Dancers Perform with Politics on their Sleeves at the Feisty SPF 10
Three Summer Dance Performances to Catch in Grand Spaces
Histories You Won't Want to See Repeated
Four Epic Public Squares and What to Do in Them
Let’s Drink: Scenic Water Fountains and Why It’s Radical to Use Them
Get Outside: Summertime Concerts Al Fresco in the Bay Area
Science Fiction Futures You'll Want to Work to Prevent
Something For Everyone in a Summer of Bay Area Visual Art
Get Intimate: Summer Dance Highlights in Unique Spaces
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He writes about books and podcasts interviews with authors at \u003ca href=\"http://agonycolumn.com\">The Agony Column\u003c/a>.","avatar":"https://secure.gravatar.com/avatar/179f850e768733fdeabc3c0c48ebf0e9?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["Contributor","contributor"]}],"headData":{"title":"Rick Kleffel | KQED","description":null,"ogImgSrc":"https://secure.gravatar.com/avatar/179f850e768733fdeabc3c0c48ebf0e9?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/179f850e768733fdeabc3c0c48ebf0e9?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/rkleffel"},"mlevenson":{"type":"authors","id":"6624","meta":{"index":"authors_1591205172","id":"6624","found":true},"name":"Max Savage Levenson","firstName":"Max","lastName":"Savage Levenson","slug":"mlevenson","email":"m.savagelevenson@gmail.com","display_author_email":false,"staff_mastheads":[],"title":null,"bio":null,"avatar":"https://secure.gravatar.com/avatar/e7f998073c1ba6fec822d9f7dcd8c272?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["contributor"]},{"site":"news","roles":["author"]}],"headData":{"title":"Max Savage Levenson | KQED","description":null,"ogImgSrc":"https://secure.gravatar.com/avatar/e7f998073c1ba6fec822d9f7dcd8c272?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/e7f998073c1ba6fec822d9f7dcd8c272?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/mlevenson"},"hswanhuyser":{"type":"authors","id":"8641","meta":{"index":"authors_1591205172","id":"8641","found":true},"name":"Hiya Swanhuyser","firstName":"Hiya","lastName":"Swanhuyser","slug":"hswanhuyser","email":"hiya.swanhuyser@gmail.com","display_author_email":false,"staff_mastheads":[],"title":null,"bio":null,"avatar":"https://secure.gravatar.com/avatar/ac82519cf874a4b89d7bb4486ab403ef?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["contributor"]}],"headData":{"title":"Hiya Swanhuyser | KQED","description":null,"ogImgSrc":"https://secure.gravatar.com/avatar/ac82519cf874a4b89d7bb4486ab403ef?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/ac82519cf874a4b89d7bb4486ab403ef?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/hswanhuyser"},"cescoda":{"type":"authors","id":"11206","meta":{"index":"authors_1591205172","id":"11206","found":true},"name":"Carla Escoda","firstName":"Carla","lastName":"Escoda","slug":"cescoda","email":"ballettothepeople@gmail.com","display_author_email":false,"staff_mastheads":[],"title":null,"bio":"Carla can most often be found in theatres, airports and on airplanes, writing about dance and the arts for various websites whenever she can find wi-fi. Her blog Ballet to the People<\u003ca href=\"http://ballettothepeople.com/\" target=\"_blank\" rel=\"noreferrer\">http://\u003cwbr />ballettothepeople.com\u003c/a>> has become a street corner where dance-lovers enjoy loitering and plotting the revolution which will renew the populist roots of ballet.\r\n\u003cspan class=\"im\">\r\nIn her previous lives, Carla worked in scientific research, then in project finance in Asia. Prior to that, she trained as a ballet and modern dancer, and performed with the Yaledancers while getting her undergraduate degrees in Engineering and Applied Science and French Literature, and her graduate degree in Engineering.\u003c/span>","avatar":"https://secure.gravatar.com/avatar/3a012eb3749d4353e3e28aab414dd815?s=600&d=blank&r=g","twitter":null,"facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["author"]}],"headData":{"title":"Carla Escoda | KQED","description":null,"ogImgSrc":"https://secure.gravatar.com/avatar/3a012eb3749d4353e3e28aab414dd815?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/3a012eb3749d4353e3e28aab414dd815?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/cescoda"}},"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_13627020":{"type":"posts","id":"arts_13627020","meta":{"index":"posts_1591205157","site":"arts","id":"13627020","score":null,"sort":[1499886025000]},"guestAuthors":[],"slug":"dancers-perform-with-politics-on-their-sleeves-at-the-feisty-spf-10","title":"Dancers Perform with Politics on their Sleeves at the Feisty SPF 10","publishDate":1499886025,"format":"standard","headTitle":"Dancers Perform with Politics on their Sleeves at the Feisty SPF 10 | KQED","labelTerm":{"term":1874,"site":"arts"},"content":"\u003cp>At first glance, ballet might not seem like the ideal vehicle for telling a story about homelessness. But Joe Landini, who is in his tenth year of curating the Summer Performance Festival (SPF), takes a famously hands-off approach when he offers dance-makers a platform. Taking advantage of this freedom, choreographer Marika Brussel has specifically situated her newest ballet in a homeless encampment.\u003c/p>\n\u003cp>Brussel’s piece, titled \u003cem>From Shadows\u003c/em>, was unveiled on June 7 at the Joe Goode Annex. It opened with family man Calvin Thomas swept into a waltz with his addiction — a sleek, silvery figure danced by Sharon Kung. He abandons his wife and child. Years later, his grown-up daughter, danced by Nina Pearlman, searches for him on the streets, surrounded by a cohort of shadowy figures both human and inhuman. His wife, danced by the magnificent Alexandra FitzGibbon, returns briefly in an engrossing mirage.\u003c/p>\n\u003cp>Brussel, who had encountered homelessness in her own family when she was a child, avoided romanticizing the circumstances and mobilized ballet tropes in lush and unexpected ways. She succeeded where far-more-famous choreographers have failed in deploying the limited vocabulary and the hyper-refined aesthetic of ballet to tell a modern, authentic tale about a marginalized population. Earlier this season, choreographer Arthur Pita sent a gleaming stretch limo onstage at the War Memorial Opera House in service of \u003ca href=\"http://www.mercurynews.com/2017/03/10/san-francisco-ballets-new-salome-has-david-lynch-style-touches/\" target=\"_blank\" rel=\"noopener noreferrer\">a new ballet\u003c/a>, but Brussel’s ingenuity with a trash-filled shopping cart packed an even bigger wallop.\u003c/p>\n\u003cp>Brussel’s piece was just one of the first two programs of SPF 10, and if they’re a reliable gauge, the remaining SPF shows will be rousing affairs.\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/183120991\u003cbr>\n\u003c/aside>\n\u003cp>Another highlight of the first weekend of SPF 10 was \u003cem>Identity Theft\u003c/em> by Linda Bouchard Multimedia Works. It’s a hallucinatory distillation of the real-life experiences of dancer-choreographer Aisan Hoss. Hoss can no longer return to her home in Iran, where she was born and raised, and where dance is outlawed. From the moment audiences walked into the theater, a climate of unease was created as each audience member was subjected to one-on-one interrogation by a cast member, in a seemingly capricious screening process redolent of encounters with immigration officials.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On the floor with Hoss were oboist Kyle Bruckmann, cameraman-actor James Fusco, composer-director Linda Bouchard and technical director David Coll. Together they spun a haunting web of sound and video imagery. Hoss wrestled expressively with thick ropes, clanking chains and a wrought iron bird cage, while surveillance-style video footage of her was projected onto the forbidding walls of the Annex. Hoss was mesmerizing, but disparate physical elements, like the world map stuck with pins, did not fuse convincingly with the rest of the high-tech landscape.\u003c/p>\n\u003cfigure id=\"attachment_13627324\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13627324\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Don-Albonico-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Don-Albonico-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Don-Albonico-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Don-Albonico-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Don-Albonico-1.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Don-Albonico-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Don-Albonico-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Don-Albonico-1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bellwether Dance Project in Amy Foley’s ‘Thighs and Wages’ (photo: Don Albonico)\u003c/figcaption>\u003c/figure>\n\u003cp>As the oppressive streets of Tehran vanish from the theater, five women of Amy Foley’s Bellwether Dance Project burst into the newly pristine space for a project called \u003cem>Thighs and Wages\u003c/em>. The women looked remarkably young and innocent in their demure frocks; they dispatched the athletically demanding technique with a serene matter-of-factness. Foley has created a timeless artifact of abstract dance that exudes pure joy while defying the objectification of women. Marlie Couto, Liza Kroeschell, Courtney Mazeika, Maggie Stack, and Katerina Wong were heroic individual presences. A fusillade of stomping, rolling and kicking wound down into a tender image of mutual protection as the dancers piled on top of each other, their faces alertly turned to the audience. That moment paid tribute to the 1923 \u003cem>Les Noces\u003c/em>, the proto-feminist ballet by Nijinska that depicted marriage as an oppressive institution.\u003c/p>\n\u003cp>Paired with Brussel’s work, Khala Brannigan’s impassioned tribute to the victims of Oakland’s Ghost Ship fire was fiercely dispatched by the Bay Area Dance Collective. The dancers raced around maneuvering four angled screens painted with images of fire and sky. The beauty and flimsiness of the structures served as heart-wrenching metaphor for the Ghost Ship, yet the scattershot construction of the dance robbed it of eloquence.\u003c/p>\n\u003cfigure id=\"attachment_13627327\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13627327\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Carly-Lave-by-Lynne-Fried-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Carly-Lave-by-Lynne-Fried-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Carly-Lave-by-Lynne-Fried-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Carly-Lave-by-Lynne-Fried-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Carly-Lave-by-Lynne-Fried-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Carly-Lave-by-Lynne-Fried-1920x1441.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Carly-Lave-by-Lynne-Fried-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Carly-Lave-by-Lynne-Fried-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Carly-Lave-by-Lynne-Fried-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Carly-Lave-by-Lynne-Fried-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Carly-Lave-by-Lynne-Fried-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carly Lave’s ‘(trapped)’ (photo: Lynne Fried)\u003c/figcaption>\u003c/figure>\n\u003cp>While SPF has grown over the years and is now run as an artists’ cooperative, the venue remains delightfully intimate, allowing veteran artists to work alongside the up-and-coming. Also, prevailing over all is Joe Landini’s anything-goes vibe.\u003c/p>\n\u003cfigure id=\"attachment_13627325\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13627325\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/dana-e.-fitchett.Pictured-dana-e.-fitchett.Photo-by-Duy-Ho-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dana-e.-fitchett.Pictured-dana-e.-fitchett.Photo-by-Duy-Ho-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dana-e.-fitchett.Pictured-dana-e.-fitchett.Photo-by-Duy-Ho-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dana-e.-fitchett.Pictured-dana-e.-fitchett.Photo-by-Duy-Ho-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dana-e.-fitchett.Pictured-dana-e.-fitchett.Photo-by-Duy-Ho-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dana-e.-fitchett.Pictured-dana-e.-fitchett.Photo-by-Duy-Ho-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dana-e.-fitchett.Pictured-dana-e.-fitchett.Photo-by-Duy-Ho-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dana-e.-fitchett.Pictured-dana-e.-fitchett.Photo-by-Duy-Ho.jpg 868w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">dana e. fitchett (photo: Duy Ho)\u003c/figcaption>\u003c/figure>\n\u003cp>The remaining lineup through July 16 includes Slick Babble Dance Project’s inquiry into the venerable science of sound wave vibrations, also known as Cymatics. The Riley Project tackles the scourge of depression. Visceral Roots Dance Company creates a movement vocabulary from life experiences. Sienna Williams and Diana Kalaji dance their experiences as women of ambiguous ethnicity, while dana e. fitchett explores the trials facing black American women, at a time when racial and religious tensions are inflamed. Carly Lave works with the physiology of entrapment and how women define power. And, finally, Lili Weckler collaborates with her dancers and musicians to launch an assault on modern capitalism.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Catch Programs 3, 4 and 5 of SPF 10 from July 12-16 at the Joe Goode Annex. For more information and tickets, visit \u003ca href=\"http://joegoode.org/box-office/\" target=\"_blank\" rel=\"noopener noreferrer\">the Joe Goode website\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Exciting experimentation and strong politics form this year's SPF 10, which has already previewed a performance staged at homeless encampment.","status":"publish","parent":0,"modified":1705030081,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":903},"headData":{"title":"Dancers Perform with Politics on their Sleeves at the Feisty SPF 10 | KQED","description":"Exciting experimentation and strong politics form this year's SPF 10, which has already previewed a performance staged at homeless encampment.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Dancers Perform with Politics on their Sleeves at the Feisty SPF 10","datePublished":"2017-07-12T19:00:25.000Z","dateModified":"2024-01-12T03:28:01.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13627020/dancers-perform-with-politics-on-their-sleeves-at-the-feisty-spf-10","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>At first glance, ballet might not seem like the ideal vehicle for telling a story about homelessness. But Joe Landini, who is in his tenth year of curating the Summer Performance Festival (SPF), takes a famously hands-off approach when he offers dance-makers a platform. Taking advantage of this freedom, choreographer Marika Brussel has specifically situated her newest ballet in a homeless encampment.\u003c/p>\n\u003cp>Brussel’s piece, titled \u003cem>From Shadows\u003c/em>, was unveiled on June 7 at the Joe Goode Annex. It opened with family man Calvin Thomas swept into a waltz with his addiction — a sleek, silvery figure danced by Sharon Kung. He abandons his wife and child. Years later, his grown-up daughter, danced by Nina Pearlman, searches for him on the streets, surrounded by a cohort of shadowy figures both human and inhuman. His wife, danced by the magnificent Alexandra FitzGibbon, returns briefly in an engrossing mirage.\u003c/p>\n\u003cp>Brussel, who had encountered homelessness in her own family when she was a child, avoided romanticizing the circumstances and mobilized ballet tropes in lush and unexpected ways. She succeeded where far-more-famous choreographers have failed in deploying the limited vocabulary and the hyper-refined aesthetic of ballet to tell a modern, authentic tale about a marginalized population. Earlier this season, choreographer Arthur Pita sent a gleaming stretch limo onstage at the War Memorial Opera House in service of \u003ca href=\"http://www.mercurynews.com/2017/03/10/san-francisco-ballets-new-salome-has-david-lynch-style-touches/\" target=\"_blank\" rel=\"noopener noreferrer\">a new ballet\u003c/a>, but Brussel’s ingenuity with a trash-filled shopping cart packed an even bigger wallop.\u003c/p>\n\u003cp>Brussel’s piece was just one of the first two programs of SPF 10, and if they’re a reliable gauge, the remaining SPF shows will be rousing affairs.\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/183120991\u003cbr>\n\u003c/aside>\n\u003cp>Another highlight of the first weekend of SPF 10 was \u003cem>Identity Theft\u003c/em> by Linda Bouchard Multimedia Works. It’s a hallucinatory distillation of the real-life experiences of dancer-choreographer Aisan Hoss. Hoss can no longer return to her home in Iran, where she was born and raised, and where dance is outlawed. From the moment audiences walked into the theater, a climate of unease was created as each audience member was subjected to one-on-one interrogation by a cast member, in a seemingly capricious screening process redolent of encounters with immigration officials.\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>On the floor with Hoss were oboist Kyle Bruckmann, cameraman-actor James Fusco, composer-director Linda Bouchard and technical director David Coll. Together they spun a haunting web of sound and video imagery. Hoss wrestled expressively with thick ropes, clanking chains and a wrought iron bird cage, while surveillance-style video footage of her was projected onto the forbidding walls of the Annex. Hoss was mesmerizing, but disparate physical elements, like the world map stuck with pins, did not fuse convincingly with the rest of the high-tech landscape.\u003c/p>\n\u003cfigure id=\"attachment_13627324\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13627324\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Don-Albonico-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Don-Albonico-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Don-Albonico-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Don-Albonico-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Don-Albonico-1.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Don-Albonico-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Don-Albonico-1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Don-Albonico-1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bellwether Dance Project in Amy Foley’s ‘Thighs and Wages’ (photo: Don Albonico)\u003c/figcaption>\u003c/figure>\n\u003cp>As the oppressive streets of Tehran vanish from the theater, five women of Amy Foley’s Bellwether Dance Project burst into the newly pristine space for a project called \u003cem>Thighs and Wages\u003c/em>. The women looked remarkably young and innocent in their demure frocks; they dispatched the athletically demanding technique with a serene matter-of-factness. Foley has created a timeless artifact of abstract dance that exudes pure joy while defying the objectification of women. Marlie Couto, Liza Kroeschell, Courtney Mazeika, Maggie Stack, and Katerina Wong were heroic individual presences. A fusillade of stomping, rolling and kicking wound down into a tender image of mutual protection as the dancers piled on top of each other, their faces alertly turned to the audience. That moment paid tribute to the 1923 \u003cem>Les Noces\u003c/em>, the proto-feminist ballet by Nijinska that depicted marriage as an oppressive institution.\u003c/p>\n\u003cp>Paired with Brussel’s work, Khala Brannigan’s impassioned tribute to the victims of Oakland’s Ghost Ship fire was fiercely dispatched by the Bay Area Dance Collective. The dancers raced around maneuvering four angled screens painted with images of fire and sky. The beauty and flimsiness of the structures served as heart-wrenching metaphor for the Ghost Ship, yet the scattershot construction of the dance robbed it of eloquence.\u003c/p>\n\u003cfigure id=\"attachment_13627327\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13627327\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Carly-Lave-by-Lynne-Fried-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Carly-Lave-by-Lynne-Fried-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Carly-Lave-by-Lynne-Fried-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Carly-Lave-by-Lynne-Fried-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Carly-Lave-by-Lynne-Fried-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Carly-Lave-by-Lynne-Fried-1920x1441.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Carly-Lave-by-Lynne-Fried-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Carly-Lave-by-Lynne-Fried-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Carly-Lave-by-Lynne-Fried-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Carly-Lave-by-Lynne-Fried-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Carly-Lave-by-Lynne-Fried-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carly Lave’s ‘(trapped)’ (photo: Lynne Fried)\u003c/figcaption>\u003c/figure>\n\u003cp>While SPF has grown over the years and is now run as an artists’ cooperative, the venue remains delightfully intimate, allowing veteran artists to work alongside the up-and-coming. Also, prevailing over all is Joe Landini’s anything-goes vibe.\u003c/p>\n\u003cfigure id=\"attachment_13627325\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13627325\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/dana-e.-fitchett.Pictured-dana-e.-fitchett.Photo-by-Duy-Ho-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dana-e.-fitchett.Pictured-dana-e.-fitchett.Photo-by-Duy-Ho-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dana-e.-fitchett.Pictured-dana-e.-fitchett.Photo-by-Duy-Ho-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dana-e.-fitchett.Pictured-dana-e.-fitchett.Photo-by-Duy-Ho-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dana-e.-fitchett.Pictured-dana-e.-fitchett.Photo-by-Duy-Ho-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dana-e.-fitchett.Pictured-dana-e.-fitchett.Photo-by-Duy-Ho-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dana-e.-fitchett.Pictured-dana-e.-fitchett.Photo-by-Duy-Ho-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dana-e.-fitchett.Pictured-dana-e.-fitchett.Photo-by-Duy-Ho.jpg 868w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">dana e. fitchett (photo: Duy Ho)\u003c/figcaption>\u003c/figure>\n\u003cp>The remaining lineup through July 16 includes Slick Babble Dance Project’s inquiry into the venerable science of sound wave vibrations, also known as Cymatics. The Riley Project tackles the scourge of depression. Visceral Roots Dance Company creates a movement vocabulary from life experiences. Sienna Williams and Diana Kalaji dance their experiences as women of ambiguous ethnicity, while dana e. fitchett explores the trials facing black American women, at a time when racial and religious tensions are inflamed. Carly Lave works with the physiology of entrapment and how women define power. And, finally, Lili Weckler collaborates with her dancers and musicians to launch an assault on modern capitalism.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Catch Programs 3, 4 and 5 of SPF 10 from July 12-16 at the Joe Goode Annex. For more information and tickets, visit \u003ca href=\"http://joegoode.org/box-office/\" target=\"_blank\" rel=\"noopener noreferrer\">the Joe Goode website\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13627020/dancers-perform-with-politics-on-their-sleeves-at-the-feisty-spf-10","authors":["11206"],"series":["arts_1874"],"categories":["arts_966"],"tags":["arts_1118","arts_1006","arts_596"],"featImg":"arts_13627326","label":"arts_1874"},"arts_13532099":{"type":"posts","id":"arts_13532099","meta":{"index":"posts_1591205157","site":"arts","id":"13532099","score":null,"sort":[1498677485000]},"guestAuthors":[],"slug":"three-summer-dance-performances-to-catch-in-grand-spaces","title":"Three Summer Dance Performances to Catch in Grand Spaces","publishDate":1498677485,"format":"standard","headTitle":"Three Summer Dance Performances to Catch in Grand Spaces | KQED","labelTerm":{"term":1874,"site":"arts"},"content":"\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/hot-days-and-summer-nights-guide-2017/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg\" alt=\"\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-13376303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>To keep us on our toes, San Francisco’s dance companies are mixing it up this summer, inviting us to venues where we don’t normally get to see them. Two weeks ago, we recommended getting up close and personal with a few dance companies who have \u003ca href=\"https://ww2.kqed.org/arts/2017/06/06/get-intimate-summer-dance-highlights-in-unique-spaces/\" target=\"_blank\" rel=\"noopener\">tucked themselves into intimate spaces\u003c/a>. Now we look at three more, all of which are embracing the summer of 2017 at both indoor and outdoor city landmarks.\u003c/p>\n\u003cp> \u003c/p>\n\u003cdiv class=\"”callout\">\n\u003cfigure id=\"attachment_13372016\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13372016\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/AXIS-Dance-rehearsing-at-YBCA-Robbie-Sweeny-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/AXIS-Dance-rehearsing-at-YBCA-Robbie-Sweeny-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/AXIS-Dance-rehearsing-at-YBCA-Robbie-Sweeny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/AXIS-Dance-rehearsing-at-YBCA-Robbie-Sweeny-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/AXIS-Dance-rehearsing-at-YBCA-Robbie-Sweeny-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/AXIS-Dance-rehearsing-at-YBCA-Robbie-Sweeny-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/AXIS-Dance-rehearsing-at-YBCA-Robbie-Sweeny-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/AXIS-Dance-rehearsing-at-YBCA-Robbie-Sweeny-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/AXIS-Dance-rehearsing-at-YBCA-Robbie-Sweeny-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/AXIS-Dance-rehearsing-at-YBCA-Robbie-Sweeny-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/AXIS-Dance-rehearsing-at-YBCA-Robbie-Sweeny-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Members of AXIS Dance Company rehearsing Stephan Koplowitz’ Occupy – A Site-specific journey through an urban garden (Photo: Robbie Sweeny)\u003c/figcaption>\u003c/figure>\n\u003ch3>AXIS Dance Company in \u003cem>Occupy – A site-specific journey through an urban garden\u003c/em>\u003c/h3>\n\u003ch5>July 1-2\u003cbr>\n\u003ca href=\"http://www.axisdance.org/occupy\" target=\"”_blank”\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>To ‘occupy’ a public space may be a potent act of protest — or simply signal a resolute sense of belonging. This new work by choreographer Stephan Koplowitz for AXIS Dance, the pioneering Oakland-based company of disabled and abled dancers, is set in and around the halcyon Yerba Buena Gardens — a site once considered among the city’s most bleak, over which intense political and legal battles were fought.\u003c/p>\n\u003cp>Koplowitz has made site-specific dances around the country, on terrain that poses all manner of challenges and opportunities. “The process of making this work has been revelatory in that I am not only creating for a specific landscape but also working with an integrated cast of performers for the first time,” Koplowitz notes. “It has made my process challenging in the best sense of word, pushing me to a new level and thus making the work more meaningful to me and hopefully to our audiences.”\u003c/p>\n\u003cp>During performances, audiences are guided from space to space within the Gardens for dance segments that explore the history and design of each space. A score played live by composer and vocalist Pamela Z amplifies the immersive visual experience.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"”callout\">\n\u003cfigure id=\"attachment_13372017\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13372017\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Yismari-Ramos-Tellez-Denmis-Bain-Savigne-EDF17_Alayo_RJ-Muna-800x557.jpg\" alt=\"\" width=\"800\" height=\"557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yismari-Ramos-Tellez-Denmis-Bain-Savigne-EDF17_Alayo_RJ-Muna-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yismari-Ramos-Tellez-Denmis-Bain-Savigne-EDF17_Alayo_RJ-Muna-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yismari-Ramos-Tellez-Denmis-Bain-Savigne-EDF17_Alayo_RJ-Muna-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yismari-Ramos-Tellez-Denmis-Bain-Savigne-EDF17_Alayo_RJ-Muna-1020x710.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yismari-Ramos-Tellez-Denmis-Bain-Savigne-EDF17_Alayo_RJ-Muna-1180x821.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yismari-Ramos-Tellez-Denmis-Bain-Savigne-EDF17_Alayo_RJ-Muna-960x668.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yismari-Ramos-Tellez-Denmis-Bain-Savigne-EDF17_Alayo_RJ-Muna-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yismari-Ramos-Tellez-Denmis-Bain-Savigne-EDF17_Alayo_RJ-Muna-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yismari-Ramos-Tellez-Denmis-Bain-Savigne-EDF17_Alayo_RJ-Muna-520x362.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yismari-Ramos-Tellez-Denmis-Bain-Savigne-EDF17_Alayo_RJ-Muna.jpg 1718w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yismari Ramos Tellez and Denmis Bain Savigne of the Alayo Dance Company. (Photo: RJ Muna)\u003c/figcaption>\u003c/figure>\n\u003ch3>SF Ethnic Dance Festival\u003c/h3>\n\u003ch5>July 8-16\u003cbr>\n\u003ca href=\"http://worldartswest.org/main/edf_index.asp\" target=\"”_blank”\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>At the San Francisco Ethnic Dance Festival in July, two dozen Bay Area dance and music ensembles championing folkloric traditions collaborate to remind us of the power of diversity. This year, for the first time in its history, the festival takes over the august War Memorial Opera House.\u003c/p>\n\u003cp>New companies this year include the Alayo Dance Company, whose imaginative work weaves together strands of folkloric and contemporary Afro-Cuban dance. They’re accompanied by the John Santos Sextet, innovators of Latin jazz. Kathak dancer Antonia Minnecola performs with tabla master Zakir Hussain. San Francisco Awakko Ren brings a joyful piece from the popular Awa-Odori festival in Tokushima Prefecture on the Japanese island of Shikoku. And Congolese drumming, courtesy BITEZO BIA KONGO, should sound tremendous in the acoustics of the opera house.\u003c/p>\n\u003cp>Among the cascade of illuminating narratives, Ballet Folklórico México Danza present a piece highlighting the role of women in the Mexican Revolution, while Fogo Na Roupa Performing Company performs a \u003cem>maracatu\u003c/em> — a dance rooted in Brazil’s enslaved communities, which the company dedicates “to Bay Area African Diaspora dancers and to indigenous communities of Brazil, celebrating resistance to tyranny and racism, yesterday and today.”\u003c/p>\n\u003cp>In the brief interludes between some of the spectacular numbers, expect to see some ingenious cross-cultural encounters — a signature of this festival.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"”callout\">\n\u003cfigure id=\"attachment_13372018\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13372018 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/WanTing-Zhao-and-Carlo-DiLanno-in-Thatchers-Frayed-800x571.jpg\" alt=\"\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WanTing-Zhao-and-Carlo-DiLanno-in-Thatchers-Frayed-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WanTing-Zhao-and-Carlo-DiLanno-in-Thatchers-Frayed-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WanTing-Zhao-and-Carlo-DiLanno-in-Thatchers-Frayed-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WanTing-Zhao-and-Carlo-DiLanno-in-Thatchers-Frayed-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WanTing-Zhao-and-Carlo-DiLanno-in-Thatchers-Frayed-1920x1372.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WanTing-Zhao-and-Carlo-DiLanno-in-Thatchers-Frayed-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WanTing-Zhao-and-Carlo-DiLanno-in-Thatchers-Frayed-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WanTing-Zhao-and-Carlo-DiLanno-in-Thatchers-Frayed-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WanTing-Zhao-and-Carlo-DiLanno-in-Thatchers-Frayed-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WanTing-Zhao-and-Carlo-DiLanno-in-Thatchers-Frayed-520x371.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">WanTing Zhao and Carlo Di Lanno in Myles Thatcher’s Frayed (Photo: Erik Tomasson)\u003c/figcaption>\u003c/figure>\n\u003ch3>San Francisco Ballet at Stern Grove\u003c/h3>\n\u003ch5>July 30\u003cbr>\n\u003ca href=\"http://www.sterngrove.org/2017-concerts/#july-30\" target=\"”_blank”\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Golden Gate Park may be the premier destination this season for euphoric 50th anniversary commemorations of the Summer of Love, but diehard San Franciscans hold a special place in their heart for Stern Grove — that sylvan amphitheater and site of admission-free concerts since 1932.\u003c/p>\n\u003cp>A highlight of the Stern Grove Festival for many is San Francisco Ballet’s mixed program, a diverting change from the formal grandeur of the War Memorial Opera House. No one gives a damn if you spill mayonnaise on your T-shirt, and the occasional wisp of San Francisco fog weaving in and around the magnificent backdrop of redwood and eucalyptus trees only adds a pleasing mystery to the ambiance. The San Francisco Ballet Orchestra sounds just as lush as it does in the opera house, and possibly even more romantic in this setting.\n\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Discover three dance performances in both indoor and outdoor city landmarks this summer.","status":"publish","parent":0,"modified":1705030199,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":13,"wordCount":742},"headData":{"title":"Three Summer Dance Performances to Catch in Grand Spaces | KQED","description":"Discover three dance performances in both indoor and outdoor city landmarks this summer.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Three Summer Dance Performances to Catch in Grand Spaces","datePublished":"2017-06-28T19:18:05.000Z","dateModified":"2024-01-12T03:29:59.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13532099/three-summer-dance-performances-to-catch-in-grand-spaces","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/hot-days-and-summer-nights-guide-2017/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg\" alt=\"\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-13376303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>To keep us on our toes, San Francisco’s dance companies are mixing it up this summer, inviting us to venues where we don’t normally get to see them. Two weeks ago, we recommended getting up close and personal with a few dance companies who have \u003ca href=\"https://ww2.kqed.org/arts/2017/06/06/get-intimate-summer-dance-highlights-in-unique-spaces/\" target=\"_blank\" rel=\"noopener\">tucked themselves into intimate spaces\u003c/a>. Now we look at three more, all of which are embracing the summer of 2017 at both indoor and outdoor city landmarks.\u003c/p>\n\u003cp> \u003c/p>\n\u003cdiv class=\"”callout\">\n\u003cfigure id=\"attachment_13372016\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13372016\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/AXIS-Dance-rehearsing-at-YBCA-Robbie-Sweeny-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/AXIS-Dance-rehearsing-at-YBCA-Robbie-Sweeny-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/AXIS-Dance-rehearsing-at-YBCA-Robbie-Sweeny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/AXIS-Dance-rehearsing-at-YBCA-Robbie-Sweeny-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/AXIS-Dance-rehearsing-at-YBCA-Robbie-Sweeny-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/AXIS-Dance-rehearsing-at-YBCA-Robbie-Sweeny-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/AXIS-Dance-rehearsing-at-YBCA-Robbie-Sweeny-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/AXIS-Dance-rehearsing-at-YBCA-Robbie-Sweeny-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/AXIS-Dance-rehearsing-at-YBCA-Robbie-Sweeny-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/AXIS-Dance-rehearsing-at-YBCA-Robbie-Sweeny-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/AXIS-Dance-rehearsing-at-YBCA-Robbie-Sweeny-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Members of AXIS Dance Company rehearsing Stephan Koplowitz’ Occupy – A Site-specific journey through an urban garden (Photo: Robbie Sweeny)\u003c/figcaption>\u003c/figure>\n\u003ch3>AXIS Dance Company in \u003cem>Occupy – A site-specific journey through an urban garden\u003c/em>\u003c/h3>\n\u003ch5>July 1-2\u003cbr>\n\u003ca href=\"http://www.axisdance.org/occupy\" target=\"”_blank”\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>To ‘occupy’ a public space may be a potent act of protest — or simply signal a resolute sense of belonging. This new work by choreographer Stephan Koplowitz for AXIS Dance, the pioneering Oakland-based company of disabled and abled dancers, is set in and around the halcyon Yerba Buena Gardens — a site once considered among the city’s most bleak, over which intense political and legal battles were fought.\u003c/p>\n\u003cp>Koplowitz has made site-specific dances around the country, on terrain that poses all manner of challenges and opportunities. “The process of making this work has been revelatory in that I am not only creating for a specific landscape but also working with an integrated cast of performers for the first time,” Koplowitz notes. “It has made my process challenging in the best sense of word, pushing me to a new level and thus making the work more meaningful to me and hopefully to our audiences.”\u003c/p>\n\u003cp>During performances, audiences are guided from space to space within the Gardens for dance segments that explore the history and design of each space. A score played live by composer and vocalist Pamela Z amplifies the immersive visual experience.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"”callout\">\n\u003cfigure id=\"attachment_13372017\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13372017\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Yismari-Ramos-Tellez-Denmis-Bain-Savigne-EDF17_Alayo_RJ-Muna-800x557.jpg\" alt=\"\" width=\"800\" height=\"557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yismari-Ramos-Tellez-Denmis-Bain-Savigne-EDF17_Alayo_RJ-Muna-800x557.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yismari-Ramos-Tellez-Denmis-Bain-Savigne-EDF17_Alayo_RJ-Muna-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yismari-Ramos-Tellez-Denmis-Bain-Savigne-EDF17_Alayo_RJ-Muna-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yismari-Ramos-Tellez-Denmis-Bain-Savigne-EDF17_Alayo_RJ-Muna-1020x710.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yismari-Ramos-Tellez-Denmis-Bain-Savigne-EDF17_Alayo_RJ-Muna-1180x821.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yismari-Ramos-Tellez-Denmis-Bain-Savigne-EDF17_Alayo_RJ-Muna-960x668.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yismari-Ramos-Tellez-Denmis-Bain-Savigne-EDF17_Alayo_RJ-Muna-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yismari-Ramos-Tellez-Denmis-Bain-Savigne-EDF17_Alayo_RJ-Muna-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yismari-Ramos-Tellez-Denmis-Bain-Savigne-EDF17_Alayo_RJ-Muna-520x362.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Yismari-Ramos-Tellez-Denmis-Bain-Savigne-EDF17_Alayo_RJ-Muna.jpg 1718w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yismari Ramos Tellez and Denmis Bain Savigne of the Alayo Dance Company. (Photo: RJ Muna)\u003c/figcaption>\u003c/figure>\n\u003ch3>SF Ethnic Dance Festival\u003c/h3>\n\u003ch5>July 8-16\u003cbr>\n\u003ca href=\"http://worldartswest.org/main/edf_index.asp\" target=\"”_blank”\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>At the San Francisco Ethnic Dance Festival in July, two dozen Bay Area dance and music ensembles championing folkloric traditions collaborate to remind us of the power of diversity. This year, for the first time in its history, the festival takes over the august War Memorial Opera House.\u003c/p>\n\u003cp>New companies this year include the Alayo Dance Company, whose imaginative work weaves together strands of folkloric and contemporary Afro-Cuban dance. They’re accompanied by the John Santos Sextet, innovators of Latin jazz. Kathak dancer Antonia Minnecola performs with tabla master Zakir Hussain. San Francisco Awakko Ren brings a joyful piece from the popular Awa-Odori festival in Tokushima Prefecture on the Japanese island of Shikoku. And Congolese drumming, courtesy BITEZO BIA KONGO, should sound tremendous in the acoustics of the opera house.\u003c/p>\n\u003cp>Among the cascade of illuminating narratives, Ballet Folklórico México Danza present a piece highlighting the role of women in the Mexican Revolution, while Fogo Na Roupa Performing Company performs a \u003cem>maracatu\u003c/em> — a dance rooted in Brazil’s enslaved communities, which the company dedicates “to Bay Area African Diaspora dancers and to indigenous communities of Brazil, celebrating resistance to tyranny and racism, yesterday and today.”\u003c/p>\n\u003cp>In the brief interludes between some of the spectacular numbers, expect to see some ingenious cross-cultural encounters — a signature of this festival.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"”callout\">\n\u003cfigure id=\"attachment_13372018\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13372018 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/WanTing-Zhao-and-Carlo-DiLanno-in-Thatchers-Frayed-800x571.jpg\" alt=\"\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WanTing-Zhao-and-Carlo-DiLanno-in-Thatchers-Frayed-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WanTing-Zhao-and-Carlo-DiLanno-in-Thatchers-Frayed-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WanTing-Zhao-and-Carlo-DiLanno-in-Thatchers-Frayed-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WanTing-Zhao-and-Carlo-DiLanno-in-Thatchers-Frayed-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WanTing-Zhao-and-Carlo-DiLanno-in-Thatchers-Frayed-1920x1372.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WanTing-Zhao-and-Carlo-DiLanno-in-Thatchers-Frayed-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WanTing-Zhao-and-Carlo-DiLanno-in-Thatchers-Frayed-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WanTing-Zhao-and-Carlo-DiLanno-in-Thatchers-Frayed-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WanTing-Zhao-and-Carlo-DiLanno-in-Thatchers-Frayed-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/WanTing-Zhao-and-Carlo-DiLanno-in-Thatchers-Frayed-520x371.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">WanTing Zhao and Carlo Di Lanno in Myles Thatcher’s Frayed (Photo: Erik Tomasson)\u003c/figcaption>\u003c/figure>\n\u003ch3>San Francisco Ballet at Stern Grove\u003c/h3>\n\u003ch5>July 30\u003cbr>\n\u003ca href=\"http://www.sterngrove.org/2017-concerts/#july-30\" target=\"”_blank”\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Golden Gate Park may be the premier destination this season for euphoric 50th anniversary commemorations of the Summer of Love, but diehard San Franciscans hold a special place in their heart for Stern Grove — that sylvan amphitheater and site of admission-free concerts since 1932.\u003c/p>\n\u003cp>A highlight of the Stern Grove Festival for many is San Francisco Ballet’s mixed program, a diverting change from the formal grandeur of the War Memorial Opera House. No one gives a damn if you spill mayonnaise on your T-shirt, and the occasional wisp of San Francisco fog weaving in and around the magnificent backdrop of redwood and eucalyptus trees only adds a pleasing mystery to the ambiance. The San Francisco Ballet Orchestra sounds just as lush as it does in the opera house, and possibly even more romantic in this setting.\n\u003c/p>\u003c/div>\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>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13532099/three-summer-dance-performances-to-catch-in-grand-spaces","authors":["11206"],"series":["arts_1874"],"categories":["arts_966"],"tags":["arts_1118","arts_1006","arts_596"],"featImg":"arts_13532102","label":"arts_1874"},"arts_13304143":{"type":"posts","id":"arts_13304143","meta":{"index":"posts_1591205157","site":"arts","id":"13304143","score":null,"sort":[1498395634000]},"guestAuthors":[],"slug":"histories-you-wont-want-to-see-repeated","title":"Histories You Won't Want to See Repeated","publishDate":1498395634,"format":"image","headTitle":"Histories You Won’t Want to See Repeated | KQED","labelTerm":{"term":1874,"site":"arts"},"content":"\u003cp>Has it only been 112 years since George Santayana wrote, in \u003cem>The Life of Reason\u003c/em>, “Those who cannot remember the past are condemned to repeat it”? \u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/hot-days-and-summer-nights-guide-2017/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg\" alt=\"\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-13376303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>A well-written, engrossing history can bring the past to life and make it feel like the present, where we still have choices, as opposed to their consequences. While the past as described in these riveting reads cannot be changed, the histories they detail can inform every decision in your future.\u003c/p>\n\u003cp> \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13421484\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/rick-churchill_and_orwell-800x1216.jpg\" alt=\"'Churchill & Orwell: The Fight For Freedom' by Thomas E. Ricks\" width=\"800\" height=\"1216\" class=\"size-medium wp-image-13421484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/rick-churchill_and_orwell-800x1216.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/rick-churchill_and_orwell-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/rick-churchill_and_orwell-768x1167.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/rick-churchill_and_orwell-1020x1550.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/rick-churchill_and_orwell-1180x1793.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/rick-churchill_and_orwell-960x1459.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/rick-churchill_and_orwell-240x365.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/rick-churchill_and_orwell-375x570.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/rick-churchill_and_orwell-520x790.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/rick-churchill_and_orwell.jpg 1484w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Churchill & Orwell: The Fight For Freedom’ by Thomas E. Ricks\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>‘Churchill & Orwell: The Fight For Freedom\u003c/i>\u003c/h3>\n\u003ch5>by Thomas E. Ricks\u003c/h5>\n\u003cp>We remember World War II as a victory for the good guy — a parable of parades and power. But that certainly wasn’t how Churchill saw it. While those in authority tried to negotiate with Germany, he knew that Britain was in peril. Churchill viewed the war as a battle of the supremacy of the state versus the autonomy of the individual. From a very different political perspective – fighting alongside Socialists in Spain – George Orwell also twigged to the import of this battle. He was a fan of Churchill’s and even named the main character in his most important work, \u003cem>1984\u003c/em>, \u003cem>Winston\u003c/em> Smith. It was no coincidence, writes \u003ca href=\"/thomas_e_ricks-2017.mp3\">Thomas E. Ricks\u003c/a>, in \u003cem>Churchill & Orwell: The Fight for Freedom\u003c/em>. Ricks finds the story of an idea — individual freedom at an atomic level — in the page-turning story of a world at peril, both immediately and in implication. Churchill saw what might happen tomorrow; Orwell, the day after. Neither was content to live without acting on what they understood to be true. You won’t either.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13304146\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/graff-raven_rock-800x1216.jpg\" alt=\"'Raven Rock: The Story of the U.S. Government's Secret Plan to Save Itself – While the Rest of Us Die' by Garrett M. Graff\" width=\"800\" height=\"1216\" class=\"size-medium wp-image-13304146\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/graff-raven_rock-800x1216.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/graff-raven_rock-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/graff-raven_rock-768x1167.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/graff-raven_rock-1020x1550.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/graff-raven_rock-1180x1794.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/graff-raven_rock-960x1459.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/graff-raven_rock-240x365.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/graff-raven_rock-375x570.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/graff-raven_rock-520x790.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/graff-raven_rock.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Raven Rock: The Story of the U.S. Government’s Secret Plan to Save Itself – While the Rest of Us Die’ by Garrett M. Graff\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Raven Rock: The Story of the U.S. Government’s Secret Plan to Save Itself – While the Rest of Us Die\u003c/em>\u003c/h3>\n\u003ch5>by Garrett M. Graff\u003c/h5>\n\u003cp>Remember the good old days, when a movie like \u003cem>The Day After\u003c/em>, which offered a hyper-realistic look at the aftereffects of a nuclear strike, could terrify the nation? Alas, those days are back. How did we get to the point where bringing about the end of all life on earth seemed to be a reasonable plan? \u003ca href=\"http://www.bookotron.com/agony/audio/2017/2017-interviews/garrett_m_graff-2017.mp3\" target=\"_blank\" rel=\"noopener noreferrer\">Garrett M. Graff\u003c/a> brings back “duck and cover” with a vengeance in \u003cem>Raven Rock: The Story of the U.S. Government’s Secret Plan to Save Itself – While the Rest of Us Die\u003c/em>. As soon as Hiroshima was destroyed with a single bomb, we realized that the same thing could happen to Washington, D.C. What started out as a means of keeping the government and the populace alive soon abandoned the latter as un-savable and focused the former. Every decision made seems reasonable in the moment. We’re not done with this past; nor, alas, is it done with us.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13304147\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/jeff-guinn-the-road-to-jonestown-800x1208.jpg\" alt=\"'The Road to Jonestown: Jim Jones and People's Temple' by Jeff Guinn\" width=\"800\" height=\"1208\" class=\"size-medium wp-image-13304147\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/jeff-guinn-the-road-to-jonestown-800x1208.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/jeff-guinn-the-road-to-jonestown-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/jeff-guinn-the-road-to-jonestown-768x1160.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/jeff-guinn-the-road-to-jonestown-960x1450.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/jeff-guinn-the-road-to-jonestown-240x362.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/jeff-guinn-the-road-to-jonestown-375x566.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/jeff-guinn-the-road-to-jonestown-520x785.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/jeff-guinn-the-road-to-jonestown.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Road to Jonestown: Jim Jones and People’s Temple’ by Jeff Guinn\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Road to Jonestown: Jim Jones and People’s Temple\u003c/em>\u003c/h3>\n\u003ch5>by Jeff Guinn\u003c/h5>\n\u003cp>Power does not simply corrupt, it perverts. The best intentions get bent in the effort to preserve power, ostensibly so that those good intentions can be carried out. In \u003cem>The Road to Jonestown: Jim Jones and People’s Temple,\u003c/em> biographer \u003ca href=\"http://bookotron.com/agony/audio/2017/2017-interviews/jeff_guinn-2017.mp3\" target=\"_blank\" rel=\"noopener noreferrer\">Jeff Guinn\u003c/a> points out that Jones might have been hailed as a minor hero in the fight for Civil Rights in the 1960s, had he not been carried down the path that ended in Jonestown. Guinn’s powerful psychological portrait shows Jones as he slowly twisted into a narcissistic madman who tested the loyalty of his followers by asking them to drink poison, even before the end. (It was not poison the first time.) Jones created an alternate reality, where he spoke absolute truth and the rest of the world was wrong. The idea of a “cult” may seem like a relic from the 1970s, but the means by which Jones killed his followers are evergreen. This history feel unpleasantly current, a terrifying work of non-fiction horror.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13304150\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/scahill-the-assassination-complex-800x1196.jpg\" alt=\"'The Assassination Complex: Inside the Government's Secret Drone Warfare Program' by Jeremy Scahill\" width=\"800\" height=\"1196\" class=\"size-medium wp-image-13304150\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/scahill-the-assassination-complex-800x1196.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/scahill-the-assassination-complex-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/scahill-the-assassination-complex-768x1148.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/scahill-the-assassination-complex-1020x1525.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/scahill-the-assassination-complex-1180x1764.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/scahill-the-assassination-complex-960x1435.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/scahill-the-assassination-complex-240x359.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/scahill-the-assassination-complex-375x561.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/scahill-the-assassination-complex-520x777.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/scahill-the-assassination-complex.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Assassination Complex: Inside the Government’s Secret Drone Warfare Program’ by Jeremy Scahill\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Assassination Complex: Inside the Government’s Secret Drone Warfare Program\u003c/em>\u003c/h3>\n\u003ch5>by Jeremy Scahill\u003c/h5>\n\u003cp>It would be nice to think there’s an easy answer, a simple, somehow safe solution to the very real threats posed by those whom we choose to call terrorists. Should we be surprised, and even relieved such a solution has presented itself in the form of drones? It’s a weaponized wish come true. From the safety of an underground bunker on American soil, we’re able to target and kill those who would harm us half a world away. In \u003cem>The Assassination Complex: Inside the Government’s Secret Drone Warfare Program\u003c/em>, \u003ca href=\"http://bookotron.com/agony/audio/2016/2016-interviews/jeremy_scahill-2016.mp3\" target=\"_blank\" rel=\"noopener noreferrer\">Jeremy Scahill\u003c/a> and the staff of \u003cem>The Intercept\u003c/em> contemplate the history and the moral calculus used to turn brutal assassinations into almost-anonymous battlefield casualties. Scahill offers a scathing, precise vision of just what is being done, and why it is happening. This is compelling reading for any citizen who wants to trust their government, written with understated power. It’s not simple by any means. It is, by any measure, riveting and important.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13304149\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13304149 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/maximilian-uriarte-white-donkey-800x1223.jpg\" alt=\"\" width=\"800\" height=\"1223\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/maximilian-uriarte-white-donkey-800x1223.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/maximilian-uriarte-white-donkey-160x245.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/maximilian-uriarte-white-donkey-768x1174.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/maximilian-uriarte-white-donkey-1020x1560.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/maximilian-uriarte-white-donkey-1920x2936.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/maximilian-uriarte-white-donkey-1180x1804.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/maximilian-uriarte-white-donkey-960x1468.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/maximilian-uriarte-white-donkey-240x367.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/maximilian-uriarte-white-donkey-375x573.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/maximilian-uriarte-white-donkey-520x795.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/maximilian-uriarte-white-donkey.jpg 2017w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maximilian Uriarte’s The White Donkey cover\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The White Donkey\u003c/em>\u003c/h3>\n\u003ch5>by Maximilian Uriarte\u003c/h5>\n\u003cp>We are pretty damn good, \u003cem>too\u003c/em> damn good, at sending young men and women to die in a war. Why is that? We even get them to \u003cem>sign up\u003c/em>. Obviously something is wrong with this picture. And it is the pictures, the art as well as the stories of \u003ca href=\"http://bookotron.com/agony/audio/2016/2016-interviews/maximilian_uriarte-2016.mp3\" target=\"_blank\" rel=\"noopener noreferrer\">Maximilian Uriarte’s\u003c/a> graphic novel \u003cem>The White Donkey\u003c/em> that conjure for readers a recent history that one simply cannot know unless one has been there. Yes, this is a graphic novel, but Uriarte \u003cem>has\u003c/em> been there, and the ring of truth is long and crystal clear. Not a lot happens here, and that’s the point. War is boring, demeaning scut work interrupted by flashes of violence. This is not the career most of us would choose. It’s going on right now, so technically, it’s not history. But we’re so good at shunting it aside and ignoring it, it might well be. Care to immerse yourself in history as it unfolds?\n\u003c/p>\u003c/div>\n\u003cp>\u003cb>And now a bit of positive history:\u003c/b>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13304148\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/jennifer-ackerman-the-genius-of-birds-800x1227.jpg\" alt=\"'The Genius of Birds' by Jennifer Ackerman\" width=\"800\" height=\"1227\" class=\"size-medium wp-image-13304148\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/jennifer-ackerman-the-genius-of-birds-800x1227.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/jennifer-ackerman-the-genius-of-birds-160x245.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/jennifer-ackerman-the-genius-of-birds-768x1178.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/jennifer-ackerman-the-genius-of-birds-960x1473.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/jennifer-ackerman-the-genius-of-birds-240x368.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/jennifer-ackerman-the-genius-of-birds-375x575.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/jennifer-ackerman-the-genius-of-birds-520x798.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/jennifer-ackerman-the-genius-of-birds.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Genius of Birds’ by Jennifer Ackerman\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Genius of Birds\u003c/em>\u003c/h3>\n\u003ch5>by Jennifer Ackerman\u003c/h5>\n\u003cp>Each of the titles above looks at the past in a manner that will change your vision of the present. For a different literary feeling, pick up \u003ca href=\"http://bookotron.com/agony/audio/2017/2017-interviews/jennifer_ackerman-2017.mp3\" target=\"_blank\" rel=\"noopener noreferrer\">Jennifer Ackerman’s\u003c/a> \u003cem>The Genius of Birds\u003c/em>. Delving into the nascent neuroscience of birds, Ackerman’s book will utterly transform your vision of the world around you. It turns out that birds are much smarter than we ever gave them credit for. Those tiny brains are densely packed with neurons, and they operate in a manner that is fundamentally alien. Crows make complicated tools with hooks and keep them if they work well; chickadees stash seeds and other foods in thousands of hiding places that they can remember for months. We are surrounded in this world, not just by humans and their history, but by beautiful, flying aliens, whose intelligence we ourselves are not smart enough to understand.\n\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"The future might not look very bright, but here are a few history books that can keep us on the straight and narrow.","status":"publish","parent":0,"modified":1705030226,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":1272},"headData":{"title":"Histories You Won't Want to See Repeated | KQED","description":"The future might not look very bright, but here are a few history books that can keep us on the straight and narrow.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Histories You Won't Want to See Repeated","datePublished":"2017-06-25T13:00:34.000Z","dateModified":"2024-01-12T03:30:26.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13304143/histories-you-wont-want-to-see-repeated","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Has it only been 112 years since George Santayana wrote, in \u003cem>The Life of Reason\u003c/em>, “Those who cannot remember the past are condemned to repeat it”? \u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/hot-days-and-summer-nights-guide-2017/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg\" alt=\"\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-13376303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>A well-written, engrossing history can bring the past to life and make it feel like the present, where we still have choices, as opposed to their consequences. While the past as described in these riveting reads cannot be changed, the histories they detail can inform every decision in your future.\u003c/p>\n\u003cp> \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13421484\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/rick-churchill_and_orwell-800x1216.jpg\" alt=\"'Churchill & Orwell: The Fight For Freedom' by Thomas E. Ricks\" width=\"800\" height=\"1216\" class=\"size-medium wp-image-13421484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/rick-churchill_and_orwell-800x1216.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/rick-churchill_and_orwell-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/rick-churchill_and_orwell-768x1167.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/rick-churchill_and_orwell-1020x1550.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/rick-churchill_and_orwell-1180x1793.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/rick-churchill_and_orwell-960x1459.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/rick-churchill_and_orwell-240x365.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/rick-churchill_and_orwell-375x570.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/rick-churchill_and_orwell-520x790.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/rick-churchill_and_orwell.jpg 1484w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Churchill & Orwell: The Fight For Freedom’ by Thomas E. Ricks\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>‘Churchill & Orwell: The Fight For Freedom\u003c/i>\u003c/h3>\n\u003ch5>by Thomas E. Ricks\u003c/h5>\n\u003cp>We remember World War II as a victory for the good guy — a parable of parades and power. But that certainly wasn’t how Churchill saw it. While those in authority tried to negotiate with Germany, he knew that Britain was in peril. Churchill viewed the war as a battle of the supremacy of the state versus the autonomy of the individual. From a very different political perspective – fighting alongside Socialists in Spain – George Orwell also twigged to the import of this battle. He was a fan of Churchill’s and even named the main character in his most important work, \u003cem>1984\u003c/em>, \u003cem>Winston\u003c/em> Smith. It was no coincidence, writes \u003ca href=\"/thomas_e_ricks-2017.mp3\">Thomas E. Ricks\u003c/a>, in \u003cem>Churchill & Orwell: The Fight for Freedom\u003c/em>. Ricks finds the story of an idea — individual freedom at an atomic level — in the page-turning story of a world at peril, both immediately and in implication. Churchill saw what might happen tomorrow; Orwell, the day after. Neither was content to live without acting on what they understood to be true. You won’t either.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13304146\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/graff-raven_rock-800x1216.jpg\" alt=\"'Raven Rock: The Story of the U.S. Government's Secret Plan to Save Itself – While the Rest of Us Die' by Garrett M. Graff\" width=\"800\" height=\"1216\" class=\"size-medium wp-image-13304146\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/graff-raven_rock-800x1216.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/graff-raven_rock-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/graff-raven_rock-768x1167.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/graff-raven_rock-1020x1550.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/graff-raven_rock-1180x1794.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/graff-raven_rock-960x1459.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/graff-raven_rock-240x365.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/graff-raven_rock-375x570.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/graff-raven_rock-520x790.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/graff-raven_rock.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Raven Rock: The Story of the U.S. Government’s Secret Plan to Save Itself – While the Rest of Us Die’ by Garrett M. Graff\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Raven Rock: The Story of the U.S. Government’s Secret Plan to Save Itself – While the Rest of Us Die\u003c/em>\u003c/h3>\n\u003ch5>by Garrett M. Graff\u003c/h5>\n\u003cp>Remember the good old days, when a movie like \u003cem>The Day After\u003c/em>, which offered a hyper-realistic look at the aftereffects of a nuclear strike, could terrify the nation? Alas, those days are back. How did we get to the point where bringing about the end of all life on earth seemed to be a reasonable plan? \u003ca href=\"http://www.bookotron.com/agony/audio/2017/2017-interviews/garrett_m_graff-2017.mp3\" target=\"_blank\" rel=\"noopener noreferrer\">Garrett M. Graff\u003c/a> brings back “duck and cover” with a vengeance in \u003cem>Raven Rock: The Story of the U.S. Government’s Secret Plan to Save Itself – While the Rest of Us Die\u003c/em>. As soon as Hiroshima was destroyed with a single bomb, we realized that the same thing could happen to Washington, D.C. What started out as a means of keeping the government and the populace alive soon abandoned the latter as un-savable and focused the former. Every decision made seems reasonable in the moment. We’re not done with this past; nor, alas, is it done with us.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13304147\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/jeff-guinn-the-road-to-jonestown-800x1208.jpg\" alt=\"'The Road to Jonestown: Jim Jones and People's Temple' by Jeff Guinn\" width=\"800\" height=\"1208\" class=\"size-medium wp-image-13304147\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/jeff-guinn-the-road-to-jonestown-800x1208.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/jeff-guinn-the-road-to-jonestown-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/jeff-guinn-the-road-to-jonestown-768x1160.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/jeff-guinn-the-road-to-jonestown-960x1450.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/jeff-guinn-the-road-to-jonestown-240x362.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/jeff-guinn-the-road-to-jonestown-375x566.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/jeff-guinn-the-road-to-jonestown-520x785.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/jeff-guinn-the-road-to-jonestown.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Road to Jonestown: Jim Jones and People’s Temple’ by Jeff Guinn\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Road to Jonestown: Jim Jones and People’s Temple\u003c/em>\u003c/h3>\n\u003ch5>by Jeff Guinn\u003c/h5>\n\u003cp>Power does not simply corrupt, it perverts. The best intentions get bent in the effort to preserve power, ostensibly so that those good intentions can be carried out. In \u003cem>The Road to Jonestown: Jim Jones and People’s Temple,\u003c/em> biographer \u003ca href=\"http://bookotron.com/agony/audio/2017/2017-interviews/jeff_guinn-2017.mp3\" target=\"_blank\" rel=\"noopener noreferrer\">Jeff Guinn\u003c/a> points out that Jones might have been hailed as a minor hero in the fight for Civil Rights in the 1960s, had he not been carried down the path that ended in Jonestown. Guinn’s powerful psychological portrait shows Jones as he slowly twisted into a narcissistic madman who tested the loyalty of his followers by asking them to drink poison, even before the end. (It was not poison the first time.) Jones created an alternate reality, where he spoke absolute truth and the rest of the world was wrong. The idea of a “cult” may seem like a relic from the 1970s, but the means by which Jones killed his followers are evergreen. This history feel unpleasantly current, a terrifying work of non-fiction horror.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13304150\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/scahill-the-assassination-complex-800x1196.jpg\" alt=\"'The Assassination Complex: Inside the Government's Secret Drone Warfare Program' by Jeremy Scahill\" width=\"800\" height=\"1196\" class=\"size-medium wp-image-13304150\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/scahill-the-assassination-complex-800x1196.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/scahill-the-assassination-complex-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/scahill-the-assassination-complex-768x1148.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/scahill-the-assassination-complex-1020x1525.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/scahill-the-assassination-complex-1180x1764.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/scahill-the-assassination-complex-960x1435.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/scahill-the-assassination-complex-240x359.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/scahill-the-assassination-complex-375x561.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/scahill-the-assassination-complex-520x777.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/scahill-the-assassination-complex.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Assassination Complex: Inside the Government’s Secret Drone Warfare Program’ by Jeremy Scahill\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Assassination Complex: Inside the Government’s Secret Drone Warfare Program\u003c/em>\u003c/h3>\n\u003ch5>by Jeremy Scahill\u003c/h5>\n\u003cp>It would be nice to think there’s an easy answer, a simple, somehow safe solution to the very real threats posed by those whom we choose to call terrorists. Should we be surprised, and even relieved such a solution has presented itself in the form of drones? It’s a weaponized wish come true. From the safety of an underground bunker on American soil, we’re able to target and kill those who would harm us half a world away. In \u003cem>The Assassination Complex: Inside the Government’s Secret Drone Warfare Program\u003c/em>, \u003ca href=\"http://bookotron.com/agony/audio/2016/2016-interviews/jeremy_scahill-2016.mp3\" target=\"_blank\" rel=\"noopener noreferrer\">Jeremy Scahill\u003c/a> and the staff of \u003cem>The Intercept\u003c/em> contemplate the history and the moral calculus used to turn brutal assassinations into almost-anonymous battlefield casualties. Scahill offers a scathing, precise vision of just what is being done, and why it is happening. This is compelling reading for any citizen who wants to trust their government, written with understated power. It’s not simple by any means. It is, by any measure, riveting and important.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13304149\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13304149 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/maximilian-uriarte-white-donkey-800x1223.jpg\" alt=\"\" width=\"800\" height=\"1223\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/maximilian-uriarte-white-donkey-800x1223.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/maximilian-uriarte-white-donkey-160x245.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/maximilian-uriarte-white-donkey-768x1174.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/maximilian-uriarte-white-donkey-1020x1560.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/maximilian-uriarte-white-donkey-1920x2936.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/maximilian-uriarte-white-donkey-1180x1804.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/maximilian-uriarte-white-donkey-960x1468.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/maximilian-uriarte-white-donkey-240x367.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/maximilian-uriarte-white-donkey-375x573.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/maximilian-uriarte-white-donkey-520x795.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/maximilian-uriarte-white-donkey.jpg 2017w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maximilian Uriarte’s The White Donkey cover\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The White Donkey\u003c/em>\u003c/h3>\n\u003ch5>by Maximilian Uriarte\u003c/h5>\n\u003cp>We are pretty damn good, \u003cem>too\u003c/em> damn good, at sending young men and women to die in a war. Why is that? We even get them to \u003cem>sign up\u003c/em>. Obviously something is wrong with this picture. And it is the pictures, the art as well as the stories of \u003ca href=\"http://bookotron.com/agony/audio/2016/2016-interviews/maximilian_uriarte-2016.mp3\" target=\"_blank\" rel=\"noopener noreferrer\">Maximilian Uriarte’s\u003c/a> graphic novel \u003cem>The White Donkey\u003c/em> that conjure for readers a recent history that one simply cannot know unless one has been there. Yes, this is a graphic novel, but Uriarte \u003cem>has\u003c/em> been there, and the ring of truth is long and crystal clear. Not a lot happens here, and that’s the point. War is boring, demeaning scut work interrupted by flashes of violence. This is not the career most of us would choose. It’s going on right now, so technically, it’s not history. But we’re so good at shunting it aside and ignoring it, it might well be. Care to immerse yourself in history as it unfolds?\n\u003c/p>\u003c/div>\n\u003cp>\u003cb>And now a bit of positive history:\u003c/b>\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13304148\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/jennifer-ackerman-the-genius-of-birds-800x1227.jpg\" alt=\"'The Genius of Birds' by Jennifer Ackerman\" width=\"800\" height=\"1227\" class=\"size-medium wp-image-13304148\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/jennifer-ackerman-the-genius-of-birds-800x1227.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/jennifer-ackerman-the-genius-of-birds-160x245.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/jennifer-ackerman-the-genius-of-birds-768x1178.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/jennifer-ackerman-the-genius-of-birds-960x1473.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/jennifer-ackerman-the-genius-of-birds-240x368.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/jennifer-ackerman-the-genius-of-birds-375x575.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/jennifer-ackerman-the-genius-of-birds-520x798.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/jennifer-ackerman-the-genius-of-birds.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Genius of Birds’ by Jennifer Ackerman\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Genius of Birds\u003c/em>\u003c/h3>\n\u003ch5>by Jennifer Ackerman\u003c/h5>\n\u003cp>Each of the titles above looks at the past in a manner that will change your vision of the present. For a different literary feeling, pick up \u003ca href=\"http://bookotron.com/agony/audio/2017/2017-interviews/jennifer_ackerman-2017.mp3\" target=\"_blank\" rel=\"noopener noreferrer\">Jennifer Ackerman’s\u003c/a> \u003cem>The Genius of Birds\u003c/em>. Delving into the nascent neuroscience of birds, Ackerman’s book will utterly transform your vision of the world around you. It turns out that birds are much smarter than we ever gave them credit for. Those tiny brains are densely packed with neurons, and they operate in a manner that is fundamentally alien. Crows make complicated tools with hooks and keep them if they work well; chickadees stash seeds and other foods in thousands of hiding places that they can remember for months. We are surrounded in this world, not just by humans and their history, but by beautiful, flying aliens, whose intelligence we ourselves are not smart enough to understand.\n\u003c/p>\u003c/div>\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/13304143/histories-you-wont-want-to-see-repeated","authors":["88"],"series":["arts_1874"],"categories":["arts_73"],"tags":["arts_1118","arts_1006","arts_596"],"featImg":"arts_13304153","label":"arts_1874"},"arts_13480250":{"type":"posts","id":"arts_13480250","meta":{"index":"posts_1591205157","site":"arts","id":"13480250","score":null,"sort":[1498168816000]},"guestAuthors":[],"slug":"four-epic-public-squares-and-what-to-do-in-them","title":"Four Epic Public Squares and What to Do in Them","publishDate":1498168816,"format":"image","headTitle":"Four Epic Public Squares and What to Do in Them | KQED","labelTerm":{"term":1874,"site":"arts"},"content":"\u003cp>In April of last year, the normally business-friendly Santa Rosa City Council did something unusual: it voted to eliminate part of Mendocino Avenue — which since the mid-1960s had bisected the city’s central plaza, Old Courthouse Square, with heavy traffic — and decided to \u003ca href=\"https://www.facebook.com/notes/gabe-meline/the-calm-of-courthouse-square/10154599805953660/\" target=\"_blank\" rel=\"noopener\">replace it with grass, benches, public art and open space\u003c/a>. The project’s vision veers even further from car-first: “Reunifying Courthouse Square is about building an urban park and a gathering space in the heart of Santa Rosa,” reads the \u003ca href=\"http://srcity.org/1385/Old-Courthouse-Square-Master-Plan\" target=\"_blank\" rel=\"noopener\">master plan\u003c/a>. “We are not building a parking lot.” \u003c/p>\n\u003cp>It might be a while before Santa Rosa turns into Greenwich Village. But the ideas reflected by the Santa Rosa City Council run deep; historically, culturally, and democratically. At a time when profits are valued over social concerns, and the internet acts like a vacuum cleaner on people’s brains, the concepts of public gathering, quiet contemplation, simple play, and moving through fresh air become more and more radical. \u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/hot-days-and-summer-nights-guide-2017/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg\" alt=\"\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-13376303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Thankfully, the Bay Area has a nice array of public squares in which to sit, think, and stroll—essentially, to challenge yourself to do “nothing.” What is nothing? How much nothing is it possible to do? (Answer: nothing is nothing. Go sit in a park and chew on it.) A wonderful amount of said nothing may be done at one or all of these epic public squares. Sure, have some ice cream in Healdsburg or pizza in Santa Rosa if you want, but also consider that it’s possible to enjoy public space, reimagine the city and appreciate your fellow individuals, all without spending a dime. \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13489031\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Healdsburg_Califirnia_8526213231-800x450.jpg\" alt=\"Healdsburg\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13489031\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Healdsburg_Califirnia_8526213231-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Healdsburg_Califirnia_8526213231-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Healdsburg_Califirnia_8526213231-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Healdsburg_Califirnia_8526213231-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Healdsburg_Califirnia_8526213231-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Healdsburg_Califirnia_8526213231.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Healdsburg_Califirnia_8526213231-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Healdsburg_Califirnia_8526213231-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Healdsburg_Califirnia_8526213231-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Healdsburg \u003ccite>(Clay Gilliland/Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Healdsburg Plaza\u003c/h3>\n\u003ch5>Healdsburg\u003c/h5>\n\u003cp>\u003cem>Travel and Leisure\u003c/em> magazine recently named Healdsburg’s plaza one of America’s Most Beautiful Town Squares. That may be because, while some North Americans still have a hard time with relaxation, immigrants from former Spanish colonial cities can show us proper square lounging, picnicking, and strolling. In Mexico, particularly, people have skillfully taken up the ways of long-ago European invaders, who brought \u003cem>platz\u003c/em> and \u003cem>plaza\u003c/em> with them (think Puebla or Oaxaca). In Healdsburg, residents from many different places and their descendants can be seen meditating, philosophizing, socializing, and watching their children tire themselves out quite often, in ways uptight Americans haven’t quite caught onto yet. (Fellow uptight Americans, we must put our shoulder to the wheel on this one. Let’s plaza better!) \u003c/p>\n\u003cp>Healdsburg Plaza has a secret, too, according to \u003ca href=\"http://www.janejacobswalk.org/about-jane-jacobs-walk/meet-jane-jacobs/\" target=\"_blank\" rel=\"noopener\">journalist Jane Jacobs\u003c/a>: “Good small parks typically have a place somewhere within them commonly understood to be the center.” Although a visitor may never consciously notice the gazebo, she says, it creates a circle around itself, which often incongruously doubles as “a circular arena, a theater in the round, and that is how it is used, with complete confusion as to who are spectators and who are the show.” Unconscious, controlled chaos: not available online.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13489185\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Portsmouth-Square-Transamerica-800x600.jpg\" alt=\"Portsmouth Square\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13489185\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Portsmouth-Square-Transamerica-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Portsmouth-Square-Transamerica-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Portsmouth-Square-Transamerica-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Portsmouth-Square-Transamerica-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Portsmouth-Square-Transamerica-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Portsmouth-Square-Transamerica-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Portsmouth-Square-Transamerica-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Portsmouth-Square-Transamerica-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Portsmouth-Square-Transamerica-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Portsmouth-Square-Transamerica.jpg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Portsmouth Square \u003ccite>(Hiya Swanhuyser)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Portsmouth Square\u003c/h3>\n\u003ch5>San Francisco\u003c/h5>\n\u003cp>Portsmouth Square is the heart of Chinatown and the historical root of San Francisco. It’s also alive night and day, a quality Jane Jacobs emphasizes particularly in \u003cem>The Death and The Life of Great American Cities\u003c/em>: “The basic requisite (for the health and safety of a given district) is a substantial quantity of stores and other public places sprinkled along the sidewalks of a district; enterprises and public places that are used by evening and night must be among them especially.” More symbolically, the square is also watched over by the Goddess of Democracy, a replica of the original which stood in Tiananmen Square — another crucial public square. Portsmouth’s multi-level, multicultural square even has a little skyway, unique in the region, which connects it to the Chinese Cultural Center. First known as Yerba Buena Plaza (which I can personally date to 1836, but which may have been there even longer), Portsmouth Square is awash in historical markers: one in memorial to Robert Louis Stevenson, one for the first U.S. flag hoisted in San Francisco, and one honoring the very first California public school, opened on the square’s southwest corner. \u003c/p>\n\u003cp>As has been \u003ca href=\"https://www.yelp.com/biz/portsmouth-square-san-francisco\" target=\"_blank\" rel=\"noopener\">noted many times\u003c/a>, people play games here. A recent visit confirmed this: throughout the park were a dozen or so knots of people gathered to play cards. Upturned cardboard boxes served as tables, and plastic juice bottles (mango a popular choice) held down the discard pile. Players seemed to have brought camp chairs, but many also perched on low cement walls. One group of intense young white people ran around strafing one another with paint guns, screaming “I got you!” And of course, women practiced tai chi. Is there any organized public activity with so many contradictions? (The group I saw was particularly graceful and synchronized, but I get it: if it’s your mom in there, it can look awkward. On the other hand, tai chi is slowed down kung fu, so it has some badass characteristics as well. And staying healthy, while connecting with your neighbors, for free? That’s downright activist. It’s like, cool, yet also the definition of uncool. But I digress. If you think you’ll need to sit and ponder all this, I suggest the pedestrian walkway’s large benches, which are sometimes wind-sheltered, and are often surprisingly quiet and calm.)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13489035\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Sonoma_City_Hall-800x593.jpg\" alt=\"\" width=\"800\" height=\"593\" class=\"size-medium wp-image-13489035\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sonoma_City_Hall-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sonoma_City_Hall-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sonoma_City_Hall-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sonoma_City_Hall-1020x756.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sonoma_City_Hall-1180x875.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sonoma_City_Hall-960x712.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sonoma_City_Hall-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sonoma_City_Hall-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sonoma_City_Hall-520x385.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sonoma_City_Hall.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sonoma City Hall \u003ccite>(Cory Maylett/Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Sonoma Plaza\u003c/h3>\n\u003ch5>Sonoma\u003c/h5>\n\u003cp>It’s hyper-gentrified, yes, but this gorgeous square is a wine country icon. Some critics have complained that it’s too big. At eight acres, it’s the biggest public square in the state. (Critics can go to Healdsburg if that’s their issue — it’s little over one acre.) Sonoma’s public square is surrounded by amazing old buildings, contains several different fountains, and has a solid birding community, who offer a \u003ca href=\"http://www.sonomabirding.com/sonoma-plaza-tree-tour/\" target=\"_blank\" rel=\"noopener\">self-guided tree tour\u003c/a>. It’s a lot like Healdsburg’s plaza, except Sonoma’s plaza hosts the Sonoma International Film Festival at the Sebastiani Theater, right on the square! Yeah! (And Healdsburg thinks it’s so great with its fancy magazine awards.)\u003c/p>\n\u003cp>Seriously though, it can be a little difficult to be a true buy-nothing meanderer here, because the town of Sonoma is really good at separating fools from their money. The square is: a) enchanting and b) incredibly expensive. Good luck not blowing your paycheck out there.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13489228\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Courthouse-Square-Fourth-Street-800x600.jpg\" alt=\"Courthouse Square\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13489228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Courthouse-Square-Fourth-Street-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Courthouse-Square-Fourth-Street-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Courthouse-Square-Fourth-Street-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Courthouse-Square-Fourth-Street-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Courthouse-Square-Fourth-Street-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Courthouse-Square-Fourth-Street-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Courthouse-Square-Fourth-Street-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Courthouse-Square-Fourth-Street-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Courthouse-Square-Fourth-Street-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Courthouse-Square-Fourth-Street.jpg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Courthouse Square \u003ccite>(Jonathan Hunt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Courthouse Square\u003c/h3>\n\u003ch5>Santa Rosa\u003c/h5>\n\u003cp>Town squares in California are mostly historic, so by their nature they’re a collision of old and new. Santa Rosa’s newly and wholeheartedly reunited Courthouse Square is no exception. On a recent afternoon, few people used the square, although ten or so youngish visitors, traveling in pods of two or three, seemed to be playing an app form of geocaching. It’s very flat, as disgruntled locals have pointed out. It’s small, and with the \u003ca href=\"https://ww2.kqed.org/arts/2016/06/09/ruth-asawa-fountain-delicately-removed-preserved-in-santa-rosa/\" target=\"_blank\" rel=\"noopener\">Ruth Asawa fountain not yet re-installed\u003c/a>, a bunch of mature trees removed, and a lot of level cement and grass, it feels odd, for sure. But the city is behind the square 100 percent, which is good, and its leaders seem to have plans for the future. \u003c/p>\n\u003cp>At the recent grand opening ceremony, Mayor Chris Coursey pointed out that the project and its singular design didn’t just spring out of nowhere. “This has been a community effort for a quarter of a century,” he told the crowd, “and it needs to be recognized as a community accomplishment.” Personally, I notice the square is midway between the movie theater and a new, huge (like Midwest-huge) pizza restaurant, and figure that in addition to everything else, Santa Rosa teenagers now have a reliable, simple, potentially cheap, and seriously fun date night all mapped out. Maybe that isn’t activism, exactly, but making central spaces public for older kids points right at a healthy city, if you ask me. No need to take my word for it, though: local historian Gaye LeBaron spoke at the opening ceremonies as well, and pointed out that Julio Carrillo, the son of Spanish settlers and the city’s “first citizen” (except for, you know, the Bitakomtara Pomo) who helped plot out the city in the 1800s, thought there “Should be a plaza in the middle, in the Spanish tradition, and ‘A place to promenade on summer Saturday evenings.’”\n\u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Public squares aren't just for tourists — they're for all citizens. Let's look at a few of the Bay Area's best central meeting spaces, which can be utilized for all sorts of activities.","status":"publish","parent":0,"modified":1705030250,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":1461},"headData":{"title":"Four Epic Public Squares and What to Do in Them | KQED","description":"Public squares aren't just for tourists — they're for all citizens. Let's look at a few of the Bay Area's best central meeting spaces, which can be utilized for all sorts of activities.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Four Epic Public Squares and What to Do in Them","datePublished":"2017-06-22T22:00:16.000Z","dateModified":"2024-01-12T03:30:50.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13480250/four-epic-public-squares-and-what-to-do-in-them","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In April of last year, the normally business-friendly Santa Rosa City Council did something unusual: it voted to eliminate part of Mendocino Avenue — which since the mid-1960s had bisected the city’s central plaza, Old Courthouse Square, with heavy traffic — and decided to \u003ca href=\"https://www.facebook.com/notes/gabe-meline/the-calm-of-courthouse-square/10154599805953660/\" target=\"_blank\" rel=\"noopener\">replace it with grass, benches, public art and open space\u003c/a>. The project’s vision veers even further from car-first: “Reunifying Courthouse Square is about building an urban park and a gathering space in the heart of Santa Rosa,” reads the \u003ca href=\"http://srcity.org/1385/Old-Courthouse-Square-Master-Plan\" target=\"_blank\" rel=\"noopener\">master plan\u003c/a>. “We are not building a parking lot.” \u003c/p>\n\u003cp>It might be a while before Santa Rosa turns into Greenwich Village. But the ideas reflected by the Santa Rosa City Council run deep; historically, culturally, and democratically. At a time when profits are valued over social concerns, and the internet acts like a vacuum cleaner on people’s brains, the concepts of public gathering, quiet contemplation, simple play, and moving through fresh air become more and more radical. \u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/hot-days-and-summer-nights-guide-2017/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg\" alt=\"\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-13376303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Thankfully, the Bay Area has a nice array of public squares in which to sit, think, and stroll—essentially, to challenge yourself to do “nothing.” What is nothing? How much nothing is it possible to do? (Answer: nothing is nothing. Go sit in a park and chew on it.) A wonderful amount of said nothing may be done at one or all of these epic public squares. Sure, have some ice cream in Healdsburg or pizza in Santa Rosa if you want, but also consider that it’s possible to enjoy public space, reimagine the city and appreciate your fellow individuals, all without spending a dime. \u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13489031\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Healdsburg_Califirnia_8526213231-800x450.jpg\" alt=\"Healdsburg\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13489031\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Healdsburg_Califirnia_8526213231-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Healdsburg_Califirnia_8526213231-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Healdsburg_Califirnia_8526213231-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Healdsburg_Califirnia_8526213231-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Healdsburg_Califirnia_8526213231-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Healdsburg_Califirnia_8526213231.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Healdsburg_Califirnia_8526213231-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Healdsburg_Califirnia_8526213231-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Healdsburg_Califirnia_8526213231-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Healdsburg \u003ccite>(Clay Gilliland/Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Healdsburg Plaza\u003c/h3>\n\u003ch5>Healdsburg\u003c/h5>\n\u003cp>\u003cem>Travel and Leisure\u003c/em> magazine recently named Healdsburg’s plaza one of America’s Most Beautiful Town Squares. That may be because, while some North Americans still have a hard time with relaxation, immigrants from former Spanish colonial cities can show us proper square lounging, picnicking, and strolling. In Mexico, particularly, people have skillfully taken up the ways of long-ago European invaders, who brought \u003cem>platz\u003c/em> and \u003cem>plaza\u003c/em> with them (think Puebla or Oaxaca). In Healdsburg, residents from many different places and their descendants can be seen meditating, philosophizing, socializing, and watching their children tire themselves out quite often, in ways uptight Americans haven’t quite caught onto yet. (Fellow uptight Americans, we must put our shoulder to the wheel on this one. Let’s plaza better!) \u003c/p>\n\u003cp>Healdsburg Plaza has a secret, too, according to \u003ca href=\"http://www.janejacobswalk.org/about-jane-jacobs-walk/meet-jane-jacobs/\" target=\"_blank\" rel=\"noopener\">journalist Jane Jacobs\u003c/a>: “Good small parks typically have a place somewhere within them commonly understood to be the center.” Although a visitor may never consciously notice the gazebo, she says, it creates a circle around itself, which often incongruously doubles as “a circular arena, a theater in the round, and that is how it is used, with complete confusion as to who are spectators and who are the show.” Unconscious, controlled chaos: not available online.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13489185\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Portsmouth-Square-Transamerica-800x600.jpg\" alt=\"Portsmouth Square\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13489185\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Portsmouth-Square-Transamerica-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Portsmouth-Square-Transamerica-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Portsmouth-Square-Transamerica-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Portsmouth-Square-Transamerica-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Portsmouth-Square-Transamerica-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Portsmouth-Square-Transamerica-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Portsmouth-Square-Transamerica-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Portsmouth-Square-Transamerica-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Portsmouth-Square-Transamerica-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Portsmouth-Square-Transamerica.jpg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Portsmouth Square \u003ccite>(Hiya Swanhuyser)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Portsmouth Square\u003c/h3>\n\u003ch5>San Francisco\u003c/h5>\n\u003cp>Portsmouth Square is the heart of Chinatown and the historical root of San Francisco. It’s also alive night and day, a quality Jane Jacobs emphasizes particularly in \u003cem>The Death and The Life of Great American Cities\u003c/em>: “The basic requisite (for the health and safety of a given district) is a substantial quantity of stores and other public places sprinkled along the sidewalks of a district; enterprises and public places that are used by evening and night must be among them especially.” More symbolically, the square is also watched over by the Goddess of Democracy, a replica of the original which stood in Tiananmen Square — another crucial public square. Portsmouth’s multi-level, multicultural square even has a little skyway, unique in the region, which connects it to the Chinese Cultural Center. First known as Yerba Buena Plaza (which I can personally date to 1836, but which may have been there even longer), Portsmouth Square is awash in historical markers: one in memorial to Robert Louis Stevenson, one for the first U.S. flag hoisted in San Francisco, and one honoring the very first California public school, opened on the square’s southwest corner. \u003c/p>\n\u003cp>As has been \u003ca href=\"https://www.yelp.com/biz/portsmouth-square-san-francisco\" target=\"_blank\" rel=\"noopener\">noted many times\u003c/a>, people play games here. A recent visit confirmed this: throughout the park were a dozen or so knots of people gathered to play cards. Upturned cardboard boxes served as tables, and plastic juice bottles (mango a popular choice) held down the discard pile. Players seemed to have brought camp chairs, but many also perched on low cement walls. One group of intense young white people ran around strafing one another with paint guns, screaming “I got you!” And of course, women practiced tai chi. Is there any organized public activity with so many contradictions? (The group I saw was particularly graceful and synchronized, but I get it: if it’s your mom in there, it can look awkward. On the other hand, tai chi is slowed down kung fu, so it has some badass characteristics as well. And staying healthy, while connecting with your neighbors, for free? That’s downright activist. It’s like, cool, yet also the definition of uncool. But I digress. If you think you’ll need to sit and ponder all this, I suggest the pedestrian walkway’s large benches, which are sometimes wind-sheltered, and are often surprisingly quiet and calm.)\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13489035\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Sonoma_City_Hall-800x593.jpg\" alt=\"\" width=\"800\" height=\"593\" class=\"size-medium wp-image-13489035\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sonoma_City_Hall-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sonoma_City_Hall-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sonoma_City_Hall-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sonoma_City_Hall-1020x756.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sonoma_City_Hall-1180x875.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sonoma_City_Hall-960x712.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sonoma_City_Hall-240x178.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sonoma_City_Hall-375x278.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sonoma_City_Hall-520x385.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Sonoma_City_Hall.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sonoma City Hall \u003ccite>(Cory Maylett/Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Sonoma Plaza\u003c/h3>\n\u003ch5>Sonoma\u003c/h5>\n\u003cp>It’s hyper-gentrified, yes, but this gorgeous square is a wine country icon. Some critics have complained that it’s too big. At eight acres, it’s the biggest public square in the state. (Critics can go to Healdsburg if that’s their issue — it’s little over one acre.) Sonoma’s public square is surrounded by amazing old buildings, contains several different fountains, and has a solid birding community, who offer a \u003ca href=\"http://www.sonomabirding.com/sonoma-plaza-tree-tour/\" target=\"_blank\" rel=\"noopener\">self-guided tree tour\u003c/a>. It’s a lot like Healdsburg’s plaza, except Sonoma’s plaza hosts the Sonoma International Film Festival at the Sebastiani Theater, right on the square! Yeah! (And Healdsburg thinks it’s so great with its fancy magazine awards.)\u003c/p>\n\u003cp>Seriously though, it can be a little difficult to be a true buy-nothing meanderer here, because the town of Sonoma is really good at separating fools from their money. The square is: a) enchanting and b) incredibly expensive. Good luck not blowing your paycheck out there.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13489228\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Courthouse-Square-Fourth-Street-800x600.jpg\" alt=\"Courthouse Square\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13489228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Courthouse-Square-Fourth-Street-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Courthouse-Square-Fourth-Street-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Courthouse-Square-Fourth-Street-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Courthouse-Square-Fourth-Street-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Courthouse-Square-Fourth-Street-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Courthouse-Square-Fourth-Street-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Courthouse-Square-Fourth-Street-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Courthouse-Square-Fourth-Street-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Courthouse-Square-Fourth-Street-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Courthouse-Square-Fourth-Street.jpg 1632w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Courthouse Square \u003ccite>(Jonathan Hunt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Courthouse Square\u003c/h3>\n\u003ch5>Santa Rosa\u003c/h5>\n\u003cp>Town squares in California are mostly historic, so by their nature they’re a collision of old and new. Santa Rosa’s newly and wholeheartedly reunited Courthouse Square is no exception. On a recent afternoon, few people used the square, although ten or so youngish visitors, traveling in pods of two or three, seemed to be playing an app form of geocaching. It’s very flat, as disgruntled locals have pointed out. It’s small, and with the \u003ca href=\"https://ww2.kqed.org/arts/2016/06/09/ruth-asawa-fountain-delicately-removed-preserved-in-santa-rosa/\" target=\"_blank\" rel=\"noopener\">Ruth Asawa fountain not yet re-installed\u003c/a>, a bunch of mature trees removed, and a lot of level cement and grass, it feels odd, for sure. But the city is behind the square 100 percent, which is good, and its leaders seem to have plans for the future. \u003c/p>\n\u003cp>At the recent grand opening ceremony, Mayor Chris Coursey pointed out that the project and its singular design didn’t just spring out of nowhere. “This has been a community effort for a quarter of a century,” he told the crowd, “and it needs to be recognized as a community accomplishment.” Personally, I notice the square is midway between the movie theater and a new, huge (like Midwest-huge) pizza restaurant, and figure that in addition to everything else, Santa Rosa teenagers now have a reliable, simple, potentially cheap, and seriously fun date night all mapped out. Maybe that isn’t activism, exactly, but making central spaces public for older kids points right at a healthy city, if you ask me. No need to take my word for it, though: local historian Gaye LeBaron spoke at the opening ceremonies as well, and pointed out that Julio Carrillo, the son of Spanish settlers and the city’s “first citizen” (except for, you know, the Bitakomtara Pomo) who helped plot out the city in the 1800s, thought there “Should be a plaza in the middle, in the Spanish tradition, and ‘A place to promenade on summer Saturday evenings.’”\n\u003c/p>\u003c/div>\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/13480250/four-epic-public-squares-and-what-to-do-in-them","authors":["8641"],"series":["arts_1874"],"categories":["arts_1","arts_835"],"tags":["arts_1118","arts_1006","arts_596"],"featImg":"arts_13488606","label":"arts_1874"},"arts_13377113":{"type":"posts","id":"arts_13377113","meta":{"index":"posts_1591205157","site":"arts","id":"13377113","score":null,"sort":[1497563636000]},"guestAuthors":[],"slug":"lets-drink-scenic-water-fountains-and-why-its-radical-to-use-them","title":"Let’s Drink: Scenic Water Fountains and Why It’s Radical to Use Them","publishDate":1497563636,"format":"image","headTitle":"Let’s Drink: Scenic Water Fountains and Why It’s Radical to Use Them | KQED","labelTerm":{"term":1874,"site":"arts"},"content":"\u003cp>In 2005, Nestlé Group CEO Peter Brabeck was filmed saying, “The one opinion [is that] water is a public right. That as a human being you should have a right to water. That’s an extreme solution. And the other says that … it should have a market value.”\u003c/p>\n\u003cp>When the clip of his statement hit the internet, people freaked out, and then got to thinking about single-use bottles of water. They’re made of oil, they don’t biodegrade, and they cost money — ridiculous when you consider that people already pay taxes for water infrastructure. Since that realization, there have been some awesome changes: now lots of people carry reusable water bottles, and bottle-filling stations are popping up all over. And as the American public learned from the water protectors of the Standing Rock Lakota and Dakota last year: Mni Wiconi! Water Is Life!\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/hot-days-and-summer-nights-guide-2017/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg\" alt=\"\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-13376303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Thus, in your ongoing fight for your right to water, consider the humble water fountain. While on the surface they’re wildly uninteresting, drinking fountains steadfastly represent the idea that water is free and a human right.\u003c/p>\n\u003cp>“Wait,” you may be thinking. “Drinking fountains are dirty.” People think this, and say it, all the time. “Drinking fountains.” “Are dirty.” Only… they’re not.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Between 1971 and 2006, over 80 percent of deficiencies connected to drinking water-related outbreaks in the United States were caused by broad, systemic problems,” not site-specific contamination, wrote Rapichan Phurisamban and Peter Gleick in their \u003ca href=\"http://pacinst.org/publication/drinking-fountains-public-health-improving-national-water-infrastructure-rebuild-trust-ensure-access/\" target=\"_blank\" rel=\"noopener\">2017 study for the Pacific Institute\u003c/a>, a global water think tank.\u003c/p>\n\u003cp>That’s nerd-speak for “drinking fountains aren’t dirty.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The authors recommended a large increase in the number of public drinking fountains, partly to solve the problem of single-use bottles. So in a virtual trip around the Bay Area, let’s go out and find a few — with awesome views.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13377121\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/TamRockFountainPpl-800x600.jpg\" alt=\"Some dudes walking by a fountain at Mt. Tamalpais\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13377121\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TamRockFountainPpl-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TamRockFountainPpl-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TamRockFountainPpl-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TamRockFountainPpl-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TamRockFountainPpl.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TamRockFountainPpl-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TamRockFountainPpl-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TamRockFountainPpl-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TamRockFountainPpl-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TamRockFountainPpl-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Some dudes walking by a fountain at Mt. Tamalpais \u003ccite>(Jonathan Hunt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A Coterie of Drinking Fountains on Top of Mt. Tamalpais\u003c/h3>\n\u003cp>The drinking fountain scene at Mt. Tam is off the hook! It’s a clean, free-hydration festival up there. Visitors can choose between the awkwardly charming rockwork one, which faces the always-closed visitor center and features a vintage pet-watering setup (a metal bowl set under an ankle-level hose bib — rustic!) Or there’s a classic Haws stainless duo with great water pressure overlooking the trailhead, though you may have to fight a bike guy to get to it (in my mind, that’s a bonus). For the iconoclast, there’s even a hard-to-carbon-date green metal fountain by the awesome Gravity Car museum. Again, great water pressure, with a view of, to be honest, some oak trees, but only a few steps away the stunningly verdant Marin woods.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13377122\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/SFZoofountain-800x800.jpg\" alt=\"Fountain at the SF Zoo, not a giraffe butt in sight\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13377122\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFZoofountain-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFZoofountain-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFZoofountain-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFZoofountain-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFZoofountain-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFZoofountain-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFZoofountain-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFZoofountain-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFZoofountain-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFZoofountain-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFZoofountain-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFZoofountain-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFZoofountain-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFZoofountain-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFZoofountain-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFZoofountain.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fountain at the SF Zoo, not a giraffe butt in sight \u003ccite>(Jonathan Hunt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Drinking Fountain From Which You Can See A Giraffe’s Butt\u003c/h3>\n\u003cp>I swear you can see a whole series of very tall butts while actually drinking from this fountain. They’re animals, though, so of course they moved as soon as I took this picture. Point is, there are drinking fountains all over the zoo, and it means you can go there with as many children as you want, as most people do. Zoos are complicated, and not all the animals at the San Francisco Zoo look happy, or as if they have enough room to replicate their natural habitat. But on the other hand, it’s completely spectacular to actually see a lion, tiger, or bear. Or a yawning hippo, an actual yawning hippo. Or there’s the animals who \u003cem>do\u003c/em> look happy, smug even, like the lemurs, who loll around in the largest outdoor lemur forest in the U.S. While you’re drinking the water, looking at the giraffe’s butt, remember: don’t taunt the animals.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13377127\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/OceanBeachFountainAlone-800x600.jpg\" alt=\"Fountain at Ocean Beach\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13377127\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/OceanBeachFountainAlone-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/OceanBeachFountainAlone-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/OceanBeachFountainAlone-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/OceanBeachFountainAlone-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/OceanBeachFountainAlone.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/OceanBeachFountainAlone-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/OceanBeachFountainAlone-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/OceanBeachFountainAlone-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/OceanBeachFountainAlone-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/OceanBeachFountainAlone-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fountain at Ocean Beach \u003ccite>(Jonathan Hunt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Drinking Fountain on the Great Highway\u003c/h3>\n\u003cp>Beach drinking fountains are typically not that glamorous. In that way they’re a lot like their buddies, beach bathrooms. However — and I’m sorry to do this to you — but try to imagine life without them. Imagine no bathrooms or free drinking water at the beach. It’s not pretty. But if that would-be evil overlord at Nestlé and his cronies (who could they be?) have their way, beach drinking fountains and and all other drinking fountains could go the way of the federally funded highway rest stop. You know, the kind that always had drinking fountains.\u003c/p>\n\u003cp>Ahem, where were we? Oh right: at the drinking fountain in the Ocean Beach parking lot at Sloat. This is a 1980s-type cement model, as grey as the sky, and intermittently covered in beige pebbling. And here’s the thing: It doesn’t work. Although a recent independent investigation by a passing family and dog showed clearly that water was leaking all over the place, neither this stalwart fountain, standing ever ready to serve, nor its trusty upstanding partner the beach shower/foot rinsing station are functional. The shower is even capped. As we can imagine the thirsty Black Lab in this investigation was thinking, “WTH?”\u003c/p>\n\u003cp>If anyone finds a drinking fountain out of order in San Francisco, they should contact the official city get-‘er-done service, 311! Phone (415) 701-2311 or reach out on the web at \u003ca href=\"https://www.sf311.org/\" target=\"_blank\" rel=\"noopener\">sf311.org\u003c/a>. Plus, there’s a mobile app everybody should have anyway.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13377123\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/BatteryTownsleyFountainHS-800x600.jpg\" alt=\"Putting the fountain near Rodeo Beach to use\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13377123\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/BatteryTownsleyFountainHS-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/BatteryTownsleyFountainHS-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/BatteryTownsleyFountainHS-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/BatteryTownsleyFountainHS-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/BatteryTownsleyFountainHS.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/BatteryTownsleyFountainHS-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/BatteryTownsleyFountainHS-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/BatteryTownsleyFountainHS-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/BatteryTownsleyFountainHS-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/BatteryTownsleyFountainHS-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Putting the fountain near Rodeo Beach to use \u003ccite>(Jonathan Hunt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Drinking Fountain Between Rodeo Beach and Battery Townley Out at the Marin Headlands\u003c/h3>\n\u003cp>Press button *first*, then put face down. Because wind, see photograph. Here’s me trying to fill my water bottle before I walk up to the industrial-chic Bond-villian-checkpoint-style 16-inch caliber gun’s home known as Battery Townsley, part of Fort Cronkhite. In the 1930s, there were two of these monsters, “each capable of shooting a 2,100 pound projectile 25 miles out to sea.” Now it’s just a real nice place to take a steep hike. When this photo was taken, I had already put face down, then pressed button, confident about which way the dumb water would relate to the air around it and to my face. I should have known better. Now you know better. Look at the pretty flowers and the ocean at the end of the continent adjacent to this drinking fountain! Don’t look at the “necessary.” Battery Townley has no drinking fountain, FYI. So fill up.\n\u003c/p>\u003c/div>\n\n","blocks":[],"excerpt":"One way to fight back against water privatization is to notice, use, treasure, and fetish-ize the lowly drinking fountain. Why not add a scenic hike while you're at it? ","status":"publish","parent":0,"modified":1705030327,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":1158},"headData":{"title":"Let’s Drink: Scenic Water Fountains and Why It’s Radical to Use Them | KQED","description":"One way to fight back against water privatization is to notice, use, treasure, and fetish-ize the lowly drinking fountain. Why not add a scenic hike while you're at it? ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Let’s Drink: Scenic Water Fountains and Why It’s Radical to Use Them","datePublished":"2017-06-15T21:53:56.000Z","dateModified":"2024-01-12T03:32:07.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13377113/lets-drink-scenic-water-fountains-and-why-its-radical-to-use-them","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2005, Nestlé Group CEO Peter Brabeck was filmed saying, “The one opinion [is that] water is a public right. That as a human being you should have a right to water. That’s an extreme solution. And the other says that … it should have a market value.”\u003c/p>\n\u003cp>When the clip of his statement hit the internet, people freaked out, and then got to thinking about single-use bottles of water. They’re made of oil, they don’t biodegrade, and they cost money — ridiculous when you consider that people already pay taxes for water infrastructure. Since that realization, there have been some awesome changes: now lots of people carry reusable water bottles, and bottle-filling stations are popping up all over. And as the American public learned from the water protectors of the Standing Rock Lakota and Dakota last year: Mni Wiconi! Water Is Life!\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/hot-days-and-summer-nights-guide-2017/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg\" alt=\"\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-13376303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Thus, in your ongoing fight for your right to water, consider the humble water fountain. While on the surface they’re wildly uninteresting, drinking fountains steadfastly represent the idea that water is free and a human right.\u003c/p>\n\u003cp>“Wait,” you may be thinking. “Drinking fountains are dirty.” People think this, and say it, all the time. “Drinking fountains.” “Are dirty.” Only… they’re not.\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>“Between 1971 and 2006, over 80 percent of deficiencies connected to drinking water-related outbreaks in the United States were caused by broad, systemic problems,” not site-specific contamination, wrote Rapichan Phurisamban and Peter Gleick in their \u003ca href=\"http://pacinst.org/publication/drinking-fountains-public-health-improving-national-water-infrastructure-rebuild-trust-ensure-access/\" target=\"_blank\" rel=\"noopener\">2017 study for the Pacific Institute\u003c/a>, a global water think tank.\u003c/p>\n\u003cp>That’s nerd-speak for “drinking fountains aren’t dirty.”\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>The authors recommended a large increase in the number of public drinking fountains, partly to solve the problem of single-use bottles. So in a virtual trip around the Bay Area, let’s go out and find a few — with awesome views.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13377121\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/TamRockFountainPpl-800x600.jpg\" alt=\"Some dudes walking by a fountain at Mt. Tamalpais\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13377121\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TamRockFountainPpl-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TamRockFountainPpl-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TamRockFountainPpl-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TamRockFountainPpl-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TamRockFountainPpl.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TamRockFountainPpl-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TamRockFountainPpl-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TamRockFountainPpl-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TamRockFountainPpl-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/TamRockFountainPpl-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Some dudes walking by a fountain at Mt. Tamalpais \u003ccite>(Jonathan Hunt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A Coterie of Drinking Fountains on Top of Mt. Tamalpais\u003c/h3>\n\u003cp>The drinking fountain scene at Mt. Tam is off the hook! It’s a clean, free-hydration festival up there. Visitors can choose between the awkwardly charming rockwork one, which faces the always-closed visitor center and features a vintage pet-watering setup (a metal bowl set under an ankle-level hose bib — rustic!) Or there’s a classic Haws stainless duo with great water pressure overlooking the trailhead, though you may have to fight a bike guy to get to it (in my mind, that’s a bonus). For the iconoclast, there’s even a hard-to-carbon-date green metal fountain by the awesome Gravity Car museum. Again, great water pressure, with a view of, to be honest, some oak trees, but only a few steps away the stunningly verdant Marin woods.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13377122\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/SFZoofountain-800x800.jpg\" alt=\"Fountain at the SF Zoo, not a giraffe butt in sight\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13377122\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFZoofountain-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFZoofountain-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFZoofountain-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFZoofountain-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFZoofountain-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFZoofountain-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFZoofountain-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFZoofountain-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFZoofountain-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFZoofountain-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFZoofountain-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFZoofountain-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFZoofountain-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFZoofountain-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFZoofountain-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFZoofountain.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fountain at the SF Zoo, not a giraffe butt in sight \u003ccite>(Jonathan Hunt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Drinking Fountain From Which You Can See A Giraffe’s Butt\u003c/h3>\n\u003cp>I swear you can see a whole series of very tall butts while actually drinking from this fountain. They’re animals, though, so of course they moved as soon as I took this picture. Point is, there are drinking fountains all over the zoo, and it means you can go there with as many children as you want, as most people do. Zoos are complicated, and not all the animals at the San Francisco Zoo look happy, or as if they have enough room to replicate their natural habitat. But on the other hand, it’s completely spectacular to actually see a lion, tiger, or bear. Or a yawning hippo, an actual yawning hippo. Or there’s the animals who \u003cem>do\u003c/em> look happy, smug even, like the lemurs, who loll around in the largest outdoor lemur forest in the U.S. While you’re drinking the water, looking at the giraffe’s butt, remember: don’t taunt the animals.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13377127\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/OceanBeachFountainAlone-800x600.jpg\" alt=\"Fountain at Ocean Beach\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13377127\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/OceanBeachFountainAlone-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/OceanBeachFountainAlone-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/OceanBeachFountainAlone-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/OceanBeachFountainAlone-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/OceanBeachFountainAlone.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/OceanBeachFountainAlone-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/OceanBeachFountainAlone-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/OceanBeachFountainAlone-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/OceanBeachFountainAlone-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/OceanBeachFountainAlone-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fountain at Ocean Beach \u003ccite>(Jonathan Hunt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Drinking Fountain on the Great Highway\u003c/h3>\n\u003cp>Beach drinking fountains are typically not that glamorous. In that way they’re a lot like their buddies, beach bathrooms. However — and I’m sorry to do this to you — but try to imagine life without them. Imagine no bathrooms or free drinking water at the beach. It’s not pretty. But if that would-be evil overlord at Nestlé and his cronies (who could they be?) have their way, beach drinking fountains and and all other drinking fountains could go the way of the federally funded highway rest stop. You know, the kind that always had drinking fountains.\u003c/p>\n\u003cp>Ahem, where were we? Oh right: at the drinking fountain in the Ocean Beach parking lot at Sloat. This is a 1980s-type cement model, as grey as the sky, and intermittently covered in beige pebbling. And here’s the thing: It doesn’t work. Although a recent independent investigation by a passing family and dog showed clearly that water was leaking all over the place, neither this stalwart fountain, standing ever ready to serve, nor its trusty upstanding partner the beach shower/foot rinsing station are functional. The shower is even capped. As we can imagine the thirsty Black Lab in this investigation was thinking, “WTH?”\u003c/p>\n\u003cp>If anyone finds a drinking fountain out of order in San Francisco, they should contact the official city get-‘er-done service, 311! Phone (415) 701-2311 or reach out on the web at \u003ca href=\"https://www.sf311.org/\" target=\"_blank\" rel=\"noopener\">sf311.org\u003c/a>. Plus, there’s a mobile app everybody should have anyway.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13377123\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/BatteryTownsleyFountainHS-800x600.jpg\" alt=\"Putting the fountain near Rodeo Beach to use\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13377123\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/BatteryTownsleyFountainHS-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/BatteryTownsleyFountainHS-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/BatteryTownsleyFountainHS-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/BatteryTownsleyFountainHS-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/BatteryTownsleyFountainHS.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/BatteryTownsleyFountainHS-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/BatteryTownsleyFountainHS-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/BatteryTownsleyFountainHS-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/BatteryTownsleyFountainHS-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/BatteryTownsleyFountainHS-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Putting the fountain near Rodeo Beach to use \u003ccite>(Jonathan Hunt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>The Drinking Fountain Between Rodeo Beach and Battery Townley Out at the Marin Headlands\u003c/h3>\n\u003cp>Press button *first*, then put face down. Because wind, see photograph. Here’s me trying to fill my water bottle before I walk up to the industrial-chic Bond-villian-checkpoint-style 16-inch caliber gun’s home known as Battery Townsley, part of Fort Cronkhite. In the 1930s, there were two of these monsters, “each capable of shooting a 2,100 pound projectile 25 miles out to sea.” Now it’s just a real nice place to take a steep hike. When this photo was taken, I had already put face down, then pressed button, confident about which way the dumb water would relate to the air around it and to my face. I should have known better. Now you know better. Look at the pretty flowers and the ocean at the end of the continent adjacent to this drinking fountain! Don’t look at the “necessary.” Battery Townley has no drinking fountain, FYI. So fill up.\n\u003c/p>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13377113/lets-drink-scenic-water-fountains-and-why-its-radical-to-use-them","authors":["8641"],"series":["arts_1874"],"categories":["arts_1"],"tags":["arts_1118","arts_1006","arts_596"],"featImg":"arts_13377128","label":"arts_1874"},"arts_13423018":{"type":"posts","id":"arts_13423018","meta":{"index":"posts_1591205157","site":"arts","id":"13423018","score":null,"sort":[1497391241000]},"guestAuthors":[],"slug":"get-outside-summertime-concerts-al-fresco-in-the-bay-area","title":"Get Outside: Summertime Concerts Al Fresco in the Bay Area","publishDate":1497391241,"format":"standard","headTitle":"Get Outside: Summertime Concerts Al Fresco in the Bay Area | KQED","labelTerm":{"term":1874,"site":"arts"},"content":"\u003cp>“Summer” is a bit of an elusive term here in the Bay Area. Unlike the swampy provinces of New York City and its surrounding hamlets, summer doesn’t necessarily translate to “hot” in our fine republic. Instead, summer here is far more a state of mind — the feeling of eternal daylight, the excuse to lounge in the grass \u003cem>ad infinitum\u003c/em>, and the suspicion that you can go anywhere, at any time, and find a party. \u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/hot-days-and-summer-nights-guide-2017/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg\" alt=\"\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-13376303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>That state of mind is perfect for outdoor music. The Bay Area is no stranger to behemoth corporate summer music festivals — we bookend the summer months with BottleRock in May and the big-money throw-down Outside Lands in August (the latter of which, in particular, has put together a pretty solid and somewhat diverse lineup this year).\u003c/p>\n\u003cp>But you don’t have to look far to find more manageable alternatives. We’ve assembled for you here a brief selection of festivals, series and events to fill your summer, some of which are more intimate than others. And they all take place in gorgeous outdoor venues just as thrilling as the music on display there. Just don’t forget to bring a jacket.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13423020\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/bells-atlas-800x632.jpg\" alt=\"Bells Atlas\" width=\"800\" height=\"632\" class=\"size-medium wp-image-13423020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bells-atlas-800x632.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bells-atlas-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bells-atlas-768x607.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bells-atlas-1020x806.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bells-atlas-1180x932.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bells-atlas-960x758.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bells-atlas-240x190.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bells-atlas-375x296.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bells-atlas-520x411.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bells-atlas.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bells Atlas\u003c/figcaption>\u003c/figure>\n\u003ch3>Bells Atlas\u003c/h3>\n\u003ch5>July 20\u003cbr>\nUC Botanical Garden, Berkeley\u003cbr>\n\u003ca href=\"http://botanicalgarden.berkeley.edu/education/public-programs/summer-concerts\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Every summer the UC Botanical Garden, nestled in the lush hills northeast of UC Berkeley’s campus, hosts a concert series in its redwood grove. Among this year’s lineup are the sharp songwriter Tom Brosseau and the raucous John Brothers Piano Company, but the ambitious East Bay ensemble Bells Atlas is a clear highlight. Drawing on elements of neo-soul, Afrobeat and funk, the five-piece (who also operate as \u003ca href=\"http://snapjudgment.org/\" target=\"_blank\" rel=\"noopener\">Snap Judgment\u003c/a>’s live performance house band) create sprawling arrangements that hypnotize with their sonic quirkiness. Their two new singles, “Spec and Bubble” and “NCAT,” sum up their aesthetic succinctly: deep grooves with just enough weird to keep us guessing.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13423022\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/hickeyfest-800x450.jpg\" alt=\"One reason to go to Hickeyfest\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13423022\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/hickeyfest.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/hickeyfest-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/hickeyfest-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/hickeyfest-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/hickeyfest-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/hickeyfest-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One reason to go to Hickeyfest\u003c/figcaption>\u003c/figure>\n\u003ch3>Hickey Fest\u003c/h3>\n\u003ch5>June 16-18\u003cbr>\nThe Peg House, Leggett\u003cbr>\n\u003ca href=\"http://hickeyfest.com\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Now in its fifth year, the one-stage Hickey Fest, which takes place at Standish Hickey State Park in Leggett (sorry, aspirational biters), is well-worth the drive. Drawing on a vast range of Bay Area talent like seasoned surf-punk rockers Shannon and the Clams, electro-soul mainstays the Seshen and the sublime indie-rocker Madeline Kenney, the festival hums with a strong DIY spirit. Yet the music is only one facet of the appeal here. Situated next to a bend in the Eel River that doubles as a bucolic swimming hole, cliff-diving and all, Hickey Fest is Burning Man without the crazy crowds (or the tech bros) — a camping getaway that doubles as an opportunity to listen to some of the best of what the Bay Area has to offer. The trails surrounding the campground are stunning, if you can summon the willpower to pull yourself away from the party.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11316316\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/JW.MAIN_-800x450.jpg\" alt=\"John Waters at Burger Boogaloo 2015.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11316316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_.jpg 913w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Waters at Burger Boogaloo 2015. \u003ccite>(Wild About You Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Burger Boogaloo\u003c/h3>\n\u003ch5>July 1-2\u003cbr>\nMossword Park, Oakland\u003cbr>\n\u003ca href=\"http://burgerboogaloo.com/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Always a party to remember, the Burger Boogaloo – an ongoing collaborative event between Burger Records and local radio station KALX, now in its fifth year – is a seething mess of punk rock exuberance that takes place in the sunken amphitheater at Oakland’s Mosswood Park. This year the festival organizers have really outdone themselves, bringing in heavyweights like Iggy Pop, X, and the Buzzcocks to headline the bill, and the King of Filth himself, John Waters, as Master of Ceremonies. If 2017 doesn’t feel like the year to wave your American flag with the utmost pride and euphoria, perhaps raging in a giant cement bowl with a bunch of other sweaty, pissed-off Bay Areans is just the Fourth of July party you’re looking for.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13423024\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/mavis-staples-800x800.jpg\" alt=\"Mavis Staples\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13423024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mavis Staples\u003c/figcaption>\u003c/figure>\n\u003ch3>Mavis Staples\u003c/h3>\n\u003ch5>Aug. 27\u003cbr>\nStern Grove\u003cbr>\n\u003ca href=\"https://www.sterngrove.org/2017-concerts/#august-27\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Now in her 70s, iconic soul singer Mavis Staples – formerly of the family band the Staples Singers and a collaborator of Bob Dylan, Van Morrison and others – is experiencing a career renaissance. In recent years, she has worked on new music with artists including Wilco, Bon Iver, and even the pseudo-cartoon genre-bending Gorillaz. Her new album, \u003cem>Livin’ on a High Note\u003c/em>, finds her doing just that, with a whole gaggle of hip artists in tow. You couldn’t find a better act to cap off Stern Grove’s 80th anniversary free concert series, which also includes performances from Oakland’s de facto ambassador Fantastic Negrito and the San Francisco Symphony. Be sure to get there early for a good vantage point.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13423023\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-800x799.jpg\" alt=\"Marcus Shelby\" width=\"800\" height=\"799\" class=\"size-medium wp-image-13423023\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-800x799.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-768x767.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-1020x1018.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-1180x1178.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-960x958.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-375x374.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-520x519.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky.jpg 1824w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marcus Shelby\u003c/figcaption>\u003c/figure>\n\u003ch3>Marcus Shelby Orchestra\u003c/h3>\n\u003ch5>Sept. 23\u003cbr>\nYerba Buena Gardens Festival\u003cbr>\n\u003ca href=\"http://ybgfestival.org/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>The Bay Area’s own acclaimed composer/bassist Marcus Shelby recently returned from an off-Broadway collaboration with the actress and playwright Anna Deavere Smith called \u003cem>Notes from the Field\u003c/em>. Shelby plans to bring a wide scope of jazz offerings to Yerba Buena Gardens for a free afternoon concert. Expect excerpts from his work-in-progress \u003cem>Black Ball: The Negro Leagues and the Blues\u003c/em> and commissioned pieces, including “Green and Blues” and “Beyond the Blues.” Plus, once the show is over, you’ll still have the whole afternoon ahead to explore SFMOMA, just next door.\n\u003c/p>\u003c/div>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The Bay is no stranger to large corporate summertime music festivals, but you don’t have to look far to find more manageable and interesting alternatives.","status":"publish","parent":0,"modified":1705030358,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":916},"headData":{"title":"Get Outside: Summertime Concerts Al Fresco in the Bay Area | KQED","description":"The Bay is no stranger to large corporate summertime music festivals, but you don’t have to look far to find more manageable and interesting alternatives.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Get Outside: Summertime Concerts Al Fresco in the Bay Area","datePublished":"2017-06-13T22:00:41.000Z","dateModified":"2024-01-12T03:32:38.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13423018/get-outside-summertime-concerts-al-fresco-in-the-bay-area","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Summer” is a bit of an elusive term here in the Bay Area. Unlike the swampy provinces of New York City and its surrounding hamlets, summer doesn’t necessarily translate to “hot” in our fine republic. Instead, summer here is far more a state of mind — the feeling of eternal daylight, the excuse to lounge in the grass \u003cem>ad infinitum\u003c/em>, and the suspicion that you can go anywhere, at any time, and find a party. \u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/hot-days-and-summer-nights-guide-2017/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg\" alt=\"\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-13376303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>That state of mind is perfect for outdoor music. The Bay Area is no stranger to behemoth corporate summer music festivals — we bookend the summer months with BottleRock in May and the big-money throw-down Outside Lands in August (the latter of which, in particular, has put together a pretty solid and somewhat diverse lineup this year).\u003c/p>\n\u003cp>But you don’t have to look far to find more manageable alternatives. We’ve assembled for you here a brief selection of festivals, series and events to fill your summer, some of which are more intimate than others. And they all take place in gorgeous outdoor venues just as thrilling as the music on display there. Just don’t forget to bring a jacket.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13423020\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/bells-atlas-800x632.jpg\" alt=\"Bells Atlas\" width=\"800\" height=\"632\" class=\"size-medium wp-image-13423020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bells-atlas-800x632.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bells-atlas-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bells-atlas-768x607.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bells-atlas-1020x806.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bells-atlas-1180x932.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bells-atlas-960x758.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bells-atlas-240x190.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bells-atlas-375x296.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bells-atlas-520x411.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/bells-atlas.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bells Atlas\u003c/figcaption>\u003c/figure>\n\u003ch3>Bells Atlas\u003c/h3>\n\u003ch5>July 20\u003cbr>\nUC Botanical Garden, Berkeley\u003cbr>\n\u003ca href=\"http://botanicalgarden.berkeley.edu/education/public-programs/summer-concerts\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Every summer the UC Botanical Garden, nestled in the lush hills northeast of UC Berkeley’s campus, hosts a concert series in its redwood grove. Among this year’s lineup are the sharp songwriter Tom Brosseau and the raucous John Brothers Piano Company, but the ambitious East Bay ensemble Bells Atlas is a clear highlight. Drawing on elements of neo-soul, Afrobeat and funk, the five-piece (who also operate as \u003ca href=\"http://snapjudgment.org/\" target=\"_blank\" rel=\"noopener\">Snap Judgment\u003c/a>’s live performance house band) create sprawling arrangements that hypnotize with their sonic quirkiness. Their two new singles, “Spec and Bubble” and “NCAT,” sum up their aesthetic succinctly: deep grooves with just enough weird to keep us guessing.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13423022\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/hickeyfest-800x450.jpg\" alt=\"One reason to go to Hickeyfest\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13423022\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/hickeyfest.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/hickeyfest-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/hickeyfest-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/hickeyfest-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/hickeyfest-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/hickeyfest-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One reason to go to Hickeyfest\u003c/figcaption>\u003c/figure>\n\u003ch3>Hickey Fest\u003c/h3>\n\u003ch5>June 16-18\u003cbr>\nThe Peg House, Leggett\u003cbr>\n\u003ca href=\"http://hickeyfest.com\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Now in its fifth year, the one-stage Hickey Fest, which takes place at Standish Hickey State Park in Leggett (sorry, aspirational biters), is well-worth the drive. Drawing on a vast range of Bay Area talent like seasoned surf-punk rockers Shannon and the Clams, electro-soul mainstays the Seshen and the sublime indie-rocker Madeline Kenney, the festival hums with a strong DIY spirit. Yet the music is only one facet of the appeal here. Situated next to a bend in the Eel River that doubles as a bucolic swimming hole, cliff-diving and all, Hickey Fest is Burning Man without the crazy crowds (or the tech bros) — a camping getaway that doubles as an opportunity to listen to some of the best of what the Bay Area has to offer. The trails surrounding the campground are stunning, if you can summon the willpower to pull yourself away from the party.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_11316316\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/JW.MAIN_-800x450.jpg\" alt=\"John Waters at Burger Boogaloo 2015.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11316316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_.jpg 913w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Waters at Burger Boogaloo 2015. \u003ccite>(Wild About You Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>Burger Boogaloo\u003c/h3>\n\u003ch5>July 1-2\u003cbr>\nMossword Park, Oakland\u003cbr>\n\u003ca href=\"http://burgerboogaloo.com/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Always a party to remember, the Burger Boogaloo – an ongoing collaborative event between Burger Records and local radio station KALX, now in its fifth year – is a seething mess of punk rock exuberance that takes place in the sunken amphitheater at Oakland’s Mosswood Park. This year the festival organizers have really outdone themselves, bringing in heavyweights like Iggy Pop, X, and the Buzzcocks to headline the bill, and the King of Filth himself, John Waters, as Master of Ceremonies. If 2017 doesn’t feel like the year to wave your American flag with the utmost pride and euphoria, perhaps raging in a giant cement bowl with a bunch of other sweaty, pissed-off Bay Areans is just the Fourth of July party you’re looking for.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13423024\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/mavis-staples-800x800.jpg\" alt=\"Mavis Staples\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13423024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/mavis-staples-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mavis Staples\u003c/figcaption>\u003c/figure>\n\u003ch3>Mavis Staples\u003c/h3>\n\u003ch5>Aug. 27\u003cbr>\nStern Grove\u003cbr>\n\u003ca href=\"https://www.sterngrove.org/2017-concerts/#august-27\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>Now in her 70s, iconic soul singer Mavis Staples – formerly of the family band the Staples Singers and a collaborator of Bob Dylan, Van Morrison and others – is experiencing a career renaissance. In recent years, she has worked on new music with artists including Wilco, Bon Iver, and even the pseudo-cartoon genre-bending Gorillaz. Her new album, \u003cem>Livin’ on a High Note\u003c/em>, finds her doing just that, with a whole gaggle of hip artists in tow. You couldn’t find a better act to cap off Stern Grove’s 80th anniversary free concert series, which also includes performances from Oakland’s de facto ambassador Fantastic Negrito and the San Francisco Symphony. Be sure to get there early for a good vantage point.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13423023\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-800x799.jpg\" alt=\"Marcus Shelby\" width=\"800\" height=\"799\" class=\"size-medium wp-image-13423023\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-800x799.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-768x767.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-1020x1018.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-1180x1178.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-960x958.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-375x374.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-520x519.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/marcus-shelby-head-shot-2-color-high-res-by-peter-varshavsky.jpg 1824w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marcus Shelby\u003c/figcaption>\u003c/figure>\n\u003ch3>Marcus Shelby Orchestra\u003c/h3>\n\u003ch5>Sept. 23\u003cbr>\nYerba Buena Gardens Festival\u003cbr>\n\u003ca href=\"http://ybgfestival.org/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h5>\n\u003cp>The Bay Area’s own acclaimed composer/bassist Marcus Shelby recently returned from an off-Broadway collaboration with the actress and playwright Anna Deavere Smith called \u003cem>Notes from the Field\u003c/em>. Shelby plans to bring a wide scope of jazz offerings to Yerba Buena Gardens for a free afternoon concert. Expect excerpts from his work-in-progress \u003cem>Black Ball: The Negro Leagues and the Blues\u003c/em> and commissioned pieces, including “Green and Blues” and “Beyond the Blues.” Plus, once the show is over, you’ll still have the whole afternoon ahead to explore SFMOMA, just next door.\n\u003c/p>\u003c/div>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\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>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13423018/get-outside-summertime-concerts-al-fresco-in-the-bay-area","authors":["6624"],"series":["arts_1874"],"categories":["arts_69"],"tags":["arts_1118","arts_1006","arts_596"],"featImg":"arts_10820718","label":"arts_1874"},"arts_13304145":{"type":"posts","id":"arts_13304145","meta":{"index":"posts_1591205157","site":"arts","id":"13304145","score":null,"sort":[1497207610000]},"guestAuthors":[],"slug":"science-fiction-futures-youll-want-to-work-to-prevent","title":"Science Fiction Futures You'll Want to Work to Prevent","publishDate":1497207610,"format":"standard","headTitle":"Science Fiction Futures You’ll Want to Work to Prevent | KQED","labelTerm":{"term":1874,"site":"arts"},"content":"\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/hot-days-and-summer-nights-guide-2017/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg\" alt=\"\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-13376303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Science fiction set \u003cem>in\u003c/em> the future is often taken to be a prediction \u003cem>of\u003c/em> that future. But writers rarely claim to come from the day after tomorrow. Until we can time travel, we have to assume that our artists take their inspiration from the past and present, and project our anxieties onto re-wired plots set in the worlds of their imaginations.\u003c/p>\n\u003cp>It turns out that, in 2017, we have enough on our minds to occupy more tomorrows than we’ll have to live through. Happily, our best writers can offer us visions of the future that inspire us to engage in the present.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-13330013 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/atwood-maddaddam-800x1043.jpg\" alt=\"\" width=\"800\" height=\"1043\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/atwood-maddaddam-800x1043.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/atwood-maddaddam-160x209.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/atwood-maddaddam-768x1001.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/atwood-maddaddam-1020x1330.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/atwood-maddaddam-1920x2503.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/atwood-maddaddam-1180x1538.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/atwood-maddaddam-960x1252.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/atwood-maddaddam-240x313.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/atwood-maddaddam-375x489.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/atwood-maddaddam-520x678.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\n\u003ch3>\u003ci>The MaddAddam Trilogy\u003c/i>\u003c/h3>\n\u003ch5>by Margaret Atwood\u003c/h5>\n\u003cp>\u003ca href=\"http://bookotron.com/agony/audio/2013/2013-interviews/margaret_atwood-2013.mp3\" target=\"_blank\" rel=\"noopener noreferrer\">Margaret Atwood\u003c/a> trawls through timelines with an astute-yet-unhappy eye, able to see what makes us uncomfortable and then shine a light on it. While she has your attention via the excellent Hulu adaptation of \u003cem>The Handmaid’s Tale\u003c/em>, take your shock-recovery downtime to immerse yourself \u003cem>The MaddAddam Trilogy\u003c/em>, which at least doesn’t feel as if it has already happened. In the three books, \u003cem>Oryx and Crake\u003c/em>, \u003cem>The Year of the Flood\u003c/em>, and \u003cem>MaddAddam\u003c/em>, Atwood offers a vision of suburbia and exurbia run wild, unplugged and uprooted in a bio-engineering blender that proves to be an exemplar of the humanity of it all. This isn’t just rising seas and temperatures — it is anger and ambition run riot.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-13330015 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/bacigalupi-the_water_knife-800x1193.jpg\" alt=\"\" width=\"800\" height=\"1193\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/bacigalupi-the_water_knife-800x1193.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/bacigalupi-the_water_knife-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/bacigalupi-the_water_knife-768x1145.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/bacigalupi-the_water_knife-240x358.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/bacigalupi-the_water_knife-375x559.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/bacigalupi-the_water_knife-520x775.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/bacigalupi-the_water_knife.jpg 805w\" sizes=\"(max-width: 800px) 100vw, 800px\">\n\u003ch3>\u003cem>The Water Knife\u003c/em>\u003c/h3>\n\u003ch5>by Paolo Bacigalupi\u003c/h5>\n\u003cp>California has potentially dodged a bullet — for now. But even if the drought is over, it doesn’t feel that way. Written before we were sweating bullets about the seemingly endless heatwave, \u003cem>The Water Knife\u003c/em> by \u003ca href=\"http://bookotron.com/agony/audio/2014/2014-interviews/paolo_bacigalupi-2014.mp3\" target=\"_blank\" rel=\"noopener noreferrer\">Paolo Bacigalupi\u003c/a> extrapolates our fears about the abuse of power. The growing income gap produces a world where the poor and the middle-class have become itinerant, while the rich live in sealed arcologies. Bacigalupi brings this scenario to life: turn off the water in any suburb and you have an instant dystopia, sans any futuristic trappings. Angel Velasquez is the man who cuts off the water. Lucy is a journalist who is following a story about water. Maria hangs on to life at the bottom of the water barrel. Bacigalupi’s thriller ramps up \u003cem>Chinatown\u003c/em> with a \u003cem>Blade Runner\u003c/em> vibe. Readers are encouraged to try to immerse themselves in this book without checking a faucet.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-13330016 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/el-akkad-american_war-800x1216.jpg\" alt=\"\" width=\"800\" height=\"1216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/el-akkad-american_war-800x1216.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/el-akkad-american_war-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/el-akkad-american_war-768x1167.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/el-akkad-american_war-1020x1550.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/el-akkad-american_war-1180x1794.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/el-akkad-american_war-960x1459.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/el-akkad-american_war-240x365.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/el-akkad-american_war-375x570.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/el-akkad-american_war-520x790.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/el-akkad-american_war.jpg 1875w\" sizes=\"(max-width: 800px) 100vw, 800px\">\n\u003ch3>\u003cem>American War\u003c/em>\u003c/h3>\n\u003ch5>by Omar El Akkad\n\u003c/h5>\u003cp>We need no new technology to bring about the end of all life on earth. It’s here already, ready to be used. What we’ve managed to do is disallow humans who are able, willing and inclined to do so. One has to really hate in order to make such a decision, and in\u003cem> American War\u003c/em> by Omar El Akkad, the reader is invited to experience just what it takes to turn a basically good human into a Weapon of Mass Destruction. Sarat Chestnut is only 6 years old when the Second American Civil War breaks out. Apparently powerless, she’s shuffled from camp to camp until her inner strength is noticed — and weaponized. Cutting between Sarat’s story and bits from textbooks and records of the future, \u003cem>American War\u003c/em> is fueled by the vitriolic discourse that is tearing us apart right now. Close the book and you might feel as if you have the opportunity dial back the tone, and step back from the brinksmanship.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/repino-darc-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" class=\"alignleft size-medium wp-image-13330018\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/repino-darc-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/repino-darc-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/repino-darc-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/repino-darc-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/repino-darc-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/repino-darc-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/repino-darc-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/repino-darc-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/repino-darc-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/repino-darc.jpg 1650w\" sizes=\"(max-width: 800px) 100vw, 800px\">\n\u003ch3>\u003cem>D’Arc\u003c/em>\u003c/h3>\n\u003ch5>by Robert Repino\u003c/h5>\n\u003cp>The more we learn about our fellow inhabitants on this earth, by which I mean the animals, the more we come to regard their minds as worthy of consideration. As our level of civilization rises, so does our understanding that, alien to us though they may be, every creature on this earth might just fall into some definition of intelligent. What might happen if they were evolutionarily uplifted and able to make their feelings known about how they’ve been treated? That’s the premise of \u003cem>Mort(e)\u003c/em>, \u003cem>Culdesac\u003c/em>, and now \u003cem>D’Arc\u003c/em> by \u003ca href=\"http://bookotron.com/agony/audio/2015/2015-interviews/robert_repino-2015.mp3\" target=\"_blank\" rel=\"noopener noreferrer\">Robert Repino\u003c/a>. In the War With No Name series, the extinction of humans is Plan A. Repino crafts achingly real characters from housecats and doggies, and gets you sympathizing with both sides of the in-equation. This is a perfect example of the power of pulp, wild adventure for domesticated humans.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-13330017 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/mastai-all_our_wrong_todays-800x1186.jpg\" alt=\"\" width=\"800\" height=\"1186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/mastai-all_our_wrong_todays-800x1186.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/mastai-all_our_wrong_todays-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/mastai-all_our_wrong_todays-768x1138.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/mastai-all_our_wrong_todays-1020x1512.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/mastai-all_our_wrong_todays-1180x1749.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/mastai-all_our_wrong_todays-960x1423.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/mastai-all_our_wrong_todays-240x356.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/mastai-all_our_wrong_todays-375x556.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/mastai-all_our_wrong_todays-520x771.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/mastai-all_our_wrong_todays.jpg 1356w\" sizes=\"(max-width: 800px) 100vw, 800px\">\n\u003ch3>\u003cem>All Our Wrong Todays\u003c/em>\u003c/h3>\n\u003ch5>by Elan Mastai\u003c/h5>\n\u003cp>Not so long ago, it was 2016, and the world was our utopian dream: flying cars, near-immortality, universal wealth, all powered by clean, free energy. Even the way you wake up in the morning had been improved in a manner you cannot imagine. You’ve lived your life in the future as seen by optimistic science fiction writers. (They do exist!) What happens when you wake up in our world? In \u003cem>All Our Wrong Todays\u003c/em>, \u003ca href=\"http://bookotron.com/agony/audio/2017/2017-interviews/elan_mastai-2017.mp3\" target=\"_blank\" rel=\"noopener noreferrer\">Elan Mastai\u003c/a> turns our world into a dystopian nightmare, if it isn’t already. Tom Barren lives in that perfect future, but a glitch in a time travel experiment rewrites history, and Tom is horrified to find himself in the world we live in. Mastai’s novel is consistently hilarious and human, even as it forces you to \u003cem>just look around\u003c/em>. It might be that utopia is as close as the human heart.\n\u003c/p>\u003c/div>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"A roundup of this summer's reading on dystopian futures, as well as idealized worlds from optimistic science-fiction authors (they exist!).","status":"publish","parent":0,"modified":1705030386,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":891},"headData":{"title":"Science Fiction Futures You'll Want to Work to Prevent | KQED","description":"A roundup of this summer's reading on dystopian futures, as well as idealized worlds from optimistic science-fiction authors (they exist!).","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Science Fiction Futures You'll Want to Work to Prevent","datePublished":"2017-06-11T19:00:10.000Z","dateModified":"2024-01-12T03:33:06.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13304145/science-fiction-futures-youll-want-to-work-to-prevent","audioUrl":"http://bookotron.com/agony/audio/2013/2013-interviews/margaret_atwood-2013.mp3","audioDuration":null,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/hot-days-and-summer-nights-guide-2017/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg\" alt=\"\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-13376303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Science fiction set \u003cem>in\u003c/em> the future is often taken to be a prediction \u003cem>of\u003c/em> that future. But writers rarely claim to come from the day after tomorrow. Until we can time travel, we have to assume that our artists take their inspiration from the past and present, and project our anxieties onto re-wired plots set in the worlds of their imaginations.\u003c/p>\n\u003cp>It turns out that, in 2017, we have enough on our minds to occupy more tomorrows than we’ll have to live through. Happily, our best writers can offer us visions of the future that inspire us to engage in the present.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-13330013 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/atwood-maddaddam-800x1043.jpg\" alt=\"\" width=\"800\" height=\"1043\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/atwood-maddaddam-800x1043.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/atwood-maddaddam-160x209.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/atwood-maddaddam-768x1001.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/atwood-maddaddam-1020x1330.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/atwood-maddaddam-1920x2503.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/atwood-maddaddam-1180x1538.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/atwood-maddaddam-960x1252.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/atwood-maddaddam-240x313.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/atwood-maddaddam-375x489.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/atwood-maddaddam-520x678.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\n\u003ch3>\u003ci>The MaddAddam Trilogy\u003c/i>\u003c/h3>\n\u003ch5>by Margaret Atwood\u003c/h5>\n\u003cp>\u003ca href=\"http://bookotron.com/agony/audio/2013/2013-interviews/margaret_atwood-2013.mp3\" target=\"_blank\" rel=\"noopener noreferrer\">Margaret Atwood\u003c/a> trawls through timelines with an astute-yet-unhappy eye, able to see what makes us uncomfortable and then shine a light on it. While she has your attention via the excellent Hulu adaptation of \u003cem>The Handmaid’s Tale\u003c/em>, take your shock-recovery downtime to immerse yourself \u003cem>The MaddAddam Trilogy\u003c/em>, which at least doesn’t feel as if it has already happened. In the three books, \u003cem>Oryx and Crake\u003c/em>, \u003cem>The Year of the Flood\u003c/em>, and \u003cem>MaddAddam\u003c/em>, Atwood offers a vision of suburbia and exurbia run wild, unplugged and uprooted in a bio-engineering blender that proves to be an exemplar of the humanity of it all. This isn’t just rising seas and temperatures — it is anger and ambition run riot.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-13330015 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/bacigalupi-the_water_knife-800x1193.jpg\" alt=\"\" width=\"800\" height=\"1193\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/bacigalupi-the_water_knife-800x1193.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/bacigalupi-the_water_knife-160x239.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/bacigalupi-the_water_knife-768x1145.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/bacigalupi-the_water_knife-240x358.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/bacigalupi-the_water_knife-375x559.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/bacigalupi-the_water_knife-520x775.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/bacigalupi-the_water_knife.jpg 805w\" sizes=\"(max-width: 800px) 100vw, 800px\">\n\u003ch3>\u003cem>The Water Knife\u003c/em>\u003c/h3>\n\u003ch5>by Paolo Bacigalupi\u003c/h5>\n\u003cp>California has potentially dodged a bullet — for now. But even if the drought is over, it doesn’t feel that way. Written before we were sweating bullets about the seemingly endless heatwave, \u003cem>The Water Knife\u003c/em> by \u003ca href=\"http://bookotron.com/agony/audio/2014/2014-interviews/paolo_bacigalupi-2014.mp3\" target=\"_blank\" rel=\"noopener noreferrer\">Paolo Bacigalupi\u003c/a> extrapolates our fears about the abuse of power. The growing income gap produces a world where the poor and the middle-class have become itinerant, while the rich live in sealed arcologies. Bacigalupi brings this scenario to life: turn off the water in any suburb and you have an instant dystopia, sans any futuristic trappings. Angel Velasquez is the man who cuts off the water. Lucy is a journalist who is following a story about water. Maria hangs on to life at the bottom of the water barrel. Bacigalupi’s thriller ramps up \u003cem>Chinatown\u003c/em> with a \u003cem>Blade Runner\u003c/em> vibe. Readers are encouraged to try to immerse themselves in this book without checking a faucet.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-13330016 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/el-akkad-american_war-800x1216.jpg\" alt=\"\" width=\"800\" height=\"1216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/el-akkad-american_war-800x1216.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/el-akkad-american_war-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/el-akkad-american_war-768x1167.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/el-akkad-american_war-1020x1550.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/el-akkad-american_war-1180x1794.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/el-akkad-american_war-960x1459.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/el-akkad-american_war-240x365.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/el-akkad-american_war-375x570.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/el-akkad-american_war-520x790.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/el-akkad-american_war.jpg 1875w\" sizes=\"(max-width: 800px) 100vw, 800px\">\n\u003ch3>\u003cem>American War\u003c/em>\u003c/h3>\n\u003ch5>by Omar El Akkad\n\u003c/h5>\u003cp>We need no new technology to bring about the end of all life on earth. It’s here already, ready to be used. What we’ve managed to do is disallow humans who are able, willing and inclined to do so. One has to really hate in order to make such a decision, and in\u003cem> American War\u003c/em> by Omar El Akkad, the reader is invited to experience just what it takes to turn a basically good human into a Weapon of Mass Destruction. Sarat Chestnut is only 6 years old when the Second American Civil War breaks out. Apparently powerless, she’s shuffled from camp to camp until her inner strength is noticed — and weaponized. Cutting between Sarat’s story and bits from textbooks and records of the future, \u003cem>American War\u003c/em> is fueled by the vitriolic discourse that is tearing us apart right now. Close the book and you might feel as if you have the opportunity dial back the tone, and step back from the brinksmanship.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/repino-darc-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" class=\"alignleft size-medium wp-image-13330018\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/repino-darc-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/repino-darc-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/repino-darc-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/repino-darc-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/repino-darc-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/repino-darc-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/repino-darc-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/repino-darc-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/repino-darc-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/repino-darc.jpg 1650w\" sizes=\"(max-width: 800px) 100vw, 800px\">\n\u003ch3>\u003cem>D’Arc\u003c/em>\u003c/h3>\n\u003ch5>by Robert Repino\u003c/h5>\n\u003cp>The more we learn about our fellow inhabitants on this earth, by which I mean the animals, the more we come to regard their minds as worthy of consideration. As our level of civilization rises, so does our understanding that, alien to us though they may be, every creature on this earth might just fall into some definition of intelligent. What might happen if they were evolutionarily uplifted and able to make their feelings known about how they’ve been treated? That’s the premise of \u003cem>Mort(e)\u003c/em>, \u003cem>Culdesac\u003c/em>, and now \u003cem>D’Arc\u003c/em> by \u003ca href=\"http://bookotron.com/agony/audio/2015/2015-interviews/robert_repino-2015.mp3\" target=\"_blank\" rel=\"noopener noreferrer\">Robert Repino\u003c/a>. In the War With No Name series, the extinction of humans is Plan A. Repino crafts achingly real characters from housecats and doggies, and gets you sympathizing with both sides of the in-equation. This is a perfect example of the power of pulp, wild adventure for domesticated humans.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-13330017 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/mastai-all_our_wrong_todays-800x1186.jpg\" alt=\"\" width=\"800\" height=\"1186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/mastai-all_our_wrong_todays-800x1186.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/mastai-all_our_wrong_todays-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/mastai-all_our_wrong_todays-768x1138.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/mastai-all_our_wrong_todays-1020x1512.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/mastai-all_our_wrong_todays-1180x1749.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/mastai-all_our_wrong_todays-960x1423.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/mastai-all_our_wrong_todays-240x356.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/mastai-all_our_wrong_todays-375x556.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/mastai-all_our_wrong_todays-520x771.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/mastai-all_our_wrong_todays.jpg 1356w\" sizes=\"(max-width: 800px) 100vw, 800px\">\n\u003ch3>\u003cem>All Our Wrong Todays\u003c/em>\u003c/h3>\n\u003ch5>by Elan Mastai\u003c/h5>\n\u003cp>Not so long ago, it was 2016, and the world was our utopian dream: flying cars, near-immortality, universal wealth, all powered by clean, free energy. Even the way you wake up in the morning had been improved in a manner you cannot imagine. You’ve lived your life in the future as seen by optimistic science fiction writers. (They do exist!) What happens when you wake up in our world? In \u003cem>All Our Wrong Todays\u003c/em>, \u003ca href=\"http://bookotron.com/agony/audio/2017/2017-interviews/elan_mastai-2017.mp3\" target=\"_blank\" rel=\"noopener noreferrer\">Elan Mastai\u003c/a> turns our world into a dystopian nightmare, if it isn’t already. Tom Barren lives in that perfect future, but a glitch in a time travel experiment rewrites history, and Tom is horrified to find himself in the world we live in. Mastai’s novel is consistently hilarious and human, even as it forces you to \u003cem>just look around\u003c/em>. It might be that utopia is as close as the human heart.\n\u003c/p>\u003c/div>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\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>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13304145/science-fiction-futures-youll-want-to-work-to-prevent","authors":["88"],"series":["arts_1874"],"categories":["arts_73"],"tags":["arts_1118","arts_1006","arts_596","arts_1884"],"featImg":"arts_13330014","label":"arts_1874"},"arts_13357989":{"type":"posts","id":"arts_13357989","meta":{"index":"posts_1591205157","site":"arts","id":"13357989","score":null,"sort":[1496862050000]},"guestAuthors":[],"slug":"something-for-everyone-in-a-summer-of-bay-area-visual-art","title":"Something For Everyone in a Summer of Bay Area Visual Art","publishDate":1496862050,"format":"image","headTitle":"Something For Everyone in a Summer of Bay Area Visual Art | KQED","labelTerm":{"term":1874,"site":"arts"},"content":"\u003cp>No one’s summer style is exactly the same — some people can’t wait to break out the flip-flops, while for others, the sight of bare toes is anxiety-inducing. Which is exactly why there’s no one-size-fits-all summer exhibition guide. Maybe you want to get some Vitamin D with your art viewing. Maybe you want to see the one thing everyone will be talking about for years to come. And maybe, just maybe, you want to escape the crowded museum for a small-scale viewing experience.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/hot-days-and-summer-nights-guide-2017/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg\" alt=\"\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-13376303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Like your favorite shoe store, the Bay Area has something for everyone. So slip on whatever footwear you prefer (I’m a sandal gal myself) and add some visual art to your scenic summer plans.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13366493\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13366493\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/RL_14_134_500.jpg\" alt=\"Ronald Lockett, 'England’s Rose,' 1997.\" width=\"500\" height=\"505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RL_14_134_500.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RL_14_134_500-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RL_14_134_500-240x242.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RL_14_134_500-375x379.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RL_14_134_500-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RL_14_134_500-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RL_14_134_500-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RL_14_134_500-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RL_14_134_500-128x128.jpg 128w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Ronald Lockett, ‘England’s Rose,’ 1997. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>If you only go to one thing\u003c/h3>\n\u003ch5>\u003ci>\u003ca href=\"https://deyoung.famsf.org/exhibitions/revelations-art-african-american-south\" target=\"_blank\" rel=\"noopener noreferrer\">Revelations: Art from the African American South\u003c/a>\u003c/i>\u003cbr>\nde Young Museum, San Francisco\u003cbr>\nJune 3, 2017–April 1, 2018\u003c/h5>\n\u003cp>Okay, so I know I said there’s no one-size-fits-all guide, but \u003ci>Revelations\u003c/i> should be on everyone’s summer viewing list. In February 2017, the Fine Arts Museums of San Francisco announced the acquisition of 62 pieces of art from the \u003ca href=\"http://www.soulsgrowndeep.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Souls Grown Deep Foundation\u003c/a>, an Atlanta-based nonprofit dedicated to preserving and promoting the work of contemporary African-American artists from the American South. (Remember the \u003ca href=\"http://www.soulsgrowndeep.org/gees-bend-quiltmakers\" target=\"_blank\" rel=\"noopener noreferrer\">Quilts of Gee’s Bend\u003c/a>, exhibited at the de Young in 2006? Courtesy of Souls Grown Deep.) A short four months after the announcement, \u003ci>Revelations\u003c/i> showcases the entirety of the acquisition, with the museum’s first floor galleries filled with paintings, root and branch sculptures, metal sculptures from “yard shows,” and even more beautiful quilts. As curator Timothy Anglin Burgard notes, this acquisition fills a gaping hole in the museum’s American art collection — and the work doesn’t shy away from addressing the roots of that institutional oversight: from slavery and segregation to the civil rights movement. \u003ci>Revelations\u003c/i> is the perfect title for this show.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13366495\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13366495\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Weston-Teruya-video-still-of-Ground-2017_500.jpg\" alt=\"Weston Teruya, video still of 'Ground,' 2017.\" width=\"500\" height=\"375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Weston-Teruya-video-still-of-Ground-2017_500.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Weston-Teruya-video-still-of-Ground-2017_500-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Weston-Teruya-video-still-of-Ground-2017_500-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Weston-Teruya-video-still-of-Ground-2017_500-375x281.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Weston Teruya, video still of ‘Ground,’ 2017. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>If you’re a global citizen\u003c/h3>\n\u003ch5>\u003ci>\u003ca href=\"http://www.cccsf.us/present-tense-2017-new-urban-legend/\" target=\"_blank\" rel=\"noopener noreferrer\">New Urban Legend: Resistance of Space\u003c/a>\u003c/i>\u003cbr>\n41 Ross, San Francisco\u003cbr>\nMay 17–July 16, 2017\u003c/h5>\n\u003cp>The Chinese Culture Center’s current exhibition is actually three mini-exhibitions linking artwork from three very different locations: San Francisco, China’s Pearl River Delta and Hong Kong. Exploring everything from public transportation and grassroots organizing to the effect of Kafka-esque bureaucracy on ordinary citizens, the pieces from abroad open windows to different ways of seeing. On the local front, newly commissioned and exciting works by artists \u003ca href=\"http://www.westonteruya.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Weston Teruya\u003c/a> and \u003ca href=\"http://www.laurabolesfaw.com/LauraBolesFaw/Home.html\" target=\"_blank\" rel=\"noopener noreferrer\">Laura Boles Faw\u003c/a> reflect on just who and what is memorialized in San Francisco. In his video \u003ci>Ground\u003c/i>, Teruya embodies the history of resistance and loss tied to the I-Hotel, slamming paper sculptures (a sledgehammer and a building crane) against the sidewalk in acts of ritualistic destruction. Boles Faw’s installation draws from the ancient Egyptian tradition of wearing false beards as a symbol of power. Through a pleasing arrangement of sculpture, video and virtual reality she plays with representations of gender and authority in the many public sculptures of Golden Gate Park.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13366489\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13366489\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/BB-packs_500.jpg\" alt=\"Mike Mandel, 'Baseball-Photographer Trading Cards,' 1975.\" width=\"500\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/BB-packs_500.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/BB-packs_500-160x144.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/BB-packs_500-240x216.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/BB-packs_500-375x338.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Mike Mandel, ‘Baseball-Photographer Trading Cards,’ 1975. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>If you’d rather be playing baseball\u003c/h3>\n\u003ch5>\u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/mike-mandel-good-70s/\" target=\"_blank\" rel=\"noopener noreferrer\">Mike Mandel: Good 70s\u003c/a>\u003c/i>\u003cbr>\nSan Francisco Museum of Modern Art\u003cbr>\nMay 20–Aug. 20, 2017\u003c/h5>\n\u003cp>Mike Mandel might agree with you that there’s no better sounds on a warm summer day than the crack of a bat and the cheer of a crowd — so long as it’s a Giants crowd. Mandel’s love of good straightforward fun makes for laugh-out-loud moments in this mini retrospective of work from the 1970s. Among the collected treasures is a full set of Mandel’s \u003ci>Baseball-Photographer Trading Cards\u003c/i>, which present photographers like the legendary Imogen Cunningham as baseball stars complete with stats, quotes and hilarious poses. From a staged mall performance to timed self-portraits, Mandel manages to convey his own excitement about the expanding field of photography throughout all of his work — and that excitement is contagious.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13366490\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13366490\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Calle_500.jpg\" alt=\"Sophie Calle, 'Voir la mer (detail),' 2011.\" width=\"500\" height=\"312\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Calle_500.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Calle_500-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Calle_500-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Calle_500-375x234.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Sophie Calle, ‘Voir la mer (detail),’ 2011. \u003ccite>(Courtesy of Fort Mason Center for Arts & Culture)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>If you’re feeling all the feels\u003c/h3>\n\u003ch5>\u003ci>\u003ca href=\"https://fortmason.org/event/missing/\" target=\"_blank\" rel=\"noopener noreferrer\">Sophie Calle: Missing\u003c/a>\u003c/i>\u003cbr>\nFort Mason Center for Arts & Culture, San Francisco\u003cbr>\nJune 29–Aug. 20, 2017\u003c/h5>\n\u003cp>Not gonna make it to this year’s \u003ca href=\"https://news.artnet.com/exhibitions/2017-busy-year-art-events-714185\" target=\"_blank\" rel=\"noopener noreferrer\">trifecta of European art exhibitions\u003c/a>? (The Venice Biennale, documenta and Skulptur Projekte Münster, like planetary bodies, are in rare alignment.) Sad about missing out? Let a little bit of Europe come to you. Ars Citizen brings five of Sophie Calle’s installations to locations across the Fort Mason campus for an unprecedented survey of Paris-based conceptual artist’s work. Calle’s intimate observations on absence, loss and love are autobiographical, but deeply relatable, and perhaps even more so for Bay Area audiences. Calle has a special relationship to the Bay Area — her artistic career began in a Bolinas cemetery almost 40 years ago. Intrigued? Book your free reservation now.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13366491\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13366491\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/MOC-exhibition-teaser-500.jpg\" alt=\"Future site of the Museum of Capitalism.\" width=\"500\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MOC-exhibition-teaser-500.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MOC-exhibition-teaser-500-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MOC-exhibition-teaser-500-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MOC-exhibition-teaser-500-375x250.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Future site of the Museum of Capitalism. \u003ccite>(Courtesy of the Museum of Capitalism)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>If you have a wallet\u003c/h3>\n\u003ch5>\u003ca href=\"http://www.museumofcapitalism.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Museum of Capitalism\u003c/a>\u003cbr>\n55 Harrison St, Suite 201, Oakland\u003cbr>\nJune 17–Aug. 20, 2017\u003c/h5>\n\u003cp>This one’s mysterious, which makes it all the more enticing. The experimental, temporary Museum of Capitalism opens in Jack London Square with (at last count) over 60 artists and collaborations addressing the ideology, history and legacy of capitalism through their work. The museum’s website seems to position the project in some moment at which we have achieved a post-capitalist economy. “Much of the evidence of capitalism is either eroding over time or simply not known or easily accessible to the public,” it states. “Our ambition is to connect and integrate these many efforts before the evidence is erased forever.” Whether aspirational or apocryphal, the Museum of Capitalism promises to deliver an impressive amount of work from artists who routinely challenge the social, political and economic status quo.\u003c/p>\n\u003c/div>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Do you see yourself as a global citizen? Would you rather be watching baseball? Are you feeling all the feels? Our summer exhibition guide breaks it down for you.","status":"publish","parent":0,"modified":1705030420,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":1074},"headData":{"title":"Something For Everyone in a Summer of Bay Area Visual Art | KQED","description":"Do you see yourself as a global citizen? Would you rather be watching baseball? Are you feeling all the feels? Our summer exhibition guide breaks it down for you.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Something For Everyone in a Summer of Bay Area Visual Art","datePublished":"2017-06-07T19:00:50.000Z","dateModified":"2024-01-12T03:33:40.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13357989/something-for-everyone-in-a-summer-of-bay-area-visual-art","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>No one’s summer style is exactly the same — some people can’t wait to break out the flip-flops, while for others, the sight of bare toes is anxiety-inducing. Which is exactly why there’s no one-size-fits-all summer exhibition guide. Maybe you want to get some Vitamin D with your art viewing. Maybe you want to see the one thing everyone will be talking about for years to come. And maybe, just maybe, you want to escape the crowded museum for a small-scale viewing experience.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/hot-days-and-summer-nights-guide-2017/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg\" alt=\"\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-13376303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Like your favorite shoe store, the Bay Area has something for everyone. So slip on whatever footwear you prefer (I’m a sandal gal myself) and add some visual art to your scenic summer plans.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13366493\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13366493\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/RL_14_134_500.jpg\" alt=\"Ronald Lockett, 'England’s Rose,' 1997.\" width=\"500\" height=\"505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RL_14_134_500.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RL_14_134_500-160x162.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RL_14_134_500-240x242.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RL_14_134_500-375x379.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RL_14_134_500-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RL_14_134_500-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RL_14_134_500-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RL_14_134_500-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/RL_14_134_500-128x128.jpg 128w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Ronald Lockett, ‘England’s Rose,’ 1997. \u003ccite>(Courtesy of the Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>If you only go to one thing\u003c/h3>\n\u003ch5>\u003ci>\u003ca href=\"https://deyoung.famsf.org/exhibitions/revelations-art-african-american-south\" target=\"_blank\" rel=\"noopener noreferrer\">Revelations: Art from the African American South\u003c/a>\u003c/i>\u003cbr>\nde Young Museum, San Francisco\u003cbr>\nJune 3, 2017–April 1, 2018\u003c/h5>\n\u003cp>Okay, so I know I said there’s no one-size-fits-all guide, but \u003ci>Revelations\u003c/i> should be on everyone’s summer viewing list. In February 2017, the Fine Arts Museums of San Francisco announced the acquisition of 62 pieces of art from the \u003ca href=\"http://www.soulsgrowndeep.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Souls Grown Deep Foundation\u003c/a>, an Atlanta-based nonprofit dedicated to preserving and promoting the work of contemporary African-American artists from the American South. (Remember the \u003ca href=\"http://www.soulsgrowndeep.org/gees-bend-quiltmakers\" target=\"_blank\" rel=\"noopener noreferrer\">Quilts of Gee’s Bend\u003c/a>, exhibited at the de Young in 2006? Courtesy of Souls Grown Deep.) A short four months after the announcement, \u003ci>Revelations\u003c/i> showcases the entirety of the acquisition, with the museum’s first floor galleries filled with paintings, root and branch sculptures, metal sculptures from “yard shows,” and even more beautiful quilts. As curator Timothy Anglin Burgard notes, this acquisition fills a gaping hole in the museum’s American art collection — and the work doesn’t shy away from addressing the roots of that institutional oversight: from slavery and segregation to the civil rights movement. \u003ci>Revelations\u003c/i> is the perfect title for this show.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13366495\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13366495\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Weston-Teruya-video-still-of-Ground-2017_500.jpg\" alt=\"Weston Teruya, video still of 'Ground,' 2017.\" width=\"500\" height=\"375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Weston-Teruya-video-still-of-Ground-2017_500.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Weston-Teruya-video-still-of-Ground-2017_500-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Weston-Teruya-video-still-of-Ground-2017_500-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Weston-Teruya-video-still-of-Ground-2017_500-375x281.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Weston Teruya, video still of ‘Ground,’ 2017. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>If you’re a global citizen\u003c/h3>\n\u003ch5>\u003ci>\u003ca href=\"http://www.cccsf.us/present-tense-2017-new-urban-legend/\" target=\"_blank\" rel=\"noopener noreferrer\">New Urban Legend: Resistance of Space\u003c/a>\u003c/i>\u003cbr>\n41 Ross, San Francisco\u003cbr>\nMay 17–July 16, 2017\u003c/h5>\n\u003cp>The Chinese Culture Center’s current exhibition is actually three mini-exhibitions linking artwork from three very different locations: San Francisco, China’s Pearl River Delta and Hong Kong. Exploring everything from public transportation and grassroots organizing to the effect of Kafka-esque bureaucracy on ordinary citizens, the pieces from abroad open windows to different ways of seeing. On the local front, newly commissioned and exciting works by artists \u003ca href=\"http://www.westonteruya.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Weston Teruya\u003c/a> and \u003ca href=\"http://www.laurabolesfaw.com/LauraBolesFaw/Home.html\" target=\"_blank\" rel=\"noopener noreferrer\">Laura Boles Faw\u003c/a> reflect on just who and what is memorialized in San Francisco. In his video \u003ci>Ground\u003c/i>, Teruya embodies the history of resistance and loss tied to the I-Hotel, slamming paper sculptures (a sledgehammer and a building crane) against the sidewalk in acts of ritualistic destruction. Boles Faw’s installation draws from the ancient Egyptian tradition of wearing false beards as a symbol of power. Through a pleasing arrangement of sculpture, video and virtual reality she plays with representations of gender and authority in the many public sculptures of Golden Gate Park.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13366489\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13366489\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/BB-packs_500.jpg\" alt=\"Mike Mandel, 'Baseball-Photographer Trading Cards,' 1975.\" width=\"500\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/BB-packs_500.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/BB-packs_500-160x144.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/BB-packs_500-240x216.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/BB-packs_500-375x338.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Mike Mandel, ‘Baseball-Photographer Trading Cards,’ 1975. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>If you’d rather be playing baseball\u003c/h3>\n\u003ch5>\u003ci>\u003ca href=\"https://www.sfmoma.org/exhibition/mike-mandel-good-70s/\" target=\"_blank\" rel=\"noopener noreferrer\">Mike Mandel: Good 70s\u003c/a>\u003c/i>\u003cbr>\nSan Francisco Museum of Modern Art\u003cbr>\nMay 20–Aug. 20, 2017\u003c/h5>\n\u003cp>Mike Mandel might agree with you that there’s no better sounds on a warm summer day than the crack of a bat and the cheer of a crowd — so long as it’s a Giants crowd. Mandel’s love of good straightforward fun makes for laugh-out-loud moments in this mini retrospective of work from the 1970s. Among the collected treasures is a full set of Mandel’s \u003ci>Baseball-Photographer Trading Cards\u003c/i>, which present photographers like the legendary Imogen Cunningham as baseball stars complete with stats, quotes and hilarious poses. From a staged mall performance to timed self-portraits, Mandel manages to convey his own excitement about the expanding field of photography throughout all of his work — and that excitement is contagious.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13366490\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13366490\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Calle_500.jpg\" alt=\"Sophie Calle, 'Voir la mer (detail),' 2011.\" width=\"500\" height=\"312\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Calle_500.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Calle_500-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Calle_500-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Calle_500-375x234.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Sophie Calle, ‘Voir la mer (detail),’ 2011. \u003ccite>(Courtesy of Fort Mason Center for Arts & Culture)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>If you’re feeling all the feels\u003c/h3>\n\u003ch5>\u003ci>\u003ca href=\"https://fortmason.org/event/missing/\" target=\"_blank\" rel=\"noopener noreferrer\">Sophie Calle: Missing\u003c/a>\u003c/i>\u003cbr>\nFort Mason Center for Arts & Culture, San Francisco\u003cbr>\nJune 29–Aug. 20, 2017\u003c/h5>\n\u003cp>Not gonna make it to this year’s \u003ca href=\"https://news.artnet.com/exhibitions/2017-busy-year-art-events-714185\" target=\"_blank\" rel=\"noopener noreferrer\">trifecta of European art exhibitions\u003c/a>? (The Venice Biennale, documenta and Skulptur Projekte Münster, like planetary bodies, are in rare alignment.) Sad about missing out? Let a little bit of Europe come to you. Ars Citizen brings five of Sophie Calle’s installations to locations across the Fort Mason campus for an unprecedented survey of Paris-based conceptual artist’s work. Calle’s intimate observations on absence, loss and love are autobiographical, but deeply relatable, and perhaps even more so for Bay Area audiences. Calle has a special relationship to the Bay Area — her artistic career began in a Bolinas cemetery almost 40 years ago. Intrigued? Book your free reservation now.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13366491\" class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13366491\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/MOC-exhibition-teaser-500.jpg\" alt=\"Future site of the Museum of Capitalism.\" width=\"500\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MOC-exhibition-teaser-500.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MOC-exhibition-teaser-500-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MOC-exhibition-teaser-500-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/MOC-exhibition-teaser-500-375x250.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Future site of the Museum of Capitalism. \u003ccite>(Courtesy of the Museum of Capitalism)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>If you have a wallet\u003c/h3>\n\u003ch5>\u003ca href=\"http://www.museumofcapitalism.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Museum of Capitalism\u003c/a>\u003cbr>\n55 Harrison St, Suite 201, Oakland\u003cbr>\nJune 17–Aug. 20, 2017\u003c/h5>\n\u003cp>This one’s mysterious, which makes it all the more enticing. The experimental, temporary Museum of Capitalism opens in Jack London Square with (at last count) over 60 artists and collaborations addressing the ideology, history and legacy of capitalism through their work. The museum’s website seems to position the project in some moment at which we have achieved a post-capitalist economy. “Much of the evidence of capitalism is either eroding over time or simply not known or easily accessible to the public,” it states. “Our ambition is to connect and integrate these many efforts before the evidence is erased forever.” Whether aspirational or apocryphal, the Museum of Capitalism promises to deliver an impressive amount of work from artists who routinely challenge the social, political and economic status quo.\u003c/p>\n\u003c/div>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\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>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13357989/something-for-everyone-in-a-summer-of-bay-area-visual-art","authors":["61"],"series":["arts_1874"],"categories":["arts_70"],"tags":["arts_1118","arts_1006","arts_596"],"featImg":"arts_13366488","label":"arts_1874"},"arts_13371718":{"type":"posts","id":"arts_13371718","meta":{"index":"posts_1591205157","site":"arts","id":"13371718","score":null,"sort":[1496775648000]},"guestAuthors":[],"slug":"get-intimate-summer-dance-highlights-in-unique-spaces","title":"Get Intimate: Summer Dance Highlights in Unique Spaces","publishDate":1496775648,"format":"image","headTitle":"Get Intimate: Summer Dance Highlights in Unique Spaces | KQED","labelTerm":{"term":1874,"site":"arts"},"content":"\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/hot-days-and-summer-nights-guide-2017/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg\" alt=\"\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-13376303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>San Francisco may well boast more dance troupes and dance-makers per square kilometer than any other city in the United States, but the city also suffers from a chronic shortage of adequate performance spaces. This summer, some of our best-loved local companies and festivals have decided to mix it up a bit. So whether you prefer your dance up close and personal or in more formal settings, these performances provide its audiences with unique opportunities to engage with dance.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13371914\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13371914\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Monique-Jenkinson.-Photo-by-RJ-Muna-1-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Monique-Jenkinson.-Photo-by-RJ-Muna-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Monique-Jenkinson.-Photo-by-RJ-Muna-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Monique-Jenkinson.-Photo-by-RJ-Muna-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Monique-Jenkinson.-Photo-by-RJ-Muna-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Monique-Jenkinson.-Photo-by-RJ-Muna-1-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Monique-Jenkinson.-Photo-by-RJ-Muna-1-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Monique-Jenkinson.-Photo-by-RJ-Muna-1-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Monique-Jenkinson.-Photo-by-RJ-Muna-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Monique-Jenkinson.-Photo-by-RJ-Muna-1-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Monique-Jenkinson.-Photo-by-RJ-Muna-1-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Monique-Jenkinson.-Photo-by-RJ-Muna-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Monique-Jenkinson.-Photo-by-RJ-Muna-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Monique-Jenkinson.-Photo-by-RJ-Muna-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Monique-Jenkinson.-Photo-by-RJ-Muna-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Monique-Jenkinson.-Photo-by-RJ-Muna-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Monique-Jenkinson.-Photo-by-RJ-Muna-1-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Monique Jenkinson, a.k.a. Fauxnique. (Photo: RJ Muna)\u003c/figcaption>\u003c/figure>\n\u003ch3>Sixth Annual ODC Walking Distance Dance Festival\u003c/h3>\n\u003ch5>June 9-10\u003cbr>\n\u003ca href=\"http://odc.dance/wddf\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>This politically charged festival runs along the teeming dance corridor made up of the ODC Theater, the ODC Dance Commons, and the Joe Goode Annex. On the final weekend, witness an evolving work by a group of artists directly inspired by the writings of James Baldwin and Ta-Nehisi Coates. \u003cem>Soul to Soul: An Artistic Response to Baldwin and Coates\u003c/em> is conceived and directed by Laura Elaine Ellis, co-director of the Black Choreographers Festival, with a powerhouse of a creative team that includes Gregory Dawson, Joanna Haigood, and Marc Bamuthi Joseph, musicians Byb Chanel Bibene and Jordon Dabney, and poets Jordon Dabney and Marvin White.\u003c/p>\n\u003cp>Also on the roster on this weekend are a couple of world premieres: one by Monique Jenkinson/a.k.a. Fauxnique (the first and only cissexual, pageant-winning drag queen) and the other by Maurya Kerr, founder-choreographer of tinypistol. In\u003cem> C*NT, or The Horror of Nothing to See\u003c/em>, Fauxnique displays her contemporary dance chops and a fearless desire to examine what she terms “drag’s complex relationship to femaleness.” Kerr premieres \u003cem>PoemAnthemSong\u003c/em>, a trilogy of protest dances inspired by literary texts.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13372008\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13372008\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Mission-in-the-Mix-Poster-Final-dancers-800x522.jpg\" alt=\"\" width=\"800\" height=\"522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Mission-in-the-Mix-Poster-Final-dancers-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Mission-in-the-Mix-Poster-Final-dancers-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Mission-in-the-Mix-Poster-Final-dancers-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Mission-in-the-Mix-Poster-Final-dancers-1020x665.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Mission-in-the-Mix-Poster-Final-dancers-1920x1252.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Mission-in-the-Mix-Poster-Final-dancers-1180x770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Mission-in-the-Mix-Poster-Final-dancers-960x626.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Mission-in-the-Mix-Poster-Final-dancers-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Mission-in-the-Mix-Poster-Final-dancers-375x245.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Mission-in-the-Mix-Poster-Final-dancers-520x339.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Members of Micaya’s SoulForce Dance Company in Strings (Photography and design: Blake Tucker)\u003c/figcaption>\u003c/figure>\n\u003ch3>Micaya’s Mission in the Mix\u003c/h3>\n\u003ch5>June 16-25\u003cbr>\n\u003ca href=\"http://www.micaya.com/mission-mix-2017/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\n\u003c/h5>\u003cp>The whirlwind named Micaya, who put San Francisco on the global map of hip-hop dance, has attracted an indomitable lineup of local talent to Dance Mission Theatre. In “the mix” with the dancers of SoulForce, Micaya’s own troupe, are an assortment of adult and youth hip-hop groups, as well as pop and contemporary dancers. Micaya will also showcase students from her own workshops, one of which is labeled “Hips Lips and Dips (a workshop for sexy girls and boys).”\u003c/p>\n\u003cp>Micaya means serious business. She readily calls out the hypocrisies in the dance world. A personal peeve of hers right now are television dance shows which appoint celebrity judges who are not experts in dance. She derides the “recording pop stars who dance sometimes [but who] do not know how to give constructive criticism on technique. It’s unfair and disrespectful to the art of dance.” For the real deal, ditch your TV and get over to \u003cem>Mission in the Mix\u003c/em>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13372009\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13372009\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/SFDanceworks-Anne-Zivolich-Adams-and-Garrett-Anderson.-Photo-by-Andrew-Weeks-800x429.jpg\" alt=\"\" width=\"800\" height=\"429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFDanceworks-Anne-Zivolich-Adams-and-Garrett-Anderson.-Photo-by-Andrew-Weeks-800x429.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFDanceworks-Anne-Zivolich-Adams-and-Garrett-Anderson.-Photo-by-Andrew-Weeks-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFDanceworks-Anne-Zivolich-Adams-and-Garrett-Anderson.-Photo-by-Andrew-Weeks-768x412.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFDanceworks-Anne-Zivolich-Adams-and-Garrett-Anderson.-Photo-by-Andrew-Weeks-1020x547.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFDanceworks-Anne-Zivolich-Adams-and-Garrett-Anderson.-Photo-by-Andrew-Weeks-1920x1029.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFDanceworks-Anne-Zivolich-Adams-and-Garrett-Anderson.-Photo-by-Andrew-Weeks-1180x632.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFDanceworks-Anne-Zivolich-Adams-and-Garrett-Anderson.-Photo-by-Andrew-Weeks-960x515.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFDanceworks-Anne-Zivolich-Adams-and-Garrett-Anderson.-Photo-by-Andrew-Weeks-240x129.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFDanceworks-Anne-Zivolich-Adams-and-Garrett-Anderson.-Photo-by-Andrew-Weeks-375x201.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFDanceworks-Anne-Zivolich-Adams-and-Garrett-Anderson.-Photo-by-Andrew-Weeks-520x279.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anne Zivolich-Adams and Garrett Anderson of SFDanceworks (Photo: Andrew Weeks)\u003c/figcaption>\u003c/figure>\n\u003ch3>SF Danceworks\u003c/h3>\n\u003ch5>June 22-24\u003cbr>\n\u003ca href=\"http://www.sfdanceworks.org\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>San Francisco Ballet soloist James Sofranko has quite a few distinguished friends in the ballet business worldwide, and a persuasive instinct. This season — only the second for his fledgling repertory company, SF Danceworks — he’s commissioned a new work from Izzie award-winning Bay Area dance maker James Graham. This joins the U.S. premiere of British choreographer Christopher Bruce’s highly acclaimed \u003cem>Shadows\u003c/em> and a 1942 vintage solo by the great José Limón, \u003cem>Chaconne\u003c/em>, to be danced by newly retired San Francisco Ballet principal dancer Pascal Molat and accompanied live by violinist René Mandel.\u003c/p>\n\u003cp>The program, staged at the intimate ODC Theatre, also includes works by two artists from Chicago’s Hubbard Street Dance — resident choreographer Alejandro Cerrudo and dancer Penny Saunders.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13372010\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13372010\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Amy-Seiwerts-Imagery_-Dancer-Sarah-Griffin_PhotobyDavidDeSilva-800x1065.jpg\" alt=\"\" width=\"800\" height=\"1065\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Amy-Seiwerts-Imagery_-Dancer-Sarah-Griffin_PhotobyDavidDeSilva-800x1065.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Amy-Seiwerts-Imagery_-Dancer-Sarah-Griffin_PhotobyDavidDeSilva-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Amy-Seiwerts-Imagery_-Dancer-Sarah-Griffin_PhotobyDavidDeSilva-768x1022.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Amy-Seiwerts-Imagery_-Dancer-Sarah-Griffin_PhotobyDavidDeSilva-1020x1358.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Amy-Seiwerts-Imagery_-Dancer-Sarah-Griffin_PhotobyDavidDeSilva-1920x2555.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Amy-Seiwerts-Imagery_-Dancer-Sarah-Griffin_PhotobyDavidDeSilva-1180x1571.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Amy-Seiwerts-Imagery_-Dancer-Sarah-Griffin_PhotobyDavidDeSilva-960x1278.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Amy-Seiwerts-Imagery_-Dancer-Sarah-Griffin_PhotobyDavidDeSilva-240x319.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Amy-Seiwerts-Imagery_-Dancer-Sarah-Griffin_PhotobyDavidDeSilva-375x499.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Amy-Seiwerts-Imagery_-Dancer-Sarah-Griffin_PhotobyDavidDeSilva-520x692.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Griffin of Amy Seiwert’s Imagery (Photo: David DeSilva)\u003c/figcaption>\u003c/figure>\n\u003ch3>SKETCH 7: Amy Seiwert’s Imagery in \u003cem>Wandering\u003c/em>\u003c/h3>\n\u003ch5>July 21-23\u003cbr>\n\u003ca href=\"http://asimagery.org\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\n\u003c/h5>\u003cp>Amy Seiwert’s summer SKETCH series has traditionally been a sundae of short new ballets concocted by a handful of choreographers and delivered by the dancers of Amy Seiwert’s Imagery, around a specific challenge dreamed up by Seiwert. The technique is classical, the mood generally experimental, the results often exhilarating.\u003c/p>\n\u003cp>Though held at Cowell Theater, the seventh installment of SKETCH switches gears to unveil the product of Seiwert’s recent residency at New York City’s Joyce Theater — the first National Residency offered by the Joyce to a company outside of New York. Set to ‘Winterreise (Winter Journey),’ Schubert’s deeply moving song cycle, this new ballet titled \u003cem>Wandering\u003c/em> is Seiwert’s first evening-length contemporary ballet and first full-blown narrative work, against the backdrop of a design that she describes as “surreal.”\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13372012\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13372012\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Chitresh-Das-Youth-Co_1406-Margo-Mortiz-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Chitresh-Das-Youth-Co_1406-Margo-Mortiz-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Chitresh-Das-Youth-Co_1406-Margo-Mortiz-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Chitresh-Das-Youth-Co_1406-Margo-Mortiz-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Chitresh-Das-Youth-Co_1406-Margo-Mortiz-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Chitresh-Das-Youth-Co_1406-Margo-Mortiz-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Chitresh-Das-Youth-Co_1406-Margo-Mortiz-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Chitresh-Das-Youth-Co_1406-Margo-Mortiz-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Chitresh-Das-Youth-Co_1406-Margo-Mortiz-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Chitresh-Das-Youth-Co_1406-Margo-Mortiz-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Chitresh-Das-Youth-Co_1406-Margo-Mortiz-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Members of the Chitresh Das Youth Company. (Photo: Margo Mortiz)\u003c/figcaption>\u003c/figure>\n\u003ch3>Chitresh Das Institute Inaugural Season\u003c/h3>\n\u003ch5>July 21-23\u003cbr>\n\u003ca href=\"http://www.zspace.org/art-of-kathak\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>The sudden death of Pandit Chitresh Das in 2015 shook the Bay Area dance world. A global ambassador and innovator of kathak, his generosity of spirit and collaborative genius was evident in many productions, notably in the film \u003ca href=\"https://www.youtube.com/watch?v=Sgoq9FVC9Jg\">\u003cem>Upaj: Improvise\u003c/em>\u003c/a>, a documentary of the kathak master’s journey to India with young tap freestyler Jason Samuels Smith.\u003c/p>\n\u003cp>Since Pandit Das’ death, several of his former students and company members have embarked on a variety of ventures to sustain his legacy. Among them is the founding of the Chitresh Das Institute (CDI) in 2016 by his widow, Celine Schein Das, with longtime student and company member Charlotte Moraga, as well as Preeti Zalavadia, who runs the CDI School. Their aim with the CDI is to build “a nerve center of Indian classical arts in the West.”\u003c/p>\n\u003cp>CDI presents their inaugural season this summer at the storied Z Space, the centerpiece of which is a world premiere solo kathak performance by Artistic Director Charlotte Moraga, accompanied by renowned tabla master Pandit Swapan Chaudhuri.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13372013\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/DDF2017-Finalpostcard-front-1020x694.jpg\" alt=\"Bay Area International Deaf Dance Festival flier\" width=\"640\" height=\"435\" class=\"size-large wp-image-13372013\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DDF2017-Finalpostcard-front-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DDF2017-Finalpostcard-front-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DDF2017-Finalpostcard-front-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DDF2017-Finalpostcard-front-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DDF2017-Finalpostcard-front-1180x802.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DDF2017-Finalpostcard-front-960x653.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DDF2017-Finalpostcard-front-240x163.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DDF2017-Finalpostcard-front-375x255.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DDF2017-Finalpostcard-front-520x354.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DDF2017-Finalpostcard-front.jpg 1875w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area International Deaf Dance Festival flier\u003c/figcaption>\u003c/figure>\n\u003ch3>Bay Area International Deaf Dance Festival\u003c/h3>\n\u003ch5>Aug 11-13\u003cbr>\n\u003ca href=\"http://www.realurbanjazzdance.com/2017-bay-area-international-deaf-dance-festival.html\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Antoine Hunter’s Urban Jazz Dance Company is flying in deaf artists from Germany, Russia, Australia, Brazil, the United Kingdom, Hong Kong, Nigeria, New York, Missouri, Texas and Washington, DC, for the fifth anniversary season of the Bay Area International Deaf Dance Festival (BAIDDF) headquartered at Dance Mission Theatre.\u003c/p>\n\u003cp>This season promises a wealth of performances and workshops taught by local and international deaf, hard of hearing and hearing artists who sign fluently. The diversity of sign languages represented at the festival this year include Mexican Sign Language (LSM), British Sign Language (BSL) and Hong Kong Sign Language — all celebrating the theme ‘Deaf United Louder.’\u003c/p>\n\u003cp>Alongside Hunter, other well-known performers include Rosa Lee Timm and Kassandra Wedel (the winner of \u003cem>So You Think You Can Dance\u003c/em> in Germany.)\n\u003c/p>\u003c/div>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Dance companies are trying out new works in more intimate spaces this summer season — here are a few you'll want to squeeze into.","status":"publish","parent":0,"modified":1705030433,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1174},"headData":{"title":"Get Intimate: Summer Dance Highlights in Unique Spaces | KQED","description":"Dance companies are trying out new works in more intimate spaces this summer season — here are a few you'll want to squeeze into.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Get Intimate: Summer Dance Highlights in Unique Spaces","datePublished":"2017-06-06T19:00:48.000Z","dateModified":"2024-01-12T03:33:53.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13371718/get-intimate-summer-dance-highlights-in-unique-spaces","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/series/hot-days-and-summer-nights-guide-2017/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg\" alt=\"\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-13376303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SummerArts2017-300x300px-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>San Francisco may well boast more dance troupes and dance-makers per square kilometer than any other city in the United States, but the city also suffers from a chronic shortage of adequate performance spaces. This summer, some of our best-loved local companies and festivals have decided to mix it up a bit. So whether you prefer your dance up close and personal or in more formal settings, these performances provide its audiences with unique opportunities to engage with dance.\u003c/p>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13371914\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13371914\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Monique-Jenkinson.-Photo-by-RJ-Muna-1-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Monique-Jenkinson.-Photo-by-RJ-Muna-1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Monique-Jenkinson.-Photo-by-RJ-Muna-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Monique-Jenkinson.-Photo-by-RJ-Muna-1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Monique-Jenkinson.-Photo-by-RJ-Muna-1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Monique-Jenkinson.-Photo-by-RJ-Muna-1-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Monique-Jenkinson.-Photo-by-RJ-Muna-1-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Monique-Jenkinson.-Photo-by-RJ-Muna-1-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Monique-Jenkinson.-Photo-by-RJ-Muna-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Monique-Jenkinson.-Photo-by-RJ-Muna-1-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Monique-Jenkinson.-Photo-by-RJ-Muna-1-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Monique-Jenkinson.-Photo-by-RJ-Muna-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Monique-Jenkinson.-Photo-by-RJ-Muna-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Monique-Jenkinson.-Photo-by-RJ-Muna-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Monique-Jenkinson.-Photo-by-RJ-Muna-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Monique-Jenkinson.-Photo-by-RJ-Muna-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Monique-Jenkinson.-Photo-by-RJ-Muna-1-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Monique Jenkinson, a.k.a. Fauxnique. (Photo: RJ Muna)\u003c/figcaption>\u003c/figure>\n\u003ch3>Sixth Annual ODC Walking Distance Dance Festival\u003c/h3>\n\u003ch5>June 9-10\u003cbr>\n\u003ca href=\"http://odc.dance/wddf\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>This politically charged festival runs along the teeming dance corridor made up of the ODC Theater, the ODC Dance Commons, and the Joe Goode Annex. On the final weekend, witness an evolving work by a group of artists directly inspired by the writings of James Baldwin and Ta-Nehisi Coates. \u003cem>Soul to Soul: An Artistic Response to Baldwin and Coates\u003c/em> is conceived and directed by Laura Elaine Ellis, co-director of the Black Choreographers Festival, with a powerhouse of a creative team that includes Gregory Dawson, Joanna Haigood, and Marc Bamuthi Joseph, musicians Byb Chanel Bibene and Jordon Dabney, and poets Jordon Dabney and Marvin White.\u003c/p>\n\u003cp>Also on the roster on this weekend are a couple of world premieres: one by Monique Jenkinson/a.k.a. Fauxnique (the first and only cissexual, pageant-winning drag queen) and the other by Maurya Kerr, founder-choreographer of tinypistol. In\u003cem> C*NT, or The Horror of Nothing to See\u003c/em>, Fauxnique displays her contemporary dance chops and a fearless desire to examine what she terms “drag’s complex relationship to femaleness.” Kerr premieres \u003cem>PoemAnthemSong\u003c/em>, a trilogy of protest dances inspired by literary texts.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13372008\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13372008\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Mission-in-the-Mix-Poster-Final-dancers-800x522.jpg\" alt=\"\" width=\"800\" height=\"522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Mission-in-the-Mix-Poster-Final-dancers-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Mission-in-the-Mix-Poster-Final-dancers-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Mission-in-the-Mix-Poster-Final-dancers-768x501.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Mission-in-the-Mix-Poster-Final-dancers-1020x665.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Mission-in-the-Mix-Poster-Final-dancers-1920x1252.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Mission-in-the-Mix-Poster-Final-dancers-1180x770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Mission-in-the-Mix-Poster-Final-dancers-960x626.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Mission-in-the-Mix-Poster-Final-dancers-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Mission-in-the-Mix-Poster-Final-dancers-375x245.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Mission-in-the-Mix-Poster-Final-dancers-520x339.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Members of Micaya’s SoulForce Dance Company in Strings (Photography and design: Blake Tucker)\u003c/figcaption>\u003c/figure>\n\u003ch3>Micaya’s Mission in the Mix\u003c/h3>\n\u003ch5>June 16-25\u003cbr>\n\u003ca href=\"http://www.micaya.com/mission-mix-2017/\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\n\u003c/h5>\u003cp>The whirlwind named Micaya, who put San Francisco on the global map of hip-hop dance, has attracted an indomitable lineup of local talent to Dance Mission Theatre. In “the mix” with the dancers of SoulForce, Micaya’s own troupe, are an assortment of adult and youth hip-hop groups, as well as pop and contemporary dancers. Micaya will also showcase students from her own workshops, one of which is labeled “Hips Lips and Dips (a workshop for sexy girls and boys).”\u003c/p>\n\u003cp>Micaya means serious business. She readily calls out the hypocrisies in the dance world. A personal peeve of hers right now are television dance shows which appoint celebrity judges who are not experts in dance. She derides the “recording pop stars who dance sometimes [but who] do not know how to give constructive criticism on technique. It’s unfair and disrespectful to the art of dance.” For the real deal, ditch your TV and get over to \u003cem>Mission in the Mix\u003c/em>.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13372009\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13372009\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/SFDanceworks-Anne-Zivolich-Adams-and-Garrett-Anderson.-Photo-by-Andrew-Weeks-800x429.jpg\" alt=\"\" width=\"800\" height=\"429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFDanceworks-Anne-Zivolich-Adams-and-Garrett-Anderson.-Photo-by-Andrew-Weeks-800x429.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFDanceworks-Anne-Zivolich-Adams-and-Garrett-Anderson.-Photo-by-Andrew-Weeks-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFDanceworks-Anne-Zivolich-Adams-and-Garrett-Anderson.-Photo-by-Andrew-Weeks-768x412.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFDanceworks-Anne-Zivolich-Adams-and-Garrett-Anderson.-Photo-by-Andrew-Weeks-1020x547.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFDanceworks-Anne-Zivolich-Adams-and-Garrett-Anderson.-Photo-by-Andrew-Weeks-1920x1029.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFDanceworks-Anne-Zivolich-Adams-and-Garrett-Anderson.-Photo-by-Andrew-Weeks-1180x632.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFDanceworks-Anne-Zivolich-Adams-and-Garrett-Anderson.-Photo-by-Andrew-Weeks-960x515.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFDanceworks-Anne-Zivolich-Adams-and-Garrett-Anderson.-Photo-by-Andrew-Weeks-240x129.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFDanceworks-Anne-Zivolich-Adams-and-Garrett-Anderson.-Photo-by-Andrew-Weeks-375x201.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/SFDanceworks-Anne-Zivolich-Adams-and-Garrett-Anderson.-Photo-by-Andrew-Weeks-520x279.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anne Zivolich-Adams and Garrett Anderson of SFDanceworks (Photo: Andrew Weeks)\u003c/figcaption>\u003c/figure>\n\u003ch3>SF Danceworks\u003c/h3>\n\u003ch5>June 22-24\u003cbr>\n\u003ca href=\"http://www.sfdanceworks.org\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>San Francisco Ballet soloist James Sofranko has quite a few distinguished friends in the ballet business worldwide, and a persuasive instinct. This season — only the second for his fledgling repertory company, SF Danceworks — he’s commissioned a new work from Izzie award-winning Bay Area dance maker James Graham. This joins the U.S. premiere of British choreographer Christopher Bruce’s highly acclaimed \u003cem>Shadows\u003c/em> and a 1942 vintage solo by the great José Limón, \u003cem>Chaconne\u003c/em>, to be danced by newly retired San Francisco Ballet principal dancer Pascal Molat and accompanied live by violinist René Mandel.\u003c/p>\n\u003cp>The program, staged at the intimate ODC Theatre, also includes works by two artists from Chicago’s Hubbard Street Dance — resident choreographer Alejandro Cerrudo and dancer Penny Saunders.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13372010\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13372010\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Amy-Seiwerts-Imagery_-Dancer-Sarah-Griffin_PhotobyDavidDeSilva-800x1065.jpg\" alt=\"\" width=\"800\" height=\"1065\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Amy-Seiwerts-Imagery_-Dancer-Sarah-Griffin_PhotobyDavidDeSilva-800x1065.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Amy-Seiwerts-Imagery_-Dancer-Sarah-Griffin_PhotobyDavidDeSilva-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Amy-Seiwerts-Imagery_-Dancer-Sarah-Griffin_PhotobyDavidDeSilva-768x1022.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Amy-Seiwerts-Imagery_-Dancer-Sarah-Griffin_PhotobyDavidDeSilva-1020x1358.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Amy-Seiwerts-Imagery_-Dancer-Sarah-Griffin_PhotobyDavidDeSilva-1920x2555.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Amy-Seiwerts-Imagery_-Dancer-Sarah-Griffin_PhotobyDavidDeSilva-1180x1571.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Amy-Seiwerts-Imagery_-Dancer-Sarah-Griffin_PhotobyDavidDeSilva-960x1278.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Amy-Seiwerts-Imagery_-Dancer-Sarah-Griffin_PhotobyDavidDeSilva-240x319.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Amy-Seiwerts-Imagery_-Dancer-Sarah-Griffin_PhotobyDavidDeSilva-375x499.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Amy-Seiwerts-Imagery_-Dancer-Sarah-Griffin_PhotobyDavidDeSilva-520x692.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Griffin of Amy Seiwert’s Imagery (Photo: David DeSilva)\u003c/figcaption>\u003c/figure>\n\u003ch3>SKETCH 7: Amy Seiwert’s Imagery in \u003cem>Wandering\u003c/em>\u003c/h3>\n\u003ch5>July 21-23\u003cbr>\n\u003ca href=\"http://asimagery.org\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\n\u003c/h5>\u003cp>Amy Seiwert’s summer SKETCH series has traditionally been a sundae of short new ballets concocted by a handful of choreographers and delivered by the dancers of Amy Seiwert’s Imagery, around a specific challenge dreamed up by Seiwert. The technique is classical, the mood generally experimental, the results often exhilarating.\u003c/p>\n\u003cp>Though held at Cowell Theater, the seventh installment of SKETCH switches gears to unveil the product of Seiwert’s recent residency at New York City’s Joyce Theater — the first National Residency offered by the Joyce to a company outside of New York. Set to ‘Winterreise (Winter Journey),’ Schubert’s deeply moving song cycle, this new ballet titled \u003cem>Wandering\u003c/em> is Seiwert’s first evening-length contemporary ballet and first full-blown narrative work, against the backdrop of a design that she describes as “surreal.”\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13372012\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13372012\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Chitresh-Das-Youth-Co_1406-Margo-Mortiz-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Chitresh-Das-Youth-Co_1406-Margo-Mortiz-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Chitresh-Das-Youth-Co_1406-Margo-Mortiz-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Chitresh-Das-Youth-Co_1406-Margo-Mortiz-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Chitresh-Das-Youth-Co_1406-Margo-Mortiz-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Chitresh-Das-Youth-Co_1406-Margo-Mortiz-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Chitresh-Das-Youth-Co_1406-Margo-Mortiz-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Chitresh-Das-Youth-Co_1406-Margo-Mortiz-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Chitresh-Das-Youth-Co_1406-Margo-Mortiz-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Chitresh-Das-Youth-Co_1406-Margo-Mortiz-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Chitresh-Das-Youth-Co_1406-Margo-Mortiz-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Members of the Chitresh Das Youth Company. (Photo: Margo Mortiz)\u003c/figcaption>\u003c/figure>\n\u003ch3>Chitresh Das Institute Inaugural Season\u003c/h3>\n\u003ch5>July 21-23\u003cbr>\n\u003ca href=\"http://www.zspace.org/art-of-kathak\" target=\"_blank\" rel=\"noopener\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>The sudden death of Pandit Chitresh Das in 2015 shook the Bay Area dance world. A global ambassador and innovator of kathak, his generosity of spirit and collaborative genius was evident in many productions, notably in the film \u003ca href=\"https://www.youtube.com/watch?v=Sgoq9FVC9Jg\">\u003cem>Upaj: Improvise\u003c/em>\u003c/a>, a documentary of the kathak master’s journey to India with young tap freestyler Jason Samuels Smith.\u003c/p>\n\u003cp>Since Pandit Das’ death, several of his former students and company members have embarked on a variety of ventures to sustain his legacy. Among them is the founding of the Chitresh Das Institute (CDI) in 2016 by his widow, Celine Schein Das, with longtime student and company member Charlotte Moraga, as well as Preeti Zalavadia, who runs the CDI School. Their aim with the CDI is to build “a nerve center of Indian classical arts in the West.”\u003c/p>\n\u003cp>CDI presents their inaugural season this summer at the storied Z Space, the centerpiece of which is a world premiere solo kathak performance by Artistic Director Charlotte Moraga, accompanied by renowned tabla master Pandit Swapan Chaudhuri.\n\u003c/p>\u003c/div>\n\u003cdiv class=\"callout noborder\">\n\u003cfigure id=\"attachment_13372013\" class=\"wp-caption alignleft\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/DDF2017-Finalpostcard-front-1020x694.jpg\" alt=\"Bay Area International Deaf Dance Festival flier\" width=\"640\" height=\"435\" class=\"size-large wp-image-13372013\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DDF2017-Finalpostcard-front-1020x694.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DDF2017-Finalpostcard-front-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DDF2017-Finalpostcard-front-800x544.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DDF2017-Finalpostcard-front-768x522.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DDF2017-Finalpostcard-front-1180x802.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DDF2017-Finalpostcard-front-960x653.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DDF2017-Finalpostcard-front-240x163.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DDF2017-Finalpostcard-front-375x255.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DDF2017-Finalpostcard-front-520x354.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DDF2017-Finalpostcard-front.jpg 1875w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area International Deaf Dance Festival flier\u003c/figcaption>\u003c/figure>\n\u003ch3>Bay Area International Deaf Dance Festival\u003c/h3>\n\u003ch5>Aug 11-13\u003cbr>\n\u003ca href=\"http://www.realurbanjazzdance.com/2017-bay-area-international-deaf-dance-festival.html\">Tickets and Information\u003c/a>\u003c/h5>\n\u003cp>Antoine Hunter’s Urban Jazz Dance Company is flying in deaf artists from Germany, Russia, Australia, Brazil, the United Kingdom, Hong Kong, Nigeria, New York, Missouri, Texas and Washington, DC, for the fifth anniversary season of the Bay Area International Deaf Dance Festival (BAIDDF) headquartered at Dance Mission Theatre.\u003c/p>\n\u003cp>This season promises a wealth of performances and workshops taught by local and international deaf, hard of hearing and hearing artists who sign fluently. The diversity of sign languages represented at the festival this year include Mexican Sign Language (LSM), British Sign Language (BSL) and Hong Kong Sign Language — all celebrating the theme ‘Deaf United Louder.’\u003c/p>\n\u003cp>Alongside Hunter, other well-known performers include Rosa Lee Timm and Kassandra Wedel (the winner of \u003cem>So You Think You Can Dance\u003c/em> in Germany.)\n\u003c/p>\u003c/div>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\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/13371718/get-intimate-summer-dance-highlights-in-unique-spaces","authors":["11206"],"series":["arts_1874"],"categories":["arts_966"],"tags":["arts_1118","arts_1006","arts_596"],"featImg":"arts_13371721","label":"arts_1874"}},"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? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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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