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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every customer service job comes with moments of relative inactivity; those blessed stretches of the work shift where there’s nobody to wait on, and where you can take a breather to commiserate with your fellow employees. \u003c/p>\n\u003cp>At movie theaters, those stretches last much longer, and the routine talk between rushes goes deeper. Add the fact that many theater staff are young. Also, that discussing why you like or don’t like a movie usually brings up personal experiences and emotional details. All of this gets magnified as the clock ticks into nighttime, when movies regularly get out after midnight.\u003c/p>\n\u003cp>This is the premise of \u003cem>The Flick\u003c/em>, the Pulitzer-winning play by Annie Baker currently making its West Coast premiere at Shotgun Players’ Ashby Stage in Berkeley. Full of dialogue and situations that will feel very familiar to anyone who’s worked a customer service job, it also (hopefully) inspires empathy toward the beleaguered minimum-wage worker in those who haven’t.\u003c/p>\n\u003cp>\u003cem>The Flick\u003c/em> starts slowly, because time at a movie theater moves slowly. As Sam (Chris Ginesi) and Avery (Justin Howard) sweep up between rows of seats after a show, the pauses between conversation are almost painfully long. Sam is showing new employee Avery the basic stuff like where to take the trash, and soon, more complicated stuff, like the elaborate system of skimming the box office cash register.\u003c/p>\n\u003cp>Also complicated is Sam’s attraction to projectionist Rose (Ari Rampy), who flirts instead with Avery, the new kid on the block. Meanwhile, Avery’s worried about Rose’s blatant overtures upsetting Sam, and about being blamed, as a nonwhite employee, should the cash-theft scheme be discovered. Hanging over all this is the theater industry’s imminent conversion to digital projection, and rumors that the small local theater will be sold to a corporate chain.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Directed by Jon Tracy, \u003cem>The Flick\u003c/em>‘s pace may throw some viewers off. But not only is it necessary for the revelations in the space between, it’s realistic to customer-service life. That’s true also for the set, designed by Randy Wong-Westbrooke: a perfect replica of a faded 1970s movie theater auditorium and projection booth. \u003c/p>\n\u003cp>But there’s a lot here that resonates beyond movie theaters. Love, ethics, mental health, goals, race, courage and vulnerability all play a role in \u003cem>The Flick\u003c/em>. They’re the type of things that stick around long after the credits roll and the lights come up. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>—Gabe Meline\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Review: 'Kill Move Paradise' Pulses with Life at Shotgun Players",
"headTitle": "Review: ‘Kill Move Paradise’ Pulses with Life at Shotgun Players | KQED",
"content": "\u003cp>On a sterile white stage, gently curved like the interior of a celestial guitar, a man reads from a seemingly endless list.\u003c/p>\n\u003cp>“Amadou Diallo. Malcolm Ferguson. Patrick Dorismond.”\u003c/p>\n\u003cp>If you recognize these names, then you already know that the list—spooling comically from an impact printer—is pages and pages long. Among the names I hear Oscar Grant. Andy Lopez. Nia Wilson. A projection of a trickling river becomes a flood, sweeping uncontrolled across the back of the stage. Two other actors struggle against the current, which threatens to sweep them away.\u003c/p>\n\u003cfigure id=\"attachment_13861403\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861403\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_LenardJackson_TreVonneBell_list_credit_RobbieSweeny-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_LenardJackson_TreVonneBell_list_credit_RobbieSweeny-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_LenardJackson_TreVonneBell_list_credit_RobbieSweeny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_LenardJackson_TreVonneBell_list_credit_RobbieSweeny-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_LenardJackson_TreVonneBell_list_credit_RobbieSweeny-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_LenardJackson_TreVonneBell_list_credit_RobbieSweeny.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eddie Ewell, Lenard Jackson, and Tre’Vonne Bell read from the list in ‘Kill Move Paradise,’ by James Ijames, at Shotgun Players’ Ashby Stage. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In James Ijames’ \u003cem>Kill Move Paradise\u003c/em>, Isa (Eddie Ewell), Grif (Lenard Jackson), and Daz (Tre’Vonne Bell) find themselves in purgatory, where they must work together toward the next plane in their ascension to the afterlife. As black men who have been murdered, their instructions for transformation include simply to “remember.” Without the comfort of oblivion, they must take comfort in each other, and demonstrate to themselves and the audience why they matter.\u003c/p>\n\u003cp>This rare collaboration between Shotgun Players and Lorraine Hansberry Theatre, directed by Darryl V. Jones, imbues Ijames’ eternity-focused script with earthly expressiveness. Isa, resigned, has been here before, and recognizes not only the room but the situation. In actor Eddie Ewell’s hands he is kindly, assured; the perfect, cardigan-clad intermediary to coach his fellow residents of limbo to the next level. Jackson’s Grif is sweetly dorky in a bow tie and a knack for the double take, and Bell’s Daz an explosion of street patter and crackling, live-wire energy.\u003c/p>\n\u003cfigure id=\"attachment_13861405\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861405\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_credit_RobbieSweeny-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_credit_RobbieSweeny-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_credit_RobbieSweeny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_credit_RobbieSweeny-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_credit_RobbieSweeny-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_credit_RobbieSweeny.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eddie Ewell dances on Celeste Martore’s singular set in ‘Kill Move Paradise,’ at Shotgun Players’ Ashby Stage. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The blank white walls of Celeste Martore’s set curve extravagantly into each other, flanked by tubular portals or ducts through which the three men have been unceremoniously shoved by unknown forces. When the men try to scale them, they quickly slide back down to the ground in Sisyphean frustration. In function, the set acts both as a blank canvas for Theodore J.H. Hulsker’s video projections of cracked earth, flood waters, lightning, and heavenly bodies, and as a perfect metaphor for our protagonists’ existential predicament—of black men trapped and held by implacable, oppressive whiteness. As they try to work out amongst themselves whether their untimely deaths make them martyrs or sacrifices, the pristine walls give them no clues, only barriers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Just when it seems as if the setup couldn’t get more harrowing, a fourth character appears. Tiny (Dwayne Clay) is a playful teenager clad in red and blue sportswear and carrying an obviously fake, bright orange popgun. His arrival stuns and enrages his predecessors. A child. Who plays make-believe games of cowboys and aliens in the park. Who boasts of his high IQ one moment and sulks about being teased for it the next.\u003c/p>\n\u003cp>“He’s too young,” Daz protests, vacillating between wanting Tiny to know the truth of why he’s come, yet unable to break it to him. But remembering is in the instruction manual, and they can only move to the next level if they move together, and so they set about the task of bringing Tiny up to speed on his death.\u003c/p>\n\u003cp>In Ijames’ inspired vision of the afterlife, there’s no escaping the truth, not even for the audience. Our protective fourth wall is breached right at the beginning of the play, and frequently we become the subject of speculation. Are we a wall of observers, monitoring for quality control? A representative slice of Americans? A room of detached voyeurs? How can we just sit there and watch the pain and confusion of others unfurl before us like a spectator sport? Indeed, how can anyone, Ijames appears to demand.\u003c/p>\n\u003cfigure id=\"attachment_13861402\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861402\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_TreVonneBell_LenardJackson_DwayneClay_Cerberus_credit_RobbieSweeny-800x497.jpg\" alt=\"\" width=\"800\" height=\"497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_TreVonneBell_LenardJackson_DwayneClay_Cerberus_credit_RobbieSweeny-800x497.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_TreVonneBell_LenardJackson_DwayneClay_Cerberus_credit_RobbieSweeny-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_TreVonneBell_LenardJackson_DwayneClay_Cerberus_credit_RobbieSweeny-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_TreVonneBell_LenardJackson_DwayneClay_Cerberus_credit_RobbieSweeny-1020x634.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_TreVonneBell_LenardJackson_DwayneClay_Cerberus_credit_RobbieSweeny.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eddie Ewell, Tre’Vonne Bell, and Lenard Jackson intimidate Dwayne Clay in ‘Kill Move Paradise,’ at Shotgun Players’ Ashby Stage. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before our eyes, the characters undergo harrowing transformations in their pursuit of revelation. At one point the three men join together to become an otherworldly three-headed Cerberus, sinuous and threatening. At another, they ham their way through a sit-com, complete with canned laughter and applause. Their reality contracts and expands with infinite possibility, while the audience remains static—not invited to participate in the piece so much as to bear witness.\u003c/p>\n\u003cfigure id=\"attachment_13861407\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861407\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KillMoveParadise_DwayneClay_confrontsaudience_credit_RobbieSweeny-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_DwayneClay_confrontsaudience_credit_RobbieSweeny-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_DwayneClay_confrontsaudience_credit_RobbieSweeny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_DwayneClay_confrontsaudience_credit_RobbieSweeny-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_DwayneClay_confrontsaudience_credit_RobbieSweeny-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_DwayneClay_confrontsaudience_credit_RobbieSweeny.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dwayne Clay as Tiny confronts the audience in ‘Kill Move Paradise’ at Shotgun Players’ Ashby Stage. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With \u003cem>Kill Move Paradise\u003c/em>, Ijames gives voice to those silenced for no other reason than the color of their skin and irrational fear. A dazzling pastiche of shimmering surrealism, poetic soliloquies, an undercurrent of grief, and a reverence for the pulsating life force that propels us forward, \u003cem>Kill Move Paradise\u003c/em> doesn’t so much unfold onstage but burst onto it, like an extraterrestrial explosion. A reflection of both our worst and best traits as a society. It may embody one of our grimmest statistics, but within it lies a kernel of hope.\u003c/p>\n\u003cp>“I am the last they shall eliminate,” Tiny pronounces near the end, as the four prepare to attain eternity. He makes it sound like a promise—and a prayer.\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>‘Kill Move’ Paradise’ runs through Aug. 4 at Ashby Stage in Berkeley. \u003ca href=\"https://shotgunplayers.org/Online/default.asp\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a sterile white stage, gently curved like the interior of a celestial guitar, a man reads from a seemingly endless list.\u003c/p>\n\u003cp>“Amadou Diallo. Malcolm Ferguson. Patrick Dorismond.”\u003c/p>\n\u003cp>If you recognize these names, then you already know that the list—spooling comically from an impact printer—is pages and pages long. Among the names I hear Oscar Grant. Andy Lopez. Nia Wilson. A projection of a trickling river becomes a flood, sweeping uncontrolled across the back of the stage. Two other actors struggle against the current, which threatens to sweep them away.\u003c/p>\n\u003cfigure id=\"attachment_13861403\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861403\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_LenardJackson_TreVonneBell_list_credit_RobbieSweeny-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_LenardJackson_TreVonneBell_list_credit_RobbieSweeny-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_LenardJackson_TreVonneBell_list_credit_RobbieSweeny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_LenardJackson_TreVonneBell_list_credit_RobbieSweeny-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_LenardJackson_TreVonneBell_list_credit_RobbieSweeny-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_LenardJackson_TreVonneBell_list_credit_RobbieSweeny.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eddie Ewell, Lenard Jackson, and Tre’Vonne Bell read from the list in ‘Kill Move Paradise,’ by James Ijames, at Shotgun Players’ Ashby Stage. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In James Ijames’ \u003cem>Kill Move Paradise\u003c/em>, Isa (Eddie Ewell), Grif (Lenard Jackson), and Daz (Tre’Vonne Bell) find themselves in purgatory, where they must work together toward the next plane in their ascension to the afterlife. As black men who have been murdered, their instructions for transformation include simply to “remember.” Without the comfort of oblivion, they must take comfort in each other, and demonstrate to themselves and the audience why they matter.\u003c/p>\n\u003cp>This rare collaboration between Shotgun Players and Lorraine Hansberry Theatre, directed by Darryl V. Jones, imbues Ijames’ eternity-focused script with earthly expressiveness. Isa, resigned, has been here before, and recognizes not only the room but the situation. In actor Eddie Ewell’s hands he is kindly, assured; the perfect, cardigan-clad intermediary to coach his fellow residents of limbo to the next level. Jackson’s Grif is sweetly dorky in a bow tie and a knack for the double take, and Bell’s Daz an explosion of street patter and crackling, live-wire energy.\u003c/p>\n\u003cfigure id=\"attachment_13861405\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861405\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_credit_RobbieSweeny-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_credit_RobbieSweeny-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_credit_RobbieSweeny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_credit_RobbieSweeny-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_credit_RobbieSweeny-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_credit_RobbieSweeny.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eddie Ewell dances on Celeste Martore’s singular set in ‘Kill Move Paradise,’ at Shotgun Players’ Ashby Stage. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The blank white walls of Celeste Martore’s set curve extravagantly into each other, flanked by tubular portals or ducts through which the three men have been unceremoniously shoved by unknown forces. When the men try to scale them, they quickly slide back down to the ground in Sisyphean frustration. In function, the set acts both as a blank canvas for Theodore J.H. Hulsker’s video projections of cracked earth, flood waters, lightning, and heavenly bodies, and as a perfect metaphor for our protagonists’ existential predicament—of black men trapped and held by implacable, oppressive whiteness. As they try to work out amongst themselves whether their untimely deaths make them martyrs or sacrifices, the pristine walls give them no clues, only barriers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Just when it seems as if the setup couldn’t get more harrowing, a fourth character appears. Tiny (Dwayne Clay) is a playful teenager clad in red and blue sportswear and carrying an obviously fake, bright orange popgun. His arrival stuns and enrages his predecessors. A child. Who plays make-believe games of cowboys and aliens in the park. Who boasts of his high IQ one moment and sulks about being teased for it the next.\u003c/p>\n\u003cp>“He’s too young,” Daz protests, vacillating between wanting Tiny to know the truth of why he’s come, yet unable to break it to him. But remembering is in the instruction manual, and they can only move to the next level if they move together, and so they set about the task of bringing Tiny up to speed on his death.\u003c/p>\n\u003cp>In Ijames’ inspired vision of the afterlife, there’s no escaping the truth, not even for the audience. Our protective fourth wall is breached right at the beginning of the play, and frequently we become the subject of speculation. Are we a wall of observers, monitoring for quality control? A representative slice of Americans? A room of detached voyeurs? How can we just sit there and watch the pain and confusion of others unfurl before us like a spectator sport? Indeed, how can anyone, Ijames appears to demand.\u003c/p>\n\u003cfigure id=\"attachment_13861402\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861402\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_TreVonneBell_LenardJackson_DwayneClay_Cerberus_credit_RobbieSweeny-800x497.jpg\" alt=\"\" width=\"800\" height=\"497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_TreVonneBell_LenardJackson_DwayneClay_Cerberus_credit_RobbieSweeny-800x497.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_TreVonneBell_LenardJackson_DwayneClay_Cerberus_credit_RobbieSweeny-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_TreVonneBell_LenardJackson_DwayneClay_Cerberus_credit_RobbieSweeny-768x477.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_TreVonneBell_LenardJackson_DwayneClay_Cerberus_credit_RobbieSweeny-1020x634.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_EddieEwell_TreVonneBell_LenardJackson_DwayneClay_Cerberus_credit_RobbieSweeny.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eddie Ewell, Tre’Vonne Bell, and Lenard Jackson intimidate Dwayne Clay in ‘Kill Move Paradise,’ at Shotgun Players’ Ashby Stage. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before our eyes, the characters undergo harrowing transformations in their pursuit of revelation. At one point the three men join together to become an otherworldly three-headed Cerberus, sinuous and threatening. At another, they ham their way through a sit-com, complete with canned laughter and applause. Their reality contracts and expands with infinite possibility, while the audience remains static—not invited to participate in the piece so much as to bear witness.\u003c/p>\n\u003cfigure id=\"attachment_13861407\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861407\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/KillMoveParadise_DwayneClay_confrontsaudience_credit_RobbieSweeny-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_DwayneClay_confrontsaudience_credit_RobbieSweeny-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_DwayneClay_confrontsaudience_credit_RobbieSweeny-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_DwayneClay_confrontsaudience_credit_RobbieSweeny-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_DwayneClay_confrontsaudience_credit_RobbieSweeny-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/KillMoveParadise_DwayneClay_confrontsaudience_credit_RobbieSweeny.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dwayne Clay as Tiny confronts the audience in ‘Kill Move Paradise’ at Shotgun Players’ Ashby Stage. \u003ccite>(Robbie Sweeny)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With \u003cem>Kill Move Paradise\u003c/em>, Ijames gives voice to those silenced for no other reason than the color of their skin and irrational fear. A dazzling pastiche of shimmering surrealism, poetic soliloquies, an undercurrent of grief, and a reverence for the pulsating life force that propels us forward, \u003cem>Kill Move Paradise\u003c/em> doesn’t so much unfold onstage but burst onto it, like an extraterrestrial explosion. A reflection of both our worst and best traits as a society. It may embody one of our grimmest statistics, but within it lies a kernel of hope.\u003c/p>\n\u003cp>“I am the last they shall eliminate,” Tiny pronounces near the end, as the four prepare to attain eternity. He makes it sound like a promise—and a prayer.\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>‘Kill Move’ Paradise’ runs through Aug. 4 at Ashby Stage in Berkeley. \u003ca href=\"https://shotgunplayers.org/Online/default.asp\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Since reopening in downtown Berkeley, the Berkeley Art Museum and Pacific Film Archive has organized a free, outdoor summer cinema series on its massive LED screen at the corner of Addison and Oxford streets. This year, as part of a broader rock ‘n’ roll-themed film program, the museum is screening several classics: \u003cem>Stop Making Sense\u003c/em>, the 1984 Talking Heads concert film by Jonathan Demme; a British Invasion double-feature of \u003cem>A Hard Day’s Night\u003c/em> and \u003cem>Charlie is My Darling\u003c/em>; and a Bay Area counterculture pairing of \u003cem>Monterey Pop\u003c/em> and \u003cem>Jimi Plays Berkeley\u003c/em>. A pop-up stand operated by Babette, the BAMPFA cafe, will offer moviegoers refreshments.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Looking Into the Hidden Lives of Women in 'Far, Far Better Things'",
"headTitle": "Looking Into the Hidden Lives of Women in ‘Far, Far Better Things’ | KQED",
"content": "\u003cp>It was the best of times, it was the worst of times, and in an urban area much like our own, an undocumented housekeeper is reunited with a woman who used to be in her care as a teenager.\u003c/p>\n\u003cp>In \u003cem>Far, Far Better Things\u003c/em>, a co-production between TheatreFirst and the Shotgun Players, Zoe (Kimiya Shokri) is finishing a residency while attempting to raise a newborn baby alone, and has hit upon what she thinks is the perfect solution. Why not hire this familiar face from her adolescence to watch her child while she works to get her medical license? Of course, just as Zoe has grown in the interim, so too has her former housekeeper and now nanny, Pilar (Michelle Navarrete), who brings an adolescent of her own, Dani (Neiry Rojo), along with 16 years’ worth of additional life experiences that Zoe cannot entirely comprehend.\u003c/p>\n\u003cp>Not that Zoe even tries very hard. In Zoe, playwright Geetha Reddy delivers a casualty of millennial overextension—perpetually exhausted, myopically self-absorbed, a devotee of “self-care” up to and including spin class but not in limiting her consumption of bedtime wine. For Zoe, Pilar is a convenience, a godsend, and a given. For Pilar, the situation is infinitely more complicated, and as her personal autonomy becomes increasingly encroached upon, she realizes too late that her erstwhile haven has become a prison.\u003c/p>\n\u003cfigure id=\"attachment_13856719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856719\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KamiyaShokri_credit_JayYamada-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KamiyaShokri_credit_JayYamada-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KamiyaShokri_credit_JayYamada-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KamiyaShokri_credit_JayYamada-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KamiyaShokri_credit_JayYamada-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KamiyaShokri_credit_JayYamada.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kimiya Shokri in Geetha Reddy’s ‘Far, Far Better Things.’ \u003ccite>(Jay Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reddy’s \u003cem>Far, Far Better Things\u003c/em> may have been inspired by her desire to revisit Charles Dickens’ revolutionary epic, \u003cem>A Tale of Two Cities,\u003c/em> but the resultant, episodic play feels much more influenced by the pressing political concerns of today—women’s rights, immigration, domestic violence. True, there are nods to the original text (mostly in book report form, as Dani is writing about it for her high school English class), but \u003cem>Far, Far Better Things \u003c/em>takes on a life of its own as the action unfolds. Written as a series of interconnected vignettes bracketed in the production by video (Ben Euphrat and Brandon West) and soundscape (Kristoffer Barrera), the play turns quiet domesticity into a fraught frontline. One where wildly divergent expectations cannot be met, and deep disconnections may prove impossible to bridge.\u003c/p>\n\u003cp>Directed by Katya Rivera, the production excels at revealing the quiet desperation threading through the lives of its female protagonists. Although outwardly in control of their respective paths—as mothers, daughters, career women, and students—it doesn’t take long for us to recognize that beneath a veneer of competency, each character barely holds themselves together. At the heart of their unease lies the ugly specter of domestic violence, which colors their relationships yet ties them, however unwillingly, together—a sisterhood of the abused. How they ultimately choose to confront the past and challenge their future gives the play its barely plausible storybook ending, but before we get there, it’s the indignities of the everyday that command the audience’s attention.\u003c/p>\n\u003cfigure id=\"attachment_13856723\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856723\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_NeiryRojo_MichelleNavarrete_credit_JayYamada-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_NeiryRojo_MichelleNavarrete_credit_JayYamada-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_NeiryRojo_MichelleNavarrete_credit_JayYamada-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_NeiryRojo_MichelleNavarrete_credit_JayYamada-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_NeiryRojo_MichelleNavarrete_credit_JayYamada-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_NeiryRojo_MichelleNavarrete_credit_JayYamada.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Neiry Rojo and Michelle Navarrate in Geetha Reddy’s Far Far Better Things. \u003ccite>(Jay Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where the production suffers most is in its treatment of the character Josh (Yohana Ansari-Thomas), who as Zoe’s kid brother is himself a victim of childhood abuse, and yet never gets to evolve beyond villainous caricature. He’s basically a walking misogynist hashtag, whose every action serves to perpetuate a cycle of violence that he doesn’t get the opportunity to recognize affects him too. Josh’s existence feels basically written to jolt Zoe and Pilar from their “inert” paths and into action, but that propulsion comes at the expense of meaningful character development. Making him Zoe’s brother feels almost like an afterthought, and Ansari-Thomas and Shokri rarely read as family members onstage—a sharp contrast to the chemistry between Navarrete and Rojo, whose mother-daughter dynamic feels much more natural and compelling.\u003c/p>\n\u003cfigure id=\"attachment_13856720\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856720\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KimiyaShokri_YohanaAnsari-Thomas_credit_JayYamada-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KimiyaShokri_YohanaAnsari-Thomas_credit_JayYamada-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KimiyaShokri_YohanaAnsari-Thomas_credit_JayYamada-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KimiyaShokri_YohanaAnsari-Thomas_credit_JayYamada-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KimiyaShokri_YohanaAnsari-Thomas_credit_JayYamada-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KimiyaShokri_YohanaAnsari-Thomas_credit_JayYamada.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kimiya Shokri and Yohana Ansari-Thomas in Geetha Reddy’s ‘Far, Far Better Things.’ \u003ccite>(Jay Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The moment where the characters break free of their respective confinements and out into the larger world does allow the play a nod to the epic self-sacrifice that gives \u003cem>A Tale of Two Cities\u003c/em> its famous closing lines, and \u003cem>Far, Far Better Things\u003c/em> its title. As an ending to this play, the scene feels a little rushed, and not necessarily true to each character, but as a beginning to a new chapter which gives both its struggling protagonists and the audience a reason to hope. It suggests that though we may not always be able to recognize the barriers set around us in time to push through them on our own, with solidarity, we can help set each other free.\u003c/p>\n\u003cp>[ad fullwidth]\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>‘Far, Far Better Things’ runs through May 19 at Live Oak Theater in Berkeley. \u003ca href=\"http://shotgunplayers.org/online/article/far-far-better\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was the best of times, it was the worst of times, and in an urban area much like our own, an undocumented housekeeper is reunited with a woman who used to be in her care as a teenager.\u003c/p>\n\u003cp>In \u003cem>Far, Far Better Things\u003c/em>, a co-production between TheatreFirst and the Shotgun Players, Zoe (Kimiya Shokri) is finishing a residency while attempting to raise a newborn baby alone, and has hit upon what she thinks is the perfect solution. Why not hire this familiar face from her adolescence to watch her child while she works to get her medical license? Of course, just as Zoe has grown in the interim, so too has her former housekeeper and now nanny, Pilar (Michelle Navarrete), who brings an adolescent of her own, Dani (Neiry Rojo), along with 16 years’ worth of additional life experiences that Zoe cannot entirely comprehend.\u003c/p>\n\u003cp>Not that Zoe even tries very hard. In Zoe, playwright Geetha Reddy delivers a casualty of millennial overextension—perpetually exhausted, myopically self-absorbed, a devotee of “self-care” up to and including spin class but not in limiting her consumption of bedtime wine. For Zoe, Pilar is a convenience, a godsend, and a given. For Pilar, the situation is infinitely more complicated, and as her personal autonomy becomes increasingly encroached upon, she realizes too late that her erstwhile haven has become a prison.\u003c/p>\n\u003cfigure id=\"attachment_13856719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856719\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KamiyaShokri_credit_JayYamada-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KamiyaShokri_credit_JayYamada-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KamiyaShokri_credit_JayYamada-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KamiyaShokri_credit_JayYamada-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KamiyaShokri_credit_JayYamada-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KamiyaShokri_credit_JayYamada.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kimiya Shokri in Geetha Reddy’s ‘Far, Far Better Things.’ \u003ccite>(Jay Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reddy’s \u003cem>Far, Far Better Things\u003c/em> may have been inspired by her desire to revisit Charles Dickens’ revolutionary epic, \u003cem>A Tale of Two Cities,\u003c/em> but the resultant, episodic play feels much more influenced by the pressing political concerns of today—women’s rights, immigration, domestic violence. True, there are nods to the original text (mostly in book report form, as Dani is writing about it for her high school English class), but \u003cem>Far, Far Better Things \u003c/em>takes on a life of its own as the action unfolds. Written as a series of interconnected vignettes bracketed in the production by video (Ben Euphrat and Brandon West) and soundscape (Kristoffer Barrera), the play turns quiet domesticity into a fraught frontline. One where wildly divergent expectations cannot be met, and deep disconnections may prove impossible to bridge.\u003c/p>\n\u003cp>Directed by Katya Rivera, the production excels at revealing the quiet desperation threading through the lives of its female protagonists. Although outwardly in control of their respective paths—as mothers, daughters, career women, and students—it doesn’t take long for us to recognize that beneath a veneer of competency, each character barely holds themselves together. At the heart of their unease lies the ugly specter of domestic violence, which colors their relationships yet ties them, however unwillingly, together—a sisterhood of the abused. How they ultimately choose to confront the past and challenge their future gives the play its barely plausible storybook ending, but before we get there, it’s the indignities of the everyday that command the audience’s attention.\u003c/p>\n\u003cfigure id=\"attachment_13856723\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856723\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_NeiryRojo_MichelleNavarrete_credit_JayYamada-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_NeiryRojo_MichelleNavarrete_credit_JayYamada-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_NeiryRojo_MichelleNavarrete_credit_JayYamada-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_NeiryRojo_MichelleNavarrete_credit_JayYamada-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_NeiryRojo_MichelleNavarrete_credit_JayYamada-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_NeiryRojo_MichelleNavarrete_credit_JayYamada.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Neiry Rojo and Michelle Navarrate in Geetha Reddy’s Far Far Better Things. \u003ccite>(Jay Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where the production suffers most is in its treatment of the character Josh (Yohana Ansari-Thomas), who as Zoe’s kid brother is himself a victim of childhood abuse, and yet never gets to evolve beyond villainous caricature. He’s basically a walking misogynist hashtag, whose every action serves to perpetuate a cycle of violence that he doesn’t get the opportunity to recognize affects him too. Josh’s existence feels basically written to jolt Zoe and Pilar from their “inert” paths and into action, but that propulsion comes at the expense of meaningful character development. Making him Zoe’s brother feels almost like an afterthought, and Ansari-Thomas and Shokri rarely read as family members onstage—a sharp contrast to the chemistry between Navarrete and Rojo, whose mother-daughter dynamic feels much more natural and compelling.\u003c/p>\n\u003cfigure id=\"attachment_13856720\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856720\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KimiyaShokri_YohanaAnsari-Thomas_credit_JayYamada-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KimiyaShokri_YohanaAnsari-Thomas_credit_JayYamada-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KimiyaShokri_YohanaAnsari-Thomas_credit_JayYamada-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KimiyaShokri_YohanaAnsari-Thomas_credit_JayYamada-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KimiyaShokri_YohanaAnsari-Thomas_credit_JayYamada-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/FarFarBetterThings_KimiyaShokri_YohanaAnsari-Thomas_credit_JayYamada.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kimiya Shokri and Yohana Ansari-Thomas in Geetha Reddy’s ‘Far, Far Better Things.’ \u003ccite>(Jay Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The moment where the characters break free of their respective confinements and out into the larger world does allow the play a nod to the epic self-sacrifice that gives \u003cem>A Tale of Two Cities\u003c/em> its famous closing lines, and \u003cem>Far, Far Better Things\u003c/em> its title. As an ending to this play, the scene feels a little rushed, and not necessarily true to each character, but as a beginning to a new chapter which gives both its struggling protagonists and the audience a reason to hope. It suggests that though we may not always be able to recognize the barriers set around us in time to push through them on our own, with solidarity, we can help set each other free.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>‘Far, Far Better Things’ runs through May 19 at Live Oak Theater in Berkeley. \u003ca href=\"http://shotgunplayers.org/online/article/far-far-better\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In 1972, Albert Woodfox was wrongly accused of killing a white prison guard and sentenced to life in solitary confinement. In his memoir, \u003cem>Solitary\u003c/em>, published after the courts overturned his conviction and he was released in 2016, the Black Panther Party member recounted his political awakening while incarcerated in a prison built on the former site of a slave plantation, Angola. \u003c/p>\n\u003cp>Fast-forward to 2018, when Shane Bauer, a reporter with \u003cem>Mother Jones\u003c/em>, explores the connection between slavery and for-profit incarceration in his book \u003cem>American Prison\u003c/em>, based in part on his experience embedded as a corrections officer. Bauer, who was confined himself in Iran, details a quintessentially American story “wherein white people continue to reinvent ways to cash in on captive human beings.” \u003c/p>\n\u003cp>Bauer will interview Woodfox on Sunday, May 5 during the Bay Area Book Festival, one of the event’s many author conversations and panels centered on incarceration in the United States. On Saturday evening, Woodfox joins activist Tony Platt and professor Lara Bazelon to imagine alternatives to imprisonment, while Bauer discusses \u003cem>American Prison\u003c/em> earlier in the day.\u003c/p>\n\u003cp>There’s nearly 500 speakers and exhibitors at the Bay Area Book Festival, and other programming themes include immigration, children and women’s and black interest. There’s a new “Writer to Writer” series, pairing mutual admirers such as Ishmael Reed and Morgan Parkers in conversation, special events including tributes to Lawrence Ferlinghetti and \u003cem>The Paris Review\u003c/em> and a screening of \u003cem>The Worlds of Ursula K. Le Guin\u003c/em> followed by discussion. \u003c/p>\n\u003cp>The fifth annual Bay Area Book Festival takes place on Saturday and Sunday, May 4 and 5, in downtown Berkeley. Expected to draw 35,000 people, the festival recommends public transportation. Find details including venues, ticketing options, accessibility and a full list of talks and vendors \u003ca href=\"https://www.baybookfest.org/\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1972, Albert Woodfox was wrongly accused of killing a white prison guard and sentenced to life in solitary confinement. In his memoir, \u003cem>Solitary\u003c/em>, published after the courts overturned his conviction and he was released in 2016, the Black Panther Party member recounted his political awakening while incarcerated in a prison built on the former site of a slave plantation, Angola. \u003c/p>\n\u003cp>Fast-forward to 2018, when Shane Bauer, a reporter with \u003cem>Mother Jones\u003c/em>, explores the connection between slavery and for-profit incarceration in his book \u003cem>American Prison\u003c/em>, based in part on his experience embedded as a corrections officer. Bauer, who was confined himself in Iran, details a quintessentially American story “wherein white people continue to reinvent ways to cash in on captive human beings.” \u003c/p>\n\u003cp>Bauer will interview Woodfox on Sunday, May 5 during the Bay Area Book Festival, one of the event’s many author conversations and panels centered on incarceration in the United States. On Saturday evening, Woodfox joins activist Tony Platt and professor Lara Bazelon to imagine alternatives to imprisonment, while Bauer discusses \u003cem>American Prison\u003c/em> earlier in the day.\u003c/p>\n\u003cp>There’s nearly 500 speakers and exhibitors at the Bay Area Book Festival, and other programming themes include immigration, children and women’s and black interest. There’s a new “Writer to Writer” series, pairing mutual admirers such as Ishmael Reed and Morgan Parkers in conversation, special events including tributes to Lawrence Ferlinghetti and \u003cem>The Paris Review\u003c/em> and a screening of \u003cem>The Worlds of Ursula K. Le Guin\u003c/em> followed by discussion. \u003c/p>\n\u003cp>The fifth annual Bay Area Book Festival takes place on Saturday and Sunday, May 4 and 5, in downtown Berkeley. Expected to draw 35,000 people, the festival recommends public transportation. Find details including venues, ticketing options, accessibility and a full list of talks and vendors \u003ca href=\"https://www.baybookfest.org/\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A Strong Message for Young Girls in 'She Persisted, The Musical'",
"headTitle": "A Strong Message for Young Girls in ‘She Persisted, The Musical’ | KQED",
"content": "\u003cp>Walk into any bookstore these days, and you’re likely to find a display piled high with young female-empowerment titles like \u003cem>Rad American Women A–Z\u003c/em>, \u003cem>Good Night Stories for Rebel Girls\u003c/em> or \u003cem>She Persisted: 13 American Women Who Changed the World\u003c/em>.\u003c/p>\n\u003cp>The latter, by Chelsea Clinton, is the source material for a new musical currently making its premiere at Bay Area Children’s Theatre in Berkeley. \u003cem>She Persisted, the Musical\u003c/em> follows Naomi (Loreigna Sinclair), a down-on-herself fourth-grader who’s late for school, bad at P.E., and kicking herself for bombing an assignment about tortoises. Her classmates dream of being professional athletes or Instagram influencers, while her goal is to become an astronaut. Her biggest obstacle? She’s terrified of failure. \u003c/p>\n\u003cp>Enter Time (Cassie Grilley), an energetic time-traveling sprite who whisks Naomi through various eras of history to learn how other women overcame their challenges. First up is the 1960s Bronx, where a young Sonia Sotomayor sings about wanting to be a detective over a lively Latin-jazz rhythm—but, upon being diagnosed with diabetes and advised to take a different career path, decides to take inspiration from \u003cem>Perry Mason\u003c/em> and study law instead. “Justice is cool / I can learn every rule,” she sings.\u003c/p>\n\u003cfigure id=\"attachment_13850401\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/ShePersistedGroup-800x450.jpg\" alt=\"The cast of 'She Persisted, the Musical.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13850401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ShePersistedGroup-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ShePersistedGroup-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ShePersistedGroup-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ShePersistedGroup-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ShePersistedGroup.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘She Persisted, the Musical.’ \u003ccite>(Bay Area Children's Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So begins a series of similar vignettes as Naomi travels through time and meets Virginia Apgar (LeighAnn Cannon), Harriet Tubman (Gabriella Momah), Florence Griffith Joyner (Momah), Sally Ride (Cannon), and Ruby Bridges (Angel Adedokun). This is children’s theater, so the songs, sung in a fun variety of musical styles, are designed to be uplifting and easy to understand. As expected, the stories of each woman are condensed for time; the musical runs about an hour, with no intermission.\u003c/p>\n\u003cp>Where \u003cem>She Persisted\u003c/em> succeeds most is in looking beyond the women’s banner achievements to specifically highlight the qualities of character that led them to those accomplishments. For Sotomayor, it’s versatility; for Tubman it’s hope; for Apgar it’s curiosity, and so on.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Under the direction of Khalia Davis, this is what shines brighter than the songs, the stories, and even the slapstick rap about Oprah Winfrey: the message that cultivation of these internal qualities, not mere emulation of historical figures, can help every young girl in the audience reach their dreams.\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>\u003cem>‘She Persisted, the Musical’ runs through April 14 at various locations: Bay Area Children’s Theatre in Berkeley (through March 3), Creativity Theater in San Francisco (March 9–31), and Sunnyvale Theater in Sunnyvale (April 6–14). \u003ca href=\"https://bactheatre.org/shows/ShePersisted\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Walk into any bookstore these days, and you’re likely to find a display piled high with young female-empowerment titles like \u003cem>Rad American Women A–Z\u003c/em>, \u003cem>Good Night Stories for Rebel Girls\u003c/em> or \u003cem>She Persisted: 13 American Women Who Changed the World\u003c/em>.\u003c/p>\n\u003cp>The latter, by Chelsea Clinton, is the source material for a new musical currently making its premiere at Bay Area Children’s Theatre in Berkeley. \u003cem>She Persisted, the Musical\u003c/em> follows Naomi (Loreigna Sinclair), a down-on-herself fourth-grader who’s late for school, bad at P.E., and kicking herself for bombing an assignment about tortoises. Her classmates dream of being professional athletes or Instagram influencers, while her goal is to become an astronaut. Her biggest obstacle? She’s terrified of failure. \u003c/p>\n\u003cp>Enter Time (Cassie Grilley), an energetic time-traveling sprite who whisks Naomi through various eras of history to learn how other women overcame their challenges. First up is the 1960s Bronx, where a young Sonia Sotomayor sings about wanting to be a detective over a lively Latin-jazz rhythm—but, upon being diagnosed with diabetes and advised to take a different career path, decides to take inspiration from \u003cem>Perry Mason\u003c/em> and study law instead. “Justice is cool / I can learn every rule,” she sings.\u003c/p>\n\u003cfigure id=\"attachment_13850401\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/ShePersistedGroup-800x450.jpg\" alt=\"The cast of 'She Persisted, the Musical.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13850401\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ShePersistedGroup-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ShePersistedGroup-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ShePersistedGroup-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ShePersistedGroup-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ShePersistedGroup.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘She Persisted, the Musical.’ \u003ccite>(Bay Area Children's Theatre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So begins a series of similar vignettes as Naomi travels through time and meets Virginia Apgar (LeighAnn Cannon), Harriet Tubman (Gabriella Momah), Florence Griffith Joyner (Momah), Sally Ride (Cannon), and Ruby Bridges (Angel Adedokun). This is children’s theater, so the songs, sung in a fun variety of musical styles, are designed to be uplifting and easy to understand. As expected, the stories of each woman are condensed for time; the musical runs about an hour, with no intermission.\u003c/p>\n\u003cp>Where \u003cem>She Persisted\u003c/em> succeeds most is in looking beyond the women’s banner achievements to specifically highlight the qualities of character that led them to those accomplishments. For Sotomayor, it’s versatility; for Tubman it’s hope; for Apgar it’s curiosity, and so on.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Under the direction of Khalia Davis, this is what shines brighter than the songs, the stories, and even the slapstick rap about Oprah Winfrey: the message that cultivation of these internal qualities, not mere emulation of historical figures, can help every young girl in the audience reach their dreams.\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>\u003cem>‘She Persisted, the Musical’ runs through April 14 at various locations: Bay Area Children’s Theatre in Berkeley (through March 3), Creativity Theater in San Francisco (March 9–31), and Sunnyvale Theater in Sunnyvale (April 6–14). \u003ca href=\"https://bactheatre.org/shows/ShePersisted\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Reid’s Records, a one-stop shop for the gospel experience, will close after 75 years of family-owned business in October, Berkeleyside \u003ca href=\"https://www.berkeleyside.com/2019/02/05/reids-records-californias-oldest-record-shop-to-close-in-the-fall\">reported\u003c/a> Tuesday. \u003c/p>\n\u003cp>The southwest Berkeley store, reportedly the state’s oldest record shop, opened on Sacramento Street in 1945 to serve the East Bay’s swelling black community. Diara Reid, daughter of the founders Mel and Betty, blamed gentrification and black depopulation for Reid’s diminishing clientele, adding “no one buys CDs anymore.” \u003c/p>\n\u003cp>Reid’s was closed when a reporter visited during regular store hours Wednesday morning, a “For Rent” sign posted in the window of the two-story building. Choir robes hung on a rack behind the security gate, and a hopeful customer waited more than 30 minutes before driving away. \u003c/p>\n\u003cfigure id=\"attachment_13850286\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Mel.Aretha-800x636.jpg\" alt=\"Reid's Records cofounder Mel Reid with a young Aretha Franklin.\" width=\"800\" height=\"636\" class=\"size-medium wp-image-13850286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha-800x636.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha-768x611.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha-1020x811.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha-1200x954.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha.jpg 1901w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mel Reid with a young Aretha Franklin. \u003ccite>(Reid's Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reid’s, as East Bay blues and jazz scribe Lee Hildebrand has \u003ca href=\"http://geoffreyslive.com/acknowledging/a-history-of-reids-records/\">written\u003c/a>, opened in the emerging market of what was then called “race music.” \u003c/p>\n\u003cp>In the 1950s Mel and his uncle Paul Reid partnered to promote gospel concerts at the Oakland Auditorium (later named for industrialist Henry J. Kaiser), presenting stars such as James Cleveland, The Staple Singers and the Rev. C.L. Franklin, whose revue included his teenage daughter, Aretha Franklin. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[contextly_sidebar id=”lCEwS3PBLnlGyiWfQ4VZBFKIhDgVl3VG”]\u003c/p>\n\u003cp>The business struggled in the late 1970s, with Mel resorting to selling items such as posters and water pipes. Betty, who’d by then remarried, returned to run the store. By the 1980s, she refocused the selection on gospel, even making the news for refusing to stock hip-hop.\u003c/p>\n\u003cp>Diara has run the shop since the 1990s. In recent years she presented gospel concerts in Richmond, but found a much cooler reception than her father did in the 1950s. “The African-American community we served for 75 years doesn’t exist here anymore,” she told Berkeleyside.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mel died in 1988. Betty Reid Soskin, 97, is today \u003ca href=\"https://www.kqed.org/forum/201506101000/americas-oldest-park-ranger-brings-history-to-life-at-richmonds-rosie-the-riveter-park\">known\u003c/a> as the country’s oldest Park Ranger. Last year she published a memoir, \u003cem>Sign My Name to Freedom\u003c/em>. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Reid’s Records, a one-stop shop for the gospel experience, will close after 75 years of family-owned business in October, Berkeleyside \u003ca href=\"https://www.berkeleyside.com/2019/02/05/reids-records-californias-oldest-record-shop-to-close-in-the-fall\">reported\u003c/a> Tuesday. \u003c/p>\n\u003cp>The southwest Berkeley store, reportedly the state’s oldest record shop, opened on Sacramento Street in 1945 to serve the East Bay’s swelling black community. Diara Reid, daughter of the founders Mel and Betty, blamed gentrification and black depopulation for Reid’s diminishing clientele, adding “no one buys CDs anymore.” \u003c/p>\n\u003cp>Reid’s was closed when a reporter visited during regular store hours Wednesday morning, a “For Rent” sign posted in the window of the two-story building. Choir robes hung on a rack behind the security gate, and a hopeful customer waited more than 30 minutes before driving away. \u003c/p>\n\u003cfigure id=\"attachment_13850286\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Mel.Aretha-800x636.jpg\" alt=\"Reid's Records cofounder Mel Reid with a young Aretha Franklin.\" width=\"800\" height=\"636\" class=\"size-medium wp-image-13850286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha-800x636.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha-768x611.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha-1020x811.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha-1200x954.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Mel.Aretha.jpg 1901w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mel Reid with a young Aretha Franklin. \u003ccite>(Reid's Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reid’s, as East Bay blues and jazz scribe Lee Hildebrand has \u003ca href=\"http://geoffreyslive.com/acknowledging/a-history-of-reids-records/\">written\u003c/a>, opened in the emerging market of what was then called “race music.” \u003c/p>\n\u003cp>In the 1950s Mel and his uncle Paul Reid partnered to promote gospel concerts at the Oakland Auditorium (later named for industrialist Henry J. Kaiser), presenting stars such as James Cleveland, The Staple Singers and the Rev. C.L. Franklin, whose revue included his teenage daughter, Aretha Franklin. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The business struggled in the late 1970s, with Mel resorting to selling items such as posters and water pipes. Betty, who’d by then remarried, returned to run the store. By the 1980s, she refocused the selection on gospel, even making the news for refusing to stock hip-hop.\u003c/p>\n\u003cp>Diara has run the shop since the 1990s. In recent years she presented gospel concerts in Richmond, but found a much cooler reception than her father did in the 1950s. “The African-American community we served for 75 years doesn’t exist here anymore,” she told Berkeleyside.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mel died in 1988. Betty Reid Soskin, 97, is today \u003ca href=\"https://www.kqed.org/forum/201506101000/americas-oldest-park-ranger-brings-history-to-life-at-richmonds-rosie-the-riveter-park\">known\u003c/a> as the country’s oldest Park Ranger. Last year she published a memoir, \u003cem>Sign My Name to Freedom\u003c/em>. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Following \u003ca href=\"https://www.kqed.org/arts/13828129/cal-performances-exec-matias-tarnopolsky-leaving-after-nine-seasons\" rel=\"noopener\" target=\"_blank\">Matías Tarnopolsky’s departure last March\u003c/a> from Cal Performances, Jeremy Geffen is set to step in as the executive and artistic director of UC Berkeley’s performing arts organization starting Apr. 1.\u003c/p>\n\u003cp>Geffen, who was born in South Africa and raised in Southern California, comes to Cal Performances after 12 years at New York’s Carnegie Hall, where he most recently served as senior director and artistic adviser. [contextly_sidebar id=”lMkGTvdrj8ts7af1cj7TrD1mfaEpWMvL”]\u003c/p>\n\u003cp>At Carnegie Hall, Geffen led approximately 160 performances each season, including concerts that focused on international issues and important periods in the United States’ musical and social history. The 2018-19 season, his last at Carnegie Hall, features a concert with San Francisco’s Kronos Quartet performing music by composers from Muslim-majority countries impacted by Trump’s travel bans; a celebration of Nat King Cole’s 100th birthday; and a performance by boundary-pushing chamber music collective Decoda with the tagline “punk, funk and circumstance.”\u003c/p>\n\u003cp>Geffen inherits a similarly progressive direction in programming from his predecessor. Tarnopolsky founded a series called Berkeley RADICAL, which features musical and dance performances that focus on issues like gender equality, immigration and race.\u003c/p>\n\u003cp>In a press release, Geffen praised UC Berkeley’s forward-thinking campus community: “I look forward to establishing new collaborations—both on- and off-campus—that harness the power and imagination of the arts to create intellectually engaging explorations of the most fascinating—and pressing—issues of our time, and to exploring the ways the performing arts lead us to greater understanding of ourselves.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Geffen isn’t the only recent New York transplant to head a major Bay Area arts organization. Thomas Campbell, who led the Metropolitan Museum of Art in New York, was \u003ca href=\"https://www.kqed.org/arts/13843927/thomas-campbell-former-met-director-to-head-de-young-and-legion-of-honor\" rel=\"noopener\" target=\"_blank\">appointed director and CEO of the Fine Arts Museums of San Francisco\u003c/a> last October.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Following \u003ca href=\"https://www.kqed.org/arts/13828129/cal-performances-exec-matias-tarnopolsky-leaving-after-nine-seasons\" rel=\"noopener\" target=\"_blank\">Matías Tarnopolsky’s departure last March\u003c/a> from Cal Performances, Jeremy Geffen is set to step in as the executive and artistic director of UC Berkeley’s performing arts organization starting Apr. 1.\u003c/p>\n\u003cp>Geffen, who was born in South Africa and raised in Southern California, comes to Cal Performances after 12 years at New York’s Carnegie Hall, where he most recently served as senior director and artistic adviser. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>At Carnegie Hall, Geffen led approximately 160 performances each season, including concerts that focused on international issues and important periods in the United States’ musical and social history. The 2018-19 season, his last at Carnegie Hall, features a concert with San Francisco’s Kronos Quartet performing music by composers from Muslim-majority countries impacted by Trump’s travel bans; a celebration of Nat King Cole’s 100th birthday; and a performance by boundary-pushing chamber music collective Decoda with the tagline “punk, funk and circumstance.”\u003c/p>\n\u003cp>Geffen inherits a similarly progressive direction in programming from his predecessor. Tarnopolsky founded a series called Berkeley RADICAL, which features musical and dance performances that focus on issues like gender equality, immigration and race.\u003c/p>\n\u003cp>In a press release, Geffen praised UC Berkeley’s forward-thinking campus community: “I look forward to establishing new collaborations—both on- and off-campus—that harness the power and imagination of the arts to create intellectually engaging explorations of the most fascinating—and pressing—issues of our time, and to exploring the ways the performing arts lead us to greater understanding of ourselves.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "What Are Those Strange Sounds in the Air at the New Berkeley BART Plaza?",
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"content": "\u003cp>The first thing East Bay educator and composer Chris Brown noticed about the new plaza atop downtown Berkeley’s BART station wasn’t the incandescent globe sculpture or LED stage lights but the speakers: eight of them in weatherproof casing, each mounted on the top of a 21-foot pole. “They aren’t arranged in a circle or a square,” he said. “They’re facing inwards—so people will walk through a sound hallway.”\u003c/p>\n\u003cp>Brown is the first participant in a unique series of public sound art installations at the renovated transit plaza. He created an audio collage called \u003cem>Flow in Place\u003c/em> from hours of field recordings—snippets of parties, performances, and unplaceable din—collected on three continents over the past 25 years. Each of the piece’s 140 fragments sweeps from one end of the eight-channel speaker array to the other; during a test last week, the ebb and flow felt enveloping, even pleasantly disorienting.\u003c/p>\n\u003cp>“I’ve thought about the installation as being analogous to an aquarium, where fish swim back and forth,” Brown said. “I also hope to see some commuters skipping.”\u003c/p>\n\u003cp>The plaza, which will also feature a Michael Christian sculpture and performances programmed by Taylor Street Production, debuts with a celebration this Thursday, Oct. 18. \u003cem>Flow in Place\u003c/em>, the first of ten sound art commissions, will run 7am to 10pm for two months, followed by works from artists including Maggi Payne, Danny Clay, Edmund Campion and Jim McKee. Jennifer Lovvorn, the city’s new chief cultural affairs officer, said the speakers and plaza are meant to be a platform for experimental music in the Bay Area, and to join the Berkeley Art Museum, UC Theater, and incoming \u003ca href=\"https://www.cityofberkeley.info/City_Manager/Civic_Arts/Public_Art_Galleries.aspx\">Cube Space\u003c/a> in cementing downtown Berkeley as an arts and culture destination.\u003c/p>\n\u003cp>Sound is a relatively undeveloped field of public art, but there are precedents: In New York, the amplified hum of a tunnel junction emanates from beneath an unmarked grate in Max Neuhaus’ \u003cem>Times Square\u003c/em>. In San Francisco, Bill Fontana’s field recordings play from the side of the North Beach library branch in \u003cem>Sonic Dreamscape\u003c/em>. Still, to Lovvorn’s knowledge, there isn’t a permanent, eight-or-more-channel speaker system for revolving sound installations sponsored by another city in the United States.\u003c/p>\n\u003cfigure id=\"attachment_13843010\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843010\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/IMG_0236-800x533.jpg\" alt=\"BugID installed the sound system. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BugID installed the sound system. \u003ccite>(Sam Lefebvre/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Plaza renovation began years ago, and Lovvorn said it occurred to Berkeley civic arts commissioners to retrofit the light poles with speakers accommodating sound art in perpetuity. “Rather than just doing a permanent sculpture at the site, the commissioners chose to create a platform to present a sound series,” she said. The cost of the Meyer Sound speakers, custom installation and ongoing technical support by BugID and $4,000 stipends for commissioned artists is nearly $350,000. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Although some businesses use sound (particularly \u003ca href=\"http://latimesblogs.latimes.com/culturemonster/2011/04/classical-music-still-works-at-dispersing-loitering-teens-.html\">classical music\u003c/a>) to discourage loitering, Lovvorn strongly pushed back against concerns that the project is similarly motivated. “We hope it attracts people and encourages them to linger around the plaza,” she said. “It’ll actually be interesting to see if a culture arises around the speakers.”\u003c/p>\n\u003cp>At the plaza last week, Lovvorn and Brown were waiting for a BugID technician to arrive and dial in the decibel level of \u003cem>Flow in Place\u003c/em>. The piece is not “narrative,” Brown said, meaning it’s not meant for start-to-finish listening. He explained that he wants it to complement, not overpower, the area ambiance. “It should sound integrated into the environment, as if it’s being generated in real-time,” he said. Still, Brown also wanted to hear it cranked, at least once. So did Lovvorn. “It’s a construction site, we can be loud,” she said. “If anyone complains—it’s a sound check.”\u003c/p>\n\u003cfigure id=\"attachment_13843009\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843009\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/IMG_0235-800x533.jpg\" alt=\"Brown hopes to see some commuter skipping.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brown hopes to see some commuters skipping. \u003ccite>(Sam Lefebvre/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown recounted how, in the early 1990s, he mail-ordered a set of binaural microphones, which record sound the way it strikes a pair of human ears, and flew to Cuba to learn conga drumming on a grant from Mills College. (This year, Brown and Payne agreed to \u003ca href=\"https://www.eastbayexpress.com/oakland/pantheon-of-me-by-berkeleys-spellling-is-the-most-striking-local-debut-this-year/Content?oid=7855644\">retire early\u003c/a> from co-directing the school’s Center for Contemporary Music in order to offset budget cuts to the department.) He clipped the mics to his sunglasses. “The recordings here at the beginning, we’d just stepped off the plane and were having lunch on a plaza,” he said. “I felt like I was wearing an audio camera.”\u003c/p>\n\u003cp>As Brown paced across the plaza, still enclosed by chain-link fence, \u003cem>Flow in Place\u003c/em> stirred one memory after another. “Now we’re in Bali,” he said, as the sound of pattering drums and voice mingled with engine noise from a bus passing on Shattuck Avenue. “This was recorded in the Marin Headlands, a performance in one of the old batteries.” He walked in circles, looking upwards. “There’s also some stuff from the tennis courts at UC Berkeley.”\u003c/p>\n\u003cp>Brown marveled at the speaker system, saying it’s comparable to something found at a college with an electronic music program. (Later that afternoon, Brown and the BugID technician blasted Neil Young for kicks.) For \u003cem>Flow in Place\u003c/em>, he created an algorithm to randomize the order of the segments, and the length of each sample determines how it spatializes, or moves from one end of the plaza to the other; a worker passing by at the same time every day will encounter something different. “I thought about what kind of sounds or textures won’t dominate the public space, but will interact with it,” Brown said. “You can’t expect an audience’s full attention.”\u003c/p>\n\u003cp>“The horse clopping, that was a trip,” Lovvorn said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Horse clopping?” Brown smiled, looking confused. “I don’t think that’s in there.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first thing East Bay educator and composer Chris Brown noticed about the new plaza atop downtown Berkeley’s BART station wasn’t the incandescent globe sculpture or LED stage lights but the speakers: eight of them in weatherproof casing, each mounted on the top of a 21-foot pole. “They aren’t arranged in a circle or a square,” he said. “They’re facing inwards—so people will walk through a sound hallway.”\u003c/p>\n\u003cp>Brown is the first participant in a unique series of public sound art installations at the renovated transit plaza. He created an audio collage called \u003cem>Flow in Place\u003c/em> from hours of field recordings—snippets of parties, performances, and unplaceable din—collected on three continents over the past 25 years. Each of the piece’s 140 fragments sweeps from one end of the eight-channel speaker array to the other; during a test last week, the ebb and flow felt enveloping, even pleasantly disorienting.\u003c/p>\n\u003cp>“I’ve thought about the installation as being analogous to an aquarium, where fish swim back and forth,” Brown said. “I also hope to see some commuters skipping.”\u003c/p>\n\u003cp>The plaza, which will also feature a Michael Christian sculpture and performances programmed by Taylor Street Production, debuts with a celebration this Thursday, Oct. 18. \u003cem>Flow in Place\u003c/em>, the first of ten sound art commissions, will run 7am to 10pm for two months, followed by works from artists including Maggi Payne, Danny Clay, Edmund Campion and Jim McKee. Jennifer Lovvorn, the city’s new chief cultural affairs officer, said the speakers and plaza are meant to be a platform for experimental music in the Bay Area, and to join the Berkeley Art Museum, UC Theater, and incoming \u003ca href=\"https://www.cityofberkeley.info/City_Manager/Civic_Arts/Public_Art_Galleries.aspx\">Cube Space\u003c/a> in cementing downtown Berkeley as an arts and culture destination.\u003c/p>\n\u003cp>Sound is a relatively undeveloped field of public art, but there are precedents: In New York, the amplified hum of a tunnel junction emanates from beneath an unmarked grate in Max Neuhaus’ \u003cem>Times Square\u003c/em>. In San Francisco, Bill Fontana’s field recordings play from the side of the North Beach library branch in \u003cem>Sonic Dreamscape\u003c/em>. Still, to Lovvorn’s knowledge, there isn’t a permanent, eight-or-more-channel speaker system for revolving sound installations sponsored by another city in the United States.\u003c/p>\n\u003cfigure id=\"attachment_13843010\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843010\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/IMG_0236-800x533.jpg\" alt=\"BugID installed the sound system. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0236.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">BugID installed the sound system. \u003ccite>(Sam Lefebvre/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Plaza renovation began years ago, and Lovvorn said it occurred to Berkeley civic arts commissioners to retrofit the light poles with speakers accommodating sound art in perpetuity. “Rather than just doing a permanent sculpture at the site, the commissioners chose to create a platform to present a sound series,” she said. The cost of the Meyer Sound speakers, custom installation and ongoing technical support by BugID and $4,000 stipends for commissioned artists is nearly $350,000. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Although some businesses use sound (particularly \u003ca href=\"http://latimesblogs.latimes.com/culturemonster/2011/04/classical-music-still-works-at-dispersing-loitering-teens-.html\">classical music\u003c/a>) to discourage loitering, Lovvorn strongly pushed back against concerns that the project is similarly motivated. “We hope it attracts people and encourages them to linger around the plaza,” she said. “It’ll actually be interesting to see if a culture arises around the speakers.”\u003c/p>\n\u003cp>At the plaza last week, Lovvorn and Brown were waiting for a BugID technician to arrive and dial in the decibel level of \u003cem>Flow in Place\u003c/em>. The piece is not “narrative,” Brown said, meaning it’s not meant for start-to-finish listening. He explained that he wants it to complement, not overpower, the area ambiance. “It should sound integrated into the environment, as if it’s being generated in real-time,” he said. Still, Brown also wanted to hear it cranked, at least once. So did Lovvorn. “It’s a construction site, we can be loud,” she said. “If anyone complains—it’s a sound check.”\u003c/p>\n\u003cfigure id=\"attachment_13843009\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843009\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/IMG_0235-800x533.jpg\" alt=\"Brown hopes to see some commuter skipping.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/IMG_0235.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brown hopes to see some commuters skipping. \u003ccite>(Sam Lefebvre/KQED )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown recounted how, in the early 1990s, he mail-ordered a set of binaural microphones, which record sound the way it strikes a pair of human ears, and flew to Cuba to learn conga drumming on a grant from Mills College. (This year, Brown and Payne agreed to \u003ca href=\"https://www.eastbayexpress.com/oakland/pantheon-of-me-by-berkeleys-spellling-is-the-most-striking-local-debut-this-year/Content?oid=7855644\">retire early\u003c/a> from co-directing the school’s Center for Contemporary Music in order to offset budget cuts to the department.) He clipped the mics to his sunglasses. “The recordings here at the beginning, we’d just stepped off the plane and were having lunch on a plaza,” he said. “I felt like I was wearing an audio camera.”\u003c/p>\n\u003cp>As Brown paced across the plaza, still enclosed by chain-link fence, \u003cem>Flow in Place\u003c/em> stirred one memory after another. “Now we’re in Bali,” he said, as the sound of pattering drums and voice mingled with engine noise from a bus passing on Shattuck Avenue. “This was recorded in the Marin Headlands, a performance in one of the old batteries.” He walked in circles, looking upwards. “There’s also some stuff from the tennis courts at UC Berkeley.”\u003c/p>\n\u003cp>Brown marveled at the speaker system, saying it’s comparable to something found at a college with an electronic music program. (Later that afternoon, Brown and the BugID technician blasted Neil Young for kicks.) For \u003cem>Flow in Place\u003c/em>, he created an algorithm to randomize the order of the segments, and the length of each sample determines how it spatializes, or moves from one end of the plaza to the other; a worker passing by at the same time every day will encounter something different. “I thought about what kind of sounds or textures won’t dominate the public space, but will interact with it,” Brown said. “You can’t expect an audience’s full attention.”\u003c/p>\n\u003cp>“The horse clopping, that was a trip,” Lovvorn said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Horse clopping?” Brown smiled, looking confused. “I don’t think that’s in there.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "tom-clark-berkeley-poet-killed-in-auto-collision",
"title": "Tom Clark, Berkeley Poet, Killed in Auto Collision",
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"content": "\u003cp>Tom Clark, an extensively published poet and biographer, died after being struck by a car Friday night in Berkeley, the Alameda County coroner’s office confirmed. He was 77. \u003c/p>\n\u003cp>\u003ca href=\"https://www.berkeleyside.com/2018/08/18/tom-clark-renowned-poet-and-biographer-dies-in-north-berkeley-traffic-collision\">Berkeleyside reported\u003c/a> that Clark was crossing The Alameda at Marin Avenue in North Berkeley when the collision occurred. A Berkeley police spokesperson told the news outlet that the driver, a 59-year-old Richmond man, is cooperating with the investigation, and that the motorist didn’t appear to be impaired by drugs or alcohol. \u003c/p>\n\u003cp>According to a \u003ca href=\"https://www.poetryfoundation.org/poets/tom-clark\">Poetry Foundation biography\u003c/a>, Clark wrote dozens of books of poetry and multiple novels and story collections, plus biographies of literary figures such as Jack Kerouac and Robert Creeley. Between 1963 and 1973 Clark was poetry editor of esteemed literary publication \u003cem>Paris Review\u003c/em>, and his criticism appeared in outlets including the \u003cem>San Francisco Chronicle\u003c/em> and \u003cem>New York Times\u003c/em>. \u003c/p>\n\u003cp>“Tom Clark, the lyric imp of American poetry, has delivered many decades’ worth of goofy, melancholic, cosmic, playful, and wiggy poems,” wrote Billy Collins, poet laureate of the United States from 2001 to 2003, in a review of one of Clark’s final books of poetry, \u003cem>Light & Shade\u003c/em>. \u003c/p>\n\u003cp>According to the \u003ca href=\"https://www.poets.org/poetsorg/poet/tom-clark\">Academy of American poets\u003c/a>, Clark was born March 1, 1941 in Chicago, Illinois, and worked as a young man at Wrigley Field and Comiskey Park, observing mid-century sports figures that he’d later reference in poems and prose. Clark attended John Carroll University in Ohio and then the University of Michigan before studying at Cambridge University in England, where he met and hitchhiked across Europe with Allen Ginsberg. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Clark’s poems ranged across many subjects and styles,” reads the Poetry Foundation biography, describing his work as “topical, political, and engaged with American experience.” Reviewing a 1992 book of poetry, \u003cem>Chronicle\u003c/em> critic Joel Lewis called Clark “one of American poetry’s most consistent and constant chroniclers of our long sleepwalk to parts unknown.”\u003c/p>\n\u003cp>He is survived by his wife of 40 years, Angelica Heinegg. Together they maintained a blog, \u003ca href=\"http://tomclarkblog.blogspot.com/\">Beyond the Pale\u003c/a>. It was updated the day Clark died with a post about refugees.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Clark was honored with fellowships and awards from organizations including the Guggenheim Foundation, the Rockefeller Foundation, and the National Endowment for the Arts.\u003c/p>\n\n",
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"headline": "Tom Clark, Berkeley Poet, Killed in Auto Collision",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tom Clark, an extensively published poet and biographer, died after being struck by a car Friday night in Berkeley, the Alameda County coroner’s office confirmed. He was 77. \u003c/p>\n\u003cp>\u003ca href=\"https://www.berkeleyside.com/2018/08/18/tom-clark-renowned-poet-and-biographer-dies-in-north-berkeley-traffic-collision\">Berkeleyside reported\u003c/a> that Clark was crossing The Alameda at Marin Avenue in North Berkeley when the collision occurred. A Berkeley police spokesperson told the news outlet that the driver, a 59-year-old Richmond man, is cooperating with the investigation, and that the motorist didn’t appear to be impaired by drugs or alcohol. \u003c/p>\n\u003cp>According to a \u003ca href=\"https://www.poetryfoundation.org/poets/tom-clark\">Poetry Foundation biography\u003c/a>, Clark wrote dozens of books of poetry and multiple novels and story collections, plus biographies of literary figures such as Jack Kerouac and Robert Creeley. Between 1963 and 1973 Clark was poetry editor of esteemed literary publication \u003cem>Paris Review\u003c/em>, and his criticism appeared in outlets including the \u003cem>San Francisco Chronicle\u003c/em> and \u003cem>New York Times\u003c/em>. \u003c/p>\n\u003cp>“Tom Clark, the lyric imp of American poetry, has delivered many decades’ worth of goofy, melancholic, cosmic, playful, and wiggy poems,” wrote Billy Collins, poet laureate of the United States from 2001 to 2003, in a review of one of Clark’s final books of poetry, \u003cem>Light & Shade\u003c/em>. \u003c/p>\n\u003cp>According to the \u003ca href=\"https://www.poets.org/poetsorg/poet/tom-clark\">Academy of American poets\u003c/a>, Clark was born March 1, 1941 in Chicago, Illinois, and worked as a young man at Wrigley Field and Comiskey Park, observing mid-century sports figures that he’d later reference in poems and prose. Clark attended John Carroll University in Ohio and then the University of Michigan before studying at Cambridge University in England, where he met and hitchhiked across Europe with Allen Ginsberg. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Clark’s poems ranged across many subjects and styles,” reads the Poetry Foundation biography, describing his work as “topical, political, and engaged with American experience.” Reviewing a 1992 book of poetry, \u003cem>Chronicle\u003c/em> critic Joel Lewis called Clark “one of American poetry’s most consistent and constant chroniclers of our long sleepwalk to parts unknown.”\u003c/p>\n\u003cp>He is survived by his wife of 40 years, Angelica Heinegg. Together they maintained a blog, \u003ca href=\"http://tomclarkblog.blogspot.com/\">Beyond the Pale\u003c/a>. It was updated the day Clark died with a post about refugees.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Clark was honored with fellowships and awards from organizations including the Guggenheim Foundation, the Rockefeller Foundation, and the National Endowment for the Arts.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Fantasy Studios, the West Berkeley recording and film studio where world-famous acts like Creedence Clearwater Revival, Green Day and Santana once laid down tracks, announced on July 27 that it will close for good on Sept. 15. The Fantasy Studios building, at 2600 10th Street, is going on the market.\u003c/p>\n\u003cp>“We wish to thank you for your patronage and for the privilege of working with you on the incredible projects you have completed at Fantasy,” an email announcement from the studio reads. “We are grateful and proud that your works of art will represent us forever. Our wonderful staff engineers and producers have freelance relationships with other studios and production spaces, and would love to continue serving you going forward.”\u003c/p>\n\u003cfigure id=\"attachment_13838032\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838032\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-800x990.jpg\" alt=\"Berkeley's Fantasy Studios once hosted clients like Creedence Clearwater Revival, Santa and Green Day. \" width=\"800\" height=\"990\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-800x990.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-160x198.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-768x950.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-960x1188.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-240x297.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-375x464.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-520x644.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2.jpg 968w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Berkeley’s Fantasy Studios once hosted clients like Creedence Clearwater Revival, Santa and Green Day. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fantasy Studios was once synonymous with Fantasy Records, which began as a jazz label in San Francisco in the late 1940s with a roster that grew to include Dave Brubeck, Cal Tjader and Vince Guaraldi. Saul Zaentz and partners acquired it after the Summer of Love, in 1968. At the time the label was headquartered in Oakland, where Creedence Clearwater Revival recorded their first breakthrough single on Fantasy Records, “Suzie Q.” The band’s success put the independent label on the map, and it moved into the current 10th Street building in the early ’70s.\u003c/p>\n\u003cp>Zaentz forayed into film production in 1972 with Saul Zaentz Company, also headquartered in the 10th Street building, which became known as the Zaentz Media Center. The studio produced films such as \u003cem>One Flew Over the Cuckoo’s Next\u003c/em>, \u003cem>Amadeus\u003c/em> and \u003cem>The Unbearable Lightness of Being\u003c/em>.\u003c/p>\n\u003cp>Fantasy Records sold multiple times over the years, with Concord Music Group acquiring the label and its catalog in 2004. The label continued to lease space in the 10th Street building, which is owned by Wareham Development. Over the years, artists such as David Bowie, U2, Wilco, Lil Wayne, Mos Def, Tony Bennett, Aerosmith, Counting Crows, Country Joe McDonald and many, many others recorded at the studio. Green Day recently announced plans for an upcoming 25th anniversary tour for their 1994 breakthrough \u003cem>Dookie\u003c/em>, which was recorded in the building’s Studio A and sold over 20 million copies.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wareham Development acquired the 10th Street property in 2007 for $20 million, and continued the Zaentz Media Center’s focus on the arts; the developer founded the Berkeley Film Foundation in collaboration with the Saul Zaentz Company and the City of Berkeley in 2009, and independent filmmakers, musicians and game developers have continued to use the Fantasy Studios space. In 2007, when Concord Music Group consolidated its business, Wareham Development bought the rights to the Fantasy Studios name and its equipment to preserve the studio’s legacy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That era will soon come to a close after 11 years. We’ll update this post when we learn more.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fantasy Studios, the West Berkeley recording and film studio where world-famous acts like Creedence Clearwater Revival, Green Day and Santana once laid down tracks, announced on July 27 that it will close for good on Sept. 15. The Fantasy Studios building, at 2600 10th Street, is going on the market.\u003c/p>\n\u003cp>“We wish to thank you for your patronage and for the privilege of working with you on the incredible projects you have completed at Fantasy,” an email announcement from the studio reads. “We are grateful and proud that your works of art will represent us forever. Our wonderful staff engineers and producers have freelance relationships with other studios and production spaces, and would love to continue serving you going forward.”\u003c/p>\n\u003cfigure id=\"attachment_13838032\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838032\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-800x990.jpg\" alt=\"Berkeley's Fantasy Studios once hosted clients like Creedence Clearwater Revival, Santa and Green Day. \" width=\"800\" height=\"990\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-800x990.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-160x198.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-768x950.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-960x1188.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-240x297.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-375x464.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2-520x644.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/fantasy-studios-2.jpg 968w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Berkeley’s Fantasy Studios once hosted clients like Creedence Clearwater Revival, Santa and Green Day. \u003ccite>(Wikimedia Commons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fantasy Studios was once synonymous with Fantasy Records, which began as a jazz label in San Francisco in the late 1940s with a roster that grew to include Dave Brubeck, Cal Tjader and Vince Guaraldi. Saul Zaentz and partners acquired it after the Summer of Love, in 1968. At the time the label was headquartered in Oakland, where Creedence Clearwater Revival recorded their first breakthrough single on Fantasy Records, “Suzie Q.” The band’s success put the independent label on the map, and it moved into the current 10th Street building in the early ’70s.\u003c/p>\n\u003cp>Zaentz forayed into film production in 1972 with Saul Zaentz Company, also headquartered in the 10th Street building, which became known as the Zaentz Media Center. The studio produced films such as \u003cem>One Flew Over the Cuckoo’s Next\u003c/em>, \u003cem>Amadeus\u003c/em> and \u003cem>The Unbearable Lightness of Being\u003c/em>.\u003c/p>\n\u003cp>Fantasy Records sold multiple times over the years, with Concord Music Group acquiring the label and its catalog in 2004. The label continued to lease space in the 10th Street building, which is owned by Wareham Development. Over the years, artists such as David Bowie, U2, Wilco, Lil Wayne, Mos Def, Tony Bennett, Aerosmith, Counting Crows, Country Joe McDonald and many, many others recorded at the studio. Green Day recently announced plans for an upcoming 25th anniversary tour for their 1994 breakthrough \u003cem>Dookie\u003c/em>, which was recorded in the building’s Studio A and sold over 20 million copies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wareham Development acquired the 10th Street property in 2007 for $20 million, and continued the Zaentz Media Center’s focus on the arts; the developer founded the Berkeley Film Foundation in collaboration with the Saul Zaentz Company and the City of Berkeley in 2009, and independent filmmakers, musicians and game developers have continued to use the Fantasy Studios space. In 2007, when Concord Music Group consolidated its business, Wareham Development bought the rights to the Fantasy Studios name and its equipment to preserve the studio’s legacy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That era will soon come to a close after 11 years. We’ll update this post when we learn more.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Those who saw Flying Lotus open for Solange at the Greek Theater last year got an earful—and eyeful—with a pulsing lightshow, throbbing beats, and 3D visuals. \u003c/p>\n\u003cp>Now, the L.A.-based artist returns to the Greek Theater as a headliner, bringing his hazy, experimental music style and trippy visuals along with him. Flying Lotus brings inventive jazz elements into his electronic sound, possibly inspired by the work of his great-aunt, Alice Coltrane.\u003c/p>\n\u003cp>Sweden’s Grammy-nominated electro-poppers Little Dragon open, along with crossover jazz quartet BADBADNOTGOOD.\u003c/p>\n\u003cp>\u003cem>Flying Lotus, Little Dragon, and BADBADNOTGOOD perform Saturday, June 16, at the Greek Theater in Berkeley. \u003ca href=\"http://thegreekberkeley.com/events/flying-lotus-little-dragon\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
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