Radio Show: From Bill T. Jones to Banksy and Beth Custer
Radio Show: From Moving Day to Major Night
Radio Show: Sketchfest, the Rhymes of the Yung, Marriner, and More
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"title": "Radio Show: From Bill T. Jones to Banksy and Beth Custer",
"headTitle": "Radio Show: From Bill T. Jones to Banksy and Beth Custer | KQED",
"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2015/01/20150123tdl.mp3\u003c/p>\n\u003c/aside>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>Bill T. Jones/Arnie Zane Dance Company\u003c/h3>\n\u003cp>Bill T. Jones is one of the dance world’s most diversely gifted artists, a master both of narrative and purely abstract movement. In \u003cem>Story/Time\u003c/em>, he plays with the tension between the two modes, and remixes excerpts from the Bill T. Jones/Arnie Zane Company’s 32-year history, borrowing a framework from John Cage’s 1958 work \u003cem>Indeterminancy\u003c/em>. As Jones sits at a desk, reading one-minute personal stories randomly chosen from 170 that he’s written, his dancers perform movement that sometimes illustrates the tale, and sometimes stands independently. If you’ve never experienced the charismatic Jones live, you must—and even those who’ve seen him many times are sure to be affected by his intense presence. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/bill-t-jonesarnie-zane-dance-company/\">Details and ticket information here\u003c/a>. For more information on A Conversation with Bill T. Jones, go to \u003ca title=\"Stanford\" href=\"https://live.stanford.edu/calendar/january-2015/conversation-bill-t-jones\" target=\"_blank\" rel=\"noopener\">live.stanford.edu\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10322645\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/banksy-400x228.jpg\" alt=\"Banksy\" width=\"400\" height=\"228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/banksy-400x228.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/banksy-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/banksy-1180x674.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/banksy.jpg 1200w\" sizes=\"(max-width: 400px) 100vw, 400px\">Banksy Show at 836M: The Haight Street Rat Returns\u003c/h3>\n\u003cp>In 2010, graffiti artist Banksy immortalized one of San Francisco’s most numerous residents in his painting \u003cem>Haight Street Rat\u003c/em>. This mural is just one of the six he left during his swing through town, and one of two that survived. The image was removed but preserved, and how it’s coming to 836M, where it will hang in the window of the gallery—so that it can be observed from the street—from Jan. 21-July 11, 2015.\u003cbr>\n\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/banksy-show-at-836m-the-haight-street-rat-returns/\">Details here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10325306\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/PortlandCelloProject.TarinaWestlund-400x225.jpeg\" alt=\"Portland Cello Project\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/PortlandCelloProject.TarinaWestlund-400x225.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/PortlandCelloProject.TarinaWestlund.jpeg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">Portland Cello Project\u003c/h3>\n\u003cp>Having made a name for themselves covering Kanye West, Britney Spears and Thom Yorke, crossover ensemble the Portland Cello Project has most recently turned its attention to the plaintive, sorrowful music of the late Elliott Smith for their latest album, \u003cem>To E.S.\u003c/em> With the glut of gimmicky string-tribute albums polluting the marketplace, the group faces an uphill battle to their approach of rearranging contemporary music for chamber ensemble. But instead of merely skimming the surface of its source material, Portland Cello Project dives into the core of Smith’s music, extracting nuances not often otherwise noticed in the original recordings. If fate allows, the group might even unbox its cover of Taylor Swift’s “Shake It Off” at its Bay Area shows this week in San Francisco at The Chapel and in Napa at The City Winery. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/portland-cello-project/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10295516\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Coup-400x225.jpg\" alt=\"The Coup\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Coup-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Coup-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Coup.jpg 814w\" sizes=\"(max-width: 400px) 100vw, 400px\">The Coup\u003c/h3>\n\u003cp>With their 1993 debut \u003cem>Kill My Landlord\u003c/em>, Oakland hip-hop group The Coup arrived powerfully and politically out of the gate. Musically, the band has changed with every album, and in conquering the obstacles over the years — from their World Trade Center-themed cover art being pulled for 2001’s \u003cem>Party Music\u003c/em>, to their tour bus overturning and catching on fire, to being officially watched by surveillance agents — The Coup has only emerged stronger. They’ve also stuck to an addictive combination of smart lyrics and physically liberating, get-down funk. To see frontman Boots Riley lead his live band is to witness a master at work; even his dance moves come across with a confrontational subtext. The Coup’s most recent album, \u003cem>Sorry to Bother You\u003c/em>, available to stream below, precedes the screenplay of the same name by Riley, which was recently released in McSweeny’s \u003cem>Issue 48\u003c/em>. The Coup is more than a Bay Area treasure — they’re a bona fide hip-hop institution. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-coup/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10325437\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/FredFrith-400x225.jpeg\" alt=\"Fred Frith\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/FredFrith-400x225.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/FredFrith.jpeg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">Fred Frith Trio\u003c/h3>\n\u003cp>Omnivorous in his collaborations, the fiercely original guitarist Fred Frith has played on hundreds of albums with fellow musical conspirators too numerous to count. But it was a solo outing, 1974’s \u003cem>Guitar Solos\u003c/em>, that put him on the map and garnered attention for his percussive, inventive style. Since, Frith has played with John Zorn’s Naked City, the Residents, Henry Kaiser, Zeena Parkin, Mike Patton and many, many more. At Slim’s this week, Frith’s trio is joined by Beth Custer, who has done more to rethink the clarinet than anyone in the Bay Area in recent memory. (She and her experimental group recently treated passengers at SFO International to a free lunch-hour show, and one can only imagine the reaction from Hawaiian-print-wearing, beach-sandaled vacationers.) With Frith and Custer together, there’s no telling what sparks may fly, which, of course, is part of the fun. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/fred-frith-trio/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10308804\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/01_Meatyard_Untitled_19641-400x225.jpg\" alt=\"The Plot Thickens\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/01_Meatyard_Untitled_19641-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/01_Meatyard_Untitled_19641-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/01_Meatyard_Untitled_19641-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/01_Meatyard_Untitled_19641.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">The Plot Thickens\u003c/h3>\n\u003cp>The Fraenkel Gallery celebrates 35 years of art exploration with this exhibition of 100 unorthodox photographs. The picture anthology spans over three centuries from Charles Clifford’s study of the Alhambra, circa 1858, to Lee Friedlander’s photo of a bullet-pierced “No Shooting” sign from 2014. Works by master photographers like Diane Arbus and Sol LeWitt blend together with found snapshots and portraits taken by the anonymous and unknown in an enthralling collection of photos amassed over the last five years. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/last-chance-fraenkel-gallery-the-plot-thickens/\">Details here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10325558\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/AfricanAmericanComposers-400x225.jpeg\" alt=\"Fats Waller\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/AfricanAmericanComposers-400x225.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/AfricanAmericanComposers.jpeg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">The African-American Composer Initiative\u003c/h3>\n\u003cp>In commemoration of the 50th Anniversary of the Voting Rights Act, the African-American Composer Initiative presents this musical tribute to Martin Luther King, Jr. that spans spirituals, jazz, classical and traditional songs of freedom. Among works by contemporary composers are pieces from historical musical geniuses like trumpet great Dizzy Gillespie, stride-piano visionary Fats Waller (pictured) and soul visionary Donnie Hathaway. All proceeds from the two days of music benefit the Eastside College Preparatory School, where MLK’s message is relevant as ever: the school is located between the shining twin towers of Silicon Valley, Facebook and Google, in East Palo Alto, a predominantly Latino and black community feeling the squeeze of its surroundings. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-african-american-composer-initiative/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>Bill T. Jones/Arnie Zane Dance Company\u003c/h3>\n\u003cp>Bill T. Jones is one of the dance world’s most diversely gifted artists, a master both of narrative and purely abstract movement. In \u003cem>Story/Time\u003c/em>, he plays with the tension between the two modes, and remixes excerpts from the Bill T. Jones/Arnie Zane Company’s 32-year history, borrowing a framework from John Cage’s 1958 work \u003cem>Indeterminancy\u003c/em>. As Jones sits at a desk, reading one-minute personal stories randomly chosen from 170 that he’s written, his dancers perform movement that sometimes illustrates the tale, and sometimes stands independently. If you’ve never experienced the charismatic Jones live, you must—and even those who’ve seen him many times are sure to be affected by his intense presence. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/bill-t-jonesarnie-zane-dance-company/\">Details and ticket information here\u003c/a>. For more information on A Conversation with Bill T. Jones, go to \u003ca title=\"Stanford\" href=\"https://live.stanford.edu/calendar/january-2015/conversation-bill-t-jones\" target=\"_blank\" rel=\"noopener\">live.stanford.edu\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10322645\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/banksy-400x228.jpg\" alt=\"Banksy\" width=\"400\" height=\"228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/banksy-400x228.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/banksy-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/banksy-1180x674.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/banksy.jpg 1200w\" sizes=\"(max-width: 400px) 100vw, 400px\">Banksy Show at 836M: The Haight Street Rat Returns\u003c/h3>\n\u003cp>In 2010, graffiti artist Banksy immortalized one of San Francisco’s most numerous residents in his painting \u003cem>Haight Street Rat\u003c/em>. This mural is just one of the six he left during his swing through town, and one of two that survived. The image was removed but preserved, and how it’s coming to 836M, where it will hang in the window of the gallery—so that it can be observed from the street—from Jan. 21-July 11, 2015.\u003cbr>\n\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/banksy-show-at-836m-the-haight-street-rat-returns/\">Details here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10325306\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/PortlandCelloProject.TarinaWestlund-400x225.jpeg\" alt=\"Portland Cello Project\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/PortlandCelloProject.TarinaWestlund-400x225.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/PortlandCelloProject.TarinaWestlund.jpeg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">Portland Cello Project\u003c/h3>\n\u003cp>Having made a name for themselves covering Kanye West, Britney Spears and Thom Yorke, crossover ensemble the Portland Cello Project has most recently turned its attention to the plaintive, sorrowful music of the late Elliott Smith for their latest album, \u003cem>To E.S.\u003c/em> With the glut of gimmicky string-tribute albums polluting the marketplace, the group faces an uphill battle to their approach of rearranging contemporary music for chamber ensemble. But instead of merely skimming the surface of its source material, Portland Cello Project dives into the core of Smith’s music, extracting nuances not often otherwise noticed in the original recordings. If fate allows, the group might even unbox its cover of Taylor Swift’s “Shake It Off” at its Bay Area shows this week in San Francisco at The Chapel and in Napa at The City Winery. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/portland-cello-project/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10295516\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/Coup-400x225.jpg\" alt=\"The Coup\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Coup-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Coup-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/Coup.jpg 814w\" sizes=\"(max-width: 400px) 100vw, 400px\">The Coup\u003c/h3>\n\u003cp>With their 1993 debut \u003cem>Kill My Landlord\u003c/em>, Oakland hip-hop group The Coup arrived powerfully and politically out of the gate. Musically, the band has changed with every album, and in conquering the obstacles over the years — from their World Trade Center-themed cover art being pulled for 2001’s \u003cem>Party Music\u003c/em>, to their tour bus overturning and catching on fire, to being officially watched by surveillance agents — The Coup has only emerged stronger. They’ve also stuck to an addictive combination of smart lyrics and physically liberating, get-down funk. To see frontman Boots Riley lead his live band is to witness a master at work; even his dance moves come across with a confrontational subtext. The Coup’s most recent album, \u003cem>Sorry to Bother You\u003c/em>, available to stream below, precedes the screenplay of the same name by Riley, which was recently released in McSweeny’s \u003cem>Issue 48\u003c/em>. The Coup is more than a Bay Area treasure — they’re a bona fide hip-hop institution. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-coup/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10325437\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/FredFrith-400x225.jpeg\" alt=\"Fred Frith\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/FredFrith-400x225.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/FredFrith.jpeg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">Fred Frith Trio\u003c/h3>\n\u003cp>Omnivorous in his collaborations, the fiercely original guitarist Fred Frith has played on hundreds of albums with fellow musical conspirators too numerous to count. But it was a solo outing, 1974’s \u003cem>Guitar Solos\u003c/em>, that put him on the map and garnered attention for his percussive, inventive style. Since, Frith has played with John Zorn’s Naked City, the Residents, Henry Kaiser, Zeena Parkin, Mike Patton and many, many more. At Slim’s this week, Frith’s trio is joined by Beth Custer, who has done more to rethink the clarinet than anyone in the Bay Area in recent memory. (She and her experimental group recently treated passengers at SFO International to a free lunch-hour show, and one can only imagine the reaction from Hawaiian-print-wearing, beach-sandaled vacationers.) With Frith and Custer together, there’s no telling what sparks may fly, which, of course, is part of the fun. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/fred-frith-trio/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10308804\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/01_Meatyard_Untitled_19641-400x225.jpg\" alt=\"The Plot Thickens\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/01_Meatyard_Untitled_19641-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/01_Meatyard_Untitled_19641-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/01_Meatyard_Untitled_19641-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/01_Meatyard_Untitled_19641.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">The Plot Thickens\u003c/h3>\n\u003cp>The Fraenkel Gallery celebrates 35 years of art exploration with this exhibition of 100 unorthodox photographs. The picture anthology spans over three centuries from Charles Clifford’s study of the Alhambra, circa 1858, to Lee Friedlander’s photo of a bullet-pierced “No Shooting” sign from 2014. Works by master photographers like Diane Arbus and Sol LeWitt blend together with found snapshots and portraits taken by the anonymous and unknown in an enthralling collection of photos amassed over the last five years. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/last-chance-fraenkel-gallery-the-plot-thickens/\">Details here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-10325558\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/01/AfricanAmericanComposers-400x225.jpeg\" alt=\"Fats Waller\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/AfricanAmericanComposers-400x225.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/01/AfricanAmericanComposers.jpeg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">The African-American Composer Initiative\u003c/h3>\n\u003cp>In commemoration of the 50th Anniversary of the Voting Rights Act, the African-American Composer Initiative presents this musical tribute to Martin Luther King, Jr. that spans spirituals, jazz, classical and traditional songs of freedom. Among works by contemporary composers are pieces from historical musical geniuses like trumpet great Dizzy Gillespie, stride-piano visionary Fats Waller (pictured) and soul visionary Donnie Hathaway. All proceeds from the two days of music benefit the Eastside College Preparatory School, where MLK’s message is relevant as ever: the school is located between the shining twin towers of Silicon Valley, Facebook and Google, in East Palo Alto, a predominantly Latino and black community feeling the squeeze of its surroundings. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-african-american-composer-initiative/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Radio Show: From Moving Day to Major Night",
"headTitle": "Radio Show: From Moving Day to Major Night | KQED",
"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2014/12/20141219tdl.mp3\u003c/p>\n\u003c/aside>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-10228167\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/bampfa-400x225.jpg\" alt=\"BAM/PFA Building\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/bampfa-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/bampfa-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/bampfa-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/bampfa.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">Let’s Go! A Farewell Revel\u003c/h3>\n\u003cp>The Berkeley Art Museum moves into its new home in 2016, but the spiritual journey from old to new begins this Sunday with a free day-long party. BAM/PFA sends off their Bancroft Way building in style with music by Kitka, a women’s ensemble specializing in the music of Eastern Europe, as well as performance from artist Dohee Lee and sound art from Chris Kallmyer. There’s also art-making activities for younger visitors and a unique performance of György Ligeti’s \u003cem>Poème symphonique\u003c/em> for 100 metronomes, led by pianist/composer Sarah Cahill. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/lets-go-a-farewell-revel/\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_iaxZEfaL50\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-10227442\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/coppola-400x225.jpg\" alt=\"Francis Ford Coppola\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/coppola-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/coppola-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/coppola-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/coppola.jpg 1232w\" sizes=\"(max-width: 400px) 100vw, 400px\">Coppola Family Affair\u003c/h3>\n\u003cp>The first family of Bay Area filmmaking is the subject and star of this tribute series at San Francisco’s Roxie Theater. There’s an opening night fundraiser and party for $50, or take the cheaper-but-no-less-thrilling route of $10 seats for any of the individual films. From Francis Ford Coppola’s \u003cem>Apolcalypse Now\u003c/em> to Gia Coppola’s \u003cem>Palo Alto\u003c/em>, and a host of others, each showing features a key player in conversation about the film, with in-person appearances by Richard Beggs, Walter Murch, Eleanor Coppola, Roman Coppola, and Gia Coppola. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/a-coppola-family-affair/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-10227438\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/orozco-400x225.jpg\" alt=\"Jose-Luis Orozco\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/orozco-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/orozco-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/orozco.jpg 1089w\" sizes=\"(max-width: 400px) 100vw, 400px\">Jose-Luis Orozco\u003c/h3>\n\u003cp>Born in Mexico City, José-Luis Orozco is the bilingual Raffi: he’s released over a dozen albums of children’s music in English and Spanish, and traveled the world making children laugh, sing, squeal and shout. For his appearance at the Freight, expect a fun, family-friendly atmosphere that’s entertaining as much as it is educational. And if you need to convince your kids to hop in the car, tell them they’re seeing Rico from \u003cem>Madagascar\u003c/em>—Orozco did the voice in the Mexican dub of the film. All in all, the daytime show is a great way to keep the kids busy and stimulated during the holiday break. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/jose-luis-orozco/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9rn43pLNtlY\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-10227443\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/sweet-can-400x225.jpg\" alt=\"Sweet Can\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/sweet-can-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/sweet-can-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/sweet-can-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/sweet-can.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">Mittens & Mistletoe\u003c/h3>\n\u003cp>Sweet Can Productions is very much a successor to the old Pickle Family tradition of clowning, storytelling and acrobatic feats, but on an intimate scale. This time out, the group presents its annual annual Winter Circus Cabaret, and they’ve got the good fortune of a guest appearance by Diane Wasnak, a Pickle leader who’s still doing great audience-participation bits and riding her bike backward while tossing bowls onto her head. \u003cem>Mittens and Mistletoes\u003c/em> is at the Dance Mission Theatre in San Francisco December 19 through December 28, with plenty of matinee performances for kids out of school. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/mittens-mistletoe/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>Maceo Parker\u003c/h3>\n\u003cp>Best known as James Brown’s right-hand man and the standout on landmark tracks like “Papa’s Got a Brand New Bag” and “Doing it to Death,” Maceo Parker has spent a lifetime conjuring the music he likes to call “2% Jazz, 98% Funky Stuff.” After leading the J.B. horns with Pee Wee Ellis and Fred Wesley, the saxophone legend has dedicated himself to spreading love and unification through music. Of course, that involves a steady dose of gettin’ down, and for Parker’s upcoming four-night stand, starting on New Year’s Eve, the SFJAZZ Center is actually pulling out the floor seats to create an all-night dance party. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/maceo-parker/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YJmIN8RNBUg\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-10228167\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/bampfa-400x225.jpg\" alt=\"BAM/PFA Building\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/bampfa-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/bampfa-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/bampfa-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/bampfa.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">Let’s Go! A Farewell Revel\u003c/h3>\n\u003cp>The Berkeley Art Museum moves into its new home in 2016, but the spiritual journey from old to new begins this Sunday with a free day-long party. BAM/PFA sends off their Bancroft Way building in style with music by Kitka, a women’s ensemble specializing in the music of Eastern Europe, as well as performance from artist Dohee Lee and sound art from Chris Kallmyer. There’s also art-making activities for younger visitors and a unique performance of György Ligeti’s \u003cem>Poème symphonique\u003c/em> for 100 metronomes, led by pianist/composer Sarah Cahill. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/lets-go-a-farewell-revel/\">Details here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/_iaxZEfaL50'\n title='//www.youtube.com/embed/_iaxZEfaL50'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-10227442\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/coppola-400x225.jpg\" alt=\"Francis Ford Coppola\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/coppola-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/coppola-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/coppola-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/coppola.jpg 1232w\" sizes=\"(max-width: 400px) 100vw, 400px\">Coppola Family Affair\u003c/h3>\n\u003cp>The first family of Bay Area filmmaking is the subject and star of this tribute series at San Francisco’s Roxie Theater. There’s an opening night fundraiser and party for $50, or take the cheaper-but-no-less-thrilling route of $10 seats for any of the individual films. From Francis Ford Coppola’s \u003cem>Apolcalypse Now\u003c/em> to Gia Coppola’s \u003cem>Palo Alto\u003c/em>, and a host of others, each showing features a key player in conversation about the film, with in-person appearances by Richard Beggs, Walter Murch, Eleanor Coppola, Roman Coppola, and Gia Coppola. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/a-coppola-family-affair/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-10227438\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/orozco-400x225.jpg\" alt=\"Jose-Luis Orozco\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/orozco-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/orozco-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/orozco.jpg 1089w\" sizes=\"(max-width: 400px) 100vw, 400px\">Jose-Luis Orozco\u003c/h3>\n\u003cp>Born in Mexico City, José-Luis Orozco is the bilingual Raffi: he’s released over a dozen albums of children’s music in English and Spanish, and traveled the world making children laugh, sing, squeal and shout. For his appearance at the Freight, expect a fun, family-friendly atmosphere that’s entertaining as much as it is educational. And if you need to convince your kids to hop in the car, tell them they’re seeing Rico from \u003cem>Madagascar\u003c/em>—Orozco did the voice in the Mexican dub of the film. All in all, the daytime show is a great way to keep the kids busy and stimulated during the holiday break. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/jose-luis-orozco/\">Details and ticket information here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9rn43pLNtlY'\n title='//www.youtube.com/embed/9rn43pLNtlY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-10227443\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/sweet-can-400x225.jpg\" alt=\"Sweet Can\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/sweet-can-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/sweet-can-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/sweet-can-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/sweet-can.jpg 1920w\" sizes=\"(max-width: 400px) 100vw, 400px\">Mittens & Mistletoe\u003c/h3>\n\u003cp>Sweet Can Productions is very much a successor to the old Pickle Family tradition of clowning, storytelling and acrobatic feats, but on an intimate scale. This time out, the group presents its annual annual Winter Circus Cabaret, and they’ve got the good fortune of a guest appearance by Diane Wasnak, a Pickle leader who’s still doing great audience-participation bits and riding her bike backward while tossing bowls onto her head. \u003cem>Mittens and Mistletoes\u003c/em> is at the Dance Mission Theatre in San Francisco December 19 through December 28, with plenty of matinee performances for kids out of school. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/mittens-mistletoe/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>Maceo Parker\u003c/h3>\n\u003cp>Best known as James Brown’s right-hand man and the standout on landmark tracks like “Papa’s Got a Brand New Bag” and “Doing it to Death,” Maceo Parker has spent a lifetime conjuring the music he likes to call “2% Jazz, 98% Funky Stuff.” After leading the J.B. horns with Pee Wee Ellis and Fred Wesley, the saxophone legend has dedicated himself to spreading love and unification through music. Of course, that involves a steady dose of gettin’ down, and for Parker’s upcoming four-night stand, starting on New Year’s Eve, the SFJAZZ Center is actually pulling out the floor seats to create an all-night dance party. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/maceo-parker/\">Details and ticket information here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/YJmIN8RNBUg'\n title='//www.youtube.com/embed/YJmIN8RNBUg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Radio Show: Sketchfest, the Rhymes of the Yung, Marriner, and More",
"headTitle": "Radio Show: Sketchfest, the Rhymes of the Yung, Marriner, and More | KQED",
"content": "\u003caside class=\"aligncenter\">\n\u003ch4>Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2014/12/20141212tdl.mp3\u003c/p>\n\u003c/aside>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>Sketchfest 2015 Lineup\u003c/h3>\n\u003cp>The almighty comedy festival \u003ca href=\"http://sfsketchfest.com\" target=\"_blank\" rel=\"noopener\">Sketchfest\u003c/a> returns, and its lineup, announced today, is excellent as usual. A \u003cem>Spinal Tap\u003c/em> reunion with Harry Shearer, Christopher Guest and Michael McKean; podcast maestro Marc Maron; \u003cem>The Best Show\u003c/em> hosts Scharpling & Wurster; “Weird” Al Yankovic in conversation with Chris Hardwick; salutes to film favorites like \u003cem>But I’m a Cheerleader\u003c/em>, \u003cem>The Princess Bride\u003c/em>, \u003cem>Better Off Dead\u003c/em>; and comedians and musicians galore, including Penn & Teller, Maya Rudolph, Bill Nye, Natasha Lyonne, John Hodgman, Kristen Schaal, Janeane Garofolo, John Darnielle, Margaret Cho, Bob Mould and many, many more. \u003ca href=\"http://sfsketchfest.com/\" target=\"_blank\" rel=\"noopener\">See the full lineup here\u003c/a>.\u003c/p>\n\u003ch3>Sir Neville Marriner with Symphony Napa Valley\u003c/h3>\n\u003cp>Among the best-selling classical soundtracks of all time, \u003cem>Amadeus\u003c/em> introduced a new audience to the work of Mozart upon its release in 1984. The esteemed conductor of that motion picture recording and founder of Academy of St. Martin’s in the Fields, Neville Marriner, comes to Napa to conduct the Symphony Napa Valley in a program of music from \u003cem>Amadeus\u003c/em> and other Mozart pieces. Violinist Dmitry Sitkovetsky guests in this special evening at the scenic Lincoln Theater, set on the lush grounds of the Veterans Home of California in Yountville. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/sir-neville-marriner-and-dmitry-sitkovetsky-with-symphony-napa-valley/\" target=\"_blank\" rel=\"noopener\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-10199557\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/shooktwins-400x225.jpg\" alt=\"Shook Twins\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/shooktwins-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/shooktwins.jpg 750w\" sizes=\"(max-width: 400px) 100vw, 400px\">Shook Twins\u003c/h3>\n\u003cp>Katelyn and Laurie Shook, identical twins, first started playing their brand of rural folk music in Idaho ten years ago. Since relocated to Portland and expanded to a quartet, the band’s just put out their fourth full-length, \u003cem>What We Do\u003c/em>. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/shook-twins/\" target=\"_blank\" rel=\"noopener\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=h4vm0YNt7Ys]\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-10199920\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/1MPF-400x225.jpg\" alt=\"One-Minute Play Festival\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/1MPF-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/1MPF.jpg 615w\" sizes=\"(max-width: 400px) 100vw, 400px\">San Francisco One-Minute Play Festival\u003c/h3>\n\u003cp>“I saw 80 plays this year.” It might sound like an outlandish boast to make at your holiday party. Of course, if you attend one of the two nights of the 5th Annual San Francisco One-Minute Play Festival, you could up the ante and claim, “I saw 80 plays last night.” The event, which has sold out in its previous incarnations, will offer more than six dozen lighting-fast pieces, all penned in the last few months by 53 Bay Area playwrights. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-francisco-one-minute-play-festival/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-10199916\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/mythbusters-400x225.jpg\" alt=\"Mythbusters\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/mythbusters-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/mythbusters-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/mythbusters-1180x663.jpg 1180w\" sizes=\"(max-width: 400px) 100vw, 400px\">Mythbusters: Behind the Myths\u003c/h3>\n\u003cp>Massive explosions, spectacular car crashes, and inventive problem-solving — that’s the bread and butter of the Discovery Channel’s \u003cem>Mythbusters\u003c/em> team. Jamie Hyneman and Adam Savage have been doing their part to entertain and enlighten TV audiences for more than a dozen seasons and, for a few years now, they’ve also taken their show on the road. That inevitably means these geeky gurus have their live performances running like a finely tuned rocket car, which is not to say there won’t be a surprise or two. The busting will commence at San Jose’s City National Civic on December 16. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/mythbusters-behind-the-myths/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-1749\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/totalitarians-400x274.jpg\" alt=\"The Totalitarians\" width=\"400\" height=\"274\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/totalitarians-400x274.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/totalitarians-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/totalitarians.jpg 900w\" sizes=\"(max-width: 400px) 100vw, 400px\">The Totalitarians\u003c/h3>\n\u003cp>San Francisco’s own \u003ca href=\"http://www.peternachtrieb.com/\" target=\"_blank\" rel=\"noopener\">Peter Sinn Nachtrieb\u003c/a> is the current in-house playwright at Z Space, and his first commission hit the stage of Z Below in November. \u003cem>The Totalitarians\u003c/em> follows Penny, a candidate for state office in Nebraska, and her underhanded plans for the state. Penny’s eloquent sidekick Francine and her husband, a doctor, get involved in a play about politics, trust, and the truth.\u003cbr>\n\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-totalitarians/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-10199923\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/shearer-400x225.jpg\" alt=\"Harry Shearer and Judith Owen\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/shearer-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/shearer-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/shearer-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/shearer.jpg 1884w\" sizes=\"(max-width: 400px) 100vw, 400px\">Christmas Without Tears\u003c/h3>\n\u003cp>To fans of \u003cem>Spinal Tap\u003c/em> or \u003cem>The Simpsons\u003c/em>, Harry Shearer needs no introduction. Suffice it to say that he’s one of the funniest men in America, and he co-hosts a special night that benefits the Mental Health Association of San Francisco. As for the night’s music, Judith Owen’s new album is a 1970s singer-songwriter throwback with a crackerjack Laurel Canyon band; Doña Oxford is a consummate boogie-woogie pianist; and Amy Engelhardt sings one of the funniest Christmas songs of all time (“\u003ca href=\"https://www.youtube.com/watch?v=zhOp0t93dLA\" target=\"_blank\" rel=\"noopener\">How Did This Thing Get In Me?\u003c/a>“). Also on the bill is British singer Julia Fordham (“Porcelain”). Comedians include Will Durst, Josh Kornbluth and more. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/christmas-without-tears/\" target=\"_blank\" rel=\"noopener\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-10202492\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Yunglean-400x225.jpg\" alt=\"Yunglean\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Yunglean-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Yunglean.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">Yung Lean & Sad Boys\u003c/h3>\n\u003cp>Drake may have popularized the idea of a rap star wearing one’s heart on his sleeve, but Sweden’s unlikely upstart Yung Lean has definitely perfected it. After releasing two albums packed with slow, atmospheric beats and ruminative, slightly Autotuned “sad rap,” the 18-year-old phenomenon embarks on a tour of North America playing to crowds that typically more closely resemble a \u003cem>Twilight\u003c/em> fanfic convention than a Raiders game. A highlight from Yung Lean’s latest album \u003cem>Unknown Memory\u003c/em> is “Leanworld,” a slow burn that peddles in unrequited love and the desire to achieve more in life. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/yung-lean-sad-boys/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003cp>https://api.soundcloud.com/tracks/168488251\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>Sketchfest 2015 Lineup\u003c/h3>\n\u003cp>The almighty comedy festival \u003ca href=\"http://sfsketchfest.com\" target=\"_blank\" rel=\"noopener\">Sketchfest\u003c/a> returns, and its lineup, announced today, is excellent as usual. A \u003cem>Spinal Tap\u003c/em> reunion with Harry Shearer, Christopher Guest and Michael McKean; podcast maestro Marc Maron; \u003cem>The Best Show\u003c/em> hosts Scharpling & Wurster; “Weird” Al Yankovic in conversation with Chris Hardwick; salutes to film favorites like \u003cem>But I’m a Cheerleader\u003c/em>, \u003cem>The Princess Bride\u003c/em>, \u003cem>Better Off Dead\u003c/em>; and comedians and musicians galore, including Penn & Teller, Maya Rudolph, Bill Nye, Natasha Lyonne, John Hodgman, Kristen Schaal, Janeane Garofolo, John Darnielle, Margaret Cho, Bob Mould and many, many more. \u003ca href=\"http://sfsketchfest.com/\" target=\"_blank\" rel=\"noopener\">See the full lineup here\u003c/a>.\u003c/p>\n\u003ch3>Sir Neville Marriner with Symphony Napa Valley\u003c/h3>\n\u003cp>Among the best-selling classical soundtracks of all time, \u003cem>Amadeus\u003c/em> introduced a new audience to the work of Mozart upon its release in 1984. The esteemed conductor of that motion picture recording and founder of Academy of St. Martin’s in the Fields, Neville Marriner, comes to Napa to conduct the Symphony Napa Valley in a program of music from \u003cem>Amadeus\u003c/em> and other Mozart pieces. Violinist Dmitry Sitkovetsky guests in this special evening at the scenic Lincoln Theater, set on the lush grounds of the Veterans Home of California in Yountville. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/sir-neville-marriner-and-dmitry-sitkovetsky-with-symphony-napa-valley/\" target=\"_blank\" rel=\"noopener\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-10199557\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/shooktwins-400x225.jpg\" alt=\"Shook Twins\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/shooktwins-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/shooktwins.jpg 750w\" sizes=\"(max-width: 400px) 100vw, 400px\">Shook Twins\u003c/h3>\n\u003cp>Katelyn and Laurie Shook, identical twins, first started playing their brand of rural folk music in Idaho ten years ago. Since relocated to Portland and expanded to a quartet, the band’s just put out their fourth full-length, \u003cem>What We Do\u003c/em>. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/shook-twins/\" target=\"_blank\" rel=\"noopener\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/h4vm0YNt7Ys'\n title='//www.youtube.com/embed/h4vm0YNt7Ys'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-10199920\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/1MPF-400x225.jpg\" alt=\"One-Minute Play Festival\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/1MPF-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/1MPF.jpg 615w\" sizes=\"(max-width: 400px) 100vw, 400px\">San Francisco One-Minute Play Festival\u003c/h3>\n\u003cp>“I saw 80 plays this year.” It might sound like an outlandish boast to make at your holiday party. Of course, if you attend one of the two nights of the 5th Annual San Francisco One-Minute Play Festival, you could up the ante and claim, “I saw 80 plays last night.” The event, which has sold out in its previous incarnations, will offer more than six dozen lighting-fast pieces, all penned in the last few months by 53 Bay Area playwrights. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/san-francisco-one-minute-play-festival/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-10199916\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/mythbusters-400x225.jpg\" alt=\"Mythbusters\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/mythbusters-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/mythbusters-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/mythbusters-1180x663.jpg 1180w\" sizes=\"(max-width: 400px) 100vw, 400px\">Mythbusters: Behind the Myths\u003c/h3>\n\u003cp>Massive explosions, spectacular car crashes, and inventive problem-solving — that’s the bread and butter of the Discovery Channel’s \u003cem>Mythbusters\u003c/em> team. Jamie Hyneman and Adam Savage have been doing their part to entertain and enlighten TV audiences for more than a dozen seasons and, for a few years now, they’ve also taken their show on the road. That inevitably means these geeky gurus have their live performances running like a finely tuned rocket car, which is not to say there won’t be a surprise or two. The busting will commence at San Jose’s City National Civic on December 16. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/mythbusters-behind-the-myths/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-1749\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/10/totalitarians-400x274.jpg\" alt=\"The Totalitarians\" width=\"400\" height=\"274\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/totalitarians-400x274.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/totalitarians-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/10/totalitarians.jpg 900w\" sizes=\"(max-width: 400px) 100vw, 400px\">The Totalitarians\u003c/h3>\n\u003cp>San Francisco’s own \u003ca href=\"http://www.peternachtrieb.com/\" target=\"_blank\" rel=\"noopener\">Peter Sinn Nachtrieb\u003c/a> is the current in-house playwright at Z Space, and his first commission hit the stage of Z Below in November. \u003cem>The Totalitarians\u003c/em> follows Penny, a candidate for state office in Nebraska, and her underhanded plans for the state. Penny’s eloquent sidekick Francine and her husband, a doctor, get involved in a play about politics, trust, and the truth.\u003cbr>\n\u003ca href=\"http://ww2.kqed.org/arts/the-do-list/the-totalitarians/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-10199923\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/12/shearer-400x225.jpg\" alt=\"Harry Shearer and Judith Owen\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/shearer-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/shearer-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/shearer-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/12/shearer.jpg 1884w\" sizes=\"(max-width: 400px) 100vw, 400px\">Christmas Without Tears\u003c/h3>\n\u003cp>To fans of \u003cem>Spinal Tap\u003c/em> or \u003cem>The Simpsons\u003c/em>, Harry Shearer needs no introduction. Suffice it to say that he’s one of the funniest men in America, and he co-hosts a special night that benefits the Mental Health Association of San Francisco. As for the night’s music, Judith Owen’s new album is a 1970s singer-songwriter throwback with a crackerjack Laurel Canyon band; Doña Oxford is a consummate boogie-woogie pianist; and Amy Engelhardt sings one of the funniest Christmas songs of all time (“\u003ca href=\"https://www.youtube.com/watch?v=zhOp0t93dLA\" target=\"_blank\" rel=\"noopener\">How Did This Thing Get In Me?\u003c/a>“). Also on the bill is British singer Julia Fordham (“Porcelain”). Comedians include Will Durst, Josh Kornbluth and more. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/christmas-without-tears/\" target=\"_blank\" rel=\"noopener\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003c/div>\n\u003cdiv class=\"callout aligncenter noborder\">\n\u003ch3>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-thumbnail wp-image-10202492\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/11/Yunglean-400x225.jpg\" alt=\"Yunglean\" width=\"400\" height=\"225\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Yunglean-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/11/Yunglean.jpg 800w\" sizes=\"(max-width: 400px) 100vw, 400px\">Yung Lean & Sad Boys\u003c/h3>\n\u003cp>Drake may have popularized the idea of a rap star wearing one’s heart on his sleeve, but Sweden’s unlikely upstart Yung Lean has definitely perfected it. After releasing two albums packed with slow, atmospheric beats and ruminative, slightly Autotuned “sad rap,” the 18-year-old phenomenon embarks on a tour of North America playing to crowds that typically more closely resemble a \u003cem>Twilight\u003c/em> fanfic convention than a Raiders game. A highlight from Yung Lean’s latest album \u003cem>Unknown Memory\u003c/em> is “Leanworld,” a slow burn that peddles in unrequited love and the desire to achieve more in life. \u003ca href=\"http://ww2.kqed.org/arts/the-do-list/yung-lean-sad-boys/\">Details and ticket information here\u003c/a>.\u003c/p>\n\u003cp>https://api.soundcloud.com/tracks/168488251\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"order": 8
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},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"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.",
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"source": "Commonwealth Club of California"
},
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"hidden-brain": {
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"source": "NPR"
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"how-i-built-this": {
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"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. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"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"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"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/",
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"source": "kqed",
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