. It’s a graphic novel featuring a rabbit — “They’re all rabbits,” Lewis notes — who has to wear a bulky hearing aid around her neck. “This is her story, about what it’s like to be that different kid,” Lewis says. “And throughout the story any child who feels different — whether it’s because they have a physical problem or they just feel they don’t fit in — they’ll eat this book up.”\u003c/p>\n\u003cp>Lewis also suggested a book for older readers that’s great to read aloud. Jacqueline Woodson’s \u003cem>Brown Girl Dreaming\u003c/em> won a National Book Award the day after Lewis and I talked. “‘Good enough name for me,’ my father said the day I was born. ‘Don’t see why she can’t have it, too.’\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“But the women said no. ‘We won’t have a girl named Jack,’ my mother said. And my father’s sisters whispered, ‘A boy named Jack was bad enough.’ But only so my mother could hear.”\u003c/p>\n\u003cp>“You don’t have to be a black girl born in the south and raised in New York to be able to identify with this,” says Lewis. “There’s so much about family. Things that’ll make you laugh. Things that’ll make you cry.”\u003c/p>\n\u003cp>\u003cem>Brown Girl Dreaming\u003c/em> is a rarity, NBA or not. It’s hard to find kids’ books by or about African-Americans. But not at \u003ca href=\"http://www.marcusbookstores.com/\" target=\"_blank\" rel=\"noopener\">Marcus Books\u003c/a> in Oakland.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/dancing.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/dancing.jpg\" alt=\"dancing\" width=\"400\" height=\"553\" class=\"alignright size-full wp-image-10185985\">\u003c/a>\u003c/p>\n\u003cp>“Not here. We specialize in that, so definitely not here.” Janese Irby works at \u003ca href=\"http://www.marcusbookstores.com/\" target=\"_blank\" rel=\"noopener\">Marcus Books\u003c/a> in North Oakland with its deep selection about black people everywhere. Irby says she fell in love with books because her mother read to her as a child. Now her list is shaped by her own three year old daughter, who adores ballet and, consequently, Debbie Allen’s classic \u003cem>Dancing in the Wings\u003c/em>. It features pictures by Kadir Nelson, an award-winning kids’ book illustrator from Los Angeles. The cover shows a little black girl in a pink tutu.\u003c/p>\n\u003cp>Irby’s daughter is also a fan of \u003cem>I Like Myself\u003c/em> by Karen Beaumont. “I like me wild, I like me tame. I like me fast, I like me slow. I like me everywhere I go.”\u003c/p>\n\u003cp>Irby says, “This one is one of those books where you can’t tell if it’s a girl or a boy, or really what race it is, and my daughter had me read this one for about 6 months straight.”\u003c/p>\n\u003cp>Race isn’t an issue in children’s books featuring non-human characters, and Simona Ciraolo nicely finesses the issue in \u003cem>Hug Me\u003c/em>, a story about a cactus named Felipe. It’s a favorite of Ashley Despain, the children’s book buyer at \u003ca href=\"http://www.greenapplebooks.com/\" target=\"_blank\" rel=\"noopener\">Green Apple Books\u003c/a> in San Francisco.\u003c/p>\n\u003cp>Despain says, “This one really kind of tugged at my heartstrings, because I was born in Arizona, and this is about a little cactus.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/shhhwe.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/shhhwe.jpg\" alt=\"shhhwe\" width=\"400\" height=\"419\" class=\"alignright size-full wp-image-10185986\">\u003c/a>\u003c/p>\n\u003cp>Despain has no kids of his own, but for years he’s tested his favorite books on his 24 nieces and nephews. One thing he has learned: skip the moral, as in \u003cem>Shh! We Have A Plan\u003c/em>, a beautiful picture book by Chris Haughton about some clumsy bird hunters.\u003c/p>\n\u003cp>“They’re not telling you, ‘Oh, you must be nice,’ or ‘Oh, you can’t harm birds,'” Despain says. “It tells these stories in a very subtle way that kids understand. It’s just really nice stories and you can take away from it what you will.”\u003c/p>\n\u003cp>This year, you can also enter the world — literally — of a popular kids book, one chronicling the adventures of a professional bird-chasing dog. Twenty years ago, Oakland’s J. Otto Seibold and Vivien Walsh published \u003cem>Mr. Lunch Takes a Plane Ride\u003c/em>, inspired by their own Jack Russell Terrier, Dexter Lunch, and his plane trip from New York to San Francisco.\u003c/p>\n\u003cp>And now the \u003ca href=\"http://www.thecjm.org/on-view/currently/j-otto-seibold-and-mr-lunch/about\" target=\"_blank\" rel=\"noopener\">Contemporary Jewish Museum\u003c/a> has filled a gallery with Seibold’s old sketches and layouts, plus kid-size versions of stuff from three Dexter Lunch books. There’s also a huge play area for kids, equipped with suitcases, a jet, and a boat; visitors enter through a security gate where they can get their passport stamped. \u003c/p>\n\u003cfigure id=\"attachment_10185987\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/siebold.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/siebold.jpg\" alt=\"Siebold at the Contemporary Jewish Museum\" width=\"640\" height=\"403\" class=\"size-full wp-image-10185987\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/siebold.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/siebold-400x251.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Siebold at the Contemporary Jewish Museum\u003c/figcaption>\u003c/figure>\n\u003cp>“[\u003cem>Mr. Lunch Takes a Plane Ride\u003c/em>] was definitely based on a true dog travel experience,” Siebold said recently as he walked me around the show. “I used to call him ‘Lawman’ because when we’d go to the park, he would break up dogfights. And I was just like, ‘that is an honorable guy right there.'”\u003c/p>\n\u003cp>Seibold is also famous for \u003cem>Olive the Other Reindeer\u003c/em>, which was made into a movie with the voice of Drew Barrymore. All of his books are filled with puns and cheerful, loony characters, which rather describes the tall, bearded Seibold himself. He plans to make regular visits to the exhibit during its run (through March 8, 2015) — all the better to encourage a bit of creative chaos.\u003c/p>\n\u003cp>“You can’t allow a bunch of children to come into a big fake jet and not have them jump all over it,” Seibold says. “I’ve raised three kids and things you couldn’t imagine happening have happened. So it’s almost a shoo-in.”\u003c/p>\n\u003cp>The great thing about giving books as presents, I think, is that they have such a long life. The wheels never fall off, the batteries never die, and the book we most loved as a child may become a favorite for the next generation.\u003c/p>\n\u003cp>“You very often find people picking up [a book],” says Hicklebee’s Valerie Lewis, “and holding it to their chest when they’re talking about it, because it’s dear to them. It’s sort of a natural thing you can do.”\u003c/p>\n\u003cp>I’m holding a copy of Ruth Stiles’ \u003cem>My Father’s Dragon\u003c/em> close to my chest right now.\u003c/p>\n\u003ch4>Books recommended by Valerie Lewis at Hicklebee’s:\u003c/h4>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/deafo.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/deafo.jpg\" alt=\"deafo\" width=\"400\" height=\"600\" class=\"alignleft size-full wp-image-10185988\">\u003c/a>\u003cem>A Possum’s Tail\u003c/em> by Gabby Dawnay, Illustrated by Alex Barrow\u003cbr>\n“One of my favorites for the preschool set. Wherever young Samuel Drew goes, his dog-on-wheels goes too. There is much to see on every page as Samuel travels through town to the zoo and back — with possums and surprises in tow.\u003c/p>\n\u003cp>\u003cem>The Frog Who Lost His Underpants\u003c/em> by Juliett Maciver, Illustrated by Cat Chapman\u003cbr>\n“The idea of a frog with underpants is funny enough, but the illustrations of this frog in despair with his dear friend bear and the culprits who stole the beloved briefs will have youngsters laughing out loud.”\u003c/p>\n\u003cp>\u003cem>El Deafo\u003c/em> by Cece Bell\u003cbr> \u003cbr>\n“Starting a new school can be scary, but when you come with a giant hearing aid strapped to your chest it can be downright embarrassing. This warm, often funny graphic novel about growing up deaf will appeal to any youngster who feels different from the others in school.”\u003c/p>\n\u003cp>\u003cem>Brown Girl Dreaming \u003c/em>by Jacqueline Woodson\u003cbr>\n“In mesmerizing verse, Woodson tells the story of growing up as an African American in the ’60s and ’70s in South Carolina and New York City. Woodson has the rare ability to make the reader feel part of her conversation. Touching and powerful, each page — each poem — can be read as a story in itself.”\u003c/p>\n\u003cp>\u003cem>Accidental Highwayman\u003c/em> by Ben Tripp\u003cbr> \u003cbr>\n“A swashbuckling adventure for readers of fantasy that takes place in 18th-century England. Kit Bristol is the unwitting servant of notorious Whistling Jack who arrives one night bleeding from a mortal wound. Ben dons the man’s riding cloak to seek help, and changes the direction of his life. Magic, a feisty fairy princess, a magical map & true love.” \u003c/p>\n\u003ch4>Books recommended by Ashley Despain at Green Apple Books:\u003c/h4>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/stormwhale.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/stormwhale.jpg\" alt=\"stormwhale\" width=\"400\" height=\"353\" class=\"alignleft size-full wp-image-10185990\">\u003c/a>\u003cem>Shh! We Have A Plan \u003c/em>by Chris Haughton\u003cbr> \u003cbr>\n“Brilliantly nuanced illustration and design complement the story to a satisfying conclusion.”\u003c/p>\n\u003cp>\u003cem>Hug Me\u003c/em> by Simona Ciraolo\u003cbr> \u003cbr>\n“I have a soft spot for cacti, and this sweet gem of a story definitely tugged at my heart-strings.”\u003c/p>\n\u003cp>\u003cem>The Storm Whale\u003c/em> by Benji Davies\u003cbr> \u003cbr>\n“The story of a boy trying to rescue a beached whale, but if you look a little deeper you will uncover a very powerful relationship between a boy and his father.”\u003c/p>\n\u003cp>\u003cem>The Knight and the Dragon\u003c/em> by Tomi dePaola\u003cbr> \u003cbr>\n“My favorite classic picture book. Conflict resolution in the most creative way.”\u003c/p>\n\u003ch4>Books recommended by Janese Irby at Marcus Books:\u003c/h4>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/likeme.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/likeme.jpg\" alt=\"likeme\" width=\"400\" height=\"440\" class=\"alignleft size-full wp-image-10185989\">\u003c/a>\u003cbr>\n\u003cem>I Like Myself\u003c/em> by Karen Beaumont\u003c/p>\n\u003cp>\u003cem>Mufaro’s Beautiful Daughters\u003c/em> by John Steptoe\u003c/p>\n\u003cp>\u003cem>Dancing In The Wings\u003c/em> by Debbie Allen\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Honey I Love\u003c/em> by Eloise Greenfield\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/10185861/kids-books-the-gifts-that-never-wear-out","authors":["32"],"series":["arts_745"],"categories":["arts_73"],"tags":["arts_596"],"featImg":"arts_10185982","label":"arts_745"},"arts_10158665":{"type":"posts","id":"arts_10158665","meta":{"index":"posts_1591205157","site":"arts","id":"10158665","score":null,"sort":[1417442438000]},"guestAuthors":[],"slug":"page-turners-a-2014-art-book-gift-guide","title":"Page Turners: A 2014 Art Book Gift Guide","publishDate":1417442438,"format":"standard","headTitle":"Page Turners: A 2014 Art Book Gift Guide | KQED","labelTerm":{"term":745,"site":"arts"},"content":"\u003cp>It’s that time of year. Time to think about what to get the special people in your life. Here in the Bay Area, chances are your loved ones don’t have a lot of space (physically and temporally) for presents. Apartments are small, schedules are full. So this year, forget the carbonation machine, they’ll use it for a month and go back to Perrier. Don’t bother with the latest technology — it’ll be obsolete in a season. And forget the activity-based gifts — there’s no time for that cooking lesson or wine tasting train ride. Instead, go with the foolproof present your recipient can use and admire at her leisure: a well-chosen art book.\u003c/p>\n\u003cp>Here are eight books for the art lover in your life, including books about art and books that are art. And when those holidays roll around, don’t say you couldn’t think of a good present.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10158666\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/BestAmericanBook.jpg\" alt=\"BestAmericanBook\" width=\"372\" height=\"600\">\u003c/p>\n\u003ch3>\u003ci>The Best American Book of the 20th Century: A Novel\u003c/i>, Société Réaliste\u003c/h3>\n\u003ch5>\u003ca href=\"http://www.onomatopee.net/project.php?progID=019f131ccccd023b1808bdb9d7bef9ff\" target=\"_blank\" rel=\"noopener\">Onomatopee\u003c/a>, 2014, 112 pages\u003c/h5>\n\u003cp>Cleverly assembled from “the first sentence of the first best-selling book of 1900, the second sentence of the second best-selling book of 1900… and so on up to the end of the century, to the thousandth sentence of the tenth best-selling book of 1999,” \u003ci>The Best American Book\u003c/i> is an amalgamation of populist American literature, from Ernest Hemingway to Ayn Rand, John Steinbeck to Toni Morrison. Perfectly pocket-sized to mimic its source material, the book replaces proper nouns with pronouns to enhance readability. “The work of the day being over,” reads the first sentence of Mary Johnston’s \u003ci>To Have and To Hold \u003c/i>(and the first sentence of \u003ci>The Best American Book\u003c/i>), “he sat down upon his doorstep, pipe in hand, to rest awhile in the cool of the evening.” Could it be that these authors, across time, subject and writing style, are essentially telling the same story?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10158667\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/CathedralesB.jpg\" alt=\"CathedralesB\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/CathedralesB.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/CathedralesB-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003ch3>\u003ci>Cathédrales\u003c/i>, Laurence Aëgerter\u003c/h3>\n\u003ch5>\u003ca href=\"http://www.rvb-books.com/book.php?id_book=63\" target=\"_blank\" rel=\"noopener\">RVB Books\u003c/a>, 2014, 248 pages\u003c/h5>\n\u003cp>Starting with an official 1949 tourism catalog of French cathedrals and churches, Laurence Aëgerter placed the book by her studio window, allowing light and shadows to fall across a reproduction of the façade of the Saint-Étienne cathedral in Bourges. Taking one photograph every minute for two hours, she captured 120 variations of light across the printed page. Referencing Monet’s Rouen cathedrals in an age of mechanical reproduction, \u003ci>Cathédrales\u003c/i> is an elegant photo book perfectly suited to its form. As the pages turn, time passes, shadows shift and the cathedral is slowly shrouded in darkness. A simple, beautiful, and thoughtful book, consider \u003ci>Cathédrales\u003c/i> for the Francophile in your circle, or for the Instagram-frenzied friend who could use a reminder about quiet, contemplative moments.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10158668\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/LettersPatterns.jpeg\" alt=\"LettersPatterns\" width=\"640\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/LettersPatterns.jpeg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/LettersPatterns-400x351.jpeg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003ch3>\u003ci>Letters Become Patterns\u003c/i>, Sigrid Calon\u003c/h3>\n\u003ch5>\u003ca href=\"http://shopsigridcalon.nl/product/letters-become-patterns\" target=\"_blank\" rel=\"noopener\">Self-published\u003c/a>, 2014, 56 pages\u003c/h5>\n\u003cp>Sigrid Calon, based in Amsterdam, is something of a star on the art book fair circuit. Using a Risograph machine (a trendy form of automatic screen printing) she creates prints and books of graphic patterns, layering colors to achieve lovely tonal shifts and optical effects. At the 2014 New York Art Book Fair, she unveiled \u003ci>Letters Become Patterns\u003c/i>, a square spiral bound book with a clear perspex cover and pleasing rounded corners. Each spread shows patterns derived from the letters of the alphabet, shapes repeated until they become abstract. A perfect gift for a graphic designer, a precocious alphabet learner, or simply anyone who enjoys dramatic combinations of color and form.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10158669\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Miraculous.jpg\" alt=\"Untitled-1\" width=\"620\" height=\"515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Miraculous.jpg 620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Miraculous-400x332.jpg 400w\" sizes=\"(max-width: 620px) 100vw, 620px\">\u003c/p>\n\u003ch3>\u003ci>The Miraculous\u003c/i>, Raphael Rubinstein\u003c/h3>\n\u003ch5>\u003ca href=\"http://www.papermonument.com/web-only/the-miraculous-raphael-rubinstein/\" target=\"_blank\" rel=\"noopener\">Paper Monument\u003c/a>, 2014, 72 pages\u003c/h5>\n\u003cp>\u003ci>The Miraculous\u003c/i> retells legendary moments from the past five decades of art history as fable-like stories. In fifty episodes, Rubinstein withholds the names of famous artists to detail the conception of a particular piece, the happy accident that led to a fruitful career, the moment when a particular artwork became legendary. While many of the chapters in \u003ci>The Miraculous\u003c/i> may be familiar, the book distances itself from the traditional narrative of contemporary art by eliminating authorship and intention. With dry yet mesmerising prose, \u003ci>The Miraculous\u003c/i> is a fast read you’ll return to again and again for its ability to make the quotidian otherworldly, like the artists it profiles. Select this inspiring experiment in arts writing for the art historian, the artist, or the storyteller in your life.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10158670\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Mothernism.jpg\" alt=\"Mothernism\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Mothernism.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Mothernism-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003ch3>\u003ci>Mothernism\u003c/i>, Lise Haller Baggesen\u003c/h3>\n\u003ch5>\u003ca href=\"http://sector2337.com/green-lantern-press/green-lantern-press-catalog/\" target=\"_blank\" rel=\"noopener\">Green Lantern Press\u003c/a>, 2014, 152 pages\u003c/h5>\n\u003cp>The book’s tagline reads: “At the intersection of feminism, science fiction, and disco, \u003ci>Mothernism\u003c/i> aims to locate the mother-shaped hole in contemporary art discourse.” There’s no way to explain how these themes mesh completely and effortlessly in Baggesen’s writing without simply saying: they do. Each chapter is a letter addressed to nameless “Dear” (it could be her daughter, her sister, her mother, the reader). Mixing pop lyrics with art criticism, feminist theory and gender politics, she issues calls to arms, makes jokes, delves into engaging personal histories and signs off on each one, “Love, Mom.” The book itself is beautiful — printed in purple ink, the edges gilded in silver.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10158673\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/PlumbB.jpg\" alt=\"PlumbB\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/PlumbB.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/PlumbB-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/PlumbB-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/PlumbB-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/PlumbB-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/PlumbB-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/PlumbB-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/PlumbB-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003ch3>Various notebooks, \u003ca href=\"http://knockknockstuff.com/plumb/\" target=\"_blank\" rel=\"noopener\">Plumb\u003c/a>\u003c/h3>\n\u003cp>A collaboration between Knock Knock, artist Tucker Nichols and designers MacFadden & Thorpe, Plumb is an unconventional line of artist-conceived notebooks. Working with three artists per season, their second batch of goods is even more exciting than the first. Artist and musician Nathaniel Russell contributes a “Fake-Jacket Journal,” a blank booklet with four absurd cover options to conceal its true nature from passersby. Painter Linda Geary’s “Stack Book” uses her homemade color swatches to enclose nearly 300 pages of thick white sketch paper. And Jason Polan’s “Observation Notebook,” spiral-bound stenographer style, prompts observational sketches with the question, “What are you looking at?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10158671\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Neon.png\" alt=\"Neon\" width=\"640\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Neon.png 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Neon-400x351.png 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003ch3>\u003ci>San Francisco Neon: Survivors and Lost Icons\u003c/i>, Al Barna and Randall Ann Homan\u003c/h3>\n\u003ch5>\u003ca href=\"http://www.neonbook.xyz/\" target=\"_blank\" rel=\"noopener\">Giant Orange Press\u003c/a>, 2014, 160 pages\u003c/h5>\n\u003cp>According to Tom Downs’ forward, “Neon is best in context,” but if you’re not interested in roaming the 49 square miles of San Francisco after dark, second-best is via the photographs in this book. San Francisco’s neon signs — some long gone, others currently operating, high class to mundane — get glossy attention in \u003ci>San Francisco Neon\u003c/i>. Something about the red and green glow of many of the signs makes even images from 2014 look nostalgic. In the endnotes, signs are granted condition reports, charming and personal bits of text from the photographers, who obviously care deeply about the subject matter. The stories “can be a catalyst for San Franciscans to preserve their neon landscape,” they write. This might be the perfect gift for a friend who just moved to town, clueless as to where to start learning about San Francisco’s rich (and rapidly disappearing) history.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10158674\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/SugarSkull.jpeg\" alt=\"SugarSkull\" width=\"343\" height=\"450\">\u003c/p>\n\u003ch3>\u003ci>Sugar Skull\u003c/i>, Charles Burns\u003c/h3>\n\u003ch5>\u003ca href=\"http://knopfdoubleday.com/book/220319/sugar-skull/\" target=\"_blank\" rel=\"noopener\">Pantheon\u003c/a>, 2014, 64 pages\u003c/h5>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It began in 2010 with \u003ci>X’ed Out\u003c/i>. Two agonizing years later, \u003ci>The Hive\u003c/i> arrived. And finally after another unbearable wait, \u003ci>Sugar Skull\u003c/i>, the conclusion of Charles Burns’ epic graphic fiction trilogy about Doug, a young man in a doomed relationship who vacillates between a nightmarish netherworld and memories of his past. \u003ci>Sugar Skull\u003c/i> reaches a “mind-bending, heartbreaking end” through Burns’ sumptuous colors and delicate line-work. The books are continuously rewarding, inviting return visits down the rabbit hole. Burns leads the reader into a labyrinth of memory, horror-tinged fantasy and myriad visual references, from which the return to everyday life is always jarring.\u003c/p>\n\n","blocks":[],"excerpt":"Eight books for the art lover in your life, including books about art and books that are art. ","status":"publish","parent":0,"modified":1705047917,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":1307},"headData":{"title":"Page Turners: A 2014 Art Book Gift Guide | KQED","description":"Eight books for the art lover in your life, including books about art and books that are art. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Page Turners: A 2014 Art Book Gift Guide","datePublished":"2014-12-01T14:00:38.000Z","dateModified":"2024-01-12T08:25:17.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/10158665/page-turners-a-2014-art-book-gift-guide","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s that time of year. Time to think about what to get the special people in your life. Here in the Bay Area, chances are your loved ones don’t have a lot of space (physically and temporally) for presents. Apartments are small, schedules are full. So this year, forget the carbonation machine, they’ll use it for a month and go back to Perrier. Don’t bother with the latest technology — it’ll be obsolete in a season. And forget the activity-based gifts — there’s no time for that cooking lesson or wine tasting train ride. Instead, go with the foolproof present your recipient can use and admire at her leisure: a well-chosen art book.\u003c/p>\n\u003cp>Here are eight books for the art lover in your life, including books about art and books that are art. And when those holidays roll around, don’t say you couldn’t think of a good present.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10158666\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/BestAmericanBook.jpg\" alt=\"BestAmericanBook\" width=\"372\" height=\"600\">\u003c/p>\n\u003ch3>\u003ci>The Best American Book of the 20th Century: A Novel\u003c/i>, Société Réaliste\u003c/h3>\n\u003ch5>\u003ca href=\"http://www.onomatopee.net/project.php?progID=019f131ccccd023b1808bdb9d7bef9ff\" target=\"_blank\" rel=\"noopener\">Onomatopee\u003c/a>, 2014, 112 pages\u003c/h5>\n\u003cp>Cleverly assembled from “the first sentence of the first best-selling book of 1900, the second sentence of the second best-selling book of 1900… and so on up to the end of the century, to the thousandth sentence of the tenth best-selling book of 1999,” \u003ci>The Best American Book\u003c/i> is an amalgamation of populist American literature, from Ernest Hemingway to Ayn Rand, John Steinbeck to Toni Morrison. Perfectly pocket-sized to mimic its source material, the book replaces proper nouns with pronouns to enhance readability. “The work of the day being over,” reads the first sentence of Mary Johnston’s \u003ci>To Have and To Hold \u003c/i>(and the first sentence of \u003ci>The Best American Book\u003c/i>), “he sat down upon his doorstep, pipe in hand, to rest awhile in the cool of the evening.” Could it be that these authors, across time, subject and writing style, are essentially telling the same story?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10158667\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/CathedralesB.jpg\" alt=\"CathedralesB\" width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/CathedralesB.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/CathedralesB-400x300.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003ch3>\u003ci>Cathédrales\u003c/i>, Laurence Aëgerter\u003c/h3>\n\u003ch5>\u003ca href=\"http://www.rvb-books.com/book.php?id_book=63\" target=\"_blank\" rel=\"noopener\">RVB Books\u003c/a>, 2014, 248 pages\u003c/h5>\n\u003cp>Starting with an official 1949 tourism catalog of French cathedrals and churches, Laurence Aëgerter placed the book by her studio window, allowing light and shadows to fall across a reproduction of the façade of the Saint-Étienne cathedral in Bourges. Taking one photograph every minute for two hours, she captured 120 variations of light across the printed page. Referencing Monet’s Rouen cathedrals in an age of mechanical reproduction, \u003ci>Cathédrales\u003c/i> is an elegant photo book perfectly suited to its form. As the pages turn, time passes, shadows shift and the cathedral is slowly shrouded in darkness. A simple, beautiful, and thoughtful book, consider \u003ci>Cathédrales\u003c/i> for the Francophile in your circle, or for the Instagram-frenzied friend who could use a reminder about quiet, contemplative moments.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10158668\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/LettersPatterns.jpeg\" alt=\"LettersPatterns\" width=\"640\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/LettersPatterns.jpeg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/LettersPatterns-400x351.jpeg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003ch3>\u003ci>Letters Become Patterns\u003c/i>, Sigrid Calon\u003c/h3>\n\u003ch5>\u003ca href=\"http://shopsigridcalon.nl/product/letters-become-patterns\" target=\"_blank\" rel=\"noopener\">Self-published\u003c/a>, 2014, 56 pages\u003c/h5>\n\u003cp>Sigrid Calon, based in Amsterdam, is something of a star on the art book fair circuit. Using a Risograph machine (a trendy form of automatic screen printing) she creates prints and books of graphic patterns, layering colors to achieve lovely tonal shifts and optical effects. At the 2014 New York Art Book Fair, she unveiled \u003ci>Letters Become Patterns\u003c/i>, a square spiral bound book with a clear perspex cover and pleasing rounded corners. Each spread shows patterns derived from the letters of the alphabet, shapes repeated until they become abstract. A perfect gift for a graphic designer, a precocious alphabet learner, or simply anyone who enjoys dramatic combinations of color and form.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10158669\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Miraculous.jpg\" alt=\"Untitled-1\" width=\"620\" height=\"515\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Miraculous.jpg 620w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Miraculous-400x332.jpg 400w\" sizes=\"(max-width: 620px) 100vw, 620px\">\u003c/p>\n\u003ch3>\u003ci>The Miraculous\u003c/i>, Raphael Rubinstein\u003c/h3>\n\u003ch5>\u003ca href=\"http://www.papermonument.com/web-only/the-miraculous-raphael-rubinstein/\" target=\"_blank\" rel=\"noopener\">Paper Monument\u003c/a>, 2014, 72 pages\u003c/h5>\n\u003cp>\u003ci>The Miraculous\u003c/i> retells legendary moments from the past five decades of art history as fable-like stories. In fifty episodes, Rubinstein withholds the names of famous artists to detail the conception of a particular piece, the happy accident that led to a fruitful career, the moment when a particular artwork became legendary. While many of the chapters in \u003ci>The Miraculous\u003c/i> may be familiar, the book distances itself from the traditional narrative of contemporary art by eliminating authorship and intention. With dry yet mesmerising prose, \u003ci>The Miraculous\u003c/i> is a fast read you’ll return to again and again for its ability to make the quotidian otherworldly, like the artists it profiles. Select this inspiring experiment in arts writing for the art historian, the artist, or the storyteller in your life.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10158670\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Mothernism.jpg\" alt=\"Mothernism\" width=\"640\" height=\"427\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Mothernism.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Mothernism-400x266.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003ch3>\u003ci>Mothernism\u003c/i>, Lise Haller Baggesen\u003c/h3>\n\u003ch5>\u003ca href=\"http://sector2337.com/green-lantern-press/green-lantern-press-catalog/\" target=\"_blank\" rel=\"noopener\">Green Lantern Press\u003c/a>, 2014, 152 pages\u003c/h5>\n\u003cp>The book’s tagline reads: “At the intersection of feminism, science fiction, and disco, \u003ci>Mothernism\u003c/i> aims to locate the mother-shaped hole in contemporary art discourse.” There’s no way to explain how these themes mesh completely and effortlessly in Baggesen’s writing without simply saying: they do. Each chapter is a letter addressed to nameless “Dear” (it could be her daughter, her sister, her mother, the reader). Mixing pop lyrics with art criticism, feminist theory and gender politics, she issues calls to arms, makes jokes, delves into engaging personal histories and signs off on each one, “Love, Mom.” The book itself is beautiful — printed in purple ink, the edges gilded in silver.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10158673\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/PlumbB.jpg\" alt=\"PlumbB\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/PlumbB.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/PlumbB-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/PlumbB-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/PlumbB-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/PlumbB-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/PlumbB-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/PlumbB-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/PlumbB-75x75.jpg 75w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003ch3>Various notebooks, \u003ca href=\"http://knockknockstuff.com/plumb/\" target=\"_blank\" rel=\"noopener\">Plumb\u003c/a>\u003c/h3>\n\u003cp>A collaboration between Knock Knock, artist Tucker Nichols and designers MacFadden & Thorpe, Plumb is an unconventional line of artist-conceived notebooks. Working with three artists per season, their second batch of goods is even more exciting than the first. Artist and musician Nathaniel Russell contributes a “Fake-Jacket Journal,” a blank booklet with four absurd cover options to conceal its true nature from passersby. Painter Linda Geary’s “Stack Book” uses her homemade color swatches to enclose nearly 300 pages of thick white sketch paper. And Jason Polan’s “Observation Notebook,” spiral-bound stenographer style, prompts observational sketches with the question, “What are you looking at?”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10158671\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Neon.png\" alt=\"Neon\" width=\"640\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Neon.png 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Neon-400x351.png 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003ch3>\u003ci>San Francisco Neon: Survivors and Lost Icons\u003c/i>, Al Barna and Randall Ann Homan\u003c/h3>\n\u003ch5>\u003ca href=\"http://www.neonbook.xyz/\" target=\"_blank\" rel=\"noopener\">Giant Orange Press\u003c/a>, 2014, 160 pages\u003c/h5>\n\u003cp>According to Tom Downs’ forward, “Neon is best in context,” but if you’re not interested in roaming the 49 square miles of San Francisco after dark, second-best is via the photographs in this book. San Francisco’s neon signs — some long gone, others currently operating, high class to mundane — get glossy attention in \u003ci>San Francisco Neon\u003c/i>. Something about the red and green glow of many of the signs makes even images from 2014 look nostalgic. In the endnotes, signs are granted condition reports, charming and personal bits of text from the photographers, who obviously care deeply about the subject matter. The stories “can be a catalyst for San Franciscans to preserve their neon landscape,” they write. This might be the perfect gift for a friend who just moved to town, clueless as to where to start learning about San Francisco’s rich (and rapidly disappearing) history.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-10158674\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/SugarSkull.jpeg\" alt=\"SugarSkull\" width=\"343\" height=\"450\">\u003c/p>\n\u003ch3>\u003ci>Sugar Skull\u003c/i>, Charles Burns\u003c/h3>\n\u003ch5>\u003ca href=\"http://knopfdoubleday.com/book/220319/sugar-skull/\" target=\"_blank\" rel=\"noopener\">Pantheon\u003c/a>, 2014, 64 pages\u003c/h5>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It began in 2010 with \u003ci>X’ed Out\u003c/i>. Two agonizing years later, \u003ci>The Hive\u003c/i> arrived. And finally after another unbearable wait, \u003ci>Sugar Skull\u003c/i>, the conclusion of Charles Burns’ epic graphic fiction trilogy about Doug, a young man in a doomed relationship who vacillates between a nightmarish netherworld and memories of his past. \u003ci>Sugar Skull\u003c/i> reaches a “mind-bending, heartbreaking end” through Burns’ sumptuous colors and delicate line-work. The books are continuously rewarding, inviting return visits down the rabbit hole. Burns leads the reader into a labyrinth of memory, horror-tinged fantasy and myriad visual references, from which the return to everyday life is always jarring.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/10158665/page-turners-a-2014-art-book-gift-guide","authors":["61"],"series":["arts_745"],"categories":["arts_70"],"tags":["arts_596"],"featImg":"arts_10158672","label":"arts_745"},"arts_10160131":{"type":"posts","id":"arts_10160131","meta":{"index":"posts_1591205157","site":"arts","id":"10160131","score":null,"sort":[1417269606000]},"guestAuthors":[],"slug":"gift-guide-8-releases-from-bay-area-bands-that-music-nerds-need","title":"Gift Guide: 8 Releases From Bay Area Bands That Music Nerds Need","publishDate":1417269606,"format":"standard","headTitle":"Gift Guide: 8 Releases From Bay Area Bands That Music Nerds Need | KQED","labelTerm":{"term":745,"site":"arts"},"content":"\u003cp>It’s time to draw a line in the sand. It’s time that we made it official and declare that you can’t be a real music fan if you don’t buy physical releases of music.\u003c/p>\n\u003cp>Sure, you might have a pretty awesome collection of tracks on your computer or smart phone, but to quote \u003ca href=\"http://www.soundopinions.org/show/177/#marcweinstein\" target=\"_blank\" rel=\"noopener\">Marc Weinstein\u003c/a>, co-founder of Amoeba Music, “Buying an mp3 is kind of like buying a postcard of a Picasso painting, as compared to buying a really fine print that looks like the original.” The equivalent of a fine print of the original in music is the physical release; it’s a copy of what the artist truly envisioned. And if you truly care about that musician’s art, you’ll buy it in the form that they intended and treat yourself to the full experience.\u003c/p>\n\u003cp>Feeling guilty now for only pre-ordering albums on iTunes? Good. Now take that guilt and use it as motivation to buy these releases from Bay Area bands and support them in their endeavors. Though the list skews toward local punk and indie bands, we feel that these groups are doing something you need to support.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10161550\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10161550\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Musk-cover-pic.jpg\" alt=\"Rubber latex cover for Musk's self-titled LP (photo by David Bessenhoffer)\" width=\"400\" height=\"369\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Musk-cover-pic.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Musk-cover-pic-400x369.jpg 400w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Rubber latex cover for Musk’s self-titled LP (photo by David Bessenhoffer)\u003c/figcaption>\u003c/figure>\n\u003ch3>Musk – s/t\u003c/h3>\n\u003ch5>Holy Mountain\u003cbr>\n\u003ca href=\"http://www.holymountain.com/artists/musk/\" target=\"_blank\" rel=\"noopener\">Buy a copy\u003c/a>\u003c/h5>\n\u003cp>This is the inspiration for this very article. These noisy swamp rockers from Oakland have released an album that’s so trashy and rockin’ that it holds up its own against albums by Pussy Galore (and Jon Spencer’s other bands), early White Zombie and even former Bay Area buzzsaw songster Ty Segall.\u003c/p>\n\u003cp>But the big reason why music nerds should take note is the rubber latex “special cover,” each handmade by singer Rob “Vertigo” Fletcher. A play on the \u003cem>Necronomicon\u003c/em> as depicted in film series \u003cem>The Evil Dead,\u003c/em> the cover is a thick sleeve with teeth, pimples and a small face protruding from its flesh-like encasing. All of the covers that have been made (about 125) have had custom paint jobs, making each one a singular work of art.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10161552\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10161552 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Crime-cover-400x400.jpg\" alt=\"Crime's <i>Murder By Guitar</i>\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Crime-cover-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Crime-cover-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Crime-cover-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Crime-cover-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Crime-cover-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Crime-cover-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Crime-cover.jpg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Crime’s \u003ci>Murder By Guitar\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>Crime – \u003ci>Murder By Guitar\u003c/i>\u003c/h3>\n\u003ch5>Superior Viaduct\u003cbr>\n\u003ca href=\"http://www.superiorviaduct.com/products/crime-murder-by-guitar-lp\" target=\"_blank\" rel=\"noopener\">Buy a copy\u003c/a>\u003c/h5>\n\u003cp>This is a piece of San Francisco history. Crime was one of the first punk bands to start up in San Francisco and like many of the groups from the first wave of punk, they were far from being proficient at their instruments but they had a great look. Scratch that, they had THE BEST look for a punk band: police uniforms.\u003c/p>\n\u003cp>Crime’s early singles were harsh bursts of primitive rock and roll that, to untrained ears, sound like the band couldn’t decide if they wanted to be avant garde or pop. Playing a concert at San Quentin State Prison and having Sonic Youth cover them in their heyday cemented Crime in the “underground legends” category, which meant their first records could fetch hundreds of dollars.\u003c/p>\n\u003cp>But that doesn’t matter any longer, because now for just $17, you can own all the hits and a bunch of unreleased tracks — including a single recorded by Huey Lewis (yes, THE Huey Lewis) — on one LP, complete with beautiful black & white photos of the group in perfect poses all around the Bay Area (the poster included is a great shot of the group on Alcatraz). If you are a fan of Crime, this is worth every penny.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10161671\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Cold-Beat-cover2-400x374.jpg\" alt=\"Cold Beat's <i>Over Me</i> on LP\" width=\"400\" height=\"374\" class=\"size-thumbnail wp-image-10161671\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Cold-Beat-cover2-400x374.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Cold-Beat-cover2.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Cold Beat’s \u003ci>Over Me\u003c/i> on LP\u003c/figcaption>\u003c/figure>\n\u003ch3>Cold Beat – \u003ci>Over Me\u003c/i>\u003c/h3>\n\u003ch5>Crime on the Moon\u003cbr>\n\u003ca href=\"https://www.midheaven.com/item/over-me-by-cold-beat-cd#.VHRMLFfF94U\" target=\"_blank\" rel=\"noopener\">Buy a copy\u003c/a>\u003c/h5>\n\u003cp>This recommendation is purely about the music on this album. I saw them recently and it was like the Ramones were playing shoegaze — just one big burst of jangly guitars and ethereal vocals. It made me feel young again (though I am only 34), and I couldn’t help myself from jumping up and down a lot of their set. \u003c/p>\n\u003cp>This album has been a wonderful substitute for re-living that live experience, though the buzzsaw guitar, full-bore indie rock (heavy on the RAWK) is measured on this release. Instead of the feel of a sweaty live show, you get atmospheres of all kinds — goth, twee, punk, cold wave, new wave — you name it, though all of it anglophile. Like Big Star did with the Beatles, Hannah Lew and crew write their own songs but wear their many influences on their sleeves, and that, like with Big Star, that can be exactly what you want.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10161790\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/IckyBoyfriends.jpg\" alt=\"Cover of Icky Boyfriends' <i>Live In San Francisco</i>\" width=\"400\" height=\"400\" class=\"size-full wp-image-10161790\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/IckyBoyfriends.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/IckyBoyfriends-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/IckyBoyfriends-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/IckyBoyfriends-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/IckyBoyfriends-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/IckyBoyfriends-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Cover of Icky Boyfriends’ \u003ci>Live In San Francisco\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>Icky Boyfriends – \u003ci>Live in San Francisco\u003c/i>\u003c/h3>\n\u003ch5>Castle Face\u003cbr>\n\u003ca href=\"https://www.midheaven.com/item/live-in-san-francisco-by-icky-boyfriends-cd#.VHRYFlfF94U\" target=\"_blank\" rel=\"noopener\">Buy a copy\u003c/a>\u003c/h5>\n\u003cp>These guys, the Icky Boyfriends, might be the least accessible band on this list, but that doesn’t mean they’re not the greatest thing on the planet. The Icky Boyfriends are the future of rock, after rock has been forgotten by the mainstream. Then when people try to imitate this lost primitive art, they’ll realize the best stuff has bitchin’ riffs, wild drums and an obnoxious singer. \u003c/p>\n\u003cp>Produced by Sacramento studio wizard Chris Woodhouse, this is a recording of the band, long defunct but reuniting for a few shows last year, playing a rowdy set at San Francisco’s The Eagle, which was captured on a Tascam 388, a device equivalent to two 4-track cassette recorders smashed together. The sound is as live and raw as it gets, and it’s one of the best documents of a sweaty rock show since the MC5’s first LP.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10161793\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Aislers-Set-cover-400x308.jpg\" alt=\"Reissue of Aislers Set's first album, <i>Terrible Things Happen</i>\" width=\"400\" height=\"308\" class=\"size-thumbnail wp-image-10161793\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Aislers-Set-cover-400x308.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Aislers-Set-cover.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Reissue of The Aislers Set’s first album, \u003ci>Terrible Things Happen\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Aislers Set – \u003ci>Terrible Things Happen\u003c/i> & \u003ci>The Last Match\u003c/i>\u003c/h3>\n\u003ch5>Slumberland\u003cbr>\n\u003ca href=\"http://www.slumberlandrecords.com/aislers-set\" target=\"_blank\" rel=\"noopener\">Buy a copy\u003c/a>\u003c/h5>\n\u003cp>As I said in \u003ca href=\"http://ww2.kqed.org/arts/2014/09/27/the-aislers-set-return-to-san-francisco-after-leaving-too-soon/\" target=\"_blank\" rel=\"noopener\">my article about The Aislers Set\u003c/a> back when they reunited for a short tour to promote the reissues of their albums, these guys were criminally overlooked back in the day. But if that reunion show was any indication, it appears the masses are catching up.\u003c/p>\n\u003cp>Listening to the band’s first two albums, \u003ci>Terrible Things Happen\u003c/i> and \u003ci>The Last Match,\u003c/i> it’s pretty obvious why this group’s popularity has continued to grow. Each song is chock full of earworm melodies, but the tracks never sound anything but unique to the band’s main songwriter, AV Linton. Pick these up and see what all the fuss is about.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10161913\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/LifeSTinks-portraits7-400x400.jpg\" alt=\"Cover of Life Stinks' <i>Portraits</i> 7" \" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-10161913\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/LifeSTinks-portraits7-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/LifeSTinks-portraits7-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/LifeSTinks-portraits7-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/LifeSTinks-portraits7-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/LifeSTinks-portraits7-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/LifeSTinks-portraits7-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/LifeSTinks-portraits7-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/LifeSTinks-portraits7.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Cover of Life Stinks’ \u003ci>Portraits\u003c/i> 7″\u003c/figcaption>\u003c/figure>\n\u003ch3>Life Stinks – \u003ci>Portraits\u003c/i> 7″\u003c/h3>\n\u003ch5>Total Punk\u003cbr>\n\u003ca href=\"http://floridasdying.com/products/life-stinks-portraits-7\" target=\"_blank\" rel=\"noopener\">Buy a copy\u003c/a>\u003c/h5>\n\u003cp>It’s not a full album but just a single, and its packaging is far from innovative — a simple black & white picture sleeve featuring an indecipherable image — but the two songs on this platter are MUST HAVE. Life Stinks are San Francisco’s most misanthropic band and these two jams are perfect examples of their nihilism-laced, bare-bones punk rock. Their sound harks back to the roots-of-rock art damage of proto-punk bands like the aforementioned Crime and Cleveland’s Electric Eels. Life Stinks’ riffs and melodies are as catchy as the songs of their predecessors. Don’t agree? Listen to the b-side of this 45, “Sweep It Under The Rug,” after pounding a few beers and just try to keep yourself from singing along with a snotty sneer.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10161912\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Hobocop-cover-400x400.jpg\" alt=\"Cover of Hobocop's self-titled 10"\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-10161912\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Hobocop-cover-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Hobocop-cover-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Hobocop-cover-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Hobocop-cover-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Hobocop-cover-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Hobocop-cover-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Hobocop-cover-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Hobocop-cover.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Cover of Hobocop’s \u003ci>Half Man, Half Cop\u003c/i> 10″\u003c/figcaption>\u003c/figure>\n\u003ch3>Hobocop – \u003ci>Half Man, Half Cop\u003c/i> 10″\u003c/h3>\n\u003ch5>Slovenly Recordings\u003cbr>\n\u003ca href=\"https://slovenly.bandcamp.com/album/hobocop-half-man-half-cop\" target=\"_blank\" rel=\"noopener\">Buy a copy\u003c/a>\u003c/h5>\n\u003cp>Like many amazing groups that made their name in the underground music scene, Hobocop is a band that sadly didn’t have a proper release until after they broke up. I was lucky enough to catch these guys live once before they split ways a few years ago and to this day that performance stands as one of the best sets I’ve ever seen. Just a guitarist, organ player and a stand-up drummer (Cody Blanchard from Shannon & The Clams), these guys played high energy, blues-based garage rock, much in the vein of former Bay Area rockers Thee Oh Sees; and they could blow the roof off any joint. Buy this if you like good times and real rock ‘n’ roll.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10161914\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Residents-Santa-Dog-400x400.jpg\" alt=\"Cover of The Residents' <i>Santa Dog</i> double 7" reissue on Superior Viaduct.\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-10161914\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Residents-Santa-Dog-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Residents-Santa-Dog-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Residents-Santa-Dog-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Residents-Santa-Dog-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Residents-Santa-Dog-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Residents-Santa-Dog-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Residents-Santa-Dog.jpg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Cover of The Residents’ \u003ci>Santa Dog\u003c/i> double 7″ reissue on Superior Viaduct.\u003c/figcaption>\u003c/figure>\n\u003ch3>The Residents – \u003ci>Santa Dog\u003c/i> 2×7″\u003c/h3>\n\u003ch5>Superior Viaduct\u003cbr>\n\u003ca href=\"http://www.superiorviaduct.com/products/the-residents-santa-dog-2x7-inch\" target=\"_blank\" rel=\"noopener\">Buy a copy\u003c/a>\u003c/h5>\n\u003cp>This is another important artifact from San Francisco’s strange musical history, from even before early punk bands like Crime were stinking up the streets. This double 7″ from 1972 is The Residents’ first musical offering and, according to lore, is what convinced them to become a band. The group’s naivete is on full display, but its catchy-quirkiness still sounds fresh several decades later.\u003c/p>\n\u003cp>Originally released in a small run — about 500 copies — and given to close friends of the band, local reissue label Superior Viaduct has re-created the original package as accurately as possible, so now you can purchase a copy without giving up \u003ca href=\"http://www.discogs.com/sell/release/101775?ev=rb\" target=\"_blank\" rel=\"noopener\">an arm and a leg\u003c/a>.\n\u003c/p>\u003c/div>\n\u003cp>\u003ci>There must be a ton of records that I missed and I would love to know what they are. If you have your own suggestions, please list them in the comments below.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Feeling guilty for only pre-ordering albums on iTunes? Good. Now take that guilt and use it as motivation to buy these releases from Bay Area punk and indie bands.","status":"publish","parent":0,"modified":1705047919,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1598},"headData":{"title":"Gift Guide: 8 Releases From Bay Area Bands That Music Nerds Need | KQED","description":"Feeling guilty for only pre-ordering albums on iTunes? Good. Now take that guilt and use it as motivation to buy these releases from Bay Area punk and indie bands.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Gift Guide: 8 Releases From Bay Area Bands That Music Nerds Need","datePublished":"2014-11-29T14:00:06.000Z","dateModified":"2024-01-12T08:25:19.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/10160131/gift-guide-8-releases-from-bay-area-bands-that-music-nerds-need","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s time to draw a line in the sand. It’s time that we made it official and declare that you can’t be a real music fan if you don’t buy physical releases of music.\u003c/p>\n\u003cp>Sure, you might have a pretty awesome collection of tracks on your computer or smart phone, but to quote \u003ca href=\"http://www.soundopinions.org/show/177/#marcweinstein\" target=\"_blank\" rel=\"noopener\">Marc Weinstein\u003c/a>, co-founder of Amoeba Music, “Buying an mp3 is kind of like buying a postcard of a Picasso painting, as compared to buying a really fine print that looks like the original.” The equivalent of a fine print of the original in music is the physical release; it’s a copy of what the artist truly envisioned. And if you truly care about that musician’s art, you’ll buy it in the form that they intended and treat yourself to the full experience.\u003c/p>\n\u003cp>Feeling guilty now for only pre-ordering albums on iTunes? Good. Now take that guilt and use it as motivation to buy these releases from Bay Area bands and support them in their endeavors. Though the list skews toward local punk and indie bands, we feel that these groups are doing something you need to support.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10161550\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10161550\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Musk-cover-pic.jpg\" alt=\"Rubber latex cover for Musk's self-titled LP (photo by David Bessenhoffer)\" width=\"400\" height=\"369\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Musk-cover-pic.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Musk-cover-pic-400x369.jpg 400w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Rubber latex cover for Musk’s self-titled LP (photo by David Bessenhoffer)\u003c/figcaption>\u003c/figure>\n\u003ch3>Musk – s/t\u003c/h3>\n\u003ch5>Holy Mountain\u003cbr>\n\u003ca href=\"http://www.holymountain.com/artists/musk/\" target=\"_blank\" rel=\"noopener\">Buy a copy\u003c/a>\u003c/h5>\n\u003cp>This is the inspiration for this very article. These noisy swamp rockers from Oakland have released an album that’s so trashy and rockin’ that it holds up its own against albums by Pussy Galore (and Jon Spencer’s other bands), early White Zombie and even former Bay Area buzzsaw songster Ty Segall.\u003c/p>\n\u003cp>But the big reason why music nerds should take note is the rubber latex “special cover,” each handmade by singer Rob “Vertigo” Fletcher. A play on the \u003cem>Necronomicon\u003c/em> as depicted in film series \u003cem>The Evil Dead,\u003c/em> the cover is a thick sleeve with teeth, pimples and a small face protruding from its flesh-like encasing. All of the covers that have been made (about 125) have had custom paint jobs, making each one a singular work of art.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10161552\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10161552 size-thumbnail\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Crime-cover-400x400.jpg\" alt=\"Crime's <i>Murder By Guitar</i>\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Crime-cover-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Crime-cover-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Crime-cover-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Crime-cover-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Crime-cover-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Crime-cover-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Crime-cover.jpg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Crime’s \u003ci>Murder By Guitar\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>Crime – \u003ci>Murder By Guitar\u003c/i>\u003c/h3>\n\u003ch5>Superior Viaduct\u003cbr>\n\u003ca href=\"http://www.superiorviaduct.com/products/crime-murder-by-guitar-lp\" target=\"_blank\" rel=\"noopener\">Buy a copy\u003c/a>\u003c/h5>\n\u003cp>This is a piece of San Francisco history. Crime was one of the first punk bands to start up in San Francisco and like many of the groups from the first wave of punk, they were far from being proficient at their instruments but they had a great look. Scratch that, they had THE BEST look for a punk band: police uniforms.\u003c/p>\n\u003cp>Crime’s early singles were harsh bursts of primitive rock and roll that, to untrained ears, sound like the band couldn’t decide if they wanted to be avant garde or pop. Playing a concert at San Quentin State Prison and having Sonic Youth cover them in their heyday cemented Crime in the “underground legends” category, which meant their first records could fetch hundreds of dollars.\u003c/p>\n\u003cp>But that doesn’t matter any longer, because now for just $17, you can own all the hits and a bunch of unreleased tracks — including a single recorded by Huey Lewis (yes, THE Huey Lewis) — on one LP, complete with beautiful black & white photos of the group in perfect poses all around the Bay Area (the poster included is a great shot of the group on Alcatraz). If you are a fan of Crime, this is worth every penny.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10161671\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Cold-Beat-cover2-400x374.jpg\" alt=\"Cold Beat's <i>Over Me</i> on LP\" width=\"400\" height=\"374\" class=\"size-thumbnail wp-image-10161671\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Cold-Beat-cover2-400x374.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Cold-Beat-cover2.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Cold Beat’s \u003ci>Over Me\u003c/i> on LP\u003c/figcaption>\u003c/figure>\n\u003ch3>Cold Beat – \u003ci>Over Me\u003c/i>\u003c/h3>\n\u003ch5>Crime on the Moon\u003cbr>\n\u003ca href=\"https://www.midheaven.com/item/over-me-by-cold-beat-cd#.VHRMLFfF94U\" target=\"_blank\" rel=\"noopener\">Buy a copy\u003c/a>\u003c/h5>\n\u003cp>This recommendation is purely about the music on this album. I saw them recently and it was like the Ramones were playing shoegaze — just one big burst of jangly guitars and ethereal vocals. It made me feel young again (though I am only 34), and I couldn’t help myself from jumping up and down a lot of their set. \u003c/p>\n\u003cp>This album has been a wonderful substitute for re-living that live experience, though the buzzsaw guitar, full-bore indie rock (heavy on the RAWK) is measured on this release. Instead of the feel of a sweaty live show, you get atmospheres of all kinds — goth, twee, punk, cold wave, new wave — you name it, though all of it anglophile. Like Big Star did with the Beatles, Hannah Lew and crew write their own songs but wear their many influences on their sleeves, and that, like with Big Star, that can be exactly what you want.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10161790\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/IckyBoyfriends.jpg\" alt=\"Cover of Icky Boyfriends' <i>Live In San Francisco</i>\" width=\"400\" height=\"400\" class=\"size-full wp-image-10161790\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/IckyBoyfriends.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/IckyBoyfriends-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/IckyBoyfriends-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/IckyBoyfriends-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/IckyBoyfriends-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/IckyBoyfriends-75x75.jpg 75w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Cover of Icky Boyfriends’ \u003ci>Live In San Francisco\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>Icky Boyfriends – \u003ci>Live in San Francisco\u003c/i>\u003c/h3>\n\u003ch5>Castle Face\u003cbr>\n\u003ca href=\"https://www.midheaven.com/item/live-in-san-francisco-by-icky-boyfriends-cd#.VHRYFlfF94U\" target=\"_blank\" rel=\"noopener\">Buy a copy\u003c/a>\u003c/h5>\n\u003cp>These guys, the Icky Boyfriends, might be the least accessible band on this list, but that doesn’t mean they’re not the greatest thing on the planet. The Icky Boyfriends are the future of rock, after rock has been forgotten by the mainstream. Then when people try to imitate this lost primitive art, they’ll realize the best stuff has bitchin’ riffs, wild drums and an obnoxious singer. \u003c/p>\n\u003cp>Produced by Sacramento studio wizard Chris Woodhouse, this is a recording of the band, long defunct but reuniting for a few shows last year, playing a rowdy set at San Francisco’s The Eagle, which was captured on a Tascam 388, a device equivalent to two 4-track cassette recorders smashed together. The sound is as live and raw as it gets, and it’s one of the best documents of a sweaty rock show since the MC5’s first LP.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10161793\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Aislers-Set-cover-400x308.jpg\" alt=\"Reissue of Aislers Set's first album, <i>Terrible Things Happen</i>\" width=\"400\" height=\"308\" class=\"size-thumbnail wp-image-10161793\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Aislers-Set-cover-400x308.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Aislers-Set-cover.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Reissue of The Aislers Set’s first album, \u003ci>Terrible Things Happen\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Aislers Set – \u003ci>Terrible Things Happen\u003c/i> & \u003ci>The Last Match\u003c/i>\u003c/h3>\n\u003ch5>Slumberland\u003cbr>\n\u003ca href=\"http://www.slumberlandrecords.com/aislers-set\" target=\"_blank\" rel=\"noopener\">Buy a copy\u003c/a>\u003c/h5>\n\u003cp>As I said in \u003ca href=\"http://ww2.kqed.org/arts/2014/09/27/the-aislers-set-return-to-san-francisco-after-leaving-too-soon/\" target=\"_blank\" rel=\"noopener\">my article about The Aislers Set\u003c/a> back when they reunited for a short tour to promote the reissues of their albums, these guys were criminally overlooked back in the day. But if that reunion show was any indication, it appears the masses are catching up.\u003c/p>\n\u003cp>Listening to the band’s first two albums, \u003ci>Terrible Things Happen\u003c/i> and \u003ci>The Last Match,\u003c/i> it’s pretty obvious why this group’s popularity has continued to grow. Each song is chock full of earworm melodies, but the tracks never sound anything but unique to the band’s main songwriter, AV Linton. Pick these up and see what all the fuss is about.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10161913\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/LifeSTinks-portraits7-400x400.jpg\" alt=\"Cover of Life Stinks' <i>Portraits</i> 7" \" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-10161913\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/LifeSTinks-portraits7-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/LifeSTinks-portraits7-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/LifeSTinks-portraits7-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/LifeSTinks-portraits7-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/LifeSTinks-portraits7-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/LifeSTinks-portraits7-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/LifeSTinks-portraits7-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/LifeSTinks-portraits7.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Cover of Life Stinks’ \u003ci>Portraits\u003c/i> 7″\u003c/figcaption>\u003c/figure>\n\u003ch3>Life Stinks – \u003ci>Portraits\u003c/i> 7″\u003c/h3>\n\u003ch5>Total Punk\u003cbr>\n\u003ca href=\"http://floridasdying.com/products/life-stinks-portraits-7\" target=\"_blank\" rel=\"noopener\">Buy a copy\u003c/a>\u003c/h5>\n\u003cp>It’s not a full album but just a single, and its packaging is far from innovative — a simple black & white picture sleeve featuring an indecipherable image — but the two songs on this platter are MUST HAVE. Life Stinks are San Francisco’s most misanthropic band and these two jams are perfect examples of their nihilism-laced, bare-bones punk rock. Their sound harks back to the roots-of-rock art damage of proto-punk bands like the aforementioned Crime and Cleveland’s Electric Eels. Life Stinks’ riffs and melodies are as catchy as the songs of their predecessors. Don’t agree? Listen to the b-side of this 45, “Sweep It Under The Rug,” after pounding a few beers and just try to keep yourself from singing along with a snotty sneer.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10161912\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Hobocop-cover-400x400.jpg\" alt=\"Cover of Hobocop's self-titled 10"\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-10161912\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Hobocop-cover-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Hobocop-cover-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Hobocop-cover-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Hobocop-cover-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Hobocop-cover-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Hobocop-cover-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Hobocop-cover-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Hobocop-cover.jpg 640w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Cover of Hobocop’s \u003ci>Half Man, Half Cop\u003c/i> 10″\u003c/figcaption>\u003c/figure>\n\u003ch3>Hobocop – \u003ci>Half Man, Half Cop\u003c/i> 10″\u003c/h3>\n\u003ch5>Slovenly Recordings\u003cbr>\n\u003ca href=\"https://slovenly.bandcamp.com/album/hobocop-half-man-half-cop\" target=\"_blank\" rel=\"noopener\">Buy a copy\u003c/a>\u003c/h5>\n\u003cp>Like many amazing groups that made their name in the underground music scene, Hobocop is a band that sadly didn’t have a proper release until after they broke up. I was lucky enough to catch these guys live once before they split ways a few years ago and to this day that performance stands as one of the best sets I’ve ever seen. Just a guitarist, organ player and a stand-up drummer (Cody Blanchard from Shannon & The Clams), these guys played high energy, blues-based garage rock, much in the vein of former Bay Area rockers Thee Oh Sees; and they could blow the roof off any joint. Buy this if you like good times and real rock ‘n’ roll.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_10161914\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Residents-Santa-Dog-400x400.jpg\" alt=\"Cover of The Residents' <i>Santa Dog</i> double 7" reissue on Superior Viaduct.\" width=\"400\" height=\"400\" class=\"size-thumbnail wp-image-10161914\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Residents-Santa-Dog-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Residents-Santa-Dog-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Residents-Santa-Dog-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Residents-Santa-Dog-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Residents-Santa-Dog-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Residents-Santa-Dog-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Residents-Santa-Dog.jpg 600w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Cover of The Residents’ \u003ci>Santa Dog\u003c/i> double 7″ reissue on Superior Viaduct.\u003c/figcaption>\u003c/figure>\n\u003ch3>The Residents – \u003ci>Santa Dog\u003c/i> 2×7″\u003c/h3>\n\u003ch5>Superior Viaduct\u003cbr>\n\u003ca href=\"http://www.superiorviaduct.com/products/the-residents-santa-dog-2x7-inch\" target=\"_blank\" rel=\"noopener\">Buy a copy\u003c/a>\u003c/h5>\n\u003cp>This is another important artifact from San Francisco’s strange musical history, from even before early punk bands like Crime were stinking up the streets. This double 7″ from 1972 is The Residents’ first musical offering and, according to lore, is what convinced them to become a band. The group’s naivete is on full display, but its catchy-quirkiness still sounds fresh several decades later.\u003c/p>\n\u003cp>Originally released in a small run — about 500 copies — and given to close friends of the band, local reissue label Superior Viaduct has re-created the original package as accurately as possible, so now you can purchase a copy without giving up \u003ca href=\"http://www.discogs.com/sell/release/101775?ev=rb\" target=\"_blank\" rel=\"noopener\">an arm and a leg\u003c/a>.\n\u003c/p>\u003c/div>\n\u003cp>\u003ci>There must be a ton of records that I missed and I would love to know what they are. If you have your own suggestions, please list them in the comments below.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/10160131/gift-guide-8-releases-from-bay-area-bands-that-music-nerds-need","authors":["93"],"series":["arts_745"],"categories":["arts_69"],"tags":["arts_596"],"featImg":"arts_10160134","label":"arts_745"},"arts_10159831":{"type":"posts","id":"arts_10159831","meta":{"index":"posts_1591205157","site":"arts","id":"10159831","score":null,"sort":[1417183223000]},"guestAuthors":[],"slug":"webthriftstore-makes-cleaning-out-the-closet-and-donating-to-charity-a-thriftsnap","title":"WebThriftStore Makes Cleaning Out the Closet - and Donating to Charity - a ThriftSNAP","publishDate":1417183223,"format":"standard","headTitle":"WebThriftStore Makes Cleaning Out the Closet – and Donating to Charity – a ThriftSNAP | KQED","labelTerm":{"term":745,"site":"arts"},"content":"\u003cp>In 2011, the market research company, \u003ca href=\"https://www.npd.com/wps/portal/npd/us/home/\" target=\"_blank\" rel=\"noopener\">NPD Group\u003c/a>, found that the average U.S. household has \u003ca href=\"https://www.webthriftstore.com/#!/about\" target=\"_blank\" rel=\"noopener\">$7,000\u003c/a> worth of unwanted items. A lot of things may have changed since 2011, but the U.S.’ obsession with things is probably not one of them. If you have thousands of dollars laying around your house in the form of stuff, consider donating that potential money to a charity of your choice through \u003ca href=\"https://www.webthriftstore.com/#!/\" target=\"_blank\" rel=\"noopener\">WebThriftStore\u003c/a> this holiday — ahem, consumer — season.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=s-aLRaFg-A4\u003c/p>\n\u003cp>According to its website, “WebThriftStore turns stuff into cash for charities, tax deductions for donors, and bargains for buyers.” Their IRS-approved charities range from local to national. Some of the big names include the \u003ca href=\"http://www.redcross.org\" target=\"_blank\" rel=\"noopener\">American Red Cross\u003c/a>, \u003ca href=\"https://www.aspca.org\" target=\"_blank\" rel=\"noopener\">ASPCA\u003c/a>, \u003ca href=\"http://www.peta.org\" target=\"_blank\" rel=\"noopener\">PETA\u003c/a> and the \u003ca href=\"http://www.nationalgeographic.com/about/\" target=\"_blank\" rel=\"noopener\">National Geographic Society\u003c/a>. I did a double take when I saw Texas’ \u003ca href=\"http://www.katyprairie.org\" target=\"_blank\" rel=\"noopener\">Katy Prairie Conservancy\u003c/a>, which upon further examination has no relation to \u003ca href=\"http://www.katyperry.com\" target=\"_blank\" rel=\"noopener\">Katy Perry\u003c/a> or her cat, \u003ca href=\"http://katyperry.wikia.com/wiki/Kitty_Purry\" target=\"_blank\" rel=\"noopener\">Kitty Purry\u003c/a>.\u003c/p>\n\u003cp>But how is this better than donating your things to a local thrift store? Dropping off a box of stuff can feel like abandoning your memories on the side of the road. For most of us materialists there will always be some items that are slightly too precious to just give away but not essential enough to use or keep. And selling things on \u003ca href=\"http://www.ebay.com\" target=\"_blank\" rel=\"noopener\">eBay\u003c/a> or \u003ca href=\"https://www.etsy.com\" target=\"_blank\" rel=\"noopener\">Etsy\u003c/a> can become a full-time job.\u003c/p>\n\u003cp>WebThriftStore knows that most Internet users like buying more than selling. “WebThriftStore allows any non-profit to run an online thrift store without holding inventory, with no financial risk.” If your house has become a warehouse, it’s time you logged on.\u003c/p>\n\u003cfigure id=\"attachment_10159976\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/ThriftSnapApp.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10159976\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/ThriftSnapApp.jpg\" alt=\"Screenshots of ThriftSNAP; courtesy WebThriftStore\" width=\"500\" height=\"433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ThriftSnapApp.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ThriftSnapApp-400x346.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Screenshots of ThriftSNAP; courtesy WebThriftStore\u003c/figcaption>\u003c/figure>\n\u003cp>Instead of shamelessly snapping pics of your new stuff for \u003ca href=\"http://instagram.com\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a> or \u003ca href=\"https://www.facebook.com\" target=\"_blank\" rel=\"noopener\">Facebook\u003c/a>, download WebThriftStore’s app, \u003ca href=\"https://itunes.apple.com/us/app/thriftsnap/id875896430?mt=8\" target=\"_blank\" rel=\"noopener\">ThriftSNAP\u003c/a>, to transmute your social media sins into charitable works. With the app it is easy to take pictures of things you want to donate, set prices and choose either in-person pickup or USPS shipping at the buyer’s expense. Sellers receive prepaid postage and tax write off documentation in the mail from WebThriftStore.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And if you find a donated item that you want to purchase, there is a 30-day money back guarantee on shipped items that do not live up to their descriptions. Even if you’re only planning to buy \u003ca href=\"https://www.webthriftstore.com/#!/browse/Gift+Certificates~+Tickets\" target=\"_blank\" rel=\"noopener\">gift cards\u003c/a> for the holidays, WebThriftStore has those too.\u003c/p>\n\u003cp>WebThriftStore itself is not a charity, but a business that supports charity; “We pay all credit card and transaction processing fess, return shipping and insurance fees and customer support costs. Charities pay us a small fee to provide these services.” This means that 20% of your sale goes to WebThriftStore and the remaining 80% goes to the charity of your choice.\u003c/p>\n\u003cp>The YouTuber known as \u003ca href=\"http://www.youtube.com/channel/UCdN1iSjh227a0BCn69G8sGg\" target=\"_blank\" rel=\"noopener\">Salamanda\u003c/a>, mentioned WebThriftStore in one of her recent videos. As an avid thrifter, Salamanda is best known for her “hauls,” where she shows her viewers items she has bought at the thrift store. In the video below, however, she created a “reverse thrift haul,” that details the things she donated through WebThriftStore.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=q8JlFSYsxmM\u003c/p>\n\u003cp>As \u003ca href=\"http://www.youtube.com/\" target=\"_blank\" rel=\"noopener\">YouTube\u003c/a> becomes yet another medium for sponsorship and advertising it is rare to find YouTube content that doesn’t celebrate consumer culture. “You guys are constantly watching me accumulate stuff but what you don’t see is the constant purge that’s happening,” said Salamanda.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whether you are hauling items into or out of your closet this holiday season, consider WebThriftStore as a one-stop-shop for thrifting and gifting. Visit \u003ca href=\"https://www.webthriftstore.com/#!/\" target=\"_blank\" rel=\"noopener\">WebThriftStore\u003c/a> or download \u003ca href=\"https://itunes.apple.com/us/app/thriftsnap/id875896430?mt=8\" target=\"_blank\" rel=\"noopener\">ThriftSNAP\u003c/a>. \u003c/p>\n\n","blocks":[],"excerpt":"Another way to get rid of clutter, before the new stuff arrives. ","status":"publish","parent":0,"modified":1705047922,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":623},"headData":{"title":"WebThriftStore Makes Cleaning Out the Closet - and Donating to Charity - a ThriftSNAP | KQED","description":"Another way to get rid of clutter, before the new stuff arrives. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"WebThriftStore Makes Cleaning Out the Closet - and Donating to Charity - a ThriftSNAP","datePublished":"2014-11-28T14:00:23.000Z","dateModified":"2024-01-12T08:25:22.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/10159831/webthriftstore-makes-cleaning-out-the-closet-and-donating-to-charity-a-thriftsnap","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2011, the market research company, \u003ca href=\"https://www.npd.com/wps/portal/npd/us/home/\" target=\"_blank\" rel=\"noopener\">NPD Group\u003c/a>, found that the average U.S. household has \u003ca href=\"https://www.webthriftstore.com/#!/about\" target=\"_blank\" rel=\"noopener\">$7,000\u003c/a> worth of unwanted items. A lot of things may have changed since 2011, but the U.S.’ obsession with things is probably not one of them. If you have thousands of dollars laying around your house in the form of stuff, consider donating that potential money to a charity of your choice through \u003ca href=\"https://www.webthriftstore.com/#!/\" target=\"_blank\" rel=\"noopener\">WebThriftStore\u003c/a> this holiday — ahem, consumer — season.\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/s-aLRaFg-A4'\n title='//www.youtube.com/embed/s-aLRaFg-A4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>According to its website, “WebThriftStore turns stuff into cash for charities, tax deductions for donors, and bargains for buyers.” Their IRS-approved charities range from local to national. Some of the big names include the \u003ca href=\"http://www.redcross.org\" target=\"_blank\" rel=\"noopener\">American Red Cross\u003c/a>, \u003ca href=\"https://www.aspca.org\" target=\"_blank\" rel=\"noopener\">ASPCA\u003c/a>, \u003ca href=\"http://www.peta.org\" target=\"_blank\" rel=\"noopener\">PETA\u003c/a> and the \u003ca href=\"http://www.nationalgeographic.com/about/\" target=\"_blank\" rel=\"noopener\">National Geographic Society\u003c/a>. I did a double take when I saw Texas’ \u003ca href=\"http://www.katyprairie.org\" target=\"_blank\" rel=\"noopener\">Katy Prairie Conservancy\u003c/a>, which upon further examination has no relation to \u003ca href=\"http://www.katyperry.com\" target=\"_blank\" rel=\"noopener\">Katy Perry\u003c/a> or her cat, \u003ca href=\"http://katyperry.wikia.com/wiki/Kitty_Purry\" target=\"_blank\" rel=\"noopener\">Kitty Purry\u003c/a>.\u003c/p>\n\u003cp>But how is this better than donating your things to a local thrift store? Dropping off a box of stuff can feel like abandoning your memories on the side of the road. For most of us materialists there will always be some items that are slightly too precious to just give away but not essential enough to use or keep. And selling things on \u003ca href=\"http://www.ebay.com\" target=\"_blank\" rel=\"noopener\">eBay\u003c/a> or \u003ca href=\"https://www.etsy.com\" target=\"_blank\" rel=\"noopener\">Etsy\u003c/a> can become a full-time job.\u003c/p>\n\u003cp>WebThriftStore knows that most Internet users like buying more than selling. “WebThriftStore allows any non-profit to run an online thrift store without holding inventory, with no financial risk.” If your house has become a warehouse, it’s time you logged on.\u003c/p>\n\u003cfigure id=\"attachment_10159976\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/ThriftSnapApp.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10159976\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/ThriftSnapApp.jpg\" alt=\"Screenshots of ThriftSNAP; courtesy WebThriftStore\" width=\"500\" height=\"433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ThriftSnapApp.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/ThriftSnapApp-400x346.jpg 400w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Screenshots of ThriftSNAP; courtesy WebThriftStore\u003c/figcaption>\u003c/figure>\n\u003cp>Instead of shamelessly snapping pics of your new stuff for \u003ca href=\"http://instagram.com\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a> or \u003ca href=\"https://www.facebook.com\" target=\"_blank\" rel=\"noopener\">Facebook\u003c/a>, download WebThriftStore’s app, \u003ca href=\"https://itunes.apple.com/us/app/thriftsnap/id875896430?mt=8\" target=\"_blank\" rel=\"noopener\">ThriftSNAP\u003c/a>, to transmute your social media sins into charitable works. With the app it is easy to take pictures of things you want to donate, set prices and choose either in-person pickup or USPS shipping at the buyer’s expense. Sellers receive prepaid postage and tax write off documentation in the mail from WebThriftStore.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And if you find a donated item that you want to purchase, there is a 30-day money back guarantee on shipped items that do not live up to their descriptions. Even if you’re only planning to buy \u003ca href=\"https://www.webthriftstore.com/#!/browse/Gift+Certificates~+Tickets\" target=\"_blank\" rel=\"noopener\">gift cards\u003c/a> for the holidays, WebThriftStore has those too.\u003c/p>\n\u003cp>WebThriftStore itself is not a charity, but a business that supports charity; “We pay all credit card and transaction processing fess, return shipping and insurance fees and customer support costs. Charities pay us a small fee to provide these services.” This means that 20% of your sale goes to WebThriftStore and the remaining 80% goes to the charity of your choice.\u003c/p>\n\u003cp>The YouTuber known as \u003ca href=\"http://www.youtube.com/channel/UCdN1iSjh227a0BCn69G8sGg\" target=\"_blank\" rel=\"noopener\">Salamanda\u003c/a>, mentioned WebThriftStore in one of her recent videos. As an avid thrifter, Salamanda is best known for her “hauls,” where she shows her viewers items she has bought at the thrift store. In the video below, however, she created a “reverse thrift haul,” that details the things she donated through WebThriftStore.\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/q8JlFSYsxmM'\n title='//www.youtube.com/embed/q8JlFSYsxmM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As \u003ca href=\"http://www.youtube.com/\" target=\"_blank\" rel=\"noopener\">YouTube\u003c/a> becomes yet another medium for sponsorship and advertising it is rare to find YouTube content that doesn’t celebrate consumer culture. “You guys are constantly watching me accumulate stuff but what you don’t see is the constant purge that’s happening,” said Salamanda.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whether you are hauling items into or out of your closet this holiday season, consider WebThriftStore as a one-stop-shop for thrifting and gifting. Visit \u003ca href=\"https://www.webthriftstore.com/#!/\" target=\"_blank\" rel=\"noopener\">WebThriftStore\u003c/a> or download \u003ca href=\"https://itunes.apple.com/us/app/thriftsnap/id875896430?mt=8\" target=\"_blank\" rel=\"noopener\">ThriftSNAP\u003c/a>. \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/10159831/webthriftstore-makes-cleaning-out-the-closet-and-donating-to-charity-a-thriftsnap","authors":["72"],"series":["arts_745"],"categories":["arts_75"],"tags":["arts_596"],"featImg":"arts_10159850","label":"arts_745"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? 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Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","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?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"baycurious":{"id":"baycurious","title":"Bay Curious","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.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"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","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. Plus, KQED’s Bianca Taylor brings you the local KQED news you need to know.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Consider-This-Podcast-Tile-703x703-1.jpg","imageAlt":"Consider This from NPR and KQED","officialWebsiteLink":"/podcasts/considerthis","meta":{"site":"news","source":"kqed","order":"7"},"link":"/podcasts/considerthis","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1503226625?mt=2&at=11l79Y&ct=nprdirectory","npr":"https://rpb3r.app.goo.gl/coronavirusdaily","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM1NS9wb2RjYXN0LnhtbA","spotify":"https://open.spotify.com/show/3Z6JdCS2d0eFEpXHKI6WqH"}},"forum":{"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","officialWebsiteLink":"/forum","meta":{"site":"news","source":"kqed","order":"8"},"link":"/forum","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz","npr":"https://www.npr.org/podcasts/432307980/forum","stitcher":"https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast","rss":"https://feeds.megaphone.fm/KQINC9557381633"}},"freakonomics-radio":{"id":"freakonomics-radio","title":"Freakonomics Radio","info":"Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. 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