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2 Blocks of Art Showcases Art and Culture in Central Market

In a celebration of arts and culture, 100 local artists will exhibit in 25 locations on September 28 and October 19 during the third annual 2 Blocks of Art event in San Francisco. These art walks, which were developed to boost economic activity for small businesses and create visibility for local artists on 6th Street between Market and Howard, have expanded this year into the emerging Central Market area with performances and temporary public art in partnership with the San Francisco Arts Commission.

“Sixth Street is one of San Francisco’s main thoroughfares with a diversity of small businesses, and a long history of innovative arts and performance centers and galleries,” said Tracy Everwine, project director at Urban Solutions. “2 Blocks of Art is an open house for the community. We are proud to be able to extend into Central Market to showcase local talent. ”

“Over the past two years, the San Francisco Arts Commission has been deeply involved with a variety of neighborhood non-profit organizations, local businesses, and city agencies to support Central Market’s development into a lively and sustainable cultural district with arts at its core,” said Director of Cultural Affairs Tom DeCaigny. “By working with Urban Solutions and featuring local artists, we’re capitalizing on the neighborhood’s strengths and bringing positive activity and interest to the area.”

This year’s event includes an outdoor photography installation by 6th Street resident Rey Cayetano, Jr. and illustrated, life-size portraits of Central Market residents by Joel Philips, cutting edge fashions by Hector Manuel, and performances to live music by Tenderloin-based dance company Theatre Flamenco of San Francisco. Fashion designers, jewelry makers, illustrators and musicians round out this truly unique arts experience.

Produced by the non-profit economic development group Urban Solutions, 2 Blocks of Art spotlights the vibrant and diverse creative community in Central Market as well as the small businesses in the neighborhood. The art walk is free and open to the public. Restaurants, bars, nightclubs and theaters along the walk will offer discounted food, drinks and admission prices. A walking map of artists, venues and food and drink specials can be downloaded at 2 Blocks of Art.

What:                  2 Blocks of Art, Central Market art walks
Where:               Market Street (5th to 7th) and 6th Street (Market to Howard) in San Francisco
When:                 Friday, September 28, 4-8 pm and Friday, October 19, 4-8 pm

2 Blocks of Art 2012 is sponsored in part by a grant from Grants for the Arts/San Francisco Hotel Tax Fund.

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FOR IMMEDIATE RELEASE: September 21, 2012 CAL PERFORMANCES PRESENTS THE WEST COAST PREMIERE OF ROBERT WILSON & PHILIP GLASS’S EINSTEIN ON THE BEACH FRIDAY-SUNDAY OCTOBER 26–28 IN ZELLERBACH HALL

The New York Times has called the Robert Wilson and Philip Glass’s collaboration, Einstein on the Beach, An Opera in Four Acts, an “original, visionary and generous work.”  Widely recognized as one of the great theatrical achievements of the 20th century, Einstein on the Beach will be presented by Cal Performances, Friday, October 26 at 6:00 p.m., Saturday, October 27 at 5:00 p.m. and Sunday, October 28 at 3:00 p.m. in Zellerbach Hall. Defying the rules of conventional opera, Glass composed the work for his own Philip Glass Ensemble, consisting of synthesizers, amplified woodwinds and voices. The minimalist work designed and directed by Wilson, has no discernible plot or characters and uses a series of powerful recurrent images shown in juxtaposition with abstract dance sequences. American choreographer Lucinda Childs created the movement for Einstein on the classical principle of theme and variation.  The opera consists of four acts connected by a series of short scenes that carry the audience through time and space. The performance lasts nearly five hours and has no traditional intermissions; audience members are invited to wander in and out of the theater at their own discretion. Of the 2012 production, Armelle Heliot of Le Figaro, said, “It’s beautiful, it’s funny, it’s touching, it’s mesmerizing…it is undoubtedly the most spectacular work of the twentieth century that exists before us.”

Photo credit: Lucie Jansch

 

Einstein on the Beach was the first partnership between Robert Wilson and Philip Glass.  For the new production they are working with a number of their longtime collaborators, including Childs who choreographed the opera’s two revivals in 1984 and 1992.  All of these artists are now in their 70s. They are committed to passing on the work to a new generation, thus recruiting younger artists for the creative team and cast.  “In this production, my composition will remain consistent with the 1976 original,” said Glass recently. “The technology of theater staging and lighting has improved to such an extent that it will be interesting to see how Bob [Robert Wilson] uses these innovations to realize his original vision.”  The opera was written by Glass, with additional writings by Christopher Knowles, Samuel M. Johnson and Childs.  The production will be a cornerstone of Glass’s 75th birthday year.

Aside from New York, Einstein on the Beach has never been seen in any of the cities currently on the tour.  Produced by Pomegranate Arts, Inc., the 2012 production of Einstein on the Beach, An Opera in Four Acts was commissioned by the Brooklyn Academy of Music; the Barbican, London; Luminato, Toronto Festival of Arts and Creativity; De Nederlandse Opera/The Amsterdam Music Theatre; Opéra et Orchestre National de Montpellier Languedoc-Rousillon; the University Musical Society of the University of Michigan; and Cal Performances at the University of California, Berkeley. For further information, go to pomegranatearts.com/project-einstein.

The Department of Music at UC Berkeley is hosting a Composer Colloquium on Friday, October 26 at 3:00pm in 125 Morrison Hall. It will feature Philip Glass talking about his work including Einstein on the Beach with Associate Professor of Composition, Ken Ueno.

There will be a symposium, called Einstein on the Beach: Re-staging/Re-construction/Re-enactment, on Saturday, October 27, 11:00 a.m.-2:00 p.m., in the Zellerbach Playhouse. In 1976 Einstein on the Beach brought together the minimalism of composer Philip Glass with director/designer Robert Wilson’s non-narrative approach to performance to create a work that radically changed expectations about opera. In conjunction with the current production, this symposium examines what it takes and what it means to re-create and perform a seminal but rarely-seen work almost forty years after its premier with scholarly and behind-the-scenes reflection. Participants will include: Linda Brumbach, Producer, Pomegranate Arts; Lisa Bielewa, soprano, Philip Glass Ensemble; Robert Fink, Department of Music, UCLA;
Frédéric Maurin, Department of Theatre Studies, Université de Paris 3, Sorbonne Nouvelle;
Charles Otte, Department of Theatre and Dance, University of Texas, Austin; Alisa Regas, Associate Producer, Pomegranate Arts; Mary Ann Smart, Department of Music, UC Berkeley; Sue-Ellen Case, School of Theater, Film, and Television; and Susan Leigh Foster, Department of World Arts and Culture, UCLA. This event is co-sponsored by Cal Performances, the Arts Research Center, The Doreen B. Townsend Center for the Humanities, and The Department of Music at UC Berkeley.

Artist Talk takes place on Sunday, October 28 from 1:00 p.m.-2:00 p.m. in the Zellerbach Playhouse. It will be a unique opportunity to hear from all three creators of Einstein on the Beach: Robert Wilson, Philip Glass and Lucinda Childs.

For more information about these and other Education and Community Programs at Cal Performances, visit http://calperformances.org/learn/

ROBERT WILSON
The New York Times has described Robert Wilson as “a towering figure in the world of experimental theater.” His works integrate a wide variety of artistic media, combining movement, dance, lighting, furniture design, sculpture, music and text into a unified whole. His images are aesthetically striking and emotionally charged, and his productions have earned the acclaim of audiences and critics worldwide.

A native of Waco, Texas, Wilson was educated at the University of Texas and arrived in New York in 1963 to attend Brooklyn’s Pratt Institute. Soon thereafter Wilson set to work with Byrd Hoffman School of Byrds and together with this school developed his first signature works, including King of Spain (’69), Deafman Glance (’70), The Life and Times of Joseph Stalin (’73), and A Letter for Queen Victoria (’74). Regarded as a leader in Manhattan’s burgeoning avant-garde, Wilson turned his attention to large-scale opera. After Einstein on the Beach, Wilson worked increasingly with European theaters and opera houses. In collaboration with internationally renowned writers and performers, Wilson pioneered original works that were featured regularly at the Festival d’Automne in Paris, the Schaubühne in Berlin, the Thalia Theater in Hamburg, and the Salzburg Festival.

Wilson continues to direct revivals of his most celebrated productions including The Black Rider in London, San Francisco, and Sydney, The Temptation of St. Anthony in New York and Barcelona, Erwartung in Berlin, Madama Butterfly at the Bolshoi Opera in Moscow, LA Opera, Het Muziektheater in Amsterdam, and Wagner’s Ring cycle at Le Chatelet in Paris.  For the Berliner Ensemble he created two highly acclaimed recent productions: Brecht’s Dreigroschenoper and Shakespeare’s Sonnets.

Wilson hosts students and professional artists from around the world at the International Summer Arts Program at the Watermill Center in eastern Long Island, an interdisciplinary performance laboratory. In 2006 the Watermill Center dedicated a brand new building on its grounds and inaugurated a year-round programming schedule.

PHILIP GLASS
“Philip Glass’s place in musical history is secure. His sprawling, churning, monumentally obsessive works of the nineteen-seventies…have fascinated several generations of listeners, demonstrating mesmeric properties that are as palpable as they are inexplicable.” (The New Yorker) His 20 plus operas, eight symphonies (with more on the way) and his wide-ranging collaborations with artists ranging from Twyla Tharp and Alan Ginsberg to Woody Allen and David Bowie, Philip Glass has had an extraordinary impact upon contemporary music. His operas—including Satyagraha, Akhnaten and The Voyage, among many others—play throughout the world’s leading opera houses. Glass has written music for experimental theater and for Academy Award-winning films such as The Hours and Martin Scorcese’s Kundun. His initial filmic landscape with Godfrey Reggio and the Philip Glass Ensemble, Koyaanisqatsi, may be the most radical and influential mating of sound and vision since Fantasia. His association with leading rock, pop and international music artists dates back to the 1960s, including the beginning of his collaborative relationship with artist Robert Wilson. Glass is the first composer to win a wide, multi-generational audience in opera houses, concert halls, the dance world, film and popular music.

Glass was born in 1937 and grew up in Baltimore. He studied at the University of Chicago, Juilliard and in Aspen with Darius Milhaud. Finding himself dissatisfied with much of what then passed for modern music, he moved to Europe, where he studied with the legendary pedagogue Nadia Boulanger (who also taught Aaron Copland, Virgil Thomson and Quincy Jones) and worked closely with the sitar virtuoso and composer Ravi Shankar. He returned to New York in 1967 and formed the Philip Glass Ensemble—seven musicians playing keyboards and a variety of woodwinds, amplified and fed through a mixer. The new musical style that Glass was evolving was eventually dubbed “minimalism.” Glass himself never liked the term and preferred to speak of himself as a composer of “music with repetitive structures.” Much of his early work was based on the extended reiteration of brief, elegant melodic fragments that wove in and out of an aural tapestry.  He currently presents lectures, workshops and solo piano performances and continues to appear regularly with the Philip Glass Ensemble.

TICKET INFORMATION
Tickets for Einstein on the Beach, an Opera in Four Acts on Friday-Sunday, October 26-28 in Zellerbach Hall start at $35.00 and are subject to change. Tickets are available through the Ticket Office at Zellerbach Hall; at (510) 642-9988; at www.calperformances.org; and at the door.  Half-price tickets are available for UC Berkeley students. UC faculty and staff, senior citizens, other students and UC Alumni Association members receive a $5.00 discount (Special Events excluded). For select performances, Cal Performances offers UCB student, faculty and staff, senior, and community rush tickets.  For more information about discounts, go to http://calperformances.org/buy/discounts.php or call (510) 642-9988.

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Cal Performances thanks Wells Fargo and The Andrew W. Mellon Foundation for their major support of the Season.

Made possible, in part, by the National Endowment for the Arts and by Patron Sponsors Louise Gund and Liz and Greg Lutz.

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CAL PERFORMANCES PRESENTS NANCARROW AT 100: A CENTENNIAL CELEBRATION IN ASSOCIATION WITH OTHER MINDS AND BAM/PFA FRIDAY–SUNDAY, NOVEMBER 2–4

Other Minds, the UC Berkeley Art Museum, Pacific Film Archive (BAM/PFA) along with Cal Performances salute the visionary yet oft-overlooked American composer Conlon Nancarrow with a weekend of events titled Nancarrow at 100: A Centennial Celebration. Cal Performances presents three concerts in Hertz Hall that will display his diverse body of work, much of it composed while Nancarrow was an expatriate in Mexico. Best known for his pianola (a.k.a. player piano) studies, “Conlon’s music has such an outrageous, original character,” said John Cage. In addition to concerts, there will be a number of events taking place at BAM/PFA, including an art installation, film screenings, panel discussions and interviews. Some of these events are free and open to the public and will feature performances of selected works.

The first concert on Saturday, November 3, at 2:00 p.m. in Hertz Hall will feature musical instrument maker and composer Trimpin, performing various Nancarrow studies on a mechanical piano-playing device known as the vorsetzer. The Seattle-based Trimpin, who goes by a single name, was an apprentice of Nancarrow’s for many years. Pianola player Rex Lawson will also perform a Nancarrow work alongside those of Percy Grainger and Sergei Rachmaninoff. The concert will conclude with a performance of the pianola score to the French silent film Un tour au large — Voyage to the Open Sea, originally composed and directed by Jean Grémillon in 1926. Though the film was lost, the pianola score survived. Despite the seemingly automatic nature of the pianola, the human operator is responsible for controlling dynamics, articulation and pedaling and can be likened to an orchestra conductor.

At 8:00 p.m. also on Saturday, November 3, the Calder Quartet, consisting of Benjamin Jacobson and Andrew Bulbrook, violins, Jonathan Moerschel, viola and Eric Byers, cello, takes the Hertz Hall stage with a program consisting of two of Nancarrow’s string quartets and a pianola study arranged by Paul Usher. Nancarrow’s works will be interspersed with movements from Thomas Adès’s The Four Quarters. After intermission, the quartet will perform Béla Bartók’s String Quartet No. 5. The chamber ensemble is known for its eclectic programming that spans genres and centuries and has been “garnering notoriety as a group that can do anything from tackle the pillars of the string quartet repertoire…to perform with the indie band Airborne Toxic Event” (WQXR-FM).

The festival’s closing concert on Sunday, November 4 at 7:00 p.m. features percussionist Chris Froh performing Nancarrow’s Piece for Tape. Rex Lawson returns as pianist with violinist Graeme Jennings to perform Toccata for piano and violin. Lawson will also perform Igor Stravinsky’s masterwork Le sacre du printemps (The Rite of Spring). The Bugallo-Williams Piano Duo, consisting of Helena Bugallo and Amy Williams, closes the festivities with Nancarrow’s Sonatina for Piano, Nine Early Pieces and several pianola studies transcribed for two pianos.

The festival’s opening event on Friday, November 2 at 5:30 p.m. features BAM/PFA Chief Curator and Director of Programs and Collections Lucinda Barnes in conversation with Trimpin. This event is free and open to the public. There will also be two screenings at the Pacific Film Archive Theater: Conlon Nancarrow: Virtuoso of the Player Piano on Friday, November 2 at 7:00 p.m. and Music for 1,000 Fingers: Conlon Nancarrow on Sunday, November 4 at 4:00 p.m. The screenings will be bookended by short films and remarks by special guests. Lastly, there will be two free and open to the public panel discussions at Hertz Hall: The Expanding Universe of Conlon Nancarrow on Saturday, November 3 at 11:00 a.m. and Eyeballs Out! How Performers Learned to “Play” Nancarrow on Sunday, November 4 at 12:00 p.m. Guests at these discussions will include Yoko Sugiura-Nancarrow, widow of the composer, Other Minds Artistic Director Charles Amikhanian, music archivist Felix Meyer, music publisher Peter Garland, biographer Kyle Gann, as well as a number of musicians from the festival. These discussions will also feature performances of selected works by Nancarrow. BAM/PFA’s exhibition Trimpin: Nancarrow Percussion Orchestra / MATRIX 244, will be on view from November 2 through December 23. The exhibition, commissioned by Other Minds, introduces a new sculptural sound installation by Trimpin that incorporates percussive elements designed by Nancarrow. Further details can be found at bampfa.berkeley.edu.


Born on October 27, 1912, in Texarkana, Arkansas, Conlon Nancarrow left to fight against the fascists in the Spanish Civil War in the 1930s. Because of his membership in the Communist Party, he was harassed by the American government, prompting him to immigrate to Mexico where he focused on his highly sophisticated and viscerally exciting musical creations. He is best known for his series Studies for the Player Piano, an exploration of a musical instrument as a machine. The pianola’s ability to perform notes with infinite speed and complexity allowed Nancarrow to experiment with writing music beyond the human ability to perform. Were it not for his discovery by famed Hungarian composer György Ligeti in the 1980s, Nancarrow and his works would surely have been lost in obscurity.

San Francisco-based Other Minds initiated the Nancarrow at 100 project as part of its ongoing portrait concerts of American experimental composers. Previous festivals have been devoted to Henry Cowell, Dane Rudhyar, Ruth Crawford and Alan Hovhaness. Charles Amirkhanian, Executive & Artistic Director, and longtime champion of Conlon Nancarrow’s music, conceived and programmed the event. Other Minds also produces an annual avant-garde music festival, curates a large archive of radio programs online (radiOM.org), produces a weekly radio program on KALW FM, and operates a CD label that has released the complete studies of Nancarrow.

TICKET INFORMATION
Tickets for Nancarrow at 100: A Centennial Celebration concerts on November 3 and 4 at 2:00 p.m. and 7:00 p.m., respectively, in Hertz Hall, are $20.00. Tickets for the concert with the Calder Quartet on November 3 at 8:00 p.m. are $30.00. Ticket prices are subject to change. Tickets are available through the Ticket Office at Zellerbach Hall; at (510) 642-9988; at www.calperformances.org; and at the door. Half-price tickets are available for UC Berkeley students. UC faculty and staff, senior citizens, other students and UC Alumni Association members receive a $5.00 discount (Special Events excluded). For select performances, Cal Performances offers UCB student, faculty and staff, senior and community rush tickets.  For more information about discounts, call (510) 642-9988 or go to http://calperformances.org/buy/discounts.php.

Tickets for the screenings at the Pacific Film Archive Theater are available online at bampfa.berkeley.edu/tickets, by phone at (510) 642-5249, daily at the BAM/PFA admissions desk (11:00 a.m.–5:00 p.m.), and at the PFA Theater box office beginning one hour before each showtime. Tickets are $9.50 general admission; $6.50 for UC Berkeley faculty and staff, non-UC Berkeley students, seniors, youth, and disabled persons; and $5.50 for BAM/PFA members and UC Berkeley students. A special price of $7.50 is being offered to Nancarrow at 100 concert ticket holders.

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Cal Performances thanks Wells Fargo and The Andrew W. Mellon Foundation for their major support of the Season.

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Obama to Come to Final Bay Area Fundraiser for 2012 Campaign

President Barack Obama will return to the Bay Area on Oct. 8 for his sixth fundraising visit in the last year.

A concert and rally — for which the musical guests are yet to be announced — will be held at San Francisco’s Bill Graham Civic Auditorium on Grove Street in the city’s Civic Center.

Tickets for the 7:30 p.m. event are selling at $100 for “Muni;” $250 for “Cable Car;” $1,000 for “Ferry,” which includes preferred seating; and $2,500 for “Bay,” which includes premium seating.

The $7,500 “Golden State” package gets you premium seating plus a photo opportunity with the president. And then you can pay an additional $2,500 for each guest you want in the photo with you.

It wasn’t clear Thursday whether this will be his only event in the Bay Area. He usually does one big rally-type event and several smaller, more exclusive and expensive events during the same visit. He’ll be in Los Angeles on Oct. 7.

Obama’s most recent visit, in July, included fundraisers in Oakland and Piedmont.

(From the Mercury News)

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THE MARSH San Francisco Extends Dan Hoyle’s THE REAL AMERICANS through October 27, 2012

The Marsh San Francisco is delighted to extend Dan Hoyle’s overwhelmingly popular show, THE REAL AMERICANS through October 27, 2012. Along with Will Durst’s “Elect To Laugh,” The Marsh now has two of The Bay Area’s most celebrated and original political commentators to carry us through this exciting election period.

Directed by Charlie Varon, the show connects two worlds that usually prefer to stay apart: the liberal, achingly hip, moral-relativism of gentrified city life and the conservative, absolutist, and often hostile populism that Dan found overflowing in small-town America during his 100-day trip in 2009. Living out of his van and sleeping in backyards and Walmart parking lots, he shared meals and conversation with cowboys, coal miners, soldiers, rural drug dealers, itinerant preachers, closeted gay fundamentalists and creation theory experts. Frequently grateful for their hospitality, often perplexed by their beliefs, he sought to see the world through their eyes and understand their anger. His show brings direct insight into the current election cycle where many of the states he visited are duking it out over the same issues he confronts in the play.

A native San Franciscan, Dan is the creator of his own unique form of journalistic theater. He won the prestigious 2007 Will Glickman ‘Best New Play’ Award for his previous show, “Tings Dey Happen,” which enjoyed extended runs at The Marsh and also Off-Broadway, where it was nominated for a Lucille Lortel Award for Outstanding Solo Show.

For more information, visit www.themarsh.org or call 415-826-5760

 

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IN THE MOMENT: JAPANESE ART FROM THE LARRY ELLISON COLLECTION

Asian Art Museum debuts Ellison’s Japanese art collection, coinciding with 2013 America’s Cup


Next summer, as the America’s Cup Challenger Series takes to San Francisco Bay, the Asian Art Museum will feature an exhibition of Japanese art from the rarely seen collection of Larry Ellison, Oracle CEO and owner of ORACLE TEAM USA, defender of the 2013 America’s Cup.


In the Moment: Japanese Art from the Larry Ellison Collection will introduce approximately 80 exceptional artworks spanning 1,300 years. The exhibition explores the dynamic nature of art selection and display in traditional Japanese settings, where artworks are often temporarily presented in response to a special occasion or to reflect the change of seasons. In the Moment also considers Mr. Ellison’s active involvement in displaying art in his Japanese-style home, shedding light on his appreciation for Japan’s art and culture.

Included in the exhibition are significant works by noted artists of the Momoyama (1573–1615) and Edo (1615–1868) periods along with other important examples of religious art, lacquer, woodwork, and metalwork. Highlights include a 13th–14th century wooden sculpture of Shotoku Taishi; six-panel folding screens dating to the 17th century by Kano Sansetsu; and 18th century paintings by acclaimed masters Maruyama Okyo and Ito Jakuchu.

“This exhibition offers a rare glimpse of an extraordinary collection,” said Jay Xu, director of the Asian Art Museum. “We aim to present it in a fresh and original way that explores traditional Japanese principles governing the relationship of art to our surroundings and social relationships.”

The exhibition is organized by the Asian Art Museum and curated by Dr. Laura Allen, the museum’s curator of Japanese art, and Melissa Rinne, associate curator of Japanese art, in consultation with Mr. Ellison’s curator, Dr. Emily Sano.

The exhibition is on view June 28, 2013 through September 22, 2013. The Asian Art Museum will serve as the only venue for the exhibition.

For more information visit: www.asianart.org

 

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THE MARSH San Francisco EXTENDS Brian Copeland’s The Waiting Period Through October 27, 2012

The Marsh San Francisco is proud to extend Brian Copeland’s critically acclaimed solo show, THE WAITING PERIOD through October 27, 2012. October is National Depression Education And Awareness Month and The Marsh could not be more proud of this sold-out show’s continuing and significant contribution to local discussion and understanding of this often fatal disease.

The show plays on Thursday and Friday at 8:00 pm and Saturday at 5:00 pm on The Marsh MainStage, 1062 Valencia Street in San Francisco. For tickets, the public may visit www.themarsh.orgor call 415-282-3055. Fridays are Educator Nights. Please note Teachers, students and those working in the mental health field get special discounts. For information call 415-282-3055.

Copeland, a multi-talented actor, playwright, author and talk show host, has basked in the glow of both public and critical acclaim for nearly a decade. And yet, along with such other well-known figures as Mike Wallace, Tipper Gore and Yves San Laurent, he suffers from debilitating bouts of depression. As William Styron, another well-known sufferer, put it: “Mysteriously and in ways that are totally remote from normal experience…depression takes on the quality of physical pain…it is entirely natural that the victim begins to think ceaselessly of oblivion.”

This show is an unrelenting look at a ten-day period in Copeland’s life—the mandatory ten-day waiting period before he could lay his hands on the newly purchased gun with which he planned to take his own life. Even in the midst of this tragedy, however, his wonderful sense of the comedy of life does not desert him (how much should he spend on the gun?), indeed serves him insidiously well as a buffer against the grim reality of his intention. Copeland hopes this very personal, and ultimately redemptive, story will reach people who struggle with depression—often called the last stigmatized disease—as well as their families and loved ones. Interspersed with interviews with other sufferers, the play, like so many Marsh stories, also offers outsiders an insider’s view, thereby expanding our understanding and, hopefully, our humanity. As critic Sam Hurwitt put it in The Idiolect: “It’s a play I’d strongly recommend to anyone who is now or has ever been depressed or who knows someone in that situation. But honestly, it’s such a strong piece that I’d recommend it just as heartily to anyone who’s ever been human.”

In 1995, San Francisco ABC radio affiliate KGOpremiered The Brian Copeland Showthat remains the most listened to program in its time slot. His previous hit show, Not A Genuine Black Man, ended a seven-year run at The Marsh Berkeley earlier this year.

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SF Playhouse 2012-2013 Season Opener: Bloody Bloody Andrew Jackson

A brash look at one of our nation’s founding rock stars

San Francisco Playhouse will launch its Tenth Season in a new venue at 450 Post Street with the Tony-nominated, Bloody Bloody Andrew Jackson.  Opening October 13th, Jon Tracy will direct with Jonathan Fadner as musical director.

Bloody Bloody Andrew Jackson, an audacious mix of historical fact and fiction, redefines America’s controversial seventh president–the man who invented the Democratic Party, drove the Indians west, and ultimately doubled the size of our nation–with a raucous blend of outrageous comedy, anarchic theatricality and an infectious emo rock score.

“What Mr. Timbers and Mr. Friedman are examining is a fierce emotionalism in American politics that transcends party lines and has existed for centuries. Idealism, resentment, a short attention span, a fear of being perpetually misunderstood and a ravenous sense of entitlement are mixed together here in one big, gawky, sexually charged package: America, the eternal teenager. And who better to lead this restless, appetite-driven creature than a red-blooded rock star?”-NY Times.

The 2009 world premiere opened with Alex Timbers directing at the Public Theater to rave reviews. It returned to the Public the following year, extended three times, and became the second highest-grossing show in the downtown institution’s history. It transferred to the Bernard B. Jacobs Theatre on Broadway on September 20, 2010. The show won a Lucille Lortel Award, an Outer Critics Circle Award, and a Broadway.com Award for Best Musical. Timbers won a Drama Desk Award for Best Book of a Musical and was nominated for a Tony Award for his book, as well as an Outer Critics Circle Award for his direction.

Ashkon Davaran*, a rock star in his own right (check out the number of Youtube hits for “Don’t Stop Believing” during the Giants 2010 World Series), will star in the role of Andrew Jackson. The eleven person ensemble that will double as the band includes: Michael Barrett Austin*, El Beh, Angel Burgess, William Elsman*, Jonathan Fadner, Safiya Fredericks*, Gavilan Gordon, Lucas Hatton, Ann Hopkins, Olive Mitra, Daniel Vigil and Michelle Vigil.

Nina Ball will inaugurate the new stage with her set design, Kurt Landisman lights, Brendan Aanes sound, Tatjana Genser* costumes and Jacqueline Scott will design properties.

Alex Timbers is a two-time Tony-nominated writer and director and the recipient of Lucille Lortel, Drama Desk, and Outer Critics Circle Awards, as well as two OBIE Awards. His Broadway directing credits include Peter and the Starcatcher for which he was nominated for a 2012 Tony Award, Bloody Bloody Andrew Jackson which he also wrote the dialogue for and was nominated for a 2011 Tony Award, and The Pee-Wee Herman Show which was filmed for HBO and was nominated for a 2011 Emmy Award. Timbers is Artistic Director of the New York-based company Les Freres Corbusier.

Michael Friedman is an American composer and lyricist. He is a founding Associate Artist of The Civilians and an Artistic Associate at New York Theatre Workshop. He received a 2007 Obie award for sustained excellence. His musical Saved earned him a Lucille Lortel Award nomination for Best Musical.

Founded by Bill English and Susi Damilano in 2003, The San Francisco Playhouse is the fastest growing and most awarded Theater Company in San Francisco. It has been hailed as a “small delicacy” by SF Weekly, “eclectic” by the San Francisco Bay Guardian, and “local theater’s best kept secret” by San Francisco Magazine. Located in Union Square, The San Francisco Playhouse offers intimate, professional theatre with top notch actors and world class design. It has received multiple awards for overall productions, acting, and design including the SF Weekly Best Theatre Award, Bay Guardian’s Best Off-Broadway Theatre Award. The San Francisco Chronicle raved, “One of the most meteoric rises [of the decade] has been that of SF Playhouse, Bill English and Susi Damilano’s 7-year-old- start-up that has been attracting more top-notch actors, directors, and scripts every year.” The SF Playhouse has become the intimate theatre alternative to the traditional Union Square theatre fare, providing a creative home and inspiring environment where actors, directors, writers, designers, and theatre lovers converge to create works that celebrate the human spirit.


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ART INSTALLATION TO LIGHT UP THE BAY BRIDGE

(From KTVU/WIRES)  About 25,000 LED lights will be strung along the western span of the Bay Bridge over the next several months as part of a two-year art installation inspired by the bridge’s 75th anniversary.

“The Bay Lights,” an $8 million project expected to be unveiled in March 2013, will help bring attention to a bridge Bay Lights,” an $8 million project expected to be unveiled in March 2013, was expected to help bring attention to a bridge that is often overshadowed by its neighbor to the north, the Golden Gate Bridge, said Ben Davis, whose organization, Illuminate the Arts, was overseeing the project.

The Bay Bridge, which opened in 1936, “didn’t get quite the recognition that I felt it deserved,” Davis said. “I wanted to find a way, at least for a brief while, to bring the consciousness back to this bridge.”

The privately funded “light sculpture” is being designed by Leo Villareal, who has created light installations in museums and public spaces around the country and world.

The lights, which will not be visible drivers on the bridge but can be seen from a distance, will be mounted on the vertical cables of the western span and will operate for about seven hours per night.

Permits for the project were awarded in August, and installation was begin next month, organizers said.

Two former San Francisco mayors, Willie Brown and now-Lt. Gov. Gavin Newsom were on hand at a news conference Tuesday to announce the project.

“This is the kind of thing we need to do to remind people what a special place this is,” Newsom said. “I think this thing is going to blow people away.”

The lights will be installed during weekday overnight hours and will cause some lane closures on the upper deck of the bridge, but the effect on traffic is expected to be minimal, Davis said.

Illuminate the Arts has collected $5.5 million for the project and is still seeking donors for the rest of the funding.

“We are going to raise the $2.5 million,” he said. “I think we’re going to do it relatively quickly, this is an inspiring piece and it does make a difference to our city.”

The March lighting ceremony will come just months before the new eastern span of the bridge was expected to open on Labor Day weekend in 2013.

Donations for “The Bay Lights” project can be made at www.causes.com/thebaylights.

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The Marsh Berkeley Cabaret Presents Joni Takanikos In THE SONGBIRD OF PARIS, EDITH PIAF

The Cabaret at The Marsh Berkeley is proud to present Joni Takanikos in Martha Furey’s THE SONGBIRD OF PARIS, EDITH PIAF. Piaf’s stagehand (played by Max Cole-Takanikos) helps the iconic French singer to a park bench in Belleville, the working class neighborhood of her impoverished childhood, and leaves her there, wrapped in a blanket against the cold. Knowing she is nearing the end of her life, Piaf takes a final reckoning, sharing her vast triumphs and hair-raising tragedies with the cabaret audience, as though the audience represents the ghosts of her past. It’s a passionate ride: funny, forceful, wild and raw, sensual and romantic, replete with Piaf’s famous and heart-rending songs. Takanikos sings a cappella, an evocation of the young Piaf busking on the streets of her beloved Paris.

The show plays on Thursdays and Fridays at 8:00 pm and Saturdays at 8:30 pm from November 1 – December 1, 2012 (press opening Saturday, November 3) in The Cabaret at The Marsh Berkeley, 2120 Allston Way (off Shattuck.) For tickets, the public may visit www.themarsh.orgor call 415-282-3055.The audience is seated at tables, and can enjoy wine, cocktails and beer from a full bar as well as delicious sandwiches, salads and snacks.

Tiny and frail, Piaf sometimes looked as if she could barely stand up, and yet perhaps no performer has so totally embodied herself on stage, mesmerizing audiences with the raw passion and beauty of her voice. When she died at 48, her second husband and final lover, the actor Théo Sarapo, 20 years her junior, drove her corpse to Paris, perhaps wanting people to believe she died in the city she loved, the city with which her name is still synonymous. Because of her celebrated life – the lovers, the booze, the drugs – the archbishop of Paris forbade her a mass; nonetheless, 40,000 fans mobbed her funeral at Père Lachaise.

Joni Takanikos is a singer-songwriter, poet and performer. She met the playwright Martha Furey over two decades ago on Whidbey Island, near Seattle, where Takanikos still lives. In those early days, both were involved in theater, although Takanikos worked as a jewelry designer and Furey delivered the mail! In 2010, encouraged by Furey, Takanikos took a three- month sabbatical to Ireland, where Furey now lives, and where Takanikos realized her dream of becoming a traveling minstrel. In March 2012, after Takanikos returned to the States, Furey, who wrote Songbird” specifically for her, brought the project to Whidbey Island where it premiered in November before traveling back to Ireland in December to play at St. Johns Theatre in Listowel. Takanikos has successfully produced and performed in many cabaret-style evenings and was awarded the Local Artist Series from Whidbey Island Center for the Arts in 2007. She credits the post-modern dancer and writer, Deborah Hay, with helping her to embody what she calls Edith Piaf’s “willingness to be seen: when she sings, she gives you everything.” For two sample tracks from her second album, Love in a Mist, Devil in a Bush, visit http://soundcloud.com/joni-takanikos.

Max Cole-Takanikos, Joni Takanikos’ son, is an aspiring young artist who has been involved with theater since the age of seven. His credits include Solyony in The Three Sisters, Romeo in Romeo & Juliet, Rosencrantz in Rosencrantz & Guildenstern are Dead, Antony in Sweeney Todd and Jason in Rabbit Hole.

Martha Furey is a playwright known for capturing the essence and depth of some of the world’s most engaging and compelling women. During the course of her long theatrical career she has written and starred in eight one-woman plays, all of which have been performed in the United States where she was born, and Ireland, where she now lives. La Flor de Mexico/Frida Kahlo and Tea With Emily, about poet Emily Dickinson, received four star reviews in The Scotsman after performances at the Edinburgh Fringe Festival. Of La Flor de Mexico/Frida Kahlo critic Joy Hendry said, “Furey’s script is music to the ears, pulse to the heart and food for the brain. Unlike so many biographical one-person shows, you feel truly in Kahlo’s presence.”

WHEN:             November 1 – December 1, 2012

SHOWTIME:     Thursdays & Fridays at 8:00 pm; Saturdays at 8:30 pm

WHERE            The Cabaret at The Marsh Berkeley, 2120 Allston Way in Berkeley near Shattuck

TICKETS:         $15-35 Sliding Scale
For tickets, visit www.themarsh.org or call 415-282-3055

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ANDRÁS SCHIFF BEGINS PROJECT SAN FRANCISCO RESIDENCY AND TWO-YEAR EXPLORATION OF BACH’S MUSIC WITH RECITALS AND ORCHESTRAL PRESENTATIONS IN OCTOBER AT DAVIES SYMPHONY HALL

  • Schiff on Bach & His Legacy in a lecture and performance on October 9
  • October 7 and 21 Recitals featuring Bach’s Well Tempered Clavier Books 1 & 2 – Co-presented with San Francisco Performances
  • Schiff conducts the San Francisco Symphony in works by Bach and Mendelssohn on October 11-13

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Pianist András Schiff , as 2012-13 Project San Francisco Artist, begins his two year residency in the month of October with a variety of events and performances exploring the keyboard works of Johann Sebastian Bach. The residency will include the complete The Well-Tempered Clavier, the French Suites, and the English Suites, and works for keyboard and orchestra. Schiff is considered one of the foremost proponents of Bach’s keyboard music.

András Schiff performs two recital programs featuring The Well-Tempered Clavier co-presented by the San Francisco Symphony and San Francisco Performances at  2 pm on October 7 (Book I) and 2 pm on October 21 (Book II) at Davies Symphony Hall. He will host an evening of lecture and performance titled Bach & His Legacy on October 9 at 7 pm at Davies Symphony Hall.  Schiff then leads the San Francisco Symphony in concerts both from the keyboard and the podium October 11-13 in a program featuring Bach’s Keyboard Concertos Nos. 1 and 2 and Mendelssohn’s Fingal’s Cave Overture and Symphony No. 4, Italian.

Hungarian pianist András Schiffmade his San Francisco recital debut with San Francisco Performances in 1985, performing Bach’s Goldberg Variations. One of the foremost proponents and performers of music by Bach, his performances here mark the beginning of a year-long exploration of the works by Bach.  In addition to his recitals, orchestra performances, and lecture here in October, he will perform the French and English suites on two recital programs in April 2013 and will also give two recitals here in October 2013. These performances are part of Schiff’s two-year commitment to the music of JS Bach which also includes residencies in New York and Los Angeles. He has a new recording of The Well Tempered Clavier, Books I and IIon ECM Records.

 

ANDRÁS SCHIFF PLAYS BACH, Sunday, October 7 at 2 pm

Bach The Well-Tempered Clavier, Book I, BWV 846-BWV 869

Co-presented by the San Francisco Symphony and San Francisco Performances.  Tickets: $15-$93.  Tickets are available at sfsymphony.org or sfperformances.org; by phone at 415-864-6000 or 415-392-2545 and at the Davies Symphony Hall Box Office, on Grove Street between Van Ness Avenue and Franklin Street in San Francisco.

 

ANDRÁS SCHIFF LECTURE: BACH & HIS LEGACY, Tuesday, October 9 at 7 pm

To launch his Project San Francisco residency, András Schiff presents an evening of insight into the music of
J. S. Bach.

Co-presented by the San Francisco Symphony and San Francisco Performances.  Tickets: $20.  Tickets are available at sfsymphony.org, by phone at 415-864-6000, and at the Davies Symphony Hall Box Office, on Grove Street between Van Ness Avenue and Franklin Street in San Francisco.

 

SAN FRANCISCO SYMPHONY: András Schiff,  Thursday, October 11 at 10 am (Open Rehearsal)
Thursday, October 11 at 8 pm
Friday, October 12 at 6:30 pm
Saturday, October 13 at 8 pm

Mendelssohn Fingal’s Cave Overture, Opus 26

Bach Keyboard Concerto No. 2 in E major, BWV 1053
Bach Keyboard Concerto No. 1 in D minor, BWV 1052
Mendelssohn Symphony No. 4 in A major, Opus 90, Italian

Tickets: Open Rehearsal: $22 general, $40 reserved. Concerts: $15-$150.  Tickets are available at sfsymphony.org or sfperformances.org; by phone at 415-864-6000 or 415-392-2545 and at the Davies Symphony Hall Box Office, on Grove Street between Van Ness Avenue and Franklin Street in San Francisco.

 

ANDRÁS SCHIFF PLAYS BACH, Sunday, October 21 at 2 pm

Bach The Well-Tempered Clavier, Book II, BWV 870-BWV 893

Co-presented by the San Francisco Symphony and San Francisco Performances. Tickets: $15-$93.  Tickets are available at sfsymphony.org, by phone at 415-864-6000, and at the Davies Symphony Hall Box Office, on Grove Street between Van Ness Avenue and Franklin Street in San Francisco.

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Under One Roof Restructures Organization to Better Serve AIDS/HIV Agency Partners; Will Close Castro Storefront by March 2013

 Nonprofit returns to its roots with seasonal pop-up stores; expands fundraising efforts and increases volunteer opportunities

Under One Roof (www.underoneroof.org), the first charity retail organization to benefit the AIDS & HIV community, announced today that it will be significantly changing its business model to better support its 20+ AIDS, HIV and LGBT service partners due to a variety of economic circumstances. Part of this restructuring will include the closing of Under One Roof’s permanent retail space in the Castro district in March of 2013.

After much consideration, Under One Roof’s board of directors voted to close its doors and mark a return to the 21-year-old organization’s early business model of operating short-term, holiday-driven retail events in donated or low-cost locations. Board members saw this change as the best, most cost-effective solution to allow the nonprofit to fulfill its mission in the wake of a challenging economy, soaring overhead costs, a decrease in charitable donations and a changing retail landscape.

Under One Roof is in the process of clarifying the specifics of its next steps, called the ‘Greater DEPTHS’ plan, but will reveal these details at a community event later this fall.

“This decision was by no means an easy one; it is the result of much soul searching and effort to try and make our current model work,” said Tony Hart, Under One Roof’s Board Chairman.

“In the end, it was clear that in order for us to remain viable and truly support the agencies we exist to serve, we would need to rethink our model and make some big changes. We are excited to roll out our plans for the future, and are confident that Under One Roof will remain an inspirational and important member of the AIDS, HIV and LGBT community for years to come.”

In its early years, the majority of Under One Roof’s sales came from merchandise provided free of charge by generous vendors. This, in addition to large corporate donations, allowed Under One Roof to provide its agency partners with healthy payouts for many years.

That model evolved into a traditional and permanent gift shop, which involved purchasing merchandise for resale, and pulling together agency donations from the margins generated by selling these items for a modest profit. These payouts were smaller than desired and less than what organization leaders believed should be provided to beneficiaries. As a result, leadership ultimately decided that the best solution would be to revise the nonprofit’s structure.

The Greater DEPTHS vision currently outlines the organization’s return to its seasonal and holiday legacy with periodic pop-up sales events, an expanded fundraising program, new partnerships with other community-based organizations, a strategic focus on ecommerce, and an enhanced volunteer network. Under One Roof’s board believes these changes will lead to increased agency donations and more opportunities for local volunteers passionate about participating in the ongoing fight against HIV/AIDS and LGBT equality.

Hart emphasized that this change is in no way indicative of Under One Roof’s belief that the disease is over, or that its benefiting organizations no longer need support.

“Quite the contrary,” Hart said. “ We are committed to continuing to provide necessary funds to our agency partners and believe this new plan will help us meet this goal much more effectively.”

For its final holiday season on Castro, Under One Roof is already gearing up to make it lively and festive, with a major celebratory event to take place in mid-November and a splendid array of wonderful holiday gift merchandise to purchase through the end of the year.

 

ABOUT UNDER ONE ROOF: www.underoneroof.org

Created in 1991, Under One Roof was the first non-profit retail store of its kind. The organization raises unrestricted funds for 22 AIDS/HIV Service Organizations that provide direct assistance to San Francisco Bay Area men, women, and children living with HIV/AIDS and other diseases. Since its opening, Under One Roof has sold over $11 million in retail merchandise to benefit local AIDS charities.

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CAL PERFORMANCES RECEIVES MORE THAN $1 MILLION FROM FOUR NEW GRANTS: JAN SHREM & MARIA MANETTI SHREM, ANN AND GORDON GETTY, THE ANDREW W. MELLON FOUNDATION AND THE NATIONAL ENDOWMENT FOR THE ARTS

Cal Performances has been awarded $1.3 million dollars in new gifts in recognition of the institution’s outstanding performances and innovative educational programs, it was announced by Director Matías Tarnopolsky. A gift from Jan Shrem and Maria Manetti Shrem of $250,000 will support the Simón Bolívar Symphony Orchestra of Venezuela’s residency with music director Gustavo Dudamel in Berkeley November 26-30. The engagement will be named “The Jan Shrem and Maria Manetti Shrem Orchestra Residency.” In honor of the Shrems, Ann and Gordon Getty are matching their contribution to Cal Performances Orchestra Residency Program and directly supporting the Philharmonia Orchestra’s engagement under the baton of Esa-Pekka Salonen on November 9-11. A $760,000 award over five years was given by The Andrew W. Mellon Foundation to further the integration of Cal Performances’ artistic programs into the academic life of UC Berkeley.  Lastly, the National Endowment for the Arts $75,000 grant supports the presentation of Einstein on the Beach, An Opera in Four Acts, a groundbreaking work which will have its West Coast premiere in Zellerbach Hall October 26-28. The largest grant ever given to Cal Performances from the NEA, the award is also the NEA’s largest in the Art Works opera category for this funding year.

“The performing arts are vital to the cultural and intellectual life of the campus community,” commented UC Berkeley Chancellor Robert J. Birgeneau. “With the extraordinary leadership of Matías Tarnopolsky, Cal Performances is acknowledged as one of the top presenting arts organizations in the world and we are thrilled that his vision has been recognized by these prestigious arts funders.”

“Cal Performances is an organization in a unique class. We have extraordinary artistic standards and attract the world’s greatest artists and ensembles, and we are situated at the heart of one of the world’s top public universities,” said Tarnopolsky. “These gifts are at once a powerful endorsement of our vision and a recognition of the importance of the role of Cal Performances both on the UC Berkeley campus and in the Bay Area at large. Cal Performances’ mission is to meaningfully engage our audiences with transformative experiences in the performing arts. When we reach the students at UC Berkeley, we fulfill our crucial role in creating well-rounded and culturally connected citizens of tomorrow. I’m tremendously grateful for these gifts, which allow us to forge new programs and promote ever deepening relationships between the artists on our stages, and the great minds at work in our students, faculty and in our community.”

Engaging students and the community is a fundamental element which inspired the gift from Jan Shrem and Maria Manetti Shrem underwriting Gustavo Dudamel and the Simón Bolívar Symphony Orchestra of Venezuela’s residency. “Maria and I have focused our philanthropic efforts on three strong and simple concepts. We believe in a life of culture and that all of the arts enrich society. We believe in a lifetime of learning, in new possibilities and ideas being necessary to regenerate civilization. And we believe that the arts must be accessible to people of all ages and all social and economic strata,” said Jan Shrem. “What Matías Tarnopolsky is creating with these orchestra residencies embodies everything we believe is best about the intersection of arts and education,” added Maria Manetti Shrem. “The spirit of outreach, generosity and inclusion speaks directly to our philosophy. We are delighted to be in a position to support and encourage this kind of thinking, programming and courageous vision.” This gift encompasses two main stage concerts and educational events including a SchoolTime performance for K-12 students, a major educational symposium titled “Reaching for the Stars: A Forum on Musical Education” aiming to stimulate an expansion of music education in public schools with a slate of nationally-recognized speakers, masterclasses for UC Berkeley students, a rehearsal of the UC Berkeley Symphony Orchestra conducted by Dudamel and numerous  activities in local schools with the musicians of the Simón Bolívar Symphony Orchestra. Continuing an ambitious plan laid out by Tarnopolsky in his first season of programming, this residency follows hugely successful earlier residencies with the Vienna Philharmonic and the Mariinsky Orchestra.

Ann and Gordon Getty’s gift of $250,000 is in support of the Philharmonia Orchestra’s residency at Cal Performances, the other signature Orchestra Residency of the 2012-2013 season.  Esa-Pekka Salonen will lead the Philharmonia Orchestra in three performances of repertoire including Berlioz’s Symphonie Fantastique, Salonen’s own Helix, Berg’s Wozzeck with an internationally-renowned cast, and Mahler’s Symphony No. 9. The performances will be accompanied by a host of exciting and enriching education and community programs. Perhaps the most meaningful for UC Berkeley students will be the opportunity for members of the UC Berkeley Symphony Orchestra to perform in Wozzeck, playing the Tavern and Military bands. These students will also have the opportunity to travel with the Philharmonia Orchestra to Los Angeles and to New York for further performances.

The Andrew W. Mellon Foundation grant, and one-time gift of $760,000 to be utilized over five years beginning in Fall 2012, focuses on supporting and encouraging fuller integration between Cal Performances’ artistic programs and the academic programs on the campus of UC Berkeley. Among the ambitious plans proposed is the creation of courses linking performances with current teaching and research yielding a new level of exchange of ideas which will enrich the programming at Cal Performances and the intellectual lives of UC Berkeley students and faculty. Further plans include an in-depth Performing Arts Course, providing a comprehensive study of six performances in the organization’s season, and a new survey class to introduce students to the performing arts. “Magic happens when the worlds of ideas and performance interact. The Mellon Foundation has made it possible for us to bring these worlds together, launch new programs and further our primary goal of engaging more Cal students in live performance,” explained Tarnopolsky.

The National Endowment for the Arts grant supports Cal Performances’ role in recreating the masterpiece Einstein on the Beach, An Opera in Four Acts by Philip Glass and Robert Wilson, widely recognized as one of the great theatrical achievements of the 20th century. Einstein on the Beach will receive its West Coast debut in Berkeley; these will be the first fully realized performances in the United States outside of New York. Cal Performances is part of an international consortium of co-commissioners that includes BAM; the Barbican, London; Luminato, Toronto Festival of Arts and Creativity; De Nederlandse Opera/The Amsterdam Music Theatre; Opéra et Orchestre National de Montpellier Languedoc-Rousillon; and the University Musical Society of the University of Michigan, Ann Arbor. The work is produced by Pomegranate Arts, Inc.

Cal Performances is a beneficiary of UC Berkeley’s renowned intellectual and cultural environment. Under the leadership of Matías Tarnopolsky, who became Director in 2009, the organization has expanded its artistic and educational programs to include annual Orchestra Residencies by some of the finest orchestras in the world, a new music program for at-risk young adults called TEMPO and a variety of open rehearsals, master classes and lectures for the campus and greater Bay Area community. Cal Performances receives around 3% of its budget from the University, generates a healthy 60% from ticket sales and other earned income, and relies upon the generous contributions of individuals, foundations and corporations to provide the remaining funds. Through this important private support Cal Performances is able to curate one of the world’s finest performing arts seasons reaching nearly 200,000 people each year.

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FINAL RECONCILIATION: SPECIAL SERVICE FOR FIRST UNITED CHURCH TO REJOIN LUTHERAN SYNOD

It has been 23 years since First United Lutheran Church began its long time of separation from the Sierra Pacific Synod of the ELCA.  In 1989, the local congregation became the center of a controversy when it (along with St. Francis Lutheran Church) was expelled by the synod for refusing to comply with ELCA policy banning the ordination of openly gay pastors.

Earlier this year, two years after the ELCA changed the policy, FULC decided to return. After much internal discussion, the congregation decided that it was important to affirm the decision of the denomination and to make a commitment to continuing to work for change in the church from within.

A religious service of Reconciliation and Healing will be held on Sunday, October 14 at 5 pm.  Featured clergy include both the current bishop of the synod, Bishop Mark W. Holmerud, as well as the Rev. Jeff R. Johnson, the pastor who was at the center of the controversy (redundant?).  Johnson currently serves as pastor to the University Lutheran Chapel in Berkeley.

Lutheran congregations from all over the bay area have been invited.  The October 14 liturgy was developed by FULC music director Orion Pitts, from music culled from different faiths to emphasize the coming together and unity to which we all aspire.

October 14

5 pm

2907 Turk (at Lyon)

 

 

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Two Weeks Left for “Cross-Pollination: The Art of Lawrence Ferlinghetti” at Sonoma Valley Museum of Art. Show Closes Sept. 23

Bay Area art and literary audiences have two more weeks to visit The Sonoma Valley Museum of Art exhibition Cross-Pollination: The Art of Lawrence Ferlinghetti, featuring a large variety of artworks and other objects by the eminent San Francisco poet, painter and publisher. With paint and words, Lawrence Ferlinghetti ponders ideas and feelings, and engages in direct dialogue with other artists and writers, among them Joyce and Pound, Edna St. Vincent Millay, Allen Ginsberg, Van Gogh and Picasso. Guest curator Diane Roby has focused on key themes that have occupied Ferlinghetti as an artist and poet throughout his creative life, in both image and text. The Sonoma Valley Museum of Art is located at 551 Broadway in downtown Sonoma, just one half-block off the town’s main square. The museum’s galleries are open Wednesday through Sunday, 11am to 5pm. For more information visit www.svma.org.

“This popular exhibition has been a real treat for our visitors, as well as an eye-opener,” said Executive Director Kate Eilertsen. “It shows that Lawrence Ferlinghetti remains an artist who is full of vitality and commitment, which he expresses with great inventiveness in a variety of media. We’re grateful that he has lent us so many works that have never before been exhibited.”

Cross-Pollination: The Art of Lawrence Ferlinghetti features more than twenty paintings on canvas, drawings, monotypes, lithographs, sketchbooks, and a number of painted objects, including a globe, vinyl records, ladies’ nightgowns, and a clock. Several works are exhibited for the first time, including notebooks that combine writings and drawings.

The exhibition is accompanied by a continuous audiovisual program that spans over 50 years, including never-before-seen films of Ferlinghetti in his San Francisco studio and performing in Italy, and new recordings of Ferlinghetti reading selected poems, including his recent “At Sea (for Pablo Neruda)” from his forthcoming poetry book, Time of Useful Consciousness, due out this October from New Directions. Among the films is “Have You Sold Your Dozen Roses?” by Allen Willis, featuring a voiceover by Ferlinghetti, produced in 1957 at the California School of Fine Arts and presented courtesy of the East Bay Media Center. Another short clip features Ferlinghetti’s appearance at The Band’s famed “Last Waltz” concert in San Francisco.

Long celebrated as a poet and publisher, Ferlinghetti, now 93, was first a painter, pursuing his craft at the Sorbonne in Paris shortly after his naval service in World War II. For more than sixty years, he has continued his passion for image-making in paintings, drawings, prints, and mixed media works that have been widely exhibited, including a major survey exhibition in 2010 in Rome and Calabria. Born March 24, 1919, Lawrence Ferlinghetti is acclaimed as a poet, painter, liberal activist, and co-founder of City Lights Booksellers & Publishers in San Francisco. As early as his 1955 book A Coney Island of the Mind (published in 1958 by New Directions)—a collection of poems that has been translated into nine languages, with sales of over 1 million copies—he wrote about himself as a painter and the challenges of the visual artist.

Cross-Pollination: The Art of Lawrence Ferlinghetti at the Sonoma Valley Museum of Art is generously supported by Cherie and Keith Hughes.

Cross-Pollination: The Art of Lawrence Ferlinghetti is on view at the Sonoma Valley Museum of Art, 551 Broadway in Sonoma, through September 23, 2012. Museum hours are Wednesdays through Sundays 11am to 5pm. Museum admission is $5 general; free for students in grades K-12. Museum admission is FREE to visitors every Wednesday; SVMA members enjoy free admission every day. More information about the Sonoma Valley Museum of Art is available at www.svma.org or by calling (707) 939-7862.

 

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Giants announce tentative 2013 regular season schedule

San Francisco will play AL East in Interleague and four rivalry games against Oakland

 The San Francisco Giants are scheduled to begin their 2013 campaign at the Los Angeles Dodgers on Tuesday, April 2 and play their home opener against the St. Louis Cardinals on Friday, April 5, the club announced today.

Following a brief three game road trip to Los Angeles from April 2-4, the Giants will return to the Shores of McCovey Cove for their first homestand of the year, a three-game series vs. the Cardinals (April 5-7) and a three-game set against the Colorado Rockies (April 8-10).

The 2013 baseball schedule has undergone significant changes necessitated by the move of the Houston Astros from the National League to the American League. There will now be at least one interleague game every day of the season (including opening day and the final regular season game).

In previous years the Giants played 18 games against each of their four National League West rivals – Arizona, Colorado, Los Angeles and San Diego – they will now play 19 games against each of those teams.

The Giants will face the American League East in interleague, playing a home-and-road series with the Toronto Blue Jays (May 14-15 at Rogers Centre; June 4-5 at AT&T Park), a home series with the Baltimore Orioles (August 9-11) and Boston Red Sox (August 19-21) and road series with the Tampa Bay Rays (August 2-4) and New York Yankees (September 20-22). A four-game series between the Giants and A’s will take place May 27-30, with the first two games at AT&T Park (May 27-28) and the next two at Oakland Coliseum (May 29-30).

Additional highlights of the San Francisco Giants’ 2013 campaign include:

  • 13 home weekends in all, including a pair of weekend sets against the Dodgers (May 3-5; July 5-7) and one against the Cubs (July 26-28) and Orioles (August 9-11).
  • The longest homestand of the season is a 10-game set from May 3-12 against the Dodgers (May 3-5), Phillies (May 6-8) and Braves (May 9-12). Their shortest home stand is a brief two-game series against the Blue Jays, June 4-5.
  • The Giants will face the Dodgers three times at AT&T Park: May 3-5, July 5-7 and Sept. 24-26.
  • The Giants will play 14 of 16 games on the road from May 29-June 16 and will have a pair of 10-game road trips from June 24-July 4 (at Los Angeles, Colorado, Cincinnati) and Sept. 12-22 (at Los Angeles, New York-NL, New York-AL). They spend an entire week in New York City, playing the Mets (Sept. 17-19) and Yankees (Sept. 20-22).
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A Benefit Performance of Ann Randolph’s SQUEEZE BOX

The Marsh San Francisco is proud to present a benefit performance of Ann Randolph’s SQUEEZE BOX. Originally produced by Mel Brooks and the late Anne Bancroft, the show, a critically acclaimed Off-Broadway hit, went on to win LA Weekly’s Best Solo Show for 2002 and the Los Angeles Times Ovation Award for Best Solo Show 2002. Its extended 2008 run at The Marsh played to sold-out audiences for eight months. We are thrilled to bring it back for one-night only!

The show tells the painfully funny story of Randolph’s crazy minimum wage life working the graveyard shift at a homeless shelter for mentally ill women while pretending to be a hugely successful ‘consultant’ to Harold, an impassioned accordionist and man of her dreamsRandolph brings this unlikely cast of characters to outrageous, pulsing life and shows us how they help her find her own answers to life’s big questions. With nothing but a chair, banjo, guitar and lights to assist her, she invites us to follow along on this tragicomic journey of discovery and self-acceptance. Born and raised in Ohio, Randolph actually did work the graveyard shift at a homeless shelter – for ten years in fact – and wrote SQUEEZE BOX while she was there. The hospital gave her free room and board in exchange for writing and staging plays with the patients.

Now a celebrated and prolific performer, Randolph’s multiple-award-winning Loveland, her most recent show at The Marsh, played in both Berkeley and San Francisco in 2010 to sold out audiences and universal critical acclaim. Her other solo shows include Ann Randolph Miss America, nominated for “best solo show of  2000″ by the LA Weekly and Ohio, which headlined the Los Angeles Women’s theater Festival and the New York City Word Fire Festival. In the theater, Randolph has acted in “Eight Ways To Meet Your Neighbor” (for which she was nominated for Best Comedy Female Performance by the LA Weekly,) Betsy Loves Snap Beans, Hair and Waiting for Godot.  She was a member of the Groundlings as well as many infamous sketch groups in LA. Excerpts from her shows have aired on NPR’s All Things Considered,” Public Radio Weekend, PBS, and the BBC. Randolph also teaches the art of solo performance all over the country. 

 

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VASILY PETRENKO LEADS THE SAN FRANCISCO SYMPHONY IN A PROGRAM OF PÄRT, BARTÓK, AND RESPIGHI OCTOBER 4-6 AT DAVIES SYMPHONY HALL

Jean-Efflam Bavouzet makes his SFS debut in Bartók’s Piano Concerto No. 3

 Vasily Petrenko leads the San Francisco Symphony(SFS) in performances of Arvo Pärt’s Fratres, Bartók’s Piano Concerto No. 3 and Respighi’s Fountains of Rome and Pines of Rome October 4-6 at Davies Symphony Hall. Pianist Jean-Efflam Bavouzetmakes his SFS debut in these performances.

Vasily Petrenkois currently Chief Conductor of the Royal Liverpool Philharmonic Orchestra and, beginning in the 2013-2014 season, will become Music Director of the Oslo Symphony.  Petrenko is also Principal Conductor of the National Youth Orchestra of Great Britain and was recently named Principal Guest Conductor of the Mikhailovsky Theatre in St. Petersburg. With the RLPO he has made numerous recordings, Tchaikovsky’s Manfred Symphony which won the 2009 Classic FM/Gramophone Orchestral Recording of the Year, and Rachmaninoff’s complete piano concertos with pianist Simon Trpčeski. He last appeared with the SFS in October 2011 in performances with violinist Joshua Bell.

French pianist Jean-Efflam Bavouzetwas the recipient of a 2011 Gramophone Award and a 2012 BBC Music Magazine award for his recent recording of works by Ravel, Debussy, and Massenet on the Chandos label.  He also was named Artist of the Year at the 2012 International Classical Music Awards in May 2012. Bavouzet is Artistic Director of the Lofoten Piano Festival in Norway and makes his SFS debut with these appearances.

Thursday, October 4 at 2 pm
Friday, October 5 at 8 pm
Saturday, October 6 at 8 pm

Vasily Petrenko conductor
Jean-Efflam Bavouzet piano
San Francisco Symphony

Arvo Pärt Fratres
Bartók Piano Concerto No. 3 in E major
Respighi Fountains of Rome (Fontane di Roma)
Respighi Pines of Rome (Pini di Roma)

PRE-CONCERT TALK:        Susan Key will give an “Inside Music” talk from the stage one hour prior to each concert.  Free to all concert ticket holders; doors open 15 minutes before.

BROADCAST:                     These concerts will be broadcast on Classical 89.9/90.3/104.9 KDFC and kdfc.com at a later date to be announced.

TICKETS:                           $15-$150.  Tickets are available at sfsymphony.org, by phone at 415-864-6000, and at the Davies Symphony Hall Box Office, on Grove Street between Van Ness Avenue and Franklin Street in San Francisco.

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The 17th Annual Kaiser Permanente SF International Dragon Boat Festival Celebrates “The Year of the Water Dragon” with teams from the UK, Germany, Canada & the US

The largest dragon boat festival outside of Asia brings together int’l athletes 

Treasure Island, San Francisco , Saturday & Sunday, September 15 & 16

Racing: 8am – 5pm; Festival: 10am – 5pm

www.sfdragonboat.com

Call it the “Water Dragon Olympics”: the 17th Annual Kaiser Permanente San Francisco International Dragon Boat Festival (www.sfdragonboat.com) Saturday & Sunday, September 15 & 16, 2012 on Treasure Island in the middle of San Francisco Bay. A fitting counterpart to the recent London Olympics, for the first time, this year’s Festival features several new international teams: paddlers from the United Kingdom, Germany, Canada and, of course, the United States. San Francisco Mayor Edwin M. Lee will help kick-off the event on Saturday as he visits the teams, including one from City Hall’s own ChinaSF business development initiative. Both days of the Festival feature racing from 8am – 5pm, and an on-land Festival of Dragon Boat cultural and related activities from 10am – 5pm. Entrance to the Festival is free and open to the public, as is viewing of the races.

“With a Chinese American Mayor in San Francisco, we’re finding interest in the sport at an all time high and continuing to grow,” said Linda Cheu, Festival Director of the California Dragon Boat Association that sponsors the event. “It is a fitting sport for the Year of the Water Dragon.”

Cheu notes that dragon boating has continued to grow in popularity throughout the country – and world — citing as evidence this year’s unprecedented international competitors.

“The California Dragon Boat Association again expects record attendance in all divisions this year,” said Dave Chen, President of the California Dragon Boat Association and also a longtime dragon boat crewmember. “It’s going to be another great weekend of good, hard racing, excellent entertainment and food, and great times on and off the water!” The festival provides an exciting array of activities off the water as well, from food trucks to entertainment to children’s activities.

In 1996 a handful of paddlers came together with the vision to build an organization to foster the growth and development of dragon boating in the San Francisco Bay Area. Each had little experience in starting up a non-profit organization most were relatively new to the sport themselves. With only commitment and their faith in dragon boating becoming a great activity for the community they moved forward to promote a sport people knew little about in an area already saturated with team sports.

“Although great strides have been made, the dragon boat community in the Bay Area is still in its infancy,” “We are always looking for motivated people to continue the growth of the sport especially on behalf of youth interested in the sport.”

So, what exactly is Dragon Boating?

For those unfamiliar with the sport, dragon boating simply put, is a boat of 20 paddlers, a drummer and a steers person paddling to cross the finish faster than their competition. It’s a team sport in its purest form that encompasses the elements of power, speed, synchronization and endurance.

With its beginnings in Southern China, dragon boating today is the fastest growing international team water sport. Each year, race festivals are held around the world in Asia, Australia, Canada, Europe and the United States, one of the largest festivals in the North America is held right here in the San Francisco Bay Area.

“The appeal to dragon boating is mainly contributed to the sport’s ability to accommodate a wide spectrum of skill levels ranging from novice to competitive,” Chen explains. “At the novice and recreational level, teams often form as a means of social outlet, team building and an alternative means of exercise. For the spectator, the true display of the sport’s intensity and skill is witnessed in the competitive ranks.”

Dragon boat racing is one of the earliest known forms of aquatic competition and is celebrated at festivals and races throughout the world. This mythical celebration is a symbol of Chinese culture and spirit and is one of the three largest festivals in that country, with its roots going back over 2,000 years.

Legend has it that Qu Yuan, a scholar and advisor to the emperor of the Chu Kingdom, jumped into the Mei Lo (Mi Luo) River in despair and protest against government corruption. Local fishermen raced out in their boats to save him. They beat drums and pounded their paddles on the river’s waters and threw rice dumplings wrapped in silk into the river to distract the water dragons and keep them from eating from Qu Yuan’s body. Dragon boating evolved from the re-enactment of this legend at annual festivals.

After 16 years, the California Dragon Boat Association is now the largest dragon boating organization in the Bay Area and organizes one of the largest competitive dragon boat festivals in the United States. In addition, the Association oversees the largest high school and college dragon boat program in the nation.

“No one who has discovers dragon boating – either on the water or as an on land volunteer leaves unchanged,” says Cheu. “Only recently are people outside of Asia beginning to see and experience the magic team and community building aspects of this ancient sport.”

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Center Rep Presents Steve Martin’s THE UNDERPANTS

Adapted from the1910 German farce Die Hose by Carl Sternheim

From the mind of Steve Martin, the renowned comic actor and author of Picasso at the Lapin Agile, comes a wild and crazy satire. Louise and Theo’s conservative existence is shattered when Louise’s bloomers fall down in public. When two admirers show up to rent a room and woo her in secret, Louise discovers that her wardrobe malfunction has made her the center of attention in a story bursting at the seams with surprise, scandal and sexy underwear. Steve Martin has created a comedic masterpiece that reflects on our fascination with fame, our reliance on gender roles and our obsession with sex.

WHERE:
Center REPertory Company 1601 Civic Drive in downtown Walnut Creek

DATES / TIMES / TICKET INFO:
Performances begin Friday, October 19th at 8PM. Press opening is Tuesday, October 23rd at 7:30 PM. Closes Saturday, November 17th at 8PM.

TICKET PRICE RANGE: $33 – $53

TICKET INFORMATION:
For more information go to CenterREP.org or call 925.943.SHOW (7469). You can also visit the LCA Ticket Office at 1601 Civic Drive or the Ticket Office Outlets at Barnes & Noble in Walnut Creek and the Downtown Walnut Creek Library.

PERFORMANCE SCHEDULE: (Lesher Theatre)
FRIDAY – October 19, 8:00PM
SATURDAY – October 20, 8:00PM
SUNDAY- October 21, 2:30PM

TUESDAY – OPENING October 23, 7:30PM
WEDNESDAY – October 24, 7:30PM
THURSDAY – October 25, 8:00PM
FRIDAY – October 26, 8:00PM
SATURDAY – October 27, 8:00PM
SUNDAY – October 28, 2:30PM

WEDNESDAY – October 31, 7:30PM
THURSDAY – November 1, 8:00PM
FRIDAY – November 2, 8:00PM
SATURDAY – November 3, 8:00PM
SUNDAY – November 4, 2:30PM

WEDNESDAY – November 7, 7:30PM
THURSDAY – November 8, 8:00PM
FRIDAY – November 9, 8:00PM
SATURDAY – November 10, 8:00PM
SUNDAY – November 11, 2:30PM

WEDNESDAY – November 14, 7:30PM
THURSDAY – November 15, 8:00PM
FRIDAY – November 16, 8:00PM
SATURDAY – CLOSING November 17, 2:30pm & 8:00PM

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Will “Evolving” Supreme Court Uphold Gay Marriage?

From the SF Examiner — A tall, hulking man in his late 70s, William Rehnquist, then the chief justice of the U.S. Supreme Court, crawled down on all fours to say hello to the two little girls who had scurried under the table when he approached at a luncheon.

Sally Rider and her partner, Betsy, had tried to teach their two preschool-age daughters how to shake hands with Rehnquist. At the time, Rider was his top aide.

Recalling the episode nearly a decade later, Rider, 55, said the late conservative chief justice was as understanding of the girls’ shyness as he was accepting of Rider’s lesbian relationship and family. He never said a word.

But such acceptance didn’t change his view of the law. Around that same time, the Supreme Court struck down a Texas statute criminalizing private homosexual relations. And Rehnquist signed on to a stinging dissent that referred to Americans “protecting themselves and their families from a lifestyle that they believe to be immoral and destructive.”

This year, for the first time since that 2003 ruling, the nine Supreme Court justices — four of whom were not on the court then — face major gay-rights disputes. The court will decide, possibly as early as the end of September, whether to review the federal Defense of Marriage Act, which bars marriage benefits such as Social Security survivor payments for same-sex married couples. Separately, the court will decide whether to take up Proposition 8, California’s ban on same-sex marriage, which was approved by voters in 2008.

The cases come before a court that has shown increasing acceptance of the gay men and lesbians employed there.

But as the Rehnquist incident showed, it can be difficult to draw conclusions about how a justice’s personal involvement with gay people might influence rulings. Individual justices clearly read the law differently. The more liberal members, for instance, say consensual gay relations are covered by the Constitution’s implicit right to privacy. The more conservative justices find no such privacy right in the Constitution.

Predictions for new cases are difficult, particularly for any momentous test of gay marriage. While the court has been open to protecting gay people from discrimination, it would be a leap for the court to require states to permit same-sex marriage, given past cases and since the vast majority of states do not recognize such unions.

Justice Anthony Kennedy, often the swing vote on this court, wrote the opinion in the 2003 gay-rights case, Lawrence v. Texas, vigorously endorsing privacy rights for gay men and lesbians and their intimate relations.

Justice Antonin Scalia — asked about his dissents in past gay-rights cases, voiced from the bench as well as in his written opinions — said he was merely reading the Constitution, which he says does not cover a right to same-sex relations.

“Where does it come from?” he said. “This is a trendy view of the current society elite. It’s not right to impose it on everybody else. It’s a democratic question. If you want to permit homosexual sodomy, then pass a law.”

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THE WORLD’S FUNNIEST BUBBLE SHOW at The Marsh Berkeley

The Marsh Berkeley is thrilled (and a little amazed, to be quite honest)  to announce that  The Amazing Bubble Man (aka Louis Pearl) is returning from a world tour (New Zealand, Edinburgh and Hong Kong) to begin the third year of his hit extravaganza, THE WORLD’S FUNNIEST BUBBLE SHOW at The Marsh Berkeley. As people all over the globe seem to be discovering, this extraordinarily popular, continually sold-out show makes a totally delightful and very inexpensive outing for the whole family. To put it mildly, it’s packed end-to-end with fun stuff!

The show plays at 11 am on Sundays from October 7 – November 25 on the TheaterStage at The Marsh Berkeley, 2120 Allston Way (off Shattuck.) During Thanksgiving week, in addition to the regular Sunday show on November 25, there will be two additional 11 am shows on Friday, November 23 and Saturday, November 24. For tickets, the public may visit www.themarsh.org <http://www.themarsh.org>  or call 415-282-3055.

There are universe bubbles with orbiting planets and bubble chains that look like centipedes.There’s lots of audience participation and some lucky kids will find themselves inside bubbles, while others will get to eat them. Warning: expect lots of excitement and laughter.

Pearl, a resident of Sebastopol, has been bubbling professionally since 1980. He gathered heaps of praise from the international media during his tour this summer, all of which (along with some great photos) can be enjoyed at http://amazingbubbleman.com/ and/or http://www.tangenttoy.com/bubbleman/aboutlouis.html

 

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Spring 2012 L@TE: Friday Nights @ BAM/PFA and E@RLY: Sundays @ BAM/PFA Schedule Announced

The University of California, Berkeley Art Museum and Pacific Film Archive introduces a new series of L@TE: Friday Nights @ BAM/PFA and E@RLY: Sundays @ BAM/PFA events for fall. Recently named the “Best Night in the Museum” by the San Francisco Bay Guardian, the L@TE program makes good on the accolade with a schedule of performances by new-music luminaries young and old, up-and-coming alt rockers, and neofolkies, plus preconcert conversations, lectures, DJ sets, and more—all set against the colorful backdrop of artist Barry McGee’s bright Gallery B op-art installations.

To read the press release and event descriptions click here: http://bampfa.berkeley.edu/press/release/TXT0319

John Cage Celebration: PICO

September 14, 7:30 p.m.

 

Devendra Banhart, Justin Hoover and Chris Treggiari

Friday, September 21, 7:30 p.m.

 

The Dodos

Friday, September 28, 7:30 p.m.

 

Weekend

Friday, October 5, 7:30 p.m.

 

Terry Riley with Tracy Silverman

Friday, October 12, 7:30 p.m.

 

T.I.T.S. and Erick Lyle (formerly Iggy Scam)

Friday, October 19, 7:30

 

Shotgun Wedding Quintet

Friday, November 2; 7:30 p.m.

 

Cypress String Quartet

Friday, November 9, 7:30 p.m.

 

Peggy Honeywell and Bill Daniel

Friday, November 16, 7:30 p.m.

 

Ikue Mori

Sunday, December 2, 12 p.m.

 

Quartet San Francisco Plays the Music of Raymond Scott

Friday, December 7, 7:30 p.m.

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Historic Hotel Durant in Berkeley to be Sold

HVS Capital Corp (www.hvscapital.com) has been exclusively appointed to sell the Hotel Durant in Berkeley, Calif. The 143-room property is a historic, contemporary, boutique hotel adjacent the University of California at Berkeley, within walking distance of all student housing, the newly renovated football stadium and the basketball arena.

In 1924, the Berkeley Hotel Corporation was formed and hired the firm of William Weeks, one of the most prolific and versatile architects of his generation, to design the hotel. The property’s namesake, Henry Durant, was the first President of the University of California at Berkeley and a former mayor of Oakland. The Hotel Durant opened in 1928 with a gala celebration, music, refreshments and tours throughout this new hostelry.

The Hotel Durant embarked on a comprehensive $7 million renovation in 2007. Subsequently, the property was once again unveiled to the local community, this time showcasing Berkeley’s first green-certified boutique hotel, with touches of the city’s whimsical, bohemian spirit, in a more collegiate-themed setting. Henry’s Publick House, one of the most well-known local bars, was reintroduced as Berkeley’s first modern gastro pub and restaurant.

“There is a limited amount of lodging supply in Berkeley, high barriers-to-entry, and no hotel is closer to the University than the Hotel Durant,” said Bill Sipple, Managing Director of HVS Capital Corp. “The Hotel Durant and its competitive set have experienced double digit RevPAR growth for the last 33 months. With the $321 million renovation of California Memorial Stadium now complete, East Bay hotels should continue to thrive.”

 

From SEND2PRESS NEWSWIRE

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Chinese Historical Society of America Voice & Vision Gala 2012 to Honor Distinguished Chinese American Luminaries Saturday, September 22, 2012, 6pm, Four Seasons Hotel, San Francisco

The Chinese Historical Society of America (www.chsa.org) announces the Voice & Vision Gala 2012, to be held on Saturday evening, September 22, 2012, at the Four Seasons Hotel, 757 Market Street, San Francisco.  Voice & Vision Gala 2012 will honor three extraordinary women: Congresswoman Judy Chu, journalist Manli Ho, and community historian Connie Young Yu.  Special musical entertainment will be provided by Beach Blanket Babylon. The Gala, to benefit the ongoing programs of the Chinese Historical Society of America, begins at 6pm with a reception and silent auction, followed at 7pm by dinner and the Gala program.  For reservations, call 415-391-1188 x101 or email alisa@chsa.org.  More information is available at www.chsa.org

CHSA’s annual Gala has grown to be an event of national importance reflecting the pioneering role that CHSA has performed for nearly 50 years.  CHSA Executive Director Sue Lee says, “We believe in the importance of sharing our history in our own voice, and we take our role as stewards of the Chinese American narrative very seriously.  As we look forward to our fiftieth anniversary, we are so pleased to celebrate our continuing work by honoring the outstanding achievements of these women.”

Congresswoman Judy Chu led the effort to pass House Resolution 683 expressing regret for the passage of the 1882 Chinese Exclusion Act.  Journalist Manli Ho investigated the long-lost story of Chinese diplomat Dr. Feng Shan Ho, who saved thousands of Jewish lives from 1938-40 by providing exit visas to Shanghai.  Community Historian Connie Young Yu has devoted her energies for more than a quarter of a century to rediscovering a history of Chinese and Asian America that has, for the most part, been forgotten, overlooked, and even hidden.

Last year’s Voice & Vision Gala paid special tribute to Mayor Ed Lee, San Francisco’s first Asian American mayor, Judge Ed Chen, the first Chinese American to be appointed to the United States District Court for the Northern District of California, and David Louie, Attorney General of Hawaii. As remarkable as their individual achievements, their collective achievement is an even more significant reflection of the ascendancy of a new generation of Asian Americans in public and civic life.

In his comments last year, Mayor Lee noted, “The role of the Chinese Historical Society is to document those ancestors of generations who sacrificed just to make a living. It is your struggles that have allowed me to be here, and so I want to honor the community first.”

Judge Chen, the first Chinese American Article III Judge in the Court’s 150-year history, said, “I sit on the shoulders of history, as the CHSA teaches us, with its work of educating us about our past so we can better lead in the future.”

David Louie, Attorney General of the State of Hawaii said, “We all know we stand on the shoulders of all those who have come before us.”

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