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2 episodes with brava theater
2 episodes with brava theater
2 episodes with brava theater
Mama Ganuush hosts a discussion on whether people in the US actually stand a chance under American democracy, when money rules everything around us. Guests from The Phoenix Project (exposing dark money in Bay Area politics) and Pups for Palestine (what it says :) ). Salon HALA will return in 2025. Salon HALA on Instagram The Phoenix Project Zinedogs | Instagram @zinedogssf Support us and find links to our past episodes: patreon.com/sadfrancisco
Jan Martin Smørdal is a Norwegian composer and performer of contemporary music. With a background in experimental bands and improvisation, he writes music often inspired by social phenomena: imitation and mimicry; swarms, flocks, and other collective behaviors; memory; and the unevenness inherent to being human. His music has been performed at festivals such as Ultima, ISCM, MATA, and Borealis and released on the labels LAWO, SOFA, and Aurora. Smørdal is also a co-founder and member of Ensemble neoN, an Oslo-based contemporary music collective. His piece Both sides. Now will be performed by Yarn/Wire at Other Minds Festival 28 on September 27, 2024, at the Brava Theater in San Francisco. Music: My Favorite Thing 1 by Jan Martin Smørdal, performed by Pinquins (LAWO Classics); My Favorite Thing 3 “...something about a bird” by Jan Martin Smørdal, performed by the Norwegian Radio Orchestra and conductor Kai Grinde Myrann (LAWO Classics); Kraftbalanse by Jan Martin Smørdal and Øystein Wyller Odden, performed by Vilde Sandve Alnæs, Miriam Bergset, Ragnhild Lien, Julija Morgan, Torunn Blåsmo-Falnes, Tove Bagge, Sverre Kyvik Bauge, and Inga Margrete Aas (Sofa Music); Both sides. Now by Jan Martin Smørdal, performed by Trond Schau, Helge Kjekshus, Andre Fjørtoft, and Åsmund Moen Follow Jan Martin on Instagram and Twitter. smordal.no Follow us on Facebook, Instagram, and Twitter. otherminds.org Contact us at otherminds@otherminds.org. The Other Minds Podcast is hosted and edited by Joseph Bohigian. Outro music is “Kings: Atahualpa” by Brian Baumbusch (Other Minds Records).
Adam Tendler is a New York-based pianist and author. A pioneer of DIY culture in concert music, in his early twenties Adam performed in all fifty states as part of a grassroots recital tour he called America 88x50, which became the subject of his memoir, 88x50. After his father's unexpected death in 2019, he used his inheritance to commission a group of composers including Laurie Anderson, Timo Andres, and Pamela Z to create new piano works exploring the idea of 'inheritance.' On July 17, 2024, Other Minds will present the Bay Area premiere of Tendler's Inheritances at the Brava Theater in San Francisco. In the interview, we talk about the origins of Inheritances, looking back at one's own past, and the unexpected turns the project has taken. Music: Morning Piece by Devonté Hynes, Outsider Song by Scott Wollschleger, Remember, I Created You by Laurie Anderson, Morning Piece by Devonté Hynes, Thank You So Much by Pamela Z; performed by Adam Tendler (New Amsterdam Records) Follow Adam on Facebook, Instagram and Twitter. adamtendler.com Follow us on Facebook, Instagram, and Twitter. otherminds.org Contact us at otherminds@otherminds.org. The Other Minds Podcast is hosted and edited by Joseph Bohigian. Outro music is “Kings: Atahualpa” by Brian Baumbusch (Other Minds Records).
Our live show from San Francisco Sketchfest with Ron Funches as a worried King and Erin Keif as Momo the Mouse with Human Strength.CreditsArnie: Arnie NiekampUsidore: Matt YoungChunt: Adal RifaiKing Alphadaronious Exstian III: Ron FunchesMomo the Mouse: Erin KeifMysterious Man: Tim SniffenProducers: Arnie Niekamp, Matt Young, and Adal RifaiAssociate Producer: Anna HavermannPost-Production Coordination: Garrett SchultzEditor: Tim JoyceMagic Tavern Logo: Allard LabanTheme Music: Andy PolandSpecial Thanks: Janet Varney and everyone who helps make SF Sketchfest such a great festival, as well as the wonderful staff at the Brava Theater.Deadline article about the Magic Tavern Animated Series!You can support the show directly and receive bonus episodes and rewards by joining our Patreon at https://www.patreon.com/magictavern for only $5 per month. Follow us on X, Instagram and YouTube!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Susan Ito is the author of the memoir, I Would Meet You Anywhere, published by the Ohio State University Press in November 2023. She co-edited the literary anthology A Ghost At Heart's Edge: Stories & Poems of Adoption. Her work has appeared in The Writer, Growing Up Asian American, Choice, Hip Mama, Literary Mama, Catapult, Hyphen, The Bellevue Literary Review, and elsewhere. Her theatrical adaption of Untold, stories of reproductive stigma, was produced at Brava Theater. She is a member of the Writers' Grotto, and teaches at the Mills College campus of Northeastern University. She was a co-organizer of Rooted and Written, a writing workshop for writers of color. I Would Meet You Anywhere by Susan Kiyo Ito. Use Discount MAKINGOF for 30% off.As mentioned by Susan in the episode: The Alliance for the Study of Adoption and Culture Conference- April 4th-6th at Brown UniversityTo skip ahead to the interview go to timestamp: 17:15S12F Helping AdopteesGregory Luce and Adoptees Rights LawJoe Soll & other adoptee resourcesFireside Adoptees Facebook GroupReckoning with the Primal Wound DocumentaryUpdate: Although we are unable to attend Chicago's Foglift in May, here is the link for Early Bird tickets: Foglift Early Bird Link: Chicago: May 17th & 18thIf you want to support our show, visit our Patreon Page.Thank you to our Patreons! Join at the $10 level and be part of our monthly Zoom adoptee community.Our Patrons: Laura Christensen, Barbara Frank, Ramona Evans, Linda Pevac, Blonde Records, Daphne Keys, Denise Hewitt, Michelle Styles, Emily Sinagra, Linda David, John Frey, Eric David, Beth Figuls, Ron Schneider, Tony Corsentino, Kristi Reed, Kristen Steinhilber, Jane Bofenkamp, Kelley Brickfield, Sandra de Quesada, The Harpy, Kristan Higgin, Lisa Thompson, Michelle Goodwine, Jesper Laursen, Julie Malone, Rivi Shocket , Robert Perrino, Colleen McCall, Janet MacDonald, Robin Wells, Lynn Grubb, Mikki Jackson-Brown, Sharon Katzmann, Carol Levitt, Elizabeth McDonald, Diane Moore, Ann Mikeska, Darra Robins, A.M. Homes, Kelly Layton, Lynn Marie, Lynn Wood, Jeff Wadstrom & Karla.Support the showTo support the show - Patreon.
A weekly magazine-style radio show featuring the voices and stories of Asians and Pacific Islanders from all corners of our community. The show is produced by a collective of media makers, deejays, and activists. Living Legacies: LARRY THE MUSICAL x MISTER REY TRIBUTE Host Aisa Villarosa covers “Larry the Musical” a new theatrical production based on the book “Journey for Justice: The Life of Larry Itliong” written by Gayle Romasanta and the late Dr. Dawn Mabalon. Nomi aka Power Struggle and Aisa also honor an anchor and leader of the Bay Area Filipinx and civil rights community – Mister REY. Links to Episode Features: Larry The Musical website: https://www.larrythemusical.com/ Allyson Tintiangco-Cubales: https://www.instagram.com/pinayism/?hl=en Billy Bustamante: https://www.billybustamante.com/ Mister REY Memorial GoFundMe https://misterrey.bandcamp.com/album/wonders-mysticisms-beat-tape Power Struggle https://soundcloud.com/mario-de-mira Show Transcripts Living Legacies: Larry the Musical x Mister REY tribute Opening: [00:00:00] Apex Express Asian Pacific expression. Community And cultural coverage, music and calendar, new visions and voices, coming to you with an Asian Pacific Islander point of view. It's time to get on board The Apex Express Aisa Villarosa: [00:00:28] You're listening to Apex Express on 94.1 KPFA Berkeley, 89.3 KPFB Berkeley, 88.1 KFC at Fresno and online at KPFA. org. Welcome, welcome, welcome. I am your host, Aisa Villarosa. I'm an artist, attorney, ethnic studies advocate, general rabble rouser, and lifetime fan of the Apex Express crew. Shout out to my homie Miko. Get comfy, get cozy. We have a wonderful show for you tonight. It's a show about a show, that is Larry The Musical, which is based on the book Journey for Justice: The Life of Larry Itliong, written by Gayle Romasanta, and the wondrous late great Dr. Dawn Mabolon. The story and songs are influenced by and honor our ancestors, and the musical debuts at San Francisco's very own Brava Theater running March 16th through April 14th, 2024. That means, seats are limited. So, in addition to checking out the show we have for you tonight, visit www.larrythemusical.com to get your tickets today, learn about this cast and crew. Now for our show. First up we'll hear about Larry Itliong's legacy of organizing, resistance, and community power building from Dr. Allyson Tintiangco-Cubales. Next, Larry The Musical director Billy Bustamante, previews the heart, soul, and talent behind this production. And, because we're pretty big of a deal here [laughs] we'll also hear a sneak peek of two songs from Larry The Musical. Finally, the artist Power Struggle will help me wrap up this episode by honoring an anchor and leader of the Bay Area Filipinx and civil rights community and our friend, Mister REY. Rest in power. All right, that's the show. Let's dig in. I'm here with Dr. Allyson Tintiangco-Cubales, one of the country's leading Ethnic Studies and Filipinx studies scholars and professors, co-founder and director of Community Responsive Education, and the educational consultant for Larry The Musical. Allyson, it's so wonderful to have you here. Allyson Tintiangco-Cubales: [00:02:34] My gosh, thank you so much for having me. I really appreciate this show and all the work that you've been doing for many years. Thank you so much. Aisa Villarosa: [00:02:41] For our dedicated Apex Express listeners who may not be familiar with the wonderful Larry Itliong. Can you talk a little bit about who he is and who he is to this particular Civil Rights Movement? Allyson Tintiangco-Cubales: [00:02:57] Larry Itliong. He was born in the Philippines, in San Nicolas Pangasinan. He came here at 15 years old. Imagine coming here at 15 years old. He only had a sixth grade education. And he came here, actually in order to pursue his studies and he moved to the United States in 1929. As you probably know, because of the Great Depression, it was difficult to find jobs. He was forced to work in the railroads and then eventually became a migrant farm worker. And he traveled all the way from like Montana, South Dakota, Washington, and finally landed here in California. So during that time, Larry Itliong learned of the plight suffered by Filipinos and other immigrants working in the fields. Larry Itliong was a prominent leader in one of the most important social justice movements in the US, and we call that the Farm Worker Movement. A lot of Filipinos involved along with Mexicanos. He organized a group of 1500 Filipinos to strike against the grape growers in Delano, California. Some people call that the great Delano Grape strike of 1965. Basically they were trying to fight for workers' rights. They had this strike for eight days. And there was tons of violence by the growers, hired hands, and even the sheriff department, and they were thrown out of the labor camp. Larry Itliong. He was strong and he remained tenacious and resilient. And he called upon someone very famous that many of us know Cesar Chavez, and Cesar Chavez' community, to join forces with the Filipinos and they striked again. Because of Larry Itliong, the two groups combined and they ended up becoming the United Farm Workers. And a lot of us know the United Farm Workers and a lot of it is attributed to Cesar Chavez, but really Larry Itliong really pushed that ability to create a coalition. To create a connection to really fight for collective liberation. So this unification between the farmworkers of all different ethnicities, not just Filipino and Mexicano was really unprecedented. And really set an example for many of us—many of us meaning workers and organizers—many of us learned from that movement, how to really create alignment, how to really create a coalition, how to really fight alongside each other. And that movement was very successful. You may or may not know this, but Larry Itliong also was the president of the Filipino American Political Association, the first national political Filipino American organization. And it was very crucial, between Filipino professionals and laborers, that grew out of the Delano Grape strike. Larry Itliong was instrumental in founding lots of things including the Pablo Agbayani Village, a Retirement Home built by volunteers for retired Filipino Manos, who no longer had families and needed a place to call home. I recently visited Agbayani Village with my family. Even in my own family, my husband, his father was one of the farm workers, and it means a great deal to actually be there at Agbayani Village, quite literally, you feel the spirits. And having, having brought my daughter there and she got to, you know, see, where our ancestors lived. Larry Itliong, he passed away in 1977 at the age of sixty-three, very young. He left behind his wife and seven children. But his accomplishments and his legacy, continues to live and we really reap the benefits from all the work that he did. Aisa Villarosa: [00:06:41] I got shivers at several points when you shared Allyson. Thank you. And I am told that as part of your work as educational consultant for Larry The Musical, that one of your unique roles is helping the cast see history in this moment and see what Larry's struggle and Larry's story is to them and their families. So I love that sort of full circle practice. It also means that for a musical to take on you know you've named some, some pretty heavy things, right? You're naming organizing struggle, you're naming the struggle against white supremacy. Can you talk a little bit about what makes this musical special and, and even to be able to do right by Larry and his story, how did you all bring this to life? Allyson Tintiangco-Cubales: [00:07:33] Whoa. That's a really important set of questions and I really appreciate the connections between what's happening on the stage and what's happening in our classrooms and, you know, what's really happening in our communities. It is a really important show. I think a lot of shows have said, “Oh, we're a hundred percent this, we're a hundred percent that.” But when I go into working with the cast, I really see a hundred percent Filipino, Filipina, Filipinx Americans who are really telling a story that is important. Larry's story is not glamorous, [laughs] you know, and I say that because I've seen a lot of Broadway shows. You know, I have a child who's a performer and I spend a lot of time in New York, and I really do love watching musicals. And so this genre is like happy times for me, right? I go in and I get, I mean, they start singing and I, I just want to cry right away [laughs]. But there's something so powerful, yes, about a hundred percent Filipino cast, but also telling a story about struggle, and about labor, about someone who's working class, who really has changed our lives. I think sometimes when I go to musicals, I try to find myself, you know, like on stage I'm like, which character am I? You know? And in this musical I really feel like I'm all the characters. And you will see this, you know, because there's Larry, of course, this, it's a story about Larry Itliong, but you will see characters, and the creative team has wonderfully weaved characters from different parts of that era, and then also maybe even parts of their own lives and their own families, and they land on stage. They are telling this story alongside Larry, and it's beautiful and I'm really, really excited for people to see it. I'm not going to, I'm not gonna give too much away. Aisa Villarosa: [00:09:39] [Laughs] People gotta buy tickets. Yes. Allyson Tintiangco-Cubales: [00:09:41] Buy your tickets and bring your tissue [laughs]. Because I really feel like people are going to not only see Larry on stage, but they're gonna see themselves, their families, their parents, their community, their ancestors, all of them there. I will say that, I had the fortune of working with the cast, specifically on a project called Tatlong Bagsak Talambuhay and what I said to the cast was, this work has to be different. This work cannot just be about telling one man's story. And so it's really important for them to understand their own story, their own family's legacy, and why they're doing this work. And so at the beginning of each of the rehearsals, there's one cast member who tells their story. Talambuhay, you know, telling their life story. So that every person is allowed to share their story on the stage, quite literally. And also to be able to make the connections to why they're there on that stage. I had one cast member come up to me last week and say, “I've never been part of a [laughs] a show like this. You know, like where I was seen.” And that's the power of Larry The Musical. It, it's definitely about Larry and how he has inspired us, but it is so much more. And so I'm really excited for people to be able to experience that. Aisa Villarosa: [00:11:18] I was lucky enough to attend the community preview y'all had put on in the fall. It was smashing and I could feel Dawn Mabalon's love and spirit in the room because so much of what you're saying is how are we creating a living archive, right? And there's so many stories that make up history that ultimately is intentionally not told or kept away from people. So it sounds like this is hopefully one of many opportunities for folks to either learn that history for the first time, or to learn it in a really freeing way. I want to talk a little bit about women. If we look at various movements across labor, thinking about the figures of labor, you know, you have Larry, you have Philip Vera Cruz. I am sure there are some strong, strong women in Larry. And as a Filipina we also see that the value of care work, of women really it's often invisibilized by history. Talk to us a little bit about, you know, what can we expect to see from the women in Larry? Are there any toxic narratives that are reversed or addressed by the musical? Allyson Tintiangco-Cubales: [00:12:32] I feel like you saw the script. [Laughs]. Aisa Villarosa: [00:12:34] I didn't. I did not. [Laughs]. Allyson Tintiangco-Cubales: [00:12:36] Oh, okay. Okay. I can't give up too much. It'd be really unfair, but I'll say that this begins with the strong women who did the research and who wrote the play, the musical, the book, the script. And I'll start with, a lot of the work is rooted in Dr. Dawn Bohulano's research. I mean, she really was going to tell Larry Itliong's story in an academic book. And before she passed, she was able to write Journey for Justice with Gayle Romasanta. It was, it quite literally went to press the day that she passed. Dr. Dawn Bohulano Mabalon had a dream to really tell Larry's story, but I know deep inside it wasn't just about Larry's story, it was a story about her family. It was a story about her ancestors, including the women. And so I think how beautiful it is to have quite literally the voice and research of Dr. Dawn Bohulano Mabalon in the script that Gayle Romasanta really was able to bring forth. So we have writers like Gayle Romasanta, Kevin Camia, and then writing the music we have Brian Pangilinan, and then you'll hear the sounds of course of Sean Kana. But when we talk and think about the women, the voices quite literally, the singing voices of the women are so powerful. I think sometimes people imagine women during that movement as being behind the men. In this show, that's not the case. I think of the work of Stacey Salinas, Dr. Stacey Salinas, who writes about Filipina farmworkers in the movement. She has some beautiful archives of Filipina women during that time. And you literally see them on the stage and you see them challenging men and you see them saying yes, we are part of this struggle. And so, although it's called Larry The Musical, Larry definitely isn't the main character by himself. Aisa Villarosa: [00:14:40] I love that. And what you shared also reminds me of thinking about the people power movement and the phrase makibaka huwag matakot, where there is power in struggle, right? If, if we can come together collectively. Turning to the musical, it's going to premiere soon. We hope that folks visit the Apex Express website [kpfa.org] where y'all can buy tickets. Please support this incredible work. What is your greatest hope for this musical? Allyson Tintiangco-Cubales: [00:15:11] Ooh, that's a good question. It caught me off guard. I secretly hope that this musical goes beyond the Bay Area, potentially travels, potentially goes to Broadway, maybe the Philippines. You know, I want people to know how wonderful our story is, our story. And you will really see our story in this. So yeah, I hope it makes it big. [Laughs] I, I really do. We deserve it. Aisa Villarosa: [00:15:41] Well, it's not a secret anymore. You, you manifested it, so now it's gotta happen, right? [Laughs]. Allyson Tintiangco-Cubales: [00:15:47] Yeah, I really do. I mean, I hope, I hope for all of that. And to be honest, I don't think the Pinnacle is Broadway in my mind. It might've been when we first started the project, but really, I, I feel like most importantly is for people to know the stories of our people. And Larry The Musical can really bring that out. And I hope people can see themselves on stage. I mean, that is a big goal for them to be able to see themselves on stage. Aisa Villarosa: [00:16:13] Allyson, it's been so wonderful talking with you. Before we head out, is there anything else you'd like to share with the listeners? Allyson Tintiangco-Cubales: [00:16:21] There's so many struggles going on right now in the world, whether that be, like the manifestation of colonialism and imperialism everywhere, to what's happening in our classrooms. I feel like really key that Larry The Musical is ethnic studies. I think [it's] important that people know that the goal of ethnic studies is collective liberation and we do that by centering the voices of people of color in the first person, ultimately to eliminate and eradicate racism and white supremacy. I mean, like it's all of that. Aisa Villarosa: [00:16:50] Yeah. Allyson Tintiangco-Cubales: [00:16:51] But I want people to know that Larry is that, and I think sometimes we get stuck on wanting representation, like, oh, I wanna see a Filipino on stage. And so we vote for people on those shows and we get so excited. Aisa Villarosa: [00:17:05] Or that becomes the ceiling, right? Allyson Tintiangco-Cubales: [00:17:08] Exactly. It becomes the ceiling. We have made it because we've seen ourselves on TV or we've seen ourselves on a stage on Broadway, but I think it's not enough. Because those stories oftentimes are not the stories of our own people. We often play characters who are not ourselves, and we oftentimes have to compromise our integrity to actually become famous. And so for me, when I think about Larry The Musical, it does not compromise. It does not compromise. And it really is about our stories and us telling our stories in the first person. I'll leave it at that. Aisa Villarosa: [00:17:44] I love that. It's such a great way to send us off. And as someone who used to work in the arts and has been shushed at primarily white events, I love the decolonization of the arts as well. It's arts and ethnic studies. So many folks in our work do this work because of a really important moment in ethnic studies that came to them. Unfortunately, because of the forces that are out there trying to stop ethnic studies, for many that revelation comes kind of late in life or sometimes doesn't come at all. So, please let us have more Larry, more stories like Larry and more ways for folks to access this sort of awakening. Thank you so much, Allyson. It has been a pleasure. Allyson Tintiangco-Cubales: [00:18:31] Thank you. Thank you. Thank you for all the work that you do. Aisa Villarosa: [00:18:34] As Allyson shared, Larry The Musical is a lesson in living civil rights history, a chronicle of the racial violence faced by Filipinx organizers and how they mobilize to overcome it. This plays out in the musical's track, “Watsonville,” which we're about to preview. In the 1930s, violence against Filipinos was a daily occurrence. It was not out of the ordinary for Filipinos to get shot at, be beaten, or have their campos bombed. Two major events happened in January 1930, the Watsonville Riots and the bombing of the Filipino Federation of American Building in Stockton California. The Watsonville riots saw hundreds of Filipinos beaten and Fermin Tobera killed over four days of mob violence. White mobs beat and shot Filipinos, and in the end, no one was arrested. “Watsonville” follows our characters as these historic events unfold. It was written by Gayle Romasanta and Kevin Camia, music composed by Bryan Pangilinan and Sean Kana. Let's take a listen. SONG Aisa Villarosa: [00:19:39] You're listening to Apex Express on KPFA Radio with me, Aisa Villarosa. That was a special preview of “Watsonville” from Larry The Musical. I'm here with acclaimed New York City-based theater artist, director, performer teacher, and community-driven artivist Billy Bustamante, director of Larry The Musical. We are so honored to have you join us, Billy. Billy Bustamante: [00:21:02] Hi there. Thank you so much for having me. I'm so thrilled to be here. Aisa Villarosa: [00:21:06] Awesome. Well, we are going to dive into Larry The Musical. And a few months ago I had the honor of catching the community preview at the Brava Theater in San Francisco and it blew my socks off as a mentee of the great ate Dawn Mabalon, a hero and mentor gone too soon, it was beautiful to see her archiving come alive in song. For those who are new to Larry The Musical, can you tell us a little bit about what audiences can expect? Billy Bustamante: [00:21:38] Sure. When you come to the Brava Theater this spring, you will see a story about our shared Filipino American history, but even greater our shared American history brought to life on stage. You will see a story that centers Filipino Americans in the telling of that history. It is a musical that will make you laugh, will make you cry, will make you dance in your seat, and will hopefully make you step back out into the world as you leave the theater with a little more power in your hands. Aisa Villarosa: [00:22:06] Those all sound so incredible. Billy, can you share more, as someone who has been in the arts world for so long, why is this project near and dear to your heart? Billy Bustamante: [00:22:18] Larry means so much to me for so many reasons. I've been making theater now for a little over 20 years professionally. And throughout that time I have kind of had to hold two sides of myself in various capacities, right? I have my American-ness, and I have my Filipino-ness. As a born and raised Filipino American here in the States, I have always had to examine unconsciously how much of myself I can bring into an artistic space just because those spaces have predominantly been white led. Now that we are in a space that is created for by and about Filipino people telling a story that is for by and about Filipino people that really centers not just Filipino story, but the Filipino identity, not just in the product but in the process, that is a feeling I have literally never had before in my 42 years on this planet. And every time I step into this space, I am amazed at how much more myself I feel, and I can see that sensation flashing in every single person in the room. And it's on one side beautiful. It's like a beautiful thing to witness us all kind of come alive a bit more, expand into the space, be more of ourselves. And it's also a bit infuriating to know that it's taken me 42 years to get to this moment. This feeling of true belonging is something that I have grown more and more addicted to and that I continue to chase in any other experience that I have. Aisa Villarosa: [00:23:46] Wow. I'm getting a little goosebumps over here. I am hearing that it's, it's almost like coming home to yourself, that often, and I too have a Filipino family, grew up here I'm second generation, and often the dominant culture's understanding of Filipinos is limited to very simplistic notions, whether that's our food, even if food is very political. Billy Bustamante: [00:24:11] Yes. Aisa Villarosa: [00:24:11] There's often sort of a niceness, and the arts and culture world is no exception. So thank you for sharing. And in thinking about the cast of the musical, can you share what makes this cast special and unique? Billy Bustamante: [00:24:29] I am a firm believer that theater artists of any background are some of the most exhilarating people in the world [laughs]. As a theater artist, specifically as a musical theater artist, there is so much skill you must be able to access in order to do your job. It's not just one thing at a time, it is all things at a time. So we are making a show that sings, acts and dances all the time [laughs], and within that there's that triple threat of skill while also incorporating this fourth ingredient of identity and shared history. So each of the actors that we have brought into this cast has really shown up with not just those first three skills in brilliant capacity, but also a hunger and an enthusiasm to be generous about how they bring this fourth ingredient into the process. Again, another thing none of us have been able to do in an artistic space before. For so many of us, it's our first time bringing ourselves to the work in this way. Because none of us have had a chance to do it. So many of us have never played Filipino on stage before, let alone Filipino Americans specifically. I know I've been lucky to have played Filipinos on stage and have been telling Filipino stories, but none of those have been led by Filipinos or written by Filipinos. So there's a level of not just authenticity, but integrity to the work and the story we're telling that allows each of these cast members to be greater like artistic citizens and contributors to the work. Aisa Villarosa: [00:25:58] I love that. There's in Filipino culture, the word kapwa, right? Which is collective identity. And I was reading a quote from you and you said, “My favorite thing about Filipinx culture is creating community. If you've shared a meal with a Filipinx family, you're family.” And it sounds like here you're talking about a meal but this theater experience and all the prep that y'all did, there's a family feeling to that, and can you share some of the behind the scenes love and care and intentionality that went into creating Larry? Billy Bustamante: [00:26:33] Yes. Yes. I, I love that you found that quote. I can't remember when I said it, but I know I say it a lot. [Laughs]. Aisa Villarosa: [00:26:39] I was creeping on the internet. [Laughs]. Billy Bustamante: [00:26:40] I love it. I, and I do firmly believe, like that's one of my favorite things about Filipino culture. Yeah. If you sit at my table, you leave as a family member, right? And I do think that's the environment we wanna create for the audience as well. This piece of art that we are creating is what I hope will be a fully nourishing seven course meal of artistry that again, audience members come into the theater as guests and they leave as family. That is my hope. How we get there is, has been a thrilling experiment, again, as a theater maker for like 20 plus years, the pandemic, this pandemic pause that was forced upon us as artists, really forced me to examine, but I think forced the greater industry to examine the dysfunction in how we do what we do. And now that we have started creating theater again, I've personally been on this, you know, mission to honor the science experiment that we're all on in terms of a, how to be in a room together and then how to create art together and hopefully a healthier more empowering way across the board. So knowing that's been a mission I've been on with any theater project I take on, for this one specifically there is so much more importance laid onto that particular ingredient, right? How do we make a healthier room? How do we make a more restorative healing process for everyone? Recognizing that the story we are telling impacts the actors and their bodies in a way that no other story does, right? There is an additional toll and cost to reckoning with your own history on stage. And it's, it's a privilege to get to do that, but that does mean we need to reexamine what supportive systems and structures we are creating in the room. Again, this is all an experiment [laughs] and it's going well so far, but some steps we have taken or to gather our company. Our company, on the first full day of rehearsal when we got all the actors together. One thing I was excited about our first day of rehearsal was that we took a good amount of time to sit in a circle and create what we called community commitments. Like a set of shared agreements that we all were participatory in creating that gave us all a guideline of how we treat each other in this space. So now it's thrilling, it's freeing to have this social contract in place that we have all agreed to, that not just allows for the pursuit of an ideal space, but also a way to kind of move through conflict as we pursue that space. So to me that feels really helpful. Another thing we just did in rehearsal yesterday, was we brought Allyson in to lead a facilitation of how we bring our personal individual stories to this greater story that we are telling. We are telling a history and we are living history in this moment. So it was amazing to hear Allyson give us a technique for how we share our individual stories as humans to the rest of the company, which is a practice we will start incorporating at the beginning of every rehearsal. And I can only wait to see how much that impacts the art that we make on stage, knowing that everyone will know more and be more invested with each other as humans. Aisa Villarosa: [00:29:32] And you're talking about living history, right? And as you were sharing, I wrote down safety to create. It's rare that we as folks of color as Filipinos can be in these safe liberatory spaces. Taking it a little personal, has your family seen Larry yet? Billy Bustamante: [00:29:50] Well, I mean, no one really has, [laughs] you know, our world premiere in March will be a world premiere. No one will, even if people have seen every workshop, this is a version of the musical in its fullest form that no one will have ever seen before. So in that way, I'm very excited. With that said, my parents have been keeping up with all the filmed workshops and the interviews, and that's all been amazing. Both of my parents are on the east coast. They're in the DC area, which is where I'm from. So they're keeping up with it virtually. But I am so excited for them to fly out here, to catch opening weekend. I'm getting a little emotional talking about it right now, but my parents are incredibly supportive as is the rest of my family. And they do a great job at coming to see and support whatever I do. And this one, having them in the room to watch this one, I think will be a really special experience. Aisa Villarosa: [00:30:43] I, I can feel love and as a huge fan, a mentee of folks like Dr. Allyson and Dawn Mabalon there's a moment where a lot of Filipinos, Filipino organizations are trying to archive the struggle, the triumphs of the past, and it's incredible that through theater y'all are doing that in a way that will be fresh for new generations. And speaking of theater, you are always creating, you wear so many hats. Tell us what is coming down the road for you in addition to Larry, would love to hear more. Billy Bustamante: [00:31:26] Yeah. I'm gonna put this into the ether here. I, my hope is that this world premiere of Larry will be the first of many steps for this musical. So what I hope is that the next few years includes more productions of Larry at a bigger and wider scale. With that said, there are a few other projects that I'm really excited about. I am a theater leader, but also an educator. So I'm on teaching faculty at Circle in the Square Theater School, which is the only theater training ground attached to a Broadway theater. So, in that way I feel really excited about the work I get to do with young artists there. We are developing a new musical called The Rosetta Project, which I hope everyone checks out. It's gonna be amazing. I'll be directing that. From there I have a couple of, you know, other pots on the stove. I'll be directing, choreographing a new off-Broadway show called Straight Forward in spring of 2025, which I'm very excited about. There are a couple of other things that I cannot release at this moment, but if you want to keep up with the [laughs] shenanigans I am up to, please check out billybustamante.com because I'll be sure to be shouting from the rooftops with excitement once I can. Aisa Villarosa: [00:32:36] Beautiful. And we will include links to your website, Billy, as well as links for folks to get tickets for Larry at the Brava Theatre. And folks can check that out on the Apex Express website [kpfa.org]. And Billy, before we go, is there anything else you want to share? Billy Bustamante: [00:32:55] I think there is one thing. I'm usually not a person who really is enthusiastic about promoting my projects [laughs]. I've always kind of felt some sense of ickiness around that. Some sense of like transactionality around that [laughs]. But Larry is so special to me and there's a spirit that we are creating in this piece that I think everyone needs to experience and be a part of. And I also recognize that, you know, where audience members choose to spend their money is a big investment and a big decision and I hope that everyone who is excited by anything I've said today or anything we've talked about today finds a way to grab a ticket and join us at the theater. This time will be fleeting and it's gonna be over before we know it, and I really hope everyone gets to be a part of it because I think it's gonna be really special so get those tickets if you can. Aisa Villarosa: [00:33:49] Adding a plus one to that. And Billy, you earlier mentioned the impact of these covid pandemic years and yeah, that was the longest period of theater closures, right? Since World War II. As someone who used to work in the arts I also recall that often there's sort of an elite nature to the arts and one of my favorite things when I go to the Larry website is there are so many people who gave all sorts of amounts to make this happen, right? There's folks who gave like 50 bucks. It's such a welcoming site, so I too hope that this is only the beginning. Billy Bustamante: [00:34:28] Awesome. Thank you so much and thanks to everyone who supported us so far. I'm so grateful. Aisa Villarosa: [00:34:32] Our final track from Larry The Musical is called “Train,” which is about Filipinos jumping trains throughout the western United States, traveling from town to town in search of work in the 1920s and 1930s. Train was written by Gayle Romasanta and Kevin Camia, music composed by Brian Pangilinan and Sean Kana. They wanted to create a broad picture of how the thousands of Filipinos must have met each other, built friendships, planned labor meetings, and all while traveling. Here is the exclusive preview. SONG Aisa Villarosa: [00:35:03] You're listening to Apex Express on KPFA Radio, and I'm your host, Aisa Villarosa. That was a preview of “Train” from Larry The Musical. You just heard Dr. Allyson Tintiangco-Cubales and Billy Bustamante talk about what makes the world premiere of Larry The Musical so special. Larry debuts at the Brava Theatre in San Francisco March 16th through April 14th, 2024. Seats are limited, so visit www.larrythemusical.com to buy tickets today. Finally, tonight's episode of Apex Express is dedicated to the life and legacy of Reynaldo Timosa Novicio Jr. a father, son, friend, and prolific sound producer, artist and guiding light of the Filipinx American and Bay Area Music and Civil Rights community. Rey passed away on February 2nd, 2024. I'm joined right now by a friend, a colleague, an incredible artist, activist dad, and a martial arts practitioner, Nomi, AKA Power Struggle. Nomi, it's so great to have you on the show today. Nomi (Power Struggle): [00:37:12] Hey Aisa, thank you for having me. Thank you to the KPFA and the Apex Express listeners. What's up Bay Area? Aisa Villarosa: [00:37:19] Nomi, you rep the Bay Area hard. I think a good way to start our conversation is given all the hats you wear, all the ways that you're making change: What does it mean to be Filipinx American in the Bay Area right now? Nomi (Power Struggle): [00:37:34] I think right now it is a really important moment to, there's been so much happening in this particular moment around the liberation of Palestine and the end of the genocide in Gaza, and I think that a lot of folks in our community have been really seeing this moment as a way to express their solidarity and mobilize and take action against what's happening to the Palestinians. And I think that is just reflective of the bigger, historical context that a lot of Filipino, Filipinx, Americans, immigrants, have experienced and live under, right? So I believe like a lot of folks are just seeing those connections between colonization, the colonization of the Philippines from various different occupation nations and armies, to what's happening in Palestine. And they make those connections and they even are not that far removed, maybe like two generations removed from the experiences of their grandparents that went through the Japanese occupation during World War II and lived through some of those horrors and they remember that stuff and the stories that they were told and I think that informs a large amount of our community to, to mobilize and take action. I'm not saying that, we don't have more conservative folks in our broad community across the Bay Area, but I believe for a lot of young folks, a lot of folks that have taken time to be part of other movements, whether it be the movement for Black Lives, or Indigenous movements, or even for liberation movements in the Philippines, they kind of understand all these connections, and are building bridges and building solidarity with folks. Aisa Villarosa: [00:39:16] Yeah, it's the young and it's the young at heart, right? I think folks who can be ever curious, and, you know, we have made some headway in ethnic studies where folks are connecting the dots, right, between those shared histories, those living histories of struggle. Tonight's episode started off with a tour of Larry Itliong, the new musical coming out. And it's quite clear that to be Filipino in so many ways means to resist. And as it relates to Larry The Musical, resistance through music is such a powerful form of political organizing. Nomi, you're here today because this episode is also a tribute to our friend who passed away, the wonderful Mister Rey, who you have collaborated with, you have made music with. Can you start by just sharing a little bit about who Rey was to you and maybe talk a little bit about what made your musical collaboration so special? Nomi (Power Struggle): [00:40:27] I'm really thankful for this opportunity to just share the story of Mister REY with the entire Bay Area with the country. Mister REY, Reynaldo Novicio, and I worked on one of our first records together. It was called Remittances. And I met Rey back in around 2009. I can't remember specifically where we met. It just happens in life, especially in the art community, you start talking with people and collaborating, and he would invite me to a spot in Daly City, where he was living at the time with his family, and every Saturday morning we would session. I would go over there with Dennis and Kane, Drew, Vi, and we would just, he would just play beats that he had made, and we would write. And after a few months of that, we slowly started to create this body of work that was starting to be more cohesive that would be like the material for the album, Remittances. A couple months after that, we decided to move in, him and his partner, and their family were moving into a spot in the Excelsior District and they had an extra room. I think I was going through a displacement. I think I was going through an eviction in the mission. And so it all kind of worked out and I ended up moving in with them. And that really was just a great opportunity to live together and continue this process of working on this album, which is to me my favorite piece of work. It's so meaningful. The title Remittances. You know, is a remittance obviously, when you send money to your family back home or abroad, was just such a symbol of the immigrant experience, especially for our community and the Filipino community. And so the title was like an offering of culture and love, for our community through music. And that's why we chose that title Remittances and that offering and love transcends beyond just this neighborhood, but also across the seas to our homelands and throughout our diaspora. That project was just really important. For all the artists out there, when you go through a creative process you're partnering with someone and you live with them it's just like a deeper level of connection and struggle [laughs] as well, right? Because, you live together so and Rey has two twin daughters he has one more now. But at the time, and so, you know, you're just really immersed with the family. And for me, it was also such a beautiful experience because Mister REY was a bridge builder. He really was a tulay. He immigrated from the Philippines at a pretty young age, I think late elementary school or middle school, still very much had the identity of the migrant community you know, Tagalog was his first language a lot of his folks, his homies were a lot of recent immigrant hip hop heads and folks from that community. But he was also able to just because there, there is this kind of conception that there's a divide often between immigrant communities and first or second generation Filipino Americans. And it is true to an extent. I've seen it manifest in high schools and on the streets and things like that. But Rey was really able to bridge these differences and connect folks. And so for me, especially someone that grew up in the Midwest, that didn't really grow up around Filipinos, getting to experience living with Mister Rey and his family and living in the Excelsior District, which has the highest concentration of Filipinos in San Francisco, was just such an immersive and beautiful thing and a reconnection to our culture, on so many levels, and I'm already in my, late 20s at the time, and so to go through this experience was really powerful and eye opening. I think it also related to just like what we're fighting for in San Francisco. You know what I mean in the sense of upholding this identity of being a city of multiple languages, a city of multiple classes and incomes. And, and this is what, like, that experience really upheld. At the time I was also doing a lot of work with the Filipino Community Center as a worker's advocate. I was doing some organizing with Migrante, which is a migrant workers organization. And, for all of these kind of different things, from like the organizing work, to my day job, to living with Mister Rey, and being with the Filipino community in the Excelsior, coming together was like one of my favorite periods of my life where I was really understanding more about our culture, our history, our positionality in society and on a local level, on a national level, and on a global level to really understand how politics and history have brought us to America and to really experience it, right? All of these things were super impactful, and I feel like they helped inform and mold what that album, Remittances, was about. And Mister REY was such a huge part of that, right? He was, you know, he wasn't like this crazy political scientist but through his lived experience and his own way of analyzing his life and things he had been through was very sharp and also informing the kind of political influences of this record. So yeah, it was just such a really important time. I don't think I can ever come close to doing something like that again. I just thank him for that year or two that we lived together, embracing me and letting me come into their family life and just being in community with them. His work in terms of, if you visit his catalog of albums, which I highly recommend folks to check out his bandcamp. And it's just Mister REY, M-I-S-T-E-R R-E-Y, check that out and you can hear all of his work. So much like high level art, beat production wise is really sophisticated. He still embraces most of all of his writing and his rapping is in Tagalog. He sprinkles a lot of English in it too but it's just a really beautiful body of work where people in our diaspora can really identify with and just get a lot of nourishment from. So I really suggest folks go check out his catalog. It's really accessible on Bandcamp. Aisa Villarosa: [00:46:40] Nomi, thank you for opening your heart and sharing about what sounded like a really intimate process, right? To make music with someone. And I know the last time I was at Rey's place, he loves his kitchen so I feel like y'all also broke bread, right? Not just making the beats. I was also struck by Rey was such a multi-dimensional advocate, right? Whether it was mental health, whether it was youth issues, right? All of the sort of organizing he did to challenge juvenile curfew laws, for example. You've today brought a track that you worked on with Rey. It's titled “ArtOfficial Freedom” and I'd love for you to cue up the track and just share a little bit about the music. Nomi (Power Struggle): [00:47:31] This was a signature single on the album. It was produced by Mister REY and it also features Mister REY singing the chorus, where he just does a pretty basic refrain where he says, “round and round.” This was like, I feel like for me at least, or many hip hop artists, I think they have that one single on every album that represents the whole album, and I think this is the one. Like I mentioned earlier, around like all the different things that I was doing at the time in terms of community organizing and workers organizing and all the stuff that he was doing, at that time, he was really focusing on mentoring a lot of Tagalog hip hop rappers in the community. And so all these young cats would be at the apartment all the time [laughs], recording in the kitchen. And it was really a lesson for me in Tagalog where I had to like try to learn as much as possible. For all these things to come together, I think are reflected in the song. This song, “ArtOfficial Freedom” is just a great representation of the album. And the title itself is just like a play on words. It spelled art official freedom, to mean that like through art, we can try to aim towards some sense of freedom, some, you know, towards the goal of freedom using art, but then a play of words of artificial freedom that what we are currently existing in and under is an artificial form of freedom. Through this, capitalistic, imperialistic, racist society [laughs]. So that's kind of the play on words, artificial freedom. That was a long time ago. That was like 10 years, no, 14 years ago that we dropped that album. It's great to, I'm glad you're bringing it back on the airwaves. And I just want to give a shout out to also Fatgums, who was the number three part of this record. Lives in LA and is also the CEO of Beatrock Music and Beatrock Art Collective but he was just also a big part of this record. So shout out to Fatgums. Aisa Villarosa: [00:49:25] Here is ArtOfficial Freedom from Mister REY and Power Struggle SONG Aisa Villarosa: [00:53:29] Nomi before we go, is there anything else you'd like to share with the listeners tonight? Nomi (Power Struggle): [00:53:34] When our people leave us in the physical world, there's so many ways that we can continue for them to live on and their legacy to live on, especially through art, and especially through the technologies that exist now. Like I said before, please, check out Mister REY's catalog on Bandcamp, it's just Mister REY, M-I-S-T-E-R R-E-Y and look up his music. He also has a project with MrRey and Aristyles called America is in the Dark. That's a beautiful EP. Please check those things out and promote and propagate them, share them with your friends, download them. It's great music. If I could also please plug, to support his family, Mister Rey leaves behind two twin girls and a young son of the age of nine and their mother. And so if you could please donate to the GoFundMe, if you just look up Reynaldo Novicio, his name will pop up, and any donation is greatly appreciated. Lastly, on March 15th Fifth Elements and Hummingbird Farm is going to be organizing a life celebration, for Mister REY, his creative life and his legacy. It's going to be at Hummingbird Farm, which is in the Excelsior District right by Crocker Park, behind the soccer fields. Check that out on March 15th, 4 to 8 pm. The program is still being crafted, but I guarantee it's going to be a really special time. I think there's going to be some films, there's going to be performances, music, and the space in general, Hummingbird Farm, is a really dope community space that is really people power driven. So please check those things out. And again, just really appreciate this time to share about Mister REY and our work together. Aisa Villarosa: [00:55:14] Thank you, Nomi. And Rey would talk about how the Guitar Center in SoMa was a hub for him early on, and he would just meet people, and you have called Rey a bridge builder. So thank you for being with us here tonight and paying it forward with love. Please check out our website kpfa.org to find out more about Larry The Musical, Mister REY, Power Struggle, and the guests we spoke to. We thank you listeners out there. Keep resisting, keep organizing, keep creating and sharing your visions with the world because your voices are important. Apex Express is produced by Aisa Villarosa, Anuj Vaidya, Ayame Keane-Lee, Cheryl Truong, Hien Nguyen, Jalena Keane-Lee, Miko Lee, Nate Tan, Preti Mangala-Shekar, and Swati Rayasam. Tonight's show was produced by Aisa Villarosa and edited by Ayame Keane-Lee. Have a great night. Mga kababayan. Makibaka, huwag matakot. The post APEX Express – 3.14.24 – Living Legacies Larry the Musical appeared first on KPFA.
In this episode of the Thriving Authors Podcast, It was such a joy to talk with author Susan Ito, whose captivating memoir I Would Meet You Anywhere came out a few months ago. If you're curious about the differences between writing a memoir and writing fiction that is based loosely on real life, I think Susan's insights will be incredibly useful to you. She shared: The ways that her book evolved over the years, beginning as her MFA thesis. A comment comparing her to Frank McCourt that left her upset and indignant early on in her writing project. How she had to trick herself to keep writing her book. The benefit of working with a small academic publisher. When she knew it was finally time to release her book into the world. I loved hearing her share about what finally got her to commit to a deadline after decades of working on her book! If you need a plan and someone (me!) to guide you to unlock your AUTHORity, take the first step towards becoming a published author and register for Your Book Roadmap today. You'll have your first chapter D-O-N-E by the end of March! Find all the details HERE. About Susan: Susan Ito is the author of the memoir, I Would Meet You Anywhere, out from the Ohio State University Press in November 2023. She co-edited the literary anthology A Ghost At Heart's Edge: Stories & Poems of Adoption. Her work has appeared in The Writer, Growing Up Asian American, Choice, Hip Mama, Literary Mama, Catapult, Hyphen,The Bellevue Literary Review, and elsewhere. Her theatrical adaption of Untold, stories of reproductive stigma, was produced at Brava Theater. She is a member of the Writers' Grotto, and teaches at the Mills College campus of Northeastern University and Bay Path University. She is a co-organizer of Rooted and Written, a writing workshop for writers of color. Connect with her on Instagram @thesusanito. --- Support this podcast: https://podcasters.spotify.com/pod/show/dallas-woodburn/support
Our live show from San Francisco Sketchfest with special guest Guy Branum as Thrak the Hill Troll. Also, there's been a murder. If you want to see a full video version of this live show join the Patreon at patreon.com/magictavern.CreditsArnie: Arnie NiekampUsidore: Matt YoungChunt: Adal RifaiThrak the Persistent: Guy BranumDirector Ward: Shane WilsonProducers: Arnie Niekamp, Matt Young, and Adal RifaiAssociate Producer: Anna HavermannPost-Production Coordination: Garrett SchultzEditor: Tim JoyceMagic Tavern Logo: Allard LabanTheme Music: Andy PolandSpecial Thanks: Janet Varney and everyone who helps make SF Sketchfest such a great festival, as well as the wonderful staff at the Brava Theater.You can support the show directly and receive bonus episodes and rewards by joining our Patreon at https://www.patreon.com/magictavern for only $5 per month. Follow us on Twitter and Instagram, and now Patreon!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
A Communitarian Celebration of those dedicated to collective well-being, in two parts. First segment we welcome Kulwa Apara, writer, creative, healer : escritora, creativa, curandera, Afrofuturist Witness & Conjurer of Words & Space Whose one woman play, “Brain Like Berkeley, an evening of satire, short stories, and free-trade Tea,” will be premiering on Saturday, February 18th at 3 pm at the Brava Theater in San Francisco. “Kulwa Apara is a Spanish speaking Afro-Californiana born in Berkeley, CA, with African roots stretching across the Mississippi Delta and Bayous of Louisiana. Her Eastern Band Cherokee ancestors survived forced relocation to Oklahoma and the Trail of Tears, and her African ancestors survived the Middle Passage. Kulwa was born an Ibeji / twin to Pan African parents who raised her at the intersections of art and freedom. As a performing artist and health activist, Kulwa explores historical traumas and triumphs through an artistic lens. She is committed to using the legacy of cultural-arts as a tool to enhance and advance mental health outcomes in marginalized communities.” (Bio from Brava) www.kulwaapara.com Brain like Berkeley: https://www.brava.org/all-events/blk23 Part 2 – Dedication to Communitarian Magic For the remainder of the hour, we are joined by political-spiritual ally, Patricia Ewing, to excavate and liberate Valentine's Day, as honoring of almost-Pope Valentinus, advocate for true equality, and to tease into pertinence in our current political-spiritual conundrum… (Sun Saturn dance) the necessary animating of all inclusive egalitarian Community! Patricia Ewing's work spans three areas. Big Picture Strategy supports candidates, organizations and businesses with policy and management support. Ewing Transformation focuses on mentoring and supporting C-Suite folks to reach their potential. Ewing Energy develops municipal and private decarbonization projects around the country to support a more sustainable planet. Support The Visionary Activist Show on Patreon for weekly Chart & Themes ($4/month) and more… *Woof*Woof*Wanna*Play?!?* The post The Visionary Activist Show – Communitarian Celebration appeared first on KPFA.
Today we will learn about the life journey of folkloric dancer Jesus Cortez. He is the founder and Artistic Director of Cuicacalli, and the lead teacher and choreographer for Cuicacalli's Ballet Folklórico. He wears many hats in his company, as a dancer, choreographer, director, and instructor. He has been dancing for audiences since his childhood in Mexico and had impressed audiences with his abilities in USA and Mexico ever since. Maestro Cortez lives in San Francisco and works as an artist in residence with the SFUSD and Brava Theater. He joined Printz Dance Project Company in 2009 as a guest artist for their tenth anniversary, and later also taught dance classes at ALICE (Arts and Literacy in Children's Education) program where he also performed in their production called “Burning Libraries,” a multi-media performance about immigration stories. Mr. Cortes is also a dance consultant and choreographer for Ballet Folklorico de Stanford University. He choreographed and performed John O'Keefe's ‘Mystical Abyss' directed by the Theatre of Yugen's Founder, Yuriko Doi, at the ODC Theater.Maestro Cortés has been presenting Cuicacalli's annual production “Tradición, Movimiento y Pasión” at the Brava Theater and in community events in San Francisco and the Bay Area since 2007. CUICACALLI means [...]
This is a black arts and culture site. We will be exploring the African Diaspora via the writing, performance, both musical and theatrical (film and stage), as well as the visual arts of Africans in the Diaspora and those influenced by these aesthetic forms of expression. I am interested in the political and social ramifications of art on society, specifically movements supported by these artists and their forebearers. It is my claim that the artists are the true revolutionaries, their work honest and filled with raw unedited passion. They are our true heroes. Ashay! 1. Margo Hall, Artistic Director, Lorraine Hansberry Theatre and Traci Tolmarie, join us to talk about SFBATCO Theatre Festival this weekend, Oct. 16-17 @ Brava Theater in SF's Mission District. Visit https://www.sfbatco.org/schedule 2. Black Fire @The Magic Theatre in San Francisco's Ft. Mason Center, 7 p.m. and 9:30 p.m. PT, with Tongo Eisen-Martin and Ahkeel Mestayer. Visit www.magictheatre.org or call the box office: (415) 441-8822.
SHOW ESP – Atenea Americana by Stanford Hispanic Broadcasting
Entrevista con Marcelo Javier cofundador de SFBATCO. Esta semana tuvimos una conversacion con Marcelo Javier, quien es el cofundador the SFBATCO y nos viene a contar un poco sobre su trayectoria, y sobre el festival de teatro de nuevas raices que va a estar en vivo este fin de semana en San Francisco en el Brava Theater. Los bailarines de la ITSA Dance presentarán “I, Too, Sing America.” para el festival de las Nuevas Raices. SFBATCO, se refiere a San Francisco Bay Area Theater Company, y es una organización sin fines de lucro liderada por personas de diversas razas y de herencia africana, latinas y asiáticas, que produce un teatro convincente que construye comunidad, fomenta el diálogo intercultural, promueve la justicia social y refleja auténticamente las experiencias de las comunidades de color y las personas LGBTQ. Nuestras producciones teatrales abordan temas de justicia social desde una perspectiva interseccional y presentan representaciones afirmativas no estereotipadas de individuos y comunidades que son temidos o condenados al ostracismo por su género, raza, religión, preferencia sexual, estatus socioeconómico o migratorio. Marcelo Javier Nació y creció en San Francisco, vivio durante un tiempo en el area de la ciudad de Nueva York donde estudio y [...]
Preserving and promoting the iconic music festival 50 years later with two drummers who performed there. Live from The Brava Theater in San Francisco from July 2019
Yasmine Nasser Diaz is a multidisciplinary artist whose practice navigates overlapping tensions around religion, gender, and third-culture identity. Her recent work includes immersive installation, fiber etching, and mixed media collage using personal archives and found imagery. Diaz has exhibited and performed at spaces including the Brava Theater in San Francisco, the Albuquerque Museum of Art, and the Torrance Art Museum. She is a recipient of the California Community Foundation Visual Artist Fellowship (2019) with works included in the collections of LACMA, UCLA, and the Arab American National Museum. She lives and works in Los Angeles. Topics Discussed In This Episode: The background behind the title of Yazmine’s latest show “Soft Powers” The concept of “code-switching” Navigating different worlds within the world we live in Cultural differences Yazmine has experienced and how it has personally developed in her work Growing up within two different cultures and countries A nuanced discussion on arranged marriage and forced arranged marriage and the hardship that came with it Online dating and “matchmaking” and how it has affected our world Yasmine’s journey to New Mexico Poverty, capitalism, and the disbursement of power Yazmine’s current work and why she chose the 90s as a timepiece Engagement between the artist, the content, and the viewer The business of art and the complications that come with selling art “Social practice” of art The complicated reality of morals and ethics within different career fields The concept of death and knowing what you stand for Being intentional of why you want power and resources The dynamics between parents and children Subminimally thinking about art Yazmine’s latest work Transforming style over time Authenticity www.artistdecoded.com
Marga, plays her listener's call-in comments and discusses being a famous 'Internet MEME.' She gives us the scoop on opening Spanking Machine (the zoom edition) on Sept 13th (five Sundays) thru Oct 11th for Brava Theater (brava.org). All's going well for Marga except for ongoing tension with Mercy, her elderly laptop. Then Marga talks to Marcello Javier, co-founder of SFBATCO (San Francisco Bay Area Theater Co) about the fabulous virtual variety Twitch series "SFBATCO Live with Rod and Marce" Marcello explains how the team of singers musicians and crew POD-UP and promote safety while belting out show tunes and spilling tea. Marcello and Marga talk about their connection to Brava theater and their love for it's resident lighting designer Cathie Anderson and her upcoming benefit performance of Spanking Machine September 13th. Speaking of spanking, an ex calls in sparking some tender memories. https://anchor.fm/marga-gomez/episodes/Spanking-Mercy-ejbnmq --- Send in a voice message: https://podcasters.spotify.com/pod/show/marga-gomez/message
Live from San Francisco's Brava Theater!! Spike has always been bad, baby... but this week we learn that, at first, he was only bad at poetry. We are taking a deep dive into our favorite peroxide-doused vampire and are joined by the effulgent Kate Leth & Joanna Robinson to discuss impeccable cheekbones, bad accents, snapping subway poles in half, and what to do when your finger *oops* gets covered in the blood of a slayer?! WOW. Buckle up and and get ready for a live barrel-jump by Jenny Owen Youngs, because it's S5E7: Fool For Love! LOCATE YOUR HOSTS UPON THE INTERNET Jenny Owen Youngs: @jennyowenyoungs; jennyowenyoungs.com Kristin Russo: @kristinnoeline; kristinnoeline.com Buffering the Vampire Slayer: @bufferingcast on twitter, facebook, and instagram SPECIAL GUESTS Kate Leth: @kateleth; bisexual.zone Joanna Robinson: @jowrotethis Introducing Cory Branan as the voice of Spike!@corybranan; corybranan.com Thank you to The Brava Theater in San Francisco, to Cathy for our stunning lighting, and to Jaime (fanlink.to/sainthills) for engineering! HOT HOT TIPS PROM is happening in Brooklyn on 4/18!! Visit bufferingthevampireslayer.com and click EVENTS for tickets! NEW MERCH IT IS SO BEAUTIFUL https://www.hellomerch.com/collections/buffering-the-vampire-slayer JOIN OUR PATREON FAMILY: Now with ad-free episodes!! patreon.com/bufferingcast Logo: Kristine Thune (kristinethune.com) Edited by: Lauren "Karen" Klein & Kristin Russo Learn more about your ad choices. Visit megaphone.fm/adchoices
Buffering the Vampire Slayer | A Buffy the Vampire Slayer Podcast
Live from San Francisco's Brava Theater!! Spike has always been bad, baby... but this week we learn that, at first, he was only bad at poetry. We are taking a deep dive into our favorite peroxide-doused vampire and are joined by the effulgent Kate Leth & Joanna Robinson to discuss impeccable cheekbones, bad accents, snapping subway poles in half, and what to do when your finger *oops* gets covered in the blood of a slayer?! WOW. Buckle up and and get ready for a live barrel-jump by Jenny Owen Youngs, because it's S5E7: Fool For Love! LOCATE YOUR HOSTS UPON THE INTERNET Jenny Owen Youngs: @jennyowenyoungs; jennyowenyoungs.com Kristin Russo: @kristinnoeline; kristinnoeline.com Buffering the Vampire Slayer: @bufferingcast on twitter, facebook, and instagram SPECIAL GUESTS Kate Leth: @kateleth; bisexual.zone Joanna Robinson: @jowrotethis Introducing Cory Branan as the voice of Spike! @corybranan; corybranan.com Thank you to The Brava Theater in San Francisco, to Cathy for our stunning lighting, and to Jaime (fanlink.to/sainthills) for engineering! HOT HOT TIPS PROM is happening in Brooklyn on 4/18!! Visit bufferingthevampireslayer.com and click EVENTS for tickets! NEW MERCH IT IS SO BEAUTIFUL https://www.hellomerch.com/collections/buffering-the-vampire-slayer JOIN OUR PATREON FAMILY: Now with ad-free episodes!! patreon.com/bufferingcast Logo: Kristine Thune (kristinethune.com) Edited by: Lauren "Karen" Klein & Kristin Russo
Join Daeron and a revolving door of guests in discussing politics, movies, and political movies……. In this episode: Director Mike J Marin joins Daeron to talk about his documentary ‘Cinema Red: Natives & Horror’ as well as other things. Cinema Red is gong to be shown at the First Nations Film and Video Festival in Chicago. There will also be a screening for ‘The Party’s Downstairs’ on Halloween night 2019 at the American Indian Film Festival at the Brava Theater in San Francisco . The program is from 7pm – 10pm. The Intertribal Friendship House of Oakland is one of the oldest Indian-focused urban resource and community organizations in the United States. Founded in 1955 https://www.ifhurbanrez.org/ The American Indian Center of Chicago https://www.aicchicago.org/ United American Indian Involvement, Inc. Home Established in 1969, the Southern California Indian Center, Inc. (SCIC) http://www.indiancenter.org/ California Indian Manpower Consortium http://www.cimcinc.org/ PSYCHOSEMANTIC: iTunes: https://itunes.apple.com/us/podcast/the-psychosemantic-podcast/id1191732198?mt=2 Spotify: https://open.spotify.com/show/5ldiDwbAHyfNJblqmWhwLn?si=XSqp4U4gRnKnnDX_gL3agQ Legion Podcasts: legionpodcasts.com/podcasts/the-psychosemantic-podcast/ Other Podcast places Psychosemantic Podcast: facebook.com/groups/Psychosemanticast/ Psychosemantic Podcast Social Media: Twitter: @PoliticalMovies Instagram and Flick Chat App: Psychosemanticast
Join Daeron and a revolving door of guests in discussing politics, movies, and political movies……. In this episode: Director Mike J Marin joins Daeron to talk about his documentary ‘Cinema Red: Natives & Horror’ as well as other things. Cinema Red is gong to be shown at the First Nations Film and Video Festival in Chicago. There will also be a screening for ‘The Party's Downstairs’ on Halloween night 2019 at the American Indian Film Festival at the Brava Theater in San Francisco . The program is from 7pm – 10pm. The Intertribal Friendship House of Oakland is one of the oldest Indian-focused urban resource and community organizations in the United States. Founded in 1955 https://www.ifhurbanrez.org/ The American Indian Center of Chicago https://www.aicchicago.org/ United American Indian Involvement, Inc. Home Established in 1969, the Southern California Indian Center, Inc. (SCIC) http://www.indiancenter.org/ California Indian Manpower Consortium http://www.cimcinc.org/ PSYCHOSEMANTIC: iTunes: https://itunes.apple.com/us/podcast/the-psychosemantic-podcast/id1191732198?mt=2 Spotify: https://open.spotify.com/show/5ldiDwbAHyfNJblqmWhwLn?si=XSqp4U4gRnKnnDX_gL3agQ Legion Podcasts: legionpodcasts.com/podcasts/the-psychosemantic-podcast/ Other Podcast places Psychosemantic Podcast: facebook.com/groups/Psychosemanticast/ Psychosemantic Podcast Social Media: Twitter: @PoliticalMovies Instagram and Flick Chat App: Psychosemanticast
It's that time of year when we gather as family and look at the US-Mexico border and think "How the fuck has it come to this?!" The death of a 7-year-old Guatemalan girl in border patrol custody and the Department of Homeland Security's 'not my problem bro' response seem to be waging the real war on the Christmas spirit. Joining Francesca to bitch about the border, government shutdowns and beyond is Lara Kiswani, executive director of The Arab Resource Organizing Center in the Bay Area, and comedian Mikey Walz who recently survived cancer, but lost his leg to it. Fuck. Cancer. (Come out to a fundraiser for his new prosthetic leg on January 19th at the Brava Theater in San Francisco). Podcast also features Mikey's cat Barry meowing throughout the ENTIRE episode. Thanks for listening, keep those ratings coming. Merry Jesusmas. Our GDPR privacy policy was updated on August 8, 2022. Visit acast.com/privacy for more information.
It's that time of year when we gather as family and look at the US-Mexico border and think "How the fuck has it come to this?!" The death of a 7-year-old Guatemalan girl in border patrol custody and the Department of Homeland Security's 'not my problem bro' response seem to be waging the real war on the Christmas spirit. Joining Francesca to bitch about the border, government shutdowns and beyond is Lara Kiswani, executive director of The Arab Resource Organizing Center in the Bay Area, and comedian Mikey Walz who recently survived cancer, but lost his leg to it. Fuck. Cancer. (Come out to a fundraiser for his new prosthetic leg on January 19th at the Brava Theater in San Francisco). Podcast also features Mikey's cat Barry meowing throughout the ENTIRE episode. Thanks for listening, keep those ratings coming. Merry Jesusmas.
One constellation of guiding lights for We Rise are Toni Cade Bambara’s words: “The role of the artist is to make the revolution irresistible.” Rhodessa Jones is this artist. With her latest show When Did Your Hands Become a Weapon? running thru this weekend at San Francisco’s Brava Theater, to 40 years of Cultural Odyssey and 30 of The Medea Project, we have a lot to dive into - and celebrate.There is also a ticket giveaway!! Email angieinlegal@yahoo.com for a chance to win!You can also connect on IG @the_medea_project and FB @MedeaProjectTICKET INFO https://www.brava.org/all-events/2018/10/25/when-did-your-hands-become-a-weapon ABOUT OUR GUESTSRhodessa Jones is Co-Artistic Director of the acclaimed San Francisco performance company Cultural Odyssey. She is an actress, teacher, director, and writer. Ms. Jones is also the Director of the award winning Medea Project: Theater for Incarcerated Women and HIV Circle, which is a performance workshop designed to achieve personal and social transformation with incarcerated women and women living with HIV. During fall 2017 and winter 2018 Rhodessa was a Frank H. T. Rhodes Visiting Professor at CORNELL UNIVERSITY and a MONTGOMERY FELLOW at DARTMOUTH COLLEGE conducting lectures and workshops at these prestigious institutions. In December 2016 Rhodessa received a THEATRE BAY AREA LEGACY AWARD presented to individuals that have made “extraordinary contributions to the Bay Area theatre community.” In 2014 she received The Sui Generis Foundation Achievement Award for “one of a kind contributions which benefit society in unique ways.” More at https://themedeaproject.weebly.com/.Fe Bongolan (performer, dramaturg) 2018 marks Fe’s 26th year with The Medea Project as core member actor, writer, singer, dramaturg, and musician. Her prior performing experience includes the Asian American Theater Company, Teatro Ng Tanan, and Campo Santo Theater’s “Trail of her Inner Thigh” by Erin Cressida Wilson, which won the Will Glickman Award for best new play in 1999. She currently co-facilitates the Medea Project’s audio theater workshop in San Francisco County Jail.Uzoamaka (Uzo) Nwankpa (performer) is a fourth- generation descendant of women healersfrom Enugu, Nigeria, West Africa. She is a first generation immigrant to the west and dedicated to the preservation and restoration of the Igbo culture. She is a performing artist, dance facilitator, choreographer, educator, researcher, registered nurse and an advocate for healing through the use of the arts. As an advocate for communities that use the arts to heal, Uzo is dedicated to creating and exploring diverse ways to combine ancient practices with innovation.C. Chibueze Crouch (performer) is an actor, writer and teaching artist. She has performedinternationally, across the Eastern US and around the Bay Area using theater, film, movement, and song in her multidisciplinary creative practice. Recent performances include PARADISE: Belly of the Beast at Brava Theater, LIONS at Stanford University and mouth full of sea at the African American Arts & Culture Complex. In her free time, she teaches drama to Oakland youth at Destiny Arts and does freelance grant writing. Chibueze joined the Medea Project in June of 2018.
On Oct 10th, Mission YIMBY held an event at the Brava Theater with Richard Rothstein, author of The Color of Law: A Forgotten History of How Our Government Segregated America. It was a powerful lecture on the racist history of housing in the United States, with opening remarks from organizer Steven Buss and Mission Housing's Sam Moss. The Color of Law documents how American cities, from San Francisco to Boston, became so racially divided, as federal, state, and local governments systematically imposed residential segregation. Pick up a copy at your local bookstore!
Yasmine Diaz was born and raised in Chicago to parents who immigrated from the highlands of Yafa in southern Yemen. Her work navigates overlapping tensions around religion, gender, and third-culture identity using personal archives, found imagery and various mixed media on paper. She has exhibited and performed at spaces including the Brava Theater in San Francisco, Pieter Space LA, the Albuquerque Museum of Art, The Main Museum, The Wing in Washington D.C., and UCLA. She lives and works in Los Angeles. Yasmine's installation at Women's Centre for Creative Women opens on June 8th and runs until August 3rd. Yasmine Diaz’s 6 tracks on the podcast are: 1.M.I.A.: Come Around 2.Roberta Flack - Compared to What 3.Erykah Badu - Soldier 4.Natalia LaFourcade - Siempre Prisas 5.Neko Case - Middle Cyclone 6.Straight to Hell - Raphael Saadiq Find the entirety of Yasmine’s playlist on Spotify. Yasmine mentions MIA's Bad Girls music video. The piece of work Yasmine would like to live with is by Hayv Kahraman is titled LRAD.2 on this page: http://www.hayvkahraman.com/project/audible-inaudible/ See Yasmine Diaz's work on What Artists Listen To and learn more about the art podcast project on Instagram, Facebook, and Twitter . This podcast was created by the artist Pia Pack edited with the help of Tony Thaxton and the title music was created by musician Dylan Rippon .
Our first live show! Prudence is joined onstage at the Brava Theater in San Francisco by writer and advice columnist Nicole Cliffe and lawyer and novelist Jasmine Guillory who read through letters and answer questions from the crowd. The team helps a writer trying to find out how a former partner died when their only connection is through facebook. A supportive sister wants to tell her brother she knows he’s gay, but wants to respective his privacy. I told my partner about my racist upbringing, and it seems to have struck a nerve - what can I do? And lastly, how can I set boundaries for my parents and in-laws who keep score of who visits our baby and when? Hear back episodes of Prudence at Slate.com/Prudiepod. Learn more about your ad choices. Visit megaphone.fm/adchoices
Dear Prudence | Advice on relationships, sex, work, family, and life
Our first live show! Prudence is joined onstage at the Brava Theater in San Francisco by writer and advice columnist Nicole Cliffe and lawyer and novelist Jasmine Guillory who read through letters and answer questions from the crowd. The team helps a writer trying to find out how a former partner died when their only connection is through facebook. A supportive sister wants to tell her brother she knows he’s gay, but wants to respective his privacy. I told my partner about my racist upbringing, and it seems to have struck a nerve - what can I do? And lastly, how can I set boundaries for my parents and in-laws who keep score of who visits our baby and when? Hear back episodes of Prudence at Slate.com/Prudiepod. Learn more about your ad choices. Visit megaphone.fm/adchoices
It’s the annual bonus episode. Throughout the year, the people who appear on the show tell me a lot of interesting stuff, not all of which is relevant to the episode they initially appeared in, so I stash it away in preparation for this moment. This year, hear about the history of roller skates, zazzification, giant origami, the heat death of the universe and more. Find information about this episode at http://theallusionist.org/bonus2017. Come to see the live Allusionist show at SF Sketchfest, 10pm 12 January at the Brava Theater in San Francisco. Tickets are on sale now at http://tinyurl.com/allusionistsfsketchfest2017. The Allusionist is a proud member of Radiotopia from PRX, a collective of the best podcasts on the interwaves. Hear them at http://radiotopia.fm. Thanks to Mailchimp for sponsoring this episode. http://mailchimp.com. The show’s online home is http://theallusionist.org. Stay in touch at http://twitter.com/allusionistshow and http://facebook.com/allusionistshow.
Charles Dickens wrote about the plight of the impoverished and destitute members of British society. So how come his name is a synonym for rosy-cheeked, full-stomached, fattened-goose, hearty merry “God bless us every one” Christmas? Avery Trufelman and Katie Mingle of 99% Invisible report from the streets of Victorian London at the annual Dickens Christmas Fair in Daly City, California, while historian Greg Jenner explains the origins of the festive traditions for which Dickens gets the credit, without even wanting the credit – in fact, his motivation for writing A Christmas Carol was far from a cash-in on Christmas. Find out more about this episode at http://theallusionist.org/dickens-christmas. The Allusionist is a proud member of Radiotopia from PRX, a collective of the best podcasts on the interwaves. Hear them at http://radiotopia.fm. Come to see the live Allusionist show at SF Sketchfest, 10pm 12 January at the Brava Theater in San Francisco. Tickets are on sale now at http://tinyurl.com/allusionistsfsketchfest2017. The show’s online home is http://theallusionist.org. Stay in touch at http://twitter.com/allusionistshow and http://facebook.com/allusionistshow.
Cherrie Moraga's play THE MATHEMATICS OF LOVE takes off from the story of La Malinche, a Native woman who in myth became the collaborator of the colonizers of Mexico. Playwright and poet Cherrie Moraga, co-editor of the class feminist of color book, This Bridge Called My Back, discusses her new play, THE MATHEMATICS OF LOVE, with Lisa Dettmer. In a time-traveling re-encounter with a 16th century female slave-turned-slaveholder, a Mexican woman in the early stages of Alzheimers is forced to concede a radically revised ledger on her life; its loves and losses, in this play which opens at San Francisco's Brava Theater on August 10. The Stanford Daily says the play has “the power to render its audience speechless – to wrench us from our academic stupor, remind us of the importance of good art, and make us feel a little more awake because of it.” And Kate Raphael talks with authors Diana Paul and Jeanne McWilliams Blasberg, who both explore the duties that one generation owes to the next and the previous. Diana Paul's award-winning THINGS UNSAID explores the moral territory of the sandwich generation, who must simultaneously fulfill their obligations to their aging parents and their children reaching adulthood. Jeanne Blasberg's EDEN spotlights the choices of four generations of women in one family when faced with unplanned pregnancies, and chronicles the consequences of their decisions. The post Covenants And Questions Among Generations appeared first on KPFA.
Lisa Marie Rollins is poet, playwright, theater director and dramaturg. She was a CALLALOO Journal London Writing Workshop Fellow, is an alumni in Poetry of VONA Writing Workshop and was a Poet in Residence at June Jordan’s Poetry for the People at U.C. Berkeley. Her writing is published in Other Tongues: Mixed-Race Women Speak Out, River, Blood, Corn Literary Journal, Line/Break, As/Us Literary Journal,The Pacific Review and others. Currently, she is finishing her new manuscript of poems, Compass for which she received the 2016 Mary Tanenbaum Literary Award from San Francisco Foundation. She is in development with her new play, Token and was a 2015-16 playwright member of Just Theater Play Lab in Berkeley. She holds graduate degrees from The Claremont Graduate University and UC Berkeley. She is currently a Guest Artist Director at St Mary’s College in Performance Studies, a Resident Artist with Crowded Fire Theater and a Artist-in-Residence at BRAVA Theater for Women in San Francisco. How Do You Write Podcast: Explore the processes of working writers with bestselling author Rachael Herron. Want tips on how to write the book you long to finish? Here you'll gain insight from other writers on how to get in the chair, tricks to stay in it, and inspiration to get your own words flowing. See acast.com/privacy for privacy and opt-out information.
On this week's program we bring you Noticas sin Fronteras, an interview with scholar and writer Roberto Lovato, we speak with Stacy Powers Cuellar, Director of the Brava Theater, we bring you interviews with renowned singer Concha Buika as well as Claudio Ortega. Enjoy!
In Episode 10 of Season 3, Michael, Michael and special guest David Wain discuss the subconscious LIVE from the Brava Theater in their second ever live recording as part of the 2014 SF Sketchfest. Do we subconsciously dress ourselves a certain way? How is it that our mind lets us only see what it wants during sleight of hand? Why is it that we don’t focus on the carefully placed orange in the corner of movie frame? Tune in as Michael, Michael, and David blow each other’s minds in front of a live audience.“Topics” features original music by Dan Deacon. This episode is sponsored by: Stamps.com . Click here for a special $110 Bonus Offer! Naturebox: Go to Naturebox.com/topics for 50% off your first box of delicious snacks. GoDaddy.com : Use offer code TOPICS295 for 85%off for $2.95 own your own dot COM
In Episode 9 of Season 3, Michael and Michael discuss annoying habits/pet peeves LIVE from the Brava Theater in their first ever live recording as part of the 2014 SF Sketchfest. What are some little things your loved ones do that upset you the most? How many fingers point right back at us when you point these things out to your loved ones? Tune in as Michael & Michael have their relationship grow in front of a live audience.“Topics” features original music by Dan Deacon. This episode is sponsored by: Stamps.com . Click here for a special $110 Bonus Offer!Naturebox: Go to Naturebox.com/topics for 50% off your first box of delicious snacks.
Leila Baradaran who co-directs The Revolutioanary Nutcracker Sweetie– The Kidz Version, this year, joins Stella Adelman who plays the role of The Mouse King and Mrs. McGreed to talk about the show: Dec. 10-11, 2011, Sat., 2 pm & 6 pm; Sun., 1 pm & 5 pm at Brava Theater, 2781 24th St (@ York). Call: 415-273-4633. Georgia Houston Webb joins us to talk about the encore production of her musical: A Little Piece of God, Saturday December 10 and Sunday, December 11, 2011. Written and directed by Georgia Houston Webb the play features: Oakland gospel music great Daryl Coley, an original song by Branice McKenzie, a long time background singer for both Harry Belafonte and Gregory Hines. A Little Piece of God is a two act play of rhyming poems, sometimes spoken, other times sung. The story is energetically introduced by the character "Life" who gives a hint of the mystery found in our existence. Actors play the parts of human emotions (i.e., Fear, Guilt, and Worry). Eventually, the forces of Friendship, Love and Peace prevail. Laced with dance and comedy, "A Little Piece of God" champions the essential joy of life in the face of the problems of our existence. Music by Ayinde Pendleton Webb is performed by local youth musicians and features Sandra Poindexter.Tickets:$15.00 at the door 24/7 Ticket Hotline: 1-800-838-3006. Beli Sullivan, award-winning storyteller and actor, joins us to talk about AASC's season special on its 10th Anniversary, "Cinderella" at the Buriel Clay Theater through Dec. 18, 2011. She is the Fairy Godmother, one of many stars in a show full of constallations. We close with a prerecorded interview with Dee Rees, director of the lovely film, "Pariah," opening at the end of December in Bay Area theatres. Pariah is a wonderful coming of age story filled with grand performances and stellar cinematography.
Rebroadcast of June 9, 2011 show featuring: Pee Wee Ellis's STILL BLACK, STILL PROUD - An African Tribute to James Brown at Yoshi's in Oakland. Eurydice Ross and Tanya Marie's Grown Women Dance Collective's "Fallen Heroes, Rising Stars: A Juneteenth Celebration through Dance," June 18th, 2011, 8:00pm at Diablo Valley College Theater in Pleasant Hill. Call (925) 680-4400. Brother Osei Terry Chandler and Deborah Wright, join us to talk about the 14th Annual Libations for the Ancestors this weekend, June 11, 2011, 9 AM PT, at FortMoultrie, Sullivan's Island, South Carolina. The ritual there is 9 AM-1 PM. We close with a conversation with two programmers and directors from the Queer Women of Color Film Festival, June 10-12 at Brava Theater in San Francisco, Kebo Drew - QWOCMAP's Managing Director and Filmmaker for this year,"Ain't I A Woman" (2011) and Meja Tyehimba – Filmmaker “Cantelop” (2009). Visit http://www.qwocmap.org/festival.html It is a free event. We close with music from Rupa and the April Fishes's Este Mundo.
Today we will feature guests who illuminate African Culture at its highest: Pee Wee Ellis who is in town this weekend, Friday-Saturday, June 9-10 for STILL BLACK, STILL PROUD - An African Tribute to James Brown Feat. Pee Wee Ellis, Vusi Mahlasela & Meklit Hadero at Yoshi's in Oakland. Visit yoshis.org Eurydice Ross, Tanya Marie Amos and Michelle Ned speak about Grown Women Dance Collective's "Fallen Heroes, Rising Stars: A Juneteenth Celebration through Dance," June 18th, 2011, 8:00 p.m. at Diablo Valley College Theater in Pleasant Hill. Call (925) 680-4400. Brother Osei Terry Chandler joins us to talk about "Libations for the Ancestors" this weekend, June 11, 2011. This event collectively honors the millions of enslaved Africans who perished during the Middle Passage, the Transatlantic "slave trade" route from Africa to the Americas. This commemoration held annual on the second Saturday in June. The SC memorial is in its fourteenth year, at Fort Moultrie, Sullivan's Island, South Carolina, 9 AM-1 PM. For information call: (843) 556-2041. The commemoration is held in conjunction with programs in Brooklyn, NY (Coney Island); Portobello, Panama; San Francisco, CA; Oakland, CA; Cape Coast Castle, Ghana and others. We all gather to honor the millions who perished in the horrific voyage, the Middle Passage. We feel and understand that if we don't remember and honor them, who will! What is unique about this ritual is its sychronicity. We all pour at the same time. On the West Coast it is at 9 AM sharp. We close with a conversation with programmers and directors for the Queer Women of Color Film Festival, June 10-12 at Brava Theater in San Francisco. Visit http://www.qwocmap.org/festival.html It is a free event. Music: Rupa and the April Fishes's "Este Mundo."
Denise Pierre performs Sept. 18, 2010 with Swing Fever at the Rrazz Room, at Hotel Nikko, 7 PM. Stanley Bennett Clay's "Armstrong's Kid" Benefit performance is SEPT. 17-19. Three times NAACP Theatre Award winning playwright, novelist, filmmaker, and actor Stanley Bennett Clay lends his talent to the fight against HIV. “Oakland's Dinner Club” in collaboration with “SMACC (Sexual Minority Alliance of Alameda”, presents Oakland's premier of “Armstrong's Kid”, starring Clay and Thandiwe Thomas DeShazor, September 17-19 at SMAAC Youth Center 1608 Webster St., Oakland California. Fri & Sat at 8 PM and Sun, SEPT 19 at 3 PM. Stanley is joined by writer activist, Jesse Brooks and Nursha Project™ artist Thandiwe Thomas DeShazor is an actor, writer and comedian originally from Detroit. Brava Theater and African-American Shakespeare Company present the US Premiere of IPH… from playwright Colin Teevan. Director Dylan Russell helms this lyrical, edgy adaptation of Euripides' Greek tragedy Iphigenia at Aulis. Set at the beginning of the Trojan War, General Agamemnon has a difficult choice to make – should he sacrifice his daughter Iphigeneia or condemn his entire army, and nation, to defeat? The gifted cast assembled for this co-production features acclaimed actor and incoming African-American Shakespeare Artistic Director L. Peter Callender, Bay Area favorite C. Kelly Wright, and up-and-coming talent Traci Tolmaire. We close with playwright Genny Lim, whose Paper Angels is up through SEPT. 17 at Portsmouth Square Park in San Francisco's Chinatown as a part of SF FRINGE, produced by NY Company DIRECT ARTS.
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