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"title": "How to Start a Year of Bay Area Art Off Right",
"headTitle": "How to Start a Year of Bay Area Art Off Right | KQED",
"content": "\u003cp>Welcome to the future! Last year I took the liberty of writing us \u003ca href=\"https://ww2.kqed.org/arts/2017/01/03/a-new-years-resolution-for-the-bay-area-art-scene/\" rel=\"noopener\" target=\"_blank\">a mutual New Year’s resolution\u003c/a>, which I’m sure you completely stuck with. Remember? We vowed to show up more, to support the local art scene by being genuinely interested in it — and not just in a double-tap-that-Instagram-image kind of way?\u003c/p>\n\u003cp>After weeks of near-hibernation, too much holiday food, hours of travel and an overload of whatever Netflix program you’ve binge-watched to death, I’m psyched to re-up that commitment with you. Without further ado, I present a few events small enough to actually force face-to-face conversations, where you can start a new year of art off right:\u003c/p>\n\u003cfigure id=\"attachment_13818545\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Foto_photo_HBlohm_Archiv_archive-Die-T%C3%B6dliche-Doris-Kopie_400.jpg\" alt=\"\" width=\"400\" height=\"283\" class=\"size-full wp-image-13818545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Foto_photo_HBlohm_Archiv_archive-Die-Tödliche-Doris-Kopie_400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Foto_photo_HBlohm_Archiv_archive-Die-Tödliche-Doris-Kopie_400-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Foto_photo_HBlohm_Archiv_archive-Die-Tödliche-Doris-Kopie_400-240x170.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Foto_photo_HBlohm_Archiv_archive-Die-Tödliche-Doris-Kopie_400-375x265.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Die Tödliche Doris in the form of allegorical characters at the Festival Genialer Dilletanten (sic) Tempodrom, West Berlin, 1981. \u003ccite>(Photo: H. Blohm, archive, Die Tödliche Doris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>‘Brilliant Dilletantes — Subculture in Germany in the 1980s’\u003c/h3>\n\u003ch5>Jan. 5–27\u003cbr>\nPro Arts, Oakland\u003c/h5>\n\u003cp>A traveling exhibition sponsored by the Goethe-Institut San Francisco fills Oakland’s Pro Arts with photographs, films, zines and noise from a brief era of renegade gatherings and experimental production in East and West Germany. Highlighting the bands, artists, filmmakers and designers who rejected craftsmanship in favor of genre-crossing, purposely provocative aesthetics, the show includes a screening of \u003ci>Punk Berlin 1982\u003c/i> (a dramatization of one punk’s introduction to the West Berlin scene) and, for some local flavor, performances by Bay Area bands like Moira Scar and Bonus Beast throughout the month. \u003ca href=\"https://proartsgallery.org/event/brilliant-diletantes-subculture-in-germany-in-the-1980s/\" rel=\"noopener\" target=\"_blank\">More info\u003c/a>.\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_13818547\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Rodriguez_Face_400.jpg\" alt=\"Blanca Estela Rodriguez, 'Hye Yang,' 2016. Rodriguez is a current studio artist and former Root Division Latinx Teaching Artist Fellow.\" width=\"400\" height=\"400\" class=\"size-full wp-image-13818547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rodriguez_Face_400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rodriguez_Face_400-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rodriguez_Face_400-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rodriguez_Face_400-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rodriguez_Face_400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rodriguez_Face_400-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rodriguez_Face_400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rodriguez_Face_400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rodriguez_Face_400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rodriguez_Face_400-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Blanca Estela Rodriguez, ‘Hye Yang,’ 2016. Rodriguez is a current studio artist and former Root Division Latinx Teaching Artist Fellow. \u003ccite>(Courtesy of Root Division)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>Root Division Turns 15\u003c/h3>\n\u003ch5>Jan. 10–Feb. 10; Celebration & exhibition opening Jan. 13, 7–10pm\u003cbr>\nRoot Division, San Francisco\u003c/h5>\n\u003cp>Befitting its hybrid nature as “alternative space, commercial gallery, art center and studio facility,” San Francisco’s Root Division celebrates 15 years of existence this month with an exhibition, publication, performance night (Feb. 10) and a box set of prints. The exhibition features (naturally) 15 artists still deeply involved in Root Division’s programming and community, including personal favorites Dana Hemenway, Cathy Lu, Whitney Lynn and Chris Thorson. Come wish them happy birthday! \u003ca href=\"https://rootdivision.org/15-year-anniversary-celebration\" rel=\"noopener\" target=\"_blank\">More info\u003c/a>.\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_13818475\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Capron_400.png\" alt=\"Work by Maria Guzmán Capron.\" width=\"400\" height=\"450\" class=\"size-full wp-image-13818475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Capron_400.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Capron_400-160x180.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Capron_400-240x270.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Capron_400-375x422.png 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Work by Maria Guzmán Capron. \u003ccite>(Courtesy of R/SF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>Maria Guzmán Capron, ‘Desdoblé’\u003c/h3>\n\u003ch5>Jan. 12–Feb. 4\u003cbr>\nR/SF projects, San Francisco\u003c/h5>\n\u003cp>The energetic Lower Nob Hill gallery R/SF projects rings in a new year of programming with an exhibition from Berkeley-based Maria Guzmán Capron, a versatile artist seemingly just as skilled in engineering stuffed textiles as she is in creating eerie yet folksy ceramics. In her first solo since her 2015 show \u003ci>She Bop\u003c/i> at City Limits, expect a variety of textures and materials (including carpets), rewards for sustained viewing and exploration (desdoblé means “unfold” in Spanish) and surreal, alien-like figures the gallery describes as “hyperbolic.” Yes please. \u003ca href=\"http://rsfprojects.com/\" rel=\"noopener\" target=\"_blank\">More info\u003c/a>.\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_13818482\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ill-be-around-2_400.jpg\" alt=\"Still from Jeremy Rourke's 'I'll Be Around.'\" width=\"400\" height=\"266\" class=\"size-full wp-image-13818482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ill-be-around-2_400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ill-be-around-2_400-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ill-be-around-2_400-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ill-be-around-2_400-375x249.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Still from Jeremy Rourke’s ‘I’ll Be Around.’ \u003ccite>(Courtesy of ATA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>Jeremy Rourke, ‘I’ll Be Around’\u003c/h3>\n\u003ch5>Jan. 12, 5–6pm\u003cbr>\nUntitled Art Fair, Palace of Fine Arts Theater, San Francisco\u003c/h5>\n\u003cp>This year’s Untitled art fair brings more than 50 arts institutions together for the purposes of selling art — and also hosts a bevy of performances, screenings and conversations well worth your while. Find me at Jeremy Rourke’s expanded cinema, music and performance piece \u003ci>I’ll Be Around\u003c/i>, the culmination of his year-long residency-slash-collaboration with Artists’ Television Access. From the clips I’ve seen of this work performed at the end of 2017, we’re in for a treat. \u003ca href=\"https://untitledartfairs.com/san-francisco/program/event/01-12-2018?\" rel=\"noopener\" target=\"_blank\">More info\u003c/a>. \u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_13818548\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ART-GIVES-BACK_logo_400.jpg\" alt=\"100 percent of the benefit's proceeds go to organizations aiding victims of the North Bay fires. \" width=\"400\" height=\"400\" class=\"size-full wp-image-13818548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ART-GIVES-BACK_logo_400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ART-GIVES-BACK_logo_400-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ART-GIVES-BACK_logo_400-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ART-GIVES-BACK_logo_400-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ART-GIVES-BACK_logo_400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ART-GIVES-BACK_logo_400-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ART-GIVES-BACK_logo_400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ART-GIVES-BACK_logo_400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ART-GIVES-BACK_logo_400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ART-GIVES-BACK_logo_400-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">100 percent of the benefit’s proceeds go to organizations aiding victims of the North Bay fires.\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>Art Gives Back\u003c/h3>\n\u003ch5>Jan. 21, 4–8pm\u003cbr>\nMinnesota Street Project, San Francisco\u003c/h5>\n\u003cp>After last year’s devastating North Bay fires, members of the Bay Area art community began organizing a fundraiser for the region’s most vulnerable victims. The fruit of those labors is Art Gives Back, a one-night event set to include an auction, music, performances, karaoke, food, drinks and the promise of “more,” though what else could be packed into four hours, I’m not sure. All the proceeds from the night will go to UndocuFund and the Latino Community Foundation, organizations providing support to farm workers and immigrant families in Sonoma, Calistoga and Santa Rosa. Tickets to Art Gives Back are just $20, and even though the specifics of whose art, what music and which karaoke songs will be available are still undisclosed, there’s no doubt it will be $20 well spent. \u003ca href=\"https://www.artgivesback.org/\" rel=\"noopener\" target=\"_blank\">More info\u003c/a>. \u003c/p>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Welcome to the future! Last year I took the liberty of writing us \u003ca href=\"https://ww2.kqed.org/arts/2017/01/03/a-new-years-resolution-for-the-bay-area-art-scene/\" rel=\"noopener\" target=\"_blank\">a mutual New Year’s resolution\u003c/a>, which I’m sure you completely stuck with. Remember? We vowed to show up more, to support the local art scene by being genuinely interested in it — and not just in a double-tap-that-Instagram-image kind of way?\u003c/p>\n\u003cp>After weeks of near-hibernation, too much holiday food, hours of travel and an overload of whatever Netflix program you’ve binge-watched to death, I’m psyched to re-up that commitment with you. Without further ado, I present a few events small enough to actually force face-to-face conversations, where you can start a new year of art off right:\u003c/p>\n\u003cfigure id=\"attachment_13818545\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Foto_photo_HBlohm_Archiv_archive-Die-T%C3%B6dliche-Doris-Kopie_400.jpg\" alt=\"\" width=\"400\" height=\"283\" class=\"size-full wp-image-13818545\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Foto_photo_HBlohm_Archiv_archive-Die-Tödliche-Doris-Kopie_400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Foto_photo_HBlohm_Archiv_archive-Die-Tödliche-Doris-Kopie_400-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Foto_photo_HBlohm_Archiv_archive-Die-Tödliche-Doris-Kopie_400-240x170.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Foto_photo_HBlohm_Archiv_archive-Die-Tödliche-Doris-Kopie_400-375x265.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Die Tödliche Doris in the form of allegorical characters at the Festival Genialer Dilletanten (sic) Tempodrom, West Berlin, 1981. \u003ccite>(Photo: H. Blohm, archive, Die Tödliche Doris)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>‘Brilliant Dilletantes — Subculture in Germany in the 1980s’\u003c/h3>\n\u003ch5>Jan. 5–27\u003cbr>\nPro Arts, Oakland\u003c/h5>\n\u003cp>A traveling exhibition sponsored by the Goethe-Institut San Francisco fills Oakland’s Pro Arts with photographs, films, zines and noise from a brief era of renegade gatherings and experimental production in East and West Germany. Highlighting the bands, artists, filmmakers and designers who rejected craftsmanship in favor of genre-crossing, purposely provocative aesthetics, the show includes a screening of \u003ci>Punk Berlin 1982\u003c/i> (a dramatization of one punk’s introduction to the West Berlin scene) and, for some local flavor, performances by Bay Area bands like Moira Scar and Bonus Beast throughout the month. \u003ca href=\"https://proartsgallery.org/event/brilliant-diletantes-subculture-in-germany-in-the-1980s/\" rel=\"noopener\" target=\"_blank\">More info\u003c/a>.\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_13818547\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Rodriguez_Face_400.jpg\" alt=\"Blanca Estela Rodriguez, 'Hye Yang,' 2016. Rodriguez is a current studio artist and former Root Division Latinx Teaching Artist Fellow.\" width=\"400\" height=\"400\" class=\"size-full wp-image-13818547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rodriguez_Face_400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rodriguez_Face_400-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rodriguez_Face_400-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rodriguez_Face_400-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rodriguez_Face_400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rodriguez_Face_400-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rodriguez_Face_400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rodriguez_Face_400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rodriguez_Face_400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rodriguez_Face_400-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Blanca Estela Rodriguez, ‘Hye Yang,’ 2016. Rodriguez is a current studio artist and former Root Division Latinx Teaching Artist Fellow. \u003ccite>(Courtesy of Root Division)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>Root Division Turns 15\u003c/h3>\n\u003ch5>Jan. 10–Feb. 10; Celebration & exhibition opening Jan. 13, 7–10pm\u003cbr>\nRoot Division, San Francisco\u003c/h5>\n\u003cp>Befitting its hybrid nature as “alternative space, commercial gallery, art center and studio facility,” San Francisco’s Root Division celebrates 15 years of existence this month with an exhibition, publication, performance night (Feb. 10) and a box set of prints. The exhibition features (naturally) 15 artists still deeply involved in Root Division’s programming and community, including personal favorites Dana Hemenway, Cathy Lu, Whitney Lynn and Chris Thorson. Come wish them happy birthday! \u003ca href=\"https://rootdivision.org/15-year-anniversary-celebration\" rel=\"noopener\" target=\"_blank\">More info\u003c/a>.\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_13818475\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Capron_400.png\" alt=\"Work by Maria Guzmán Capron.\" width=\"400\" height=\"450\" class=\"size-full wp-image-13818475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Capron_400.png 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Capron_400-160x180.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Capron_400-240x270.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Capron_400-375x422.png 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Work by Maria Guzmán Capron. \u003ccite>(Courtesy of R/SF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>Maria Guzmán Capron, ‘Desdoblé’\u003c/h3>\n\u003ch5>Jan. 12–Feb. 4\u003cbr>\nR/SF projects, San Francisco\u003c/h5>\n\u003cp>The energetic Lower Nob Hill gallery R/SF projects rings in a new year of programming with an exhibition from Berkeley-based Maria Guzmán Capron, a versatile artist seemingly just as skilled in engineering stuffed textiles as she is in creating eerie yet folksy ceramics. In her first solo since her 2015 show \u003ci>She Bop\u003c/i> at City Limits, expect a variety of textures and materials (including carpets), rewards for sustained viewing and exploration (desdoblé means “unfold” in Spanish) and surreal, alien-like figures the gallery describes as “hyperbolic.” Yes please. \u003ca href=\"http://rsfprojects.com/\" rel=\"noopener\" target=\"_blank\">More info\u003c/a>.\u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_13818482\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ill-be-around-2_400.jpg\" alt=\"Still from Jeremy Rourke's 'I'll Be Around.'\" width=\"400\" height=\"266\" class=\"size-full wp-image-13818482\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ill-be-around-2_400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ill-be-around-2_400-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ill-be-around-2_400-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ill-be-around-2_400-375x249.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Still from Jeremy Rourke’s ‘I’ll Be Around.’ \u003ccite>(Courtesy of ATA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>Jeremy Rourke, ‘I’ll Be Around’\u003c/h3>\n\u003ch5>Jan. 12, 5–6pm\u003cbr>\nUntitled Art Fair, Palace of Fine Arts Theater, San Francisco\u003c/h5>\n\u003cp>This year’s Untitled art fair brings more than 50 arts institutions together for the purposes of selling art — and also hosts a bevy of performances, screenings and conversations well worth your while. Find me at Jeremy Rourke’s expanded cinema, music and performance piece \u003ci>I’ll Be Around\u003c/i>, the culmination of his year-long residency-slash-collaboration with Artists’ Television Access. From the clips I’ve seen of this work performed at the end of 2017, we’re in for a treat. \u003ca href=\"https://untitledartfairs.com/san-francisco/program/event/01-12-2018?\" rel=\"noopener\" target=\"_blank\">More info\u003c/a>. \u003c/p>\u003c/div>\n\u003cfigure id=\"attachment_13818548\" class=\"wp-caption alignleft\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/ART-GIVES-BACK_logo_400.jpg\" alt=\"100 percent of the benefit's proceeds go to organizations aiding victims of the North Bay fires. \" width=\"400\" height=\"400\" class=\"size-full wp-image-13818548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ART-GIVES-BACK_logo_400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ART-GIVES-BACK_logo_400-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ART-GIVES-BACK_logo_400-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ART-GIVES-BACK_logo_400-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ART-GIVES-BACK_logo_400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ART-GIVES-BACK_logo_400-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ART-GIVES-BACK_logo_400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ART-GIVES-BACK_logo_400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ART-GIVES-BACK_logo_400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/ART-GIVES-BACK_logo_400-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">100 percent of the benefit’s proceeds go to organizations aiding victims of the North Bay fires.\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"callout noborder\">\n\u003ch3>Art Gives Back\u003c/h3>\n\u003ch5>Jan. 21, 4–8pm\u003cbr>\nMinnesota Street Project, San Francisco\u003c/h5>\n\u003cp>After last year’s devastating North Bay fires, members of the Bay Area art community began organizing a fundraiser for the region’s most vulnerable victims. The fruit of those labors is Art Gives Back, a one-night event set to include an auction, music, performances, karaoke, food, drinks and the promise of “more,” though what else could be packed into four hours, I’m not sure. All the proceeds from the night will go to UndocuFund and the Latino Community Foundation, organizations providing support to farm workers and immigrant families in Sonoma, Calistoga and Santa Rosa. Tickets to Art Gives Back are just $20, and even though the specifics of whose art, what music and which karaoke songs will be available are still undisclosed, there’s no doubt it will be $20 well spent. \u003ca href=\"https://www.artgivesback.org/\" rel=\"noopener\" target=\"_blank\">More info\u003c/a>. \u003c/p>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>As many of us settle into the new year with virtual assistants like the Amazon Echo, Google Home or Microsoft Cortana, it’s worth asking: how much personal information are they picking up? Also, where does that information go?\u003c/p>\n\u003cp>\u003ca href=\"http://www.consumerwatchdog.org/privacy-technology/consumer-watchdog-reveals-surveillance-capabilities-digital-assistants\" target=\"_blank\" rel=\"noopener noreferrer\">Consumer Watchdog\u003c/a>, a Santa Monica-based nonprofit, has asked federal regulators to get out in front of a future where virtual assistants are listening to everything that goes on in your home, whether or not you use the “wake” words to launch them.\u003c/p>\n\u003cp>John Simpson of Consumer Watchdog has read the patent applications for these assistants, and he says those applications clearly indicate plans for broader, commercially focused household surveillance in the near future. “You know, keeping track of things like the number of times you flush the toilet, and when you go to bed,” he says.\u003c/p>\n\u003cp>Simpson adds that kids using your devices are being tracked, too, regardless of whether you’re in the room or giving permission. He asserts that such tracking is a violation of the \u003ca href=\"http://www.coppa.org/coppa.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Child Online Privacy Protection Act\u003c/a>. “One of the patents proposes inferring whether a child is misbehaving,” Simpson says. “I just think that has crossed a line and is far too invasive.”\u003c/p>\n\u003cp>The Federal Trade Commission would only confirm that it had received a letter from Consumer Watchdog.\u003c/p>\n\u003ch3>Companies Respond\u003c/h3>\n\u003cp>In response to Consumer Watchdog, Google issued a statement. “Consumer Watchdog’s claims are unfounded,” it reads. “All devices that come with the Google Assistant, including Google Home, are designed with user privacy in mind. For Google Home, we only store voice queries after a physical trigger or after recognizing a hot word trigger like ‘OK Google’ or ‘Hey Google.'”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The answer from Amazon spokesman Leigh Nakanishi was more open-ended. “We take privacy seriously and have built multiple layers of privacy into Echo devices,” she wrote. “Like many companies, we file a number of forward-looking patent applications that explore the full possibilities of new technology. Patents take multiple years to receive and do not necessarily reflect current developments to products and services.”\u003c/p>\n\u003cp>Microsoft declined to comment.\u003c/p>\n\u003cfigure id=\"attachment_13818505\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818505\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/RS26379_Amazon-Devices-qut-800x450.jpg\" alt=\"Virtual assistants on display at the Amazon store in San Jose.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/RS26379_Amazon-Devices-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/RS26379_Amazon-Devices-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/RS26379_Amazon-Devices-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/RS26379_Amazon-Devices-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/RS26379_Amazon-Devices-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/RS26379_Amazon-Devices-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/RS26379_Amazon-Devices-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/RS26379_Amazon-Devices-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/RS26379_Amazon-Devices-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/RS26379_Amazon-Devices-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Virtual assistants on display at the Amazon store in San Jose. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of that said, Big Tech is already tracking you: your searches, purchases online and off, social media browsing, even email. You want out of this data-mining ecosystem? It’s going to take work.\u003c/p>\n\u003cp>As Brian Blau, a VP at the tech research firm Gartner explains, “You’d have to leave your smartphone away from where you are, drive a car anonymously, or not your own car, drive in someone else’s. Not walk in front of any cameras anywhere. You know, there are millions and millions of them all over the place.”\u003c/p>\n\u003cp>Blau has several virtual assistants in his home, for research purposes. “I have to be careful, because if I say their names right now, they will respond accordingly,” he jokes.\u003c/p>\n\u003cp>But he’s not worried about them tracking his every move and sending the information to advertisers. What worries Blau is the likelihood that, advertisers will eventually want to talk to you directly through your assistant.\u003c/p>\n\u003cp>For those creeped out by the thought of recorded requests and other things you’ve said being stored in a database, you can mute your device’s microphone, turn off the device when you’re not using it, or periodically delete the files being kept on you.\u003c/p>\n\u003cp>But as Amazon warns, “deleting voice recordings may degrade your Alexa experience.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As many of us settle into the new year with virtual assistants like the Amazon Echo, Google Home or Microsoft Cortana, it’s worth asking: how much personal information are they picking up? Also, where does that information go?\u003c/p>\n\u003cp>\u003ca href=\"http://www.consumerwatchdog.org/privacy-technology/consumer-watchdog-reveals-surveillance-capabilities-digital-assistants\" target=\"_blank\" rel=\"noopener noreferrer\">Consumer Watchdog\u003c/a>, a Santa Monica-based nonprofit, has asked federal regulators to get out in front of a future where virtual assistants are listening to everything that goes on in your home, whether or not you use the “wake” words to launch them.\u003c/p>\n\u003cp>John Simpson of Consumer Watchdog has read the patent applications for these assistants, and he says those applications clearly indicate plans for broader, commercially focused household surveillance in the near future. “You know, keeping track of things like the number of times you flush the toilet, and when you go to bed,” he says.\u003c/p>\n\u003cp>Simpson adds that kids using your devices are being tracked, too, regardless of whether you’re in the room or giving permission. He asserts that such tracking is a violation of the \u003ca href=\"http://www.coppa.org/coppa.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Child Online Privacy Protection Act\u003c/a>. “One of the patents proposes inferring whether a child is misbehaving,” Simpson says. “I just think that has crossed a line and is far too invasive.”\u003c/p>\n\u003cp>The Federal Trade Commission would only confirm that it had received a letter from Consumer Watchdog.\u003c/p>\n\u003ch3>Companies Respond\u003c/h3>\n\u003cp>In response to Consumer Watchdog, Google issued a statement. “Consumer Watchdog’s claims are unfounded,” it reads. “All devices that come with the Google Assistant, including Google Home, are designed with user privacy in mind. For Google Home, we only store voice queries after a physical trigger or after recognizing a hot word trigger like ‘OK Google’ or ‘Hey Google.'”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The answer from Amazon spokesman Leigh Nakanishi was more open-ended. “We take privacy seriously and have built multiple layers of privacy into Echo devices,” she wrote. “Like many companies, we file a number of forward-looking patent applications that explore the full possibilities of new technology. Patents take multiple years to receive and do not necessarily reflect current developments to products and services.”\u003c/p>\n\u003cp>Microsoft declined to comment.\u003c/p>\n\u003cfigure id=\"attachment_13818505\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818505\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/RS26379_Amazon-Devices-qut-800x450.jpg\" alt=\"Virtual assistants on display at the Amazon store in San Jose.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/RS26379_Amazon-Devices-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/RS26379_Amazon-Devices-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/RS26379_Amazon-Devices-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/RS26379_Amazon-Devices-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/RS26379_Amazon-Devices-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/RS26379_Amazon-Devices-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/RS26379_Amazon-Devices-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/RS26379_Amazon-Devices-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/RS26379_Amazon-Devices-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/RS26379_Amazon-Devices-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Virtual assistants on display at the Amazon store in San Jose. \u003ccite>(Photo: Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of that said, Big Tech is already tracking you: your searches, purchases online and off, social media browsing, even email. You want out of this data-mining ecosystem? It’s going to take work.\u003c/p>\n\u003cp>As Brian Blau, a VP at the tech research firm Gartner explains, “You’d have to leave your smartphone away from where you are, drive a car anonymously, or not your own car, drive in someone else’s. Not walk in front of any cameras anywhere. You know, there are millions and millions of them all over the place.”\u003c/p>\n\u003cp>Blau has several virtual assistants in his home, for research purposes. “I have to be careful, because if I say their names right now, they will respond accordingly,” he jokes.\u003c/p>\n\u003cp>But he’s not worried about them tracking his every move and sending the information to advertisers. What worries Blau is the likelihood that, advertisers will eventually want to talk to you directly through your assistant.\u003c/p>\n\u003cp>For those creeped out by the thought of recorded requests and other things you’ve said being stored in a database, you can mute your device’s microphone, turn off the device when you’re not using it, or periodically delete the files being kept on you.\u003c/p>\n\u003cp>But as Amazon warns, “deleting voice recordings may degrade your Alexa experience.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The official lineup for this year’s\u003ca href=\"https://www.coachella.com/lineup/\"> Coachella Valley Music and Arts Festival\u003c/a>, taking place April 13-15 and 20-22, has arrived.\u003c/p>\n\u003cp>After an annual game of\u003ca href=\"https://hypebeast.com/2017/12/beyonce-the-weeknd-eminem-coachella-headline-2018\"> speculation\u003c/a>, the festival’s parent company Goldenvoice made its announcement last night, confirming (as rumored) that \u003ca href=\"https://www.npr.org/artists/135036318/the-weeknd\">The Weeknd\u003c/a>, \u003ca href=\"https://www.npr.org/artists/19230778/beyonce\">Beyonce\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15404635/eminem\">Eminem\u003c/a> will headline each of its respective three nights.\u003c/p>\n\u003cp>The festival, one of the world’s most successful, is often looked to for evidence of emerging trends in music’s mainstream. Comparing its flyers in years past (always the subject of font-size analysis and \u003ca href=\"https://www.billboard.com/articles/business/6458238/band-names-font-sizes-music-festival-posters-artists\">behind-the-scenes power brokering\u003c/a> over it) to this edition, rap and hip-hop have clearly risen to the top of pop culture. Contrasting Coachella’s lineup 10 years ago — with Jack Johnson, Prince and Roger Waters headlining — 2018’s seems to show, at least in its top billings, rap and R&B taking over the center of the landscape. But also, further down in the font sizing, its bookings of Princess Nokia, Jidenna, Moses Sumney, Kamaiyah, Aminé, DeJ Loaf and producer TroyBoi.\u003c/p>\n\u003cp>There is an important first this year, too: Beyonce’s performance on Saturday marks the first time that a black woman will headline. The superstar was supposed to headline the festival last year, but had to pull out of the slot after becoming pregnant, and was later \u003ca href=\"https://www.npr.org/sections/therecord/2017/03/01/517908059/lady-gaga-replaces-beyonc-at-coachella\">replaced by Lady Gaga\u003c/a>. This year’s April dates will also be Beyonce’s first performance since giving birth to her twins in June 2017.\u003c/p>\n\u003cp>[contextly_sidebar id=”79oXVmZwflNIO6aIMLgO6FLujd5GvFQe”]\u003c/p>\n\u003cp>Though Eminem hasn’t performed on the Coachella stage since his 2012 appearance with Dr. Dre, the \u003ca href=\"https://www.governorsballmusicfestival.com/lineup/\">2018 Governor’s Ball lineup\u003c/a> announcement today is a clear inkling that the diamond-selling Detroit rapper will be hitting the festival circuit hard this summer in support of his recent album \u003ca href=\"https://www.npr.org/2017/12/16/571171947/i-speak-to-everybody-who-is-even-remotely-like-me-eminem-on-revival\">\u003cem>Revival\u003c/em>\u003c/a>. (Other duplicate bookings include Tash Sultana, 6lack, Kali Uchis, Vance Joy, Russ, BROCKHAMPTON, Aminé and Moses Sumney.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In terms of first-timers, the musical spectrum seems broader than ever. New Orleans funk band and 2017 \u003ca href=\"https://www.npr.org/artists/517688972/tank-and-the-bangas\">Tiny Desk Contest winners\u003c/a> Tank and The Bangas will be making its first appearance at the fest this year. After a seven-year hiatus, ’90s era electro-soul star Jamiroquai has been striking a comeback path through the festival circuit over the past year, though this will be his first performance at the festival. And there are nine bubbling Latin acts on the lineup: Los Angeles Azules, Ibeyi, Cuco, Helado Negro, Kali Uchis, Princess Nokia, The Marias and Señor Kino.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Passes for Coachella 2018 go on sale via the \u003ca href=\"https://www.coachella.com/\">festival website\u003c/a> Friday, Jan. 5 at 12:00 PM PST.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Coachella+Lineup+May+Point+To+A+Shifting+Middle&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The official lineup for this year’s\u003ca href=\"https://www.coachella.com/lineup/\"> Coachella Valley Music and Arts Festival\u003c/a>, taking place April 13-15 and 20-22, has arrived.\u003c/p>\n\u003cp>After an annual game of\u003ca href=\"https://hypebeast.com/2017/12/beyonce-the-weeknd-eminem-coachella-headline-2018\"> speculation\u003c/a>, the festival’s parent company Goldenvoice made its announcement last night, confirming (as rumored) that \u003ca href=\"https://www.npr.org/artists/135036318/the-weeknd\">The Weeknd\u003c/a>, \u003ca href=\"https://www.npr.org/artists/19230778/beyonce\">Beyonce\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15404635/eminem\">Eminem\u003c/a> will headline each of its respective three nights.\u003c/p>\n\u003cp>The festival, one of the world’s most successful, is often looked to for evidence of emerging trends in music’s mainstream. Comparing its flyers in years past (always the subject of font-size analysis and \u003ca href=\"https://www.billboard.com/articles/business/6458238/band-names-font-sizes-music-festival-posters-artists\">behind-the-scenes power brokering\u003c/a> over it) to this edition, rap and hip-hop have clearly risen to the top of pop culture. Contrasting Coachella’s lineup 10 years ago — with Jack Johnson, Prince and Roger Waters headlining — 2018’s seems to show, at least in its top billings, rap and R&B taking over the center of the landscape. But also, further down in the font sizing, its bookings of Princess Nokia, Jidenna, Moses Sumney, Kamaiyah, Aminé, DeJ Loaf and producer TroyBoi.\u003c/p>\n\u003cp>There is an important first this year, too: Beyonce’s performance on Saturday marks the first time that a black woman will headline. The superstar was supposed to headline the festival last year, but had to pull out of the slot after becoming pregnant, and was later \u003ca href=\"https://www.npr.org/sections/therecord/2017/03/01/517908059/lady-gaga-replaces-beyonc-at-coachella\">replaced by Lady Gaga\u003c/a>. This year’s April dates will also be Beyonce’s first performance since giving birth to her twins in June 2017.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Though Eminem hasn’t performed on the Coachella stage since his 2012 appearance with Dr. Dre, the \u003ca href=\"https://www.governorsballmusicfestival.com/lineup/\">2018 Governor’s Ball lineup\u003c/a> announcement today is a clear inkling that the diamond-selling Detroit rapper will be hitting the festival circuit hard this summer in support of his recent album \u003ca href=\"https://www.npr.org/2017/12/16/571171947/i-speak-to-everybody-who-is-even-remotely-like-me-eminem-on-revival\">\u003cem>Revival\u003c/em>\u003c/a>. (Other duplicate bookings include Tash Sultana, 6lack, Kali Uchis, Vance Joy, Russ, BROCKHAMPTON, Aminé and Moses Sumney.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In terms of first-timers, the musical spectrum seems broader than ever. New Orleans funk band and 2017 \u003ca href=\"https://www.npr.org/artists/517688972/tank-and-the-bangas\">Tiny Desk Contest winners\u003c/a> Tank and The Bangas will be making its first appearance at the fest this year. After a seven-year hiatus, ’90s era electro-soul star Jamiroquai has been striking a comeback path through the festival circuit over the past year, though this will be his first performance at the festival. And there are nine bubbling Latin acts on the lineup: Los Angeles Azules, Ibeyi, Cuco, Helado Negro, Kali Uchis, Princess Nokia, The Marias and Señor Kino.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Passes for Coachella 2018 go on sale via the \u003ca href=\"https://www.coachella.com/\">festival website\u003c/a> Friday, Jan. 5 at 12:00 PM PST.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Coachella+Lineup+May+Point+To+A+Shifting+Middle&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Updated at 12:50 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>After publishing images of a visit to Japan’s “suicide forest” that included footage of a dead body, YouTube star Logan Paul is apologizing — and critics are denouncing both the video and Logan’s behavior in it. The video was watched millions of times before he removed it.\u003c/p>\n\u003cp>“I didn’t do it for views. I get views,” \u003ca href=\"https://twitter.com/LoganPaul/status/948026294066864128\" target=\"_blank\" rel=\"noopener\">said Paul,\u003c/a> who has some 15 million YouTube subscribers. “I did it because I thought I could make a positive ripple on the internet, not cause a monsoon of negativity. That’s never the intention.”\u003c/p>\n\u003cp>The video was filmed in the Aokigahara forest at the edge of Mount Fuji, an area that for years has been famous for its popularity among people who want to carry out a suicide. In his video, Paul blurred out the face of the person who had died, but he showed other parts of the body as he and his friends stood near it and talked.\u003c/p>\n\u003cp>Intended or not, an intense backlash has hit Paul, including calls for YouTube to remove his channel.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The negative feedback included a tweet from actress and online video veteran Anna Akana, who lost her sister, Kristina, to suicide 10 years ago.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/AnnaAkana/status/948080312159895552\" target=\"_blank\" rel=\"noopener\">Akana wrote\u003c/a>:\u003c/p>\n\u003cp>“Dear @LoganPaul, When my brother found my sister’s body, he screamed with horror & confusion & grief & tried to save her. That body was a person someone loved. You do not walk into a suicide forest with a camera and claim mental health awareness.”\u003c/p>\n\u003cp>Akana was responding to Paul’s attempt at an apology, in which he wrote, “I intended to raise awareness for suicide and suicide prevention and while I thought ‘if this video saves just ONE life, it’ll be worth it,’ I was misguided by shock and awe, as portrayed in the video. I still am.”\u003c/p>\n\u003cp>An edited version of the video was later \u003ca href=\"https://twitter.com/JhbTeam/status/948003235310157824\" target=\"_blank\" rel=\"noopener\">posted to Twitter\u003c/a>; it does not include footage of the body. Rather, it shows some of Paul’s reactions and comments.\u003c/p>\n\u003cp>YouTube says that Paul’s video violates its policies against presenting violent or gory content in a way that is sensational or disrespectful.\u003c/p>\n\u003cp>When contacted by NPR, a YouTube spokesperson said, “Our hearts go out to the family of the person featured in the video.”\u003c/p>\n\u003cp>The site confirms that Logan Paul took the video down. It also notes that it works with the National Suicide Prevention Lifeline — and that it displays suicide prevention resources at the top of the results for YouTube searches related to suicide.\u003c/p>\n\u003cp>Paul said that he had “demonetized” the video, which included a segment in the parking lot near the forest in which he told viewers that his laughter and attempts at humor were a coping mechanism after seeing the body. He had initially cast the outing as an attempt to look for ghosts — but the Aokigahara’s reputation as a suicide hotspot is well-known. It was the subject of \u003ca href=\"https://www.youtube.com/watch?v=4FDSdg09df8\" target=\"_blank\" rel=\"noopener\">a Vice documentary\u003c/a> in 2012, for instance.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.theverge.com/2018/1/2/16840176/logan-paul-suicide-video-apology-aokigahara-forest\" target=\"_blank\" rel=\"noopener\">The Verge reports:\u003c/a>\u003c/p>\n\u003cblockquote>\n\u003cp>“The group’s guide phones the police while they approach the body, shouting ‘Yo, are you alive, are you fooling with us?’ They film the apparent suicide victim up close, blurring his face but showing his hands, clothes, and abandoned bag. Paul then talks to the camera, saying: ‘Suicide is not a joke. Depression and mental illnesses are not a joke. We came here with an intent to focus on the haunted aspect of the forest. This just became very real.’ ”\u003c/p>\n\u003c/blockquote>\n\u003cp>Those sentiments did little to ease the criticism from actor Aaron Paul, who \u003ca href=\"https://twitter.com/aaronpaul_8/status/948032944408444928\" target=\"_blank\" rel=\"noopener\">said in a tweet\u003c/a>, “Dear @LoganPaul, How dare you! You disgust me. I can’t believe that so many young people look up to you. So sad. Hopefully this latest video woke them up. You are pure trash. Plain and simple. Suicide is not a joke. Go rot in hell.”\u003c/p>\n\u003cp>YouTube star Laci Green wrote, “logan paul exploiting a suicide victim in Japan to the tune of 6M+ views while youtube demonetizes students protesting in Iran is a perfect example of what a sociopathic garbage fire youtube has become. this industry has no soul left. byeee.”\u003c/p>\n\u003cp>On Tuesday, Logan Paul \u003ca href=\"https://twitter.com/LoganPaul/status/948233761665171456\" target=\"_blank\" rel=\"noopener\">released a video apology\u003c/a> saying that the encounter in the forest had been unplanned, adding, “I should have never posted the video; I should have put the cameras down, stopped recording what we were going through. There’s a lot of things I should have done differently, but I didn’t. And for that, from the bottom of my heart, I am sorry.”\u003c/p>\n\u003cp>The apologies come as Paul has also been criticized for mocking Japanese culture during his visit to the country. At the end of the first of those videos shot in Japan, Paul said, “Literally this place is content gold.”\u003c/p>\n\u003cp>The day before he published the suicide forest video, Logan Paul had written on Twitter, “tomorrow’s vlog will be the craziest and most real video I’ve ever uploaded.”\u003c/p>\n\u003cp>Japan’s suicide rate is one of the highest among developed nations. In the U.S., the rate \u003ca href=\"https://www.cdc.gov/nchs/products/databriefs/db241.htm\" target=\"_blank\" rel=\"noopener\">has been climbing since 2000\u003c/a> — with the biggest increase seen in girls who are 10-14 years old, the Centers for Disease Control and Prevention said last year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"https://suicidepreventionlifeline.org/talk-to-someone-now/\" target=\"_blank\" rel=\"noopener\">National Suicide Prevention Lifeline\u003c/a> is a resource for people who are “thinking about suicide, are worried about a friend or loved one, or would like emotional support.” The free and confidential service is available in either English (\u003ca href=\"tel:1-800-273-8255\">1-800-273-8255\u003c/a>) or Spanish (\u003ca href=\"tel:1-888-628-9454\">1-888-628-9454\u003c/a>). There is also a line tailored for veterans (\u003ca href=\"tel:1-800-273-8255\">1-800-273-8255\u003c/a>). \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Logan+Paul%2C+YouTube+Star%2C+Apologizes+As+Critics+Slam+Video+Showing+Dead+Body&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 12:50 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>After publishing images of a visit to Japan’s “suicide forest” that included footage of a dead body, YouTube star Logan Paul is apologizing — and critics are denouncing both the video and Logan’s behavior in it. The video was watched millions of times before he removed it.\u003c/p>\n\u003cp>“I didn’t do it for views. I get views,” \u003ca href=\"https://twitter.com/LoganPaul/status/948026294066864128\" target=\"_blank\" rel=\"noopener\">said Paul,\u003c/a> who has some 15 million YouTube subscribers. “I did it because I thought I could make a positive ripple on the internet, not cause a monsoon of negativity. That’s never the intention.”\u003c/p>\n\u003cp>The video was filmed in the Aokigahara forest at the edge of Mount Fuji, an area that for years has been famous for its popularity among people who want to carry out a suicide. In his video, Paul blurred out the face of the person who had died, but he showed other parts of the body as he and his friends stood near it and talked.\u003c/p>\n\u003cp>Intended or not, an intense backlash has hit Paul, including calls for YouTube to remove his channel.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The negative feedback included a tweet from actress and online video veteran Anna Akana, who lost her sister, Kristina, to suicide 10 years ago.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/AnnaAkana/status/948080312159895552\" target=\"_blank\" rel=\"noopener\">Akana wrote\u003c/a>:\u003c/p>\n\u003cp>“Dear @LoganPaul, When my brother found my sister’s body, he screamed with horror & confusion & grief & tried to save her. That body was a person someone loved. You do not walk into a suicide forest with a camera and claim mental health awareness.”\u003c/p>\n\u003cp>Akana was responding to Paul’s attempt at an apology, in which he wrote, “I intended to raise awareness for suicide and suicide prevention and while I thought ‘if this video saves just ONE life, it’ll be worth it,’ I was misguided by shock and awe, as portrayed in the video. I still am.”\u003c/p>\n\u003cp>An edited version of the video was later \u003ca href=\"https://twitter.com/JhbTeam/status/948003235310157824\" target=\"_blank\" rel=\"noopener\">posted to Twitter\u003c/a>; it does not include footage of the body. Rather, it shows some of Paul’s reactions and comments.\u003c/p>\n\u003cp>YouTube says that Paul’s video violates its policies against presenting violent or gory content in a way that is sensational or disrespectful.\u003c/p>\n\u003cp>When contacted by NPR, a YouTube spokesperson said, “Our hearts go out to the family of the person featured in the video.”\u003c/p>\n\u003cp>The site confirms that Logan Paul took the video down. It also notes that it works with the National Suicide Prevention Lifeline — and that it displays suicide prevention resources at the top of the results for YouTube searches related to suicide.\u003c/p>\n\u003cp>Paul said that he had “demonetized” the video, which included a segment in the parking lot near the forest in which he told viewers that his laughter and attempts at humor were a coping mechanism after seeing the body. He had initially cast the outing as an attempt to look for ghosts — but the Aokigahara’s reputation as a suicide hotspot is well-known. It was the subject of \u003ca href=\"https://www.youtube.com/watch?v=4FDSdg09df8\" target=\"_blank\" rel=\"noopener\">a Vice documentary\u003c/a> in 2012, for instance.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.theverge.com/2018/1/2/16840176/logan-paul-suicide-video-apology-aokigahara-forest\" target=\"_blank\" rel=\"noopener\">The Verge reports:\u003c/a>\u003c/p>\n\u003cblockquote>\n\u003cp>“The group’s guide phones the police while they approach the body, shouting ‘Yo, are you alive, are you fooling with us?’ They film the apparent suicide victim up close, blurring his face but showing his hands, clothes, and abandoned bag. Paul then talks to the camera, saying: ‘Suicide is not a joke. Depression and mental illnesses are not a joke. We came here with an intent to focus on the haunted aspect of the forest. This just became very real.’ ”\u003c/p>\n\u003c/blockquote>\n\u003cp>Those sentiments did little to ease the criticism from actor Aaron Paul, who \u003ca href=\"https://twitter.com/aaronpaul_8/status/948032944408444928\" target=\"_blank\" rel=\"noopener\">said in a tweet\u003c/a>, “Dear @LoganPaul, How dare you! You disgust me. I can’t believe that so many young people look up to you. So sad. Hopefully this latest video woke them up. You are pure trash. Plain and simple. Suicide is not a joke. Go rot in hell.”\u003c/p>\n\u003cp>YouTube star Laci Green wrote, “logan paul exploiting a suicide victim in Japan to the tune of 6M+ views while youtube demonetizes students protesting in Iran is a perfect example of what a sociopathic garbage fire youtube has become. this industry has no soul left. byeee.”\u003c/p>\n\u003cp>On Tuesday, Logan Paul \u003ca href=\"https://twitter.com/LoganPaul/status/948233761665171456\" target=\"_blank\" rel=\"noopener\">released a video apology\u003c/a> saying that the encounter in the forest had been unplanned, adding, “I should have never posted the video; I should have put the cameras down, stopped recording what we were going through. There’s a lot of things I should have done differently, but I didn’t. And for that, from the bottom of my heart, I am sorry.”\u003c/p>\n\u003cp>The apologies come as Paul has also been criticized for mocking Japanese culture during his visit to the country. At the end of the first of those videos shot in Japan, Paul said, “Literally this place is content gold.”\u003c/p>\n\u003cp>The day before he published the suicide forest video, Logan Paul had written on Twitter, “tomorrow’s vlog will be the craziest and most real video I’ve ever uploaded.”\u003c/p>\n\u003cp>Japan’s suicide rate is one of the highest among developed nations. In the U.S., the rate \u003ca href=\"https://www.cdc.gov/nchs/products/databriefs/db241.htm\" target=\"_blank\" rel=\"noopener\">has been climbing since 2000\u003c/a> — with the biggest increase seen in girls who are 10-14 years old, the Centers for Disease Control and Prevention said last year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"https://suicidepreventionlifeline.org/talk-to-someone-now/\" target=\"_blank\" rel=\"noopener\">National Suicide Prevention Lifeline\u003c/a> is a resource for people who are “thinking about suicide, are worried about a friend or loved one, or would like emotional support.” The free and confidential service is available in either English (\u003ca href=\"tel:1-800-273-8255\">1-800-273-8255\u003c/a>) or Spanish (\u003ca href=\"tel:1-888-628-9454\">1-888-628-9454\u003c/a>). There is also a line tailored for veterans (\u003ca href=\"tel:1-800-273-8255\">1-800-273-8255\u003c/a>). \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Logan+Paul%2C+YouTube+Star%2C+Apologizes+As+Critics+Slam+Video+Showing+Dead+Body&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003ca href=\"http://www.roxie.com/\" target=\"_blank\" rel=\"noopener\">Roxie Theatre\u003c/a> in San Francisco has had a good year. Elizabeth O’Malley, executive director of the Mission District-based indie theater, says that it sold 15,000 more tickets in the past financial year than it did in the previous one.\u003c/p>\n\u003cp>One reason for the surge might be \u003ca href=\"https://www.moviepass.com/\" target=\"_blank\" rel=\"noopener\">MoviePass\u003c/a>, a dirt-cheap subscription service which lets customers see a movie a day for $9.95 a month. It pays theaters the entire ticket price for each ticket sold via its app. That’s $12 for every regular ticket sold at the Roxie.\u003c/p>\n\u003cp>“Anecdotally, our box office managers have said that they’ve seen an increase in these MoviePass subscribers coming through our doors,” O’Malley says.\u003c/p>\n\u003cp>O’Malley doesn’t credit MoviePass entirely for the increased business, though she says the service has brought some people out who might otherwise have waited to stream the movie at home.\u003c/p>\n\u003cp>“We are seeing it as a positive in terms of pushing back on video-on-demand as a threat to movie theaters,” O’Malley says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Launched in 2011 and run since June 2016 by Netflix co-founder Mitch Lowe, MoviePass introduced its cut-rate pricing last August after largely failing to appeal to a wide audience with more expensive subscription plans.\u003c/p>\n\u003cfigure id=\"attachment_13818328\" class=\"wp-caption aligncenter\" style=\"max-width: 665px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13818328 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465.jpg\" alt=\"MoviePass CEO Mitch Lowe.\" width=\"665\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465.jpg 665w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465-240x163.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465-375x255.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465-520x353.jpg 520w\" sizes=\"(max-width: 665px) 100vw, 665px\">\u003cfigcaption class=\"wp-caption-text\">MoviePass CEO Mitch Lowe. \u003ccite>(Photo: Courtesy of MoviePass)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A MoviePass spokesman says the service can be used at more than 90 percent of theaters around the country. The spokesperson says the Bay Area is now MoviePass’s third largest market in the U.S. after Los Angeles and New York.\u003c/p>\n\u003cp>Besides the Roxie, the company’s website lists a variety of local theaters as honoring MoviePass subscriptions, from indie houses such as 4-Star and Vogue to big chains like AMC Van Ness 14 and Century 20 Daly City.\u003c/p>\n\u003cp>But the service has drawn criticism from small and big players alike.\u003c/p>\n\u003cp>\u003ca href=\"https://www.nytimes.com/2017/12/27/business/media/moviepass-theaters-tickets.html\" target=\"_blank\" rel=\"noopener\">A recent article in The New York Times\u003c/a> reports that major theaters and studio owners are denouncing MoviePass’ business model as being unsustainable because the monthly subscription fee is so low.\u003c/p>\n\u003cp>“They say that will cause MoviePass to either raise prices or go out of business, disappointing audiences and ultimately hurting the fragile multiplex business,” writes reporter Brooks Barnes.\u003c/p>\n\u003cp>“We are constantly looking for new ways to improve and expand service,” Lowe says. “Right now, in addition to the subscription model, we are also building out additional revenue streams related to the movie-going experience.” Lowe adds his company has no plans to increase subscription prices in 2018.\u003c/p>\n\u003cp>Meanwhile, O’Malley is unhappy with the lack of a sense of partnership between her theater and MoviePass.\u003c/p>\n\u003cp>“We’ve appreciated the uptick in business because of MoviePass, but would really love to be a more collaborative member of the MoviePass community.”\u003c/p>\n\u003cp>O’Malley says there’s no way to contact MoviePass directly if a customer issue arises. Also, she says MoviePass isn’t set up to deviate from the standard $12-a-ticket compensation structure when the Roxie wants to do special programming (e.g. asking customers to pay $15 for a double feature).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“So when MoviePass subscribers come through the door, they have to pay the extra out of pocket,” O’Malley says. “That three dollar difference is just a confusing experience for our customers.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://www.roxie.com/\" target=\"_blank\" rel=\"noopener\">Roxie Theatre\u003c/a> in San Francisco has had a good year. Elizabeth O’Malley, executive director of the Mission District-based indie theater, says that it sold 15,000 more tickets in the past financial year than it did in the previous one.\u003c/p>\n\u003cp>One reason for the surge might be \u003ca href=\"https://www.moviepass.com/\" target=\"_blank\" rel=\"noopener\">MoviePass\u003c/a>, a dirt-cheap subscription service which lets customers see a movie a day for $9.95 a month. It pays theaters the entire ticket price for each ticket sold via its app. That’s $12 for every regular ticket sold at the Roxie.\u003c/p>\n\u003cp>“Anecdotally, our box office managers have said that they’ve seen an increase in these MoviePass subscribers coming through our doors,” O’Malley says.\u003c/p>\n\u003cp>O’Malley doesn’t credit MoviePass entirely for the increased business, though she says the service has brought some people out who might otherwise have waited to stream the movie at home.\u003c/p>\n\u003cp>“We are seeing it as a positive in terms of pushing back on video-on-demand as a threat to movie theaters,” O’Malley says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Launched in 2011 and run since June 2016 by Netflix co-founder Mitch Lowe, MoviePass introduced its cut-rate pricing last August after largely failing to appeal to a wide audience with more expensive subscription plans.\u003c/p>\n\u003cfigure id=\"attachment_13818328\" class=\"wp-caption aligncenter\" style=\"max-width: 665px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13818328 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465.jpg\" alt=\"MoviePass CEO Mitch Lowe.\" width=\"665\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465.jpg 665w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465-240x163.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465-375x255.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Mitch_Lowe-e1514590953465-520x353.jpg 520w\" sizes=\"(max-width: 665px) 100vw, 665px\">\u003cfigcaption class=\"wp-caption-text\">MoviePass CEO Mitch Lowe. \u003ccite>(Photo: Courtesy of MoviePass)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A MoviePass spokesman says the service can be used at more than 90 percent of theaters around the country. The spokesperson says the Bay Area is now MoviePass’s third largest market in the U.S. after Los Angeles and New York.\u003c/p>\n\u003cp>Besides the Roxie, the company’s website lists a variety of local theaters as honoring MoviePass subscriptions, from indie houses such as 4-Star and Vogue to big chains like AMC Van Ness 14 and Century 20 Daly City.\u003c/p>\n\u003cp>But the service has drawn criticism from small and big players alike.\u003c/p>\n\u003cp>\u003ca href=\"https://www.nytimes.com/2017/12/27/business/media/moviepass-theaters-tickets.html\" target=\"_blank\" rel=\"noopener\">A recent article in The New York Times\u003c/a> reports that major theaters and studio owners are denouncing MoviePass’ business model as being unsustainable because the monthly subscription fee is so low.\u003c/p>\n\u003cp>“They say that will cause MoviePass to either raise prices or go out of business, disappointing audiences and ultimately hurting the fragile multiplex business,” writes reporter Brooks Barnes.\u003c/p>\n\u003cp>“We are constantly looking for new ways to improve and expand service,” Lowe says. “Right now, in addition to the subscription model, we are also building out additional revenue streams related to the movie-going experience.” Lowe adds his company has no plans to increase subscription prices in 2018.\u003c/p>\n\u003cp>Meanwhile, O’Malley is unhappy with the lack of a sense of partnership between her theater and MoviePass.\u003c/p>\n\u003cp>“We’ve appreciated the uptick in business because of MoviePass, but would really love to be a more collaborative member of the MoviePass community.”\u003c/p>\n\u003cp>O’Malley says there’s no way to contact MoviePass directly if a customer issue arises. Also, she says MoviePass isn’t set up to deviate from the standard $12-a-ticket compensation structure when the Roxie wants to do special programming (e.g. asking customers to pay $15 for a double feature).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“So when MoviePass subscribers come through the door, they have to pay the extra out of pocket,” O’Malley says. “That three dollar difference is just a confusing experience for our customers.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Got The Scoop On The Gardner Museum Art Heist? You Have 4 Days To Earn $10 Million",
"headTitle": "Got The Scoop On The Gardner Museum Art Heist? You Have 4 Days To Earn $10 Million | KQED",
"content": "\u003cp>\u003cstrong>Updated at 3 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>If you’ve got a burning secret about the 13 pieces of art missing from Boston’s Isabella Stewart Gardner Museum, the clock is ticking.\u003c/p>\n\u003cp>Share the details in the next four days, and you’ll earn a cool $10 million.\u003c/p>\n\u003cp>Wait until 2018, and that reward will be slashed in half.\u003c/p>\n\u003cp>The March 18, 1990, theft of the masterpieces was the biggest-ever heist from an art museum and the largest property crime America has ever seen. Three Rembrandts, including his only known seascape. A Vermeer. A Manet. Sketches by Degas. All spirited away by bold thieves disguised as policemen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The artworks are, collectively, worth more than $500 million, but they’re so recognizable that they’re believed to be nearly impossible to sell. No one knows where they are; at least, no one has told the museum or the FBI.\u003c/p>\n\u003cp>Twenty-seven years later, the museum has empty frames on its walls — reminders of the art that isn’t there.\u003c/p>\n\u003cp>A $1 million reward was later boosted to $5 million. And this year, the prize money was doubled, with a deadline of Dec. 31.\u003c/p>\n\u003cp>As the deadline approaches, museum spokeswoman Kathy Sharpless \u003ca href=\"https://www.cbsnews.com/news/art-theft-reward-deadline-isabella-stewart-gardner-museum-boston/\">told CBS News\u003c/a> the museum is watching that date.\u003c/p>\n\u003cp>“Clearly there’s a sense of urgency on our part,” she said. “We want our paintings back.”\u003c/p>\n\u003cp>To be clear, the museum isn’t looking for the names of the thieves. The FBI actually has a pretty good idea who did it — they suspect two men tied to the mob — but the statute of limitations on the crime expired years ago.\u003c/p>\n\u003cp>It’s not about catching the crooks or making sure justice is served. The museum just wants its masterpieces back.\u003c/p>\n\u003cp>“I am focused like a laser beam on one thing and that is recovering our stolen art and putting it back on the walls here at the museum, where it belongs,” Anthony Amore, head of security at the museum and the chief investigator into the heist, tells NPR.\u003c/p>\n\u003cp>Amore tells NPR he’s been busy lately, chasing leads and responding to calls and emails from the public.\u003c/p>\n\u003cp>“We have received a few good calls with important information, and we hope to receive more before the end of the year,” he says.\u003c/p>\n\u003cp>But not all tips are created equal. “The majority of the calls are theories,” he says. “And what we’re looking for are facts that will lead us to a recovery, rather than theories that people have come up with from their homes.”\u003c/p>\n\u003cp>If you have those kinds of facts at hand, email theft@gardnermuseum.org to pass along your tip — confidentiality guaranteed — and claim your $10 million.\u003c/p>\n\u003cp>Curious about how that grand heist went down? \u003cem>Boston Globe \u003c/em>reporter Stephen Kurkjian, author of a book about the theft, \u003ca href=\"https://www.npr.org/2015/03/18/393565096/25-years-after-art-heist-empty-frames-still-hang-in-bostons-gardner-museum\">explained the night’s fateful events\u003c/a> to NPR in 2015.\u003c/p>\n\u003cblockquote>\u003cp>“Two men dressed in police uniforms rang the bell to the employees’ entrance of the Isabella Stewart Gardner Museum. They showed up on the monitor screen of one of the two night watchmen who were on duty that night. … They said, ‘We’re here to investigate a disturbance,’ so [security guard Rick Abath] buzzed them in.\u003c/p>\n\u003cp>“He stepped away from the security desk that he was sitting at, and that removed him from the only alert. The only outside alarm that the museum had was a button that was at his security desk. And he stepped away from it because the alleged police officers, the thieves, said to him that he ‘looked familiar,’ that ‘didn’t they have a warrant out for his arrest?’\u003c/p>\n\u003cp>“He was worried that if he was arrested on a weekend night — and this was Sunday morning — he would not be in court until Monday, and he knew he had tickets to that night’s Grateful Dead concert in Hartford, Conn. And he didn’t want to miss it by being in jail, so he stepped away and he got tied up, he got apprehended. His fellow night watchman came down and they tied him up and then, you know, these two thugs were allowed to pull off the greatest art theft — half a billion dollars … probably more.\u003c/p>\n\u003cp>“No one can put a value on these paintings because no one’s going to buy stolen artwork of this value. And that’s why the sense is that the works do not lay in the hands of an art collector who cannot live without this Rembrandt or that Vermeer but they were stolen for some other reason.”\u003c/p>\u003c/blockquote>\n\u003cp>That security guard who let the thieves in, Rick Abath, \u003ca href=\"https://www.npr.org/2015/03/13/392567024/former-security-guard-reflects-on-what-he-lost-one-fateful-night\">shared his memories\u003c/a> of that night on StoryCorps in 2015. He remembered being handcuffed to the electrical box in the museum for eight hours, duct tape over his eyes, singing Bob Dylan’s “I Shall Be Released” over and over again.\u003c/p>\n\u003cp>“I was just this hippie guy who wasn’t hurting anything, wasn’t on anybody’s radar,” he said. “And the next day, I was on everybody’s radar for the largest art heist in history.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Two of the Rembrandts, they cut them out of the frames. So even if they get the paintings back, they’ll never be the same,” he said. “And I feel horrible about that … ultimately, I’m the one who made that decision to buzz them in.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Got+The+Scoop+On+The+Gardner+Museum+Art+Heist%3F+You+Have+4+Days+To+Earn+%2410+Million&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 3 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>If you’ve got a burning secret about the 13 pieces of art missing from Boston’s Isabella Stewart Gardner Museum, the clock is ticking.\u003c/p>\n\u003cp>Share the details in the next four days, and you’ll earn a cool $10 million.\u003c/p>\n\u003cp>Wait until 2018, and that reward will be slashed in half.\u003c/p>\n\u003cp>The March 18, 1990, theft of the masterpieces was the biggest-ever heist from an art museum and the largest property crime America has ever seen. Three Rembrandts, including his only known seascape. A Vermeer. A Manet. Sketches by Degas. All spirited away by bold thieves disguised as policemen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The artworks are, collectively, worth more than $500 million, but they’re so recognizable that they’re believed to be nearly impossible to sell. No one knows where they are; at least, no one has told the museum or the FBI.\u003c/p>\n\u003cp>Twenty-seven years later, the museum has empty frames on its walls — reminders of the art that isn’t there.\u003c/p>\n\u003cp>A $1 million reward was later boosted to $5 million. And this year, the prize money was doubled, with a deadline of Dec. 31.\u003c/p>\n\u003cp>As the deadline approaches, museum spokeswoman Kathy Sharpless \u003ca href=\"https://www.cbsnews.com/news/art-theft-reward-deadline-isabella-stewart-gardner-museum-boston/\">told CBS News\u003c/a> the museum is watching that date.\u003c/p>\n\u003cp>“Clearly there’s a sense of urgency on our part,” she said. “We want our paintings back.”\u003c/p>\n\u003cp>To be clear, the museum isn’t looking for the names of the thieves. The FBI actually has a pretty good idea who did it — they suspect two men tied to the mob — but the statute of limitations on the crime expired years ago.\u003c/p>\n\u003cp>It’s not about catching the crooks or making sure justice is served. The museum just wants its masterpieces back.\u003c/p>\n\u003cp>“I am focused like a laser beam on one thing and that is recovering our stolen art and putting it back on the walls here at the museum, where it belongs,” Anthony Amore, head of security at the museum and the chief investigator into the heist, tells NPR.\u003c/p>\n\u003cp>Amore tells NPR he’s been busy lately, chasing leads and responding to calls and emails from the public.\u003c/p>\n\u003cp>“We have received a few good calls with important information, and we hope to receive more before the end of the year,” he says.\u003c/p>\n\u003cp>But not all tips are created equal. “The majority of the calls are theories,” he says. “And what we’re looking for are facts that will lead us to a recovery, rather than theories that people have come up with from their homes.”\u003c/p>\n\u003cp>If you have those kinds of facts at hand, email theft@gardnermuseum.org to pass along your tip — confidentiality guaranteed — and claim your $10 million.\u003c/p>\n\u003cp>Curious about how that grand heist went down? \u003cem>Boston Globe \u003c/em>reporter Stephen Kurkjian, author of a book about the theft, \u003ca href=\"https://www.npr.org/2015/03/18/393565096/25-years-after-art-heist-empty-frames-still-hang-in-bostons-gardner-museum\">explained the night’s fateful events\u003c/a> to NPR in 2015.\u003c/p>\n\u003cblockquote>\u003cp>“Two men dressed in police uniforms rang the bell to the employees’ entrance of the Isabella Stewart Gardner Museum. They showed up on the monitor screen of one of the two night watchmen who were on duty that night. … They said, ‘We’re here to investigate a disturbance,’ so [security guard Rick Abath] buzzed them in.\u003c/p>\n\u003cp>“He stepped away from the security desk that he was sitting at, and that removed him from the only alert. The only outside alarm that the museum had was a button that was at his security desk. And he stepped away from it because the alleged police officers, the thieves, said to him that he ‘looked familiar,’ that ‘didn’t they have a warrant out for his arrest?’\u003c/p>\n\u003cp>“He was worried that if he was arrested on a weekend night — and this was Sunday morning — he would not be in court until Monday, and he knew he had tickets to that night’s Grateful Dead concert in Hartford, Conn. And he didn’t want to miss it by being in jail, so he stepped away and he got tied up, he got apprehended. His fellow night watchman came down and they tied him up and then, you know, these two thugs were allowed to pull off the greatest art theft — half a billion dollars … probably more.\u003c/p>\n\u003cp>“No one can put a value on these paintings because no one’s going to buy stolen artwork of this value. And that’s why the sense is that the works do not lay in the hands of an art collector who cannot live without this Rembrandt or that Vermeer but they were stolen for some other reason.”\u003c/p>\u003c/blockquote>\n\u003cp>That security guard who let the thieves in, Rick Abath, \u003ca href=\"https://www.npr.org/2015/03/13/392567024/former-security-guard-reflects-on-what-he-lost-one-fateful-night\">shared his memories\u003c/a> of that night on StoryCorps in 2015. He remembered being handcuffed to the electrical box in the museum for eight hours, duct tape over his eyes, singing Bob Dylan’s “I Shall Be Released” over and over again.\u003c/p>\n\u003cp>“I was just this hippie guy who wasn’t hurting anything, wasn’t on anybody’s radar,” he said. “And the next day, I was on everybody’s radar for the largest art heist in history.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Two of the Rembrandts, they cut them out of the frames. So even if they get the paintings back, they’ll never be the same,” he said. “And I feel horrible about that … ultimately, I’m the one who made that decision to buzz them in.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Got+The+Scoop+On+The+Gardner+Museum+Art+Heist%3F+You+Have+4+Days+To+Earn+%2410+Million&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We called in the reinforcements this week — my KQED Arts colleagues Rachael Myrow, Sarah Hotchkiss and Gabe Meline join me for a special 2018 preview to talk about the upcoming concerts and exhibitions we’re most excited about in the new year. Tickets to these shows might make good presents for your loved ones. (Say it with me, people: \u003ca href=\"https://www.theatlantic.com/business/archive/2014/10/buy-experiences/381132/\" target=\"_blank\" rel=\"noopener\">experiences, not things\u003c/a>.)\u003c/p>\n\u003cp>We’ll be taking the next week off, but we sincerely wish you a Happy Hanukkah, Merry Christmas, Happy Kwanzaa, and Happy New Year from all of us at KQED Arts.\u003c/p>\n\u003cp>\u003cstrong>Jan. 11–28\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/lush-large-scale-polaroids-in-the-presidio/\" target=\"_blank\" rel=\"noopener\">Large-scale Polaroids tell the story of Afro-Cuban ancestry on the Presidio\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 11–Feb. 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/marga-gomez-pays-tribute-to-her-showman-dad-with-latin-standards/\" target=\"_blank\" rel=\"noopener\">Marga Gomez explores what it means to be the driven adult child of a blustery Cuban showman\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 27–May 27:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/desiged-with-california-dreams-in-mind/\" target=\"_blank\" rel=\"noopener\">A show about socially conscious California design comes to SFMOMA\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Feb. 1–24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/life-could-be-very-strange-and-very-hard-and-very-cruel/\" target=\"_blank\" rel=\"noopener\">The Pacific Film Archive celebrates the films of Ingmar Bergman on his centennial\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 10 and 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/gaelynn-leas-grand-ideas-from-a-small-violin/\" target=\"_blank\" rel=\"noopener\">A tiny woman with a big heart makes haunting melodies\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 13:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/new-rules-for-hopefully-a-new-world/\" target=\"_blank\" rel=\"noopener\">A rising pop star from England doles out her new rules\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 24:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/superchunk-points-the-right-way-to-enter-2018/\" target=\"_blank\" rel=\"noopener\">Superchunk returns with music challenging the political status quo\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>March 8:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/dee-dee-bridgewater-brings-classic-soul-from-memphis-to-montalvo/\" target=\"_blank\" rel=\"noopener\">Jazz icon Dee Dee Bridgewater gets funky with music from Memphis\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>March 24–Aug. 12:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/oakland-museum-gives-hip-hop-the-respect-its-earned/\" target=\"_blank\" rel=\"noopener\">The Oakland Museum of California tells the story of hip-hop through a Bay Area lens\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13818012\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818012\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/CyRadio12.22-800x600.jpg\" alt=\"(L–R): Sarah Hotchkiss, Rachael Myrow, Cy Musiker and Gabe Meline.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-960x720.jpg 960w, 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We called in the reinforcements this week — my KQED Arts colleagues Rachael Myrow, Sarah Hotchkiss and Gabe Meline join me for a special 2018 preview to talk about the upcoming concerts and exhibitions we’re most excited about in the new year. Tickets to these shows might make good presents for your loved ones. (Say it with me, people: \u003ca href=\"https://www.theatlantic.com/business/archive/2014/10/buy-experiences/381132/\" target=\"_blank\" rel=\"noopener\">experiences, not things\u003c/a>.)\u003c/p>\n\u003cp>We’ll be taking the next week off, but we sincerely wish you a Happy Hanukkah, Merry Christmas, Happy Kwanzaa, and Happy New Year from all of us at KQED Arts.\u003c/p>\n\u003cp>\u003cstrong>Jan. 11–28\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/lush-large-scale-polaroids-in-the-presidio/\" target=\"_blank\" rel=\"noopener\">Large-scale Polaroids tell the story of Afro-Cuban ancestry on the Presidio\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 11–Feb. 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/marga-gomez-pays-tribute-to-her-showman-dad-with-latin-standards/\" target=\"_blank\" rel=\"noopener\">Marga Gomez explores what it means to be the driven adult child of a blustery Cuban showman\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 27–May 27:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/desiged-with-california-dreams-in-mind/\" target=\"_blank\" rel=\"noopener\">A show about socially conscious California design comes to SFMOMA\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 1–24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/life-could-be-very-strange-and-very-hard-and-very-cruel/\" target=\"_blank\" rel=\"noopener\">The Pacific Film Archive celebrates the films of Ingmar Bergman on his centennial\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 10 and 11:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/gaelynn-leas-grand-ideas-from-a-small-violin/\" target=\"_blank\" rel=\"noopener\">A tiny woman with a big heart makes haunting melodies\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 13:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/new-rules-for-hopefully-a-new-world/\" target=\"_blank\" rel=\"noopener\">A rising pop star from England doles out her new rules\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 24:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/19/superchunk-points-the-right-way-to-enter-2018/\" target=\"_blank\" rel=\"noopener\">Superchunk returns with music challenging the political status quo\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>March 8:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/dee-dee-bridgewater-brings-classic-soul-from-memphis-to-montalvo/\" target=\"_blank\" rel=\"noopener\">Jazz icon Dee Dee Bridgewater gets funky with music from Memphis\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>March 24–Aug. 12:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2017/12/20/oakland-museum-gives-hip-hop-the-respect-its-earned/\" target=\"_blank\" rel=\"noopener\">The Oakland Museum of California tells the story of hip-hop through a Bay Area lens\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13818012\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13818012\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/CyRadio12.22-800x600.jpg\" alt=\"(L–R): Sarah Hotchkiss, Rachael Myrow, Cy Musiker and Gabe Meline.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/CyRadio12.22.jpg 2016w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L–R): Sarah Hotchkiss, Rachael Myrow, Cy Musiker and Gabe Meline.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We’re looking ahead this week on The Do List to a few exhibitions we’re excited about in 2018, among them \u003cem>Respect: Hip-Hop Style and Wisdom\u003c/em>, opening in March at the Oakland Museum of California (OMCA). \u003cem>Respect\u003c/em> is part of a trend at the Oakland Museum and other institutions to take serious looks at pop culture. (OMCA presented a show about sneakers recently.)\u003c/p>\n\u003cp>“Hip-hop is misunderstood,” OMCA Senior Curator René de Guzman says, “that it’s all about gangsterism and misogyny. There are elements of that, just as there are negative elements in any cultural form or social group. The other misunderstanding is that hip-hop is simply a music genre, but it extends beyond that to include not only other art forms but principles, values and communities.”\u003c/p>\n\u003cfigure id=\"attachment_13817929\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817929\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-800x692.jpg\" alt=\"Young Boys. 1981. East Flatbush an image from OMCA's upcoming show about hip hop\" width=\"800\" height=\"692\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-800x692.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-768x665.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-1020x883.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-1920x1661.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-1180x1021.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-960x831.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-240x208.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-375x324.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-520x450.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Young Boys. 1981, East Flatbush. Image from OMCA’s upcoming show about hip-hop. \u003ccite>(Photo: Jamel Shabazz/OMCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So the exhibit, de Guzman says, will dig deep into hip-hop’s message of authenticity and political activism, with input from Bay Area icons like Oakland rapper and scholar Mystic and the Hip-Hop Chess Federation’s Adisa Banjoko.\u003c/p>\n\u003cp>My colleague Gabe Meline notes that the show promises to cover the music “beyond big business.” So he’s keen to see how the exhibition covers hustling pioneers like Heiroglyphics and Too Short, who sold tapes out of their trunks in Oakland to build their empires. \u003ca href=\"http://museumca.org/exhibit/respect-hip-hop-style-wisdom\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CkrdiABTcaI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’re looking ahead this week on The Do List to a few exhibitions we’re excited about in 2018, among them \u003cem>Respect: Hip-Hop Style and Wisdom\u003c/em>, opening in March at the Oakland Museum of California (OMCA). \u003cem>Respect\u003c/em> is part of a trend at the Oakland Museum and other institutions to take serious looks at pop culture. (OMCA presented a show about sneakers recently.)\u003c/p>\n\u003cp>“Hip-hop is misunderstood,” OMCA Senior Curator René de Guzman says, “that it’s all about gangsterism and misogyny. There are elements of that, just as there are negative elements in any cultural form or social group. The other misunderstanding is that hip-hop is simply a music genre, but it extends beyond that to include not only other art forms but principles, values and communities.”\u003c/p>\n\u003cfigure id=\"attachment_13817929\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817929\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-800x692.jpg\" alt=\"Young Boys. 1981. East Flatbush an image from OMCA's upcoming show about hip hop\" width=\"800\" height=\"692\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-800x692.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-768x665.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-1020x883.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-1920x1661.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-1180x1021.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-960x831.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-240x208.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-375x324.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Young-Boys.-1981.-East-Flatbush-e1513782831717-520x450.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Young Boys. 1981, East Flatbush. Image from OMCA’s upcoming show about hip-hop. \u003ccite>(Photo: Jamel Shabazz/OMCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So the exhibit, de Guzman says, will dig deep into hip-hop’s message of authenticity and political activism, with input from Bay Area icons like Oakland rapper and scholar Mystic and the Hip-Hop Chess Federation’s Adisa Banjoko.\u003c/p>\n\u003cp>My colleague Gabe Meline notes that the show promises to cover the music “beyond big business.” So he’s keen to see how the exhibition covers hustling pioneers like Heiroglyphics and Too Short, who sold tapes out of their trunks in Oakland to build their empires. \u003ca href=\"http://museumca.org/exhibit/respect-hip-hop-style-wisdom\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/CkrdiABTcaI'\n title='//www.youtube.com/embed/CkrdiABTcaI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>People often say that \u003ca href=\"https://www.facebook.com/TheAlleyPianoBar/\" target=\"_blank\" rel=\"noopener\">the Alley\u003c/a>, an Oakland piano bar that’s been around since 1933, is like a time capsule from a bygone era. And one of the people who made the classic neighborhood establishment feel timeless was pianist Rod Dibble, who passed away peacefully on Dec. 18, according to \u003ca href=\"https://www.facebook.com/TheAlleyPianoBar/posts/1711768165535154\" target=\"_blank\" rel=\"noopener\">an announcement\u003c/a> on the Alley’s Facebook page today.\u003c/p>\n\u003cblockquote>\u003cp>Rod Dibble was and will always be an integral part of the Alley. He kept The Alley, as well as the Great American Songbook alive by playing night-after-night, song-after-song, with singer-after-singer for the better part of 50 plus years. By all accounts, he literally wore out 10 pianos in the process. He kept The Alley going and virtually unchanged throughout the decades keeping its unique character and grit intact. While the neighborhood around it changed, The Alley and Rod remained a constant with the walls layered and caked with its history and a repertoire of songs frozen in time.\u003c/p>\u003c/blockquote>\n\u003cp>Dibble, who was born in 1932 and manned the Alley’s piano bench since 1960, was a talented musician with over 4,000 songs committed to memory. Patrons of all walks of life, ages, and musical abilities frequented the bar to sing karaoke with Dibble’s accompanying them on piano. All the songs in his catalog dated from before 1970, and, even as music evolved, he stuck to classic standards, gaining a reputation as a local music historian.\u003c/p>\n\u003cp>“I always lay out the ground rules: If you want to play in my backyard, you sing my songs,” Dibble told the \u003cem>San Francisco Chronicle\u003c/em> in 2011.\u003c/p>\n\u003cp>Dibble’s supporters remember him as an eccentric character that gave the Alley its unique personality. “When people come to town, it’s part of the list, like, ‘You have to come to the Alley,'” says Jason Stinnett, the talent buyer at Starline Social Club, who first started frequenting the Alley in 1994. “It’s one of Oakland’s oldest establishments and it’s such a gem, with Rod being the center of that.”\u003c/p>\n\u003cp>https://www.instagram.com/p/Bc8ANtMj7qj/?taken-by=jay_sonik\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Author and artist Mimi Pond remembers visiting the Alley in 1977, when she was a college student at California College of the Arts. “I was fascinated with Rod Dibble because he was the actual, real version of the kind of thing Tom Waits was playing at in his act,” she says. “Rod Dibble seemed to play into this idea of the sleazy piano lounge and the gravelly-voiced singer. He was the real deal. … We came away completely charmed by his performance.”\u003c/p>\n\u003cp>Pond says Dibble is one of the unique Oaklanders who informed her best-selling, semi-autobiographical graphic novels, \u003cem>Over Easy\u003c/em> and \u003cem>The Customer is Always Wrong\u003c/em>, which take place in Oakland in the late ’70s.\u003c/p>\n\u003cp>“He’s definitely another one of those weirdo characters — Oakland has its own unique eccentricity that I just find fascinating,” she says. “There’s a lot of pockets of deep weirdness that are really genuine and homegrown. It’s nice that there are still things and people like that in Oakland.”\u003c/p>\n\u003cp>Jessi Phillips, a semi-regular Alley patron who profiled Dibble in \u003cem>SF Weekly\u003c/em> in 2016, says Dibble’s piano playing, refreshingly, offered people a chance to make person-to-person connections through music.\u003c/p>\n\u003cp>“He created this really special atmosphere. He made people who never sung before feel comfortable,” she says. “He fostered an atmosphere where people were listening to each other.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>People often say that \u003ca href=\"https://www.facebook.com/TheAlleyPianoBar/\" target=\"_blank\" rel=\"noopener\">the Alley\u003c/a>, an Oakland piano bar that’s been around since 1933, is like a time capsule from a bygone era. And one of the people who made the classic neighborhood establishment feel timeless was pianist Rod Dibble, who passed away peacefully on Dec. 18, according to \u003ca href=\"https://www.facebook.com/TheAlleyPianoBar/posts/1711768165535154\" target=\"_blank\" rel=\"noopener\">an announcement\u003c/a> on the Alley’s Facebook page today.\u003c/p>\n\u003cblockquote>\u003cp>Rod Dibble was and will always be an integral part of the Alley. He kept The Alley, as well as the Great American Songbook alive by playing night-after-night, song-after-song, with singer-after-singer for the better part of 50 plus years. By all accounts, he literally wore out 10 pianos in the process. He kept The Alley going and virtually unchanged throughout the decades keeping its unique character and grit intact. While the neighborhood around it changed, The Alley and Rod remained a constant with the walls layered and caked with its history and a repertoire of songs frozen in time.\u003c/p>\u003c/blockquote>\n\u003cp>Dibble, who was born in 1932 and manned the Alley’s piano bench since 1960, was a talented musician with over 4,000 songs committed to memory. Patrons of all walks of life, ages, and musical abilities frequented the bar to sing karaoke with Dibble’s accompanying them on piano. All the songs in his catalog dated from before 1970, and, even as music evolved, he stuck to classic standards, gaining a reputation as a local music historian.\u003c/p>\n\u003cp>“I always lay out the ground rules: If you want to play in my backyard, you sing my songs,” Dibble told the \u003cem>San Francisco Chronicle\u003c/em> in 2011.\u003c/p>\n\u003cp>Dibble’s supporters remember him as an eccentric character that gave the Alley its unique personality. “When people come to town, it’s part of the list, like, ‘You have to come to the Alley,'” says Jason Stinnett, the talent buyer at Starline Social Club, who first started frequenting the Alley in 1994. “It’s one of Oakland’s oldest establishments and it’s such a gem, with Rod being the center of that.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Author and artist Mimi Pond remembers visiting the Alley in 1977, when she was a college student at California College of the Arts. “I was fascinated with Rod Dibble because he was the actual, real version of the kind of thing Tom Waits was playing at in his act,” she says. “Rod Dibble seemed to play into this idea of the sleazy piano lounge and the gravelly-voiced singer. He was the real deal. … We came away completely charmed by his performance.”\u003c/p>\n\u003cp>Pond says Dibble is one of the unique Oaklanders who informed her best-selling, semi-autobiographical graphic novels, \u003cem>Over Easy\u003c/em> and \u003cem>The Customer is Always Wrong\u003c/em>, which take place in Oakland in the late ’70s.\u003c/p>\n\u003cp>“He’s definitely another one of those weirdo characters — Oakland has its own unique eccentricity that I just find fascinating,” she says. “There’s a lot of pockets of deep weirdness that are really genuine and homegrown. It’s nice that there are still things and people like that in Oakland.”\u003c/p>\n\u003cp>Jessi Phillips, a semi-regular Alley patron who profiled Dibble in \u003cem>SF Weekly\u003c/em> in 2016, says Dibble’s piano playing, refreshingly, offered people a chance to make person-to-person connections through music.\u003c/p>\n\u003cp>“He created this really special atmosphere. He made people who never sung before feel comfortable,” she says. “He fostered an atmosphere where people were listening to each other.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The last thing the world needs is yet another critic’s list of the 10 Best Movies of 2017. If you need a guide to the worthwhile films you missed (or want to check your taste against the so-called experts), peruse any film publication’s website. (I recommend \u003ca href=\"http://www.bfi.org.uk/features/best-films-2017/\" rel=\"noopener\" target=\"_blank\">\u003cem>Sight & Sound\u003c/em>\u003c/a>).\u003c/p>\n\u003cp>My inclination is to instead catalog the moments, the scenes, the bits that stayed with me weeks and months later. Sometimes they stick like annoying songs you hate but can’t get out of your head, so be advised that at least one of my Top 7 is from a movie I disliked. \u003c/p>\n\u003cfigure id=\"attachment_13817816\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120.jpg\" alt=\"Timothée Chalamet as Elio in 'Call Me By Your Name.'\" width=\"1200\" height=\"649\" class=\"size-full wp-image-13817816\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-1020x552.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-520x281.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Timothée Chalamet as Elio in ‘Call Me By Your Name.’\u003cbr> \u003ccite>(Photo by Sayombhu Mukdeeprom; Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Call Me by Your Name\u003c/em>\u003c/h3>\n\u003cp>The passage of the year involved a breathtakingly spoiled yet awkwardly self-conscious teenager, a fresh peach, and, eventually, the lad’s charismatic, self-confident and older male lover. The sequence is photographed and paced to focus and amplify the teenager’s desire, ungainliness, neediness, vulnerability and sensual awakening. If it makes you uncomfortable, the film has succeeded in making you share his experience (or cast you back to your own). Either way, the scene encapsulates the movie. \u003c/p>\n\u003cp>https://youtu.be/SAp4gJwhNI0\u003c/p>\n\u003ch3>\u003cem>Get Out\u003c/em>\u003c/h3>\n\u003cp>A portrait of a society that adopts a bizarro-world veneer of normalcy to conceal its loathing and covetousness of black people, Jordan Peele’s horror-comedy gives us white privilege in its ultimate demented distillation. The moment that nails the surreal, disturbing nature of the setting — a large country house where a black man is meeting his white girlfriend’s family — is the zombie-like black groundskeeper running full tilt at the erstwhile hero before veering off into the dusky distance. \u003c/p>\n\u003cfigure id=\"attachment_13817819\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200.jpg\" alt=\"Allison Janney as LaVona Golden, with her pet bird in 'I, Tonya.'\" width=\"1200\" height=\"502\" class=\"size-full wp-image-13817819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-1020x427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-1180x494.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-960x402.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-240x100.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-375x157.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-520x218.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Allison Janney as LaVona Golden, with her pet bird in ‘I, Tonya.’ \u003ccite>(Courtesy of NEON and 30WEST)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>I, Tonya\u003c/em>\u003c/h3>\n\u003cp>Take any of the numerous instances when Margot Robbie’s Tonya Harding sits in her kitchen, looks straight at the camera and explicitly or implicitly dares us to disbelieve her version of the events that made her famous. Let’s be blunt: She’s challenging us to dismiss her as white trash and to withhold our empathy. Alison Janney’s direct addresses to the audience, as Tonya’s heinous mother LaVona, are also embedded in my cerebral cortex.\u003c/p>\n\u003cfigure id=\"attachment_13817822\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200.jpg\" alt=\"Christopher Rivera, Brooklynn Prince, and Valeria Cotto in 'The Florida Project.'\" width=\"1200\" height=\"503\" class=\"size-full wp-image-13817822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-1180x495.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-960x402.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-375x157.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-520x218.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Rivera, Brooklynn Prince, and Valeria Cotto in ‘The Florida Project.’ \u003ccite>(Photo courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Florida Project\u003c/em>\u003c/h3>\n\u003cp>Similarly, the images I keep from Sean Baker’s candy-colored, neo-neorealist mother-daughter saga are of faces: Brooklynn Prince conveys childish enthusiasm and candor along with calculated manipulation as the irrepressible, undisciplined Moonee. Hailey (Bria Vinaite), her desperately amoral mom, is scarcely more mature or capable of hiding her emotions. Like Tonya Harding’s mother, Hailey bulldozes through every drop of audience goodwill by the last reel. Moonee, however, transcends our judgments. She’s a child; she is blameless.\u003c/p>\n\u003cfigure id=\"attachment_13817823\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/12_brigsby_1200.jpg\" alt=\"Kyle Mooney and Jorge Lendeborg Jr. in 'Brigsby Bear.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13817823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kyle Mooney and Jorge Lendeborg Jr. in ‘Brigsby Bear.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Brigsby Bear\u003c/em>\u003c/h3>\n\u003cp>Kyle Mooney and Dave McCary’s gently touching fable imagines a sheltered young man forced to acclimate to the real world. Resisting the pressure to forget the fictional characters and sci-fi world that his parents created for his benefit, James writes and films a new chapter in the Hallmarkish but never mawkish fantasy — with the help of new friends. Unfamiliar with digital effects, James devises an explosion the old-fashioned (analog?) way, to the shock of his collaborators and (inevitably) the cops. \u003cem>Brigsby Bear\u003c/em> can be interpreted at varying points as a savage dig at the masses who worship the mythology of \u003cem>Star Wars\u003c/em> (Mark Hamill has a small role) or as an affectionate hug to people who bond over alternate universes populated by trustworthy heroes.\u003c/p>\n\u003cfigure id=\"attachment_13817825\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/7_square_1200.jpg\" alt=\"A disrupted dinner scene from 'The Square.'\" width=\"1200\" height=\"649\" class=\"size-full wp-image-13817825\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-1020x552.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-520x281.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A disrupted dinner scene from ‘The Square.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Square\u003c/em>\u003c/h3>\n\u003cp>An art installation provides a framework to consider morality as a social experiment, but it is the questionable behavior toward one another outside of the square that concerns Swedish writer-director Ruben Östlund. The centerpiece of his quietly confrontational film is a black-tie fundraising dinner for the museum at which a bare-chested performer, in the guise of an aggressive primate, puts his artistic integrity above the conventional norms of polite society. Östlund’s integrity is such that he extends the scene, and several others, beyond the point of audience discomfort.\u003c/p>\n\u003cfigure id=\"attachment_13817826\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/1945_1200.jpg\" alt=\"Hermann Sámuel (Iván Angelus) and his son (Marcell Nagy) arrive via train to a small village in Hungary full of secrets in '1945.'\" width=\"1200\" height=\"788\" class=\"size-full wp-image-13817826\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200-1180x775.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200-960x630.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200-520x341.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hermann Sámuel (Iván Angelus) and his son (Marcell Nagy) arrive via train to a small village in Hungary full of secrets in ‘1945.’ \u003ccite>(Lenke Szilagyi / Menemsha Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>1945\u003c/em>\u003c/h3>\n\u003cp>Two unsmiling men, dressed in black, purposefully step off a train somewhere in the Hungarian countryside shortly after World War II. What is their business? Their beards and long coats suggest they are Jewish; they look like emissaries from the 19th century. To the station master and other bystanders, the father-and-son duo could be exemplars of justice or, worse, avenging angels. With barely a line or two of dialogue, writer-director Ferenc Török introduces a mystery and stimulates acres of tension — grounded in a black, white and gray epoch of history we are aware of. And if we aren’t, we soon will be.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "From a child's beaming face to a teenager's awkward vulnerability to a performance artist's reckless provocations, movies left their mark in these moments.",
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"title": "The Top 7 Movie Moments of 2017 | KQED",
"description": "From a child's beaming face to a teenager's awkward vulnerability to a performance artist's reckless provocations, movies left their mark in these moments.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The last thing the world needs is yet another critic’s list of the 10 Best Movies of 2017. If you need a guide to the worthwhile films you missed (or want to check your taste against the so-called experts), peruse any film publication’s website. (I recommend \u003ca href=\"http://www.bfi.org.uk/features/best-films-2017/\" rel=\"noopener\" target=\"_blank\">\u003cem>Sight & Sound\u003c/em>\u003c/a>).\u003c/p>\n\u003cp>My inclination is to instead catalog the moments, the scenes, the bits that stayed with me weeks and months later. Sometimes they stick like annoying songs you hate but can’t get out of your head, so be advised that at least one of my Top 7 is from a movie I disliked. \u003c/p>\n\u003cfigure id=\"attachment_13817816\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120.jpg\" alt=\"Timothée Chalamet as Elio in 'Call Me By Your Name.'\" width=\"1200\" height=\"649\" class=\"size-full wp-image-13817816\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-1020x552.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/cmbyn_elio_120-520x281.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Timothée Chalamet as Elio in ‘Call Me By Your Name.’\u003cbr> \u003ccite>(Photo by Sayombhu Mukdeeprom; Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Call Me by Your Name\u003c/em>\u003c/h3>\n\u003cp>The passage of the year involved a breathtakingly spoiled yet awkwardly self-conscious teenager, a fresh peach, and, eventually, the lad’s charismatic, self-confident and older male lover. The sequence is photographed and paced to focus and amplify the teenager’s desire, ungainliness, neediness, vulnerability and sensual awakening. If it makes you uncomfortable, the film has succeeded in making you share his experience (or cast you back to your own). Either way, the scene encapsulates the movie. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/SAp4gJwhNI0'\n title='//www.youtube.com/embed/SAp4gJwhNI0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>\u003cem>Get Out\u003c/em>\u003c/h3>\n\u003cp>A portrait of a society that adopts a bizarro-world veneer of normalcy to conceal its loathing and covetousness of black people, Jordan Peele’s horror-comedy gives us white privilege in its ultimate demented distillation. The moment that nails the surreal, disturbing nature of the setting — a large country house where a black man is meeting his white girlfriend’s family — is the zombie-like black groundskeeper running full tilt at the erstwhile hero before veering off into the dusky distance. \u003c/p>\n\u003cfigure id=\"attachment_13817819\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200.jpg\" alt=\"Allison Janney as LaVona Golden, with her pet bird in 'I, Tonya.'\" width=\"1200\" height=\"502\" class=\"size-full wp-image-13817819\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-768x321.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-1020x427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-1180x494.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-960x402.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-240x100.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-375x157.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/3-LaVona-Golden-Allison-Janney-and-her-pet-bird-in-I-TONYA-courtesy-of-NEON-and-30WEST_1200-520x218.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Allison Janney as LaVona Golden, with her pet bird in ‘I, Tonya.’ \u003ccite>(Courtesy of NEON and 30WEST)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>I, Tonya\u003c/em>\u003c/h3>\n\u003cp>Take any of the numerous instances when Margot Robbie’s Tonya Harding sits in her kitchen, looks straight at the camera and explicitly or implicitly dares us to disbelieve her version of the events that made her famous. Let’s be blunt: She’s challenging us to dismiss her as white trash and to withhold our empathy. Alison Janney’s direct addresses to the audience, as Tonya’s heinous mother LaVona, are also embedded in my cerebral cortex.\u003c/p>\n\u003cfigure id=\"attachment_13817822\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200.jpg\" alt=\"Christopher Rivera, Brooklynn Prince, and Valeria Cotto in 'The Florida Project.'\" width=\"1200\" height=\"503\" class=\"size-full wp-image-13817822\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-1180x495.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-960x402.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-375x157.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/the-florida-project-TFP_1200-520x218.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Christopher Rivera, Brooklynn Prince, and Valeria Cotto in ‘The Florida Project.’ \u003ccite>(Photo courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Florida Project\u003c/em>\u003c/h3>\n\u003cp>Similarly, the images I keep from Sean Baker’s candy-colored, neo-neorealist mother-daughter saga are of faces: Brooklynn Prince conveys childish enthusiasm and candor along with calculated manipulation as the irrepressible, undisciplined Moonee. Hailey (Bria Vinaite), her desperately amoral mom, is scarcely more mature or capable of hiding her emotions. Like Tonya Harding’s mother, Hailey bulldozes through every drop of audience goodwill by the last reel. Moonee, however, transcends our judgments. She’s a child; she is blameless.\u003c/p>\n\u003cfigure id=\"attachment_13817823\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/12_brigsby_1200.jpg\" alt=\"Kyle Mooney and Jorge Lendeborg Jr. in 'Brigsby Bear.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13817823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/12_brigsby_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Kyle Mooney and Jorge Lendeborg Jr. in ‘Brigsby Bear.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>Brigsby Bear\u003c/em>\u003c/h3>\n\u003cp>Kyle Mooney and Dave McCary’s gently touching fable imagines a sheltered young man forced to acclimate to the real world. Resisting the pressure to forget the fictional characters and sci-fi world that his parents created for his benefit, James writes and films a new chapter in the Hallmarkish but never mawkish fantasy — with the help of new friends. Unfamiliar with digital effects, James devises an explosion the old-fashioned (analog?) way, to the shock of his collaborators and (inevitably) the cops. \u003cem>Brigsby Bear\u003c/em> can be interpreted at varying points as a savage dig at the masses who worship the mythology of \u003cem>Star Wars\u003c/em> (Mark Hamill has a small role) or as an affectionate hug to people who bond over alternate universes populated by trustworthy heroes.\u003c/p>\n\u003cfigure id=\"attachment_13817825\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/7_square_1200.jpg\" alt=\"A disrupted dinner scene from 'The Square.'\" width=\"1200\" height=\"649\" class=\"size-full wp-image-13817825\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-1020x552.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/7_square_1200-520x281.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A disrupted dinner scene from ‘The Square.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>The Square\u003c/em>\u003c/h3>\n\u003cp>An art installation provides a framework to consider morality as a social experiment, but it is the questionable behavior toward one another outside of the square that concerns Swedish writer-director Ruben Östlund. The centerpiece of his quietly confrontational film is a black-tie fundraising dinner for the museum at which a bare-chested performer, in the guise of an aggressive primate, puts his artistic integrity above the conventional norms of polite society. Östlund’s integrity is such that he extends the scene, and several others, beyond the point of audience discomfort.\u003c/p>\n\u003cfigure id=\"attachment_13817826\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/1945_1200.jpg\" alt=\"Hermann Sámuel (Iván Angelus) and his son (Marcell Nagy) arrive via train to a small village in Hungary full of secrets in '1945.'\" width=\"1200\" height=\"788\" class=\"size-full wp-image-13817826\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200-1180x775.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200-960x630.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/1945_1200-520x341.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Hermann Sámuel (Iván Angelus) and his son (Marcell Nagy) arrive via train to a small village in Hungary full of secrets in ‘1945.’ \u003ccite>(Lenke Szilagyi / Menemsha Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>1945\u003c/em>\u003c/h3>\n\u003cp>Two unsmiling men, dressed in black, purposefully step off a train somewhere in the Hungarian countryside shortly after World War II. What is their business? Their beards and long coats suggest they are Jewish; they look like emissaries from the 19th century. To the station master and other bystanders, the father-and-son duo could be exemplars of justice or, worse, avenging angels. With barely a line or two of dialogue, writer-director Ferenc Török introduces a mystery and stimulates acres of tension — grounded in a black, white and gray epoch of history we are aware of. And if we aren’t, we soon will be.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "SF Arts Commission to Vote for Three Initial Treasure Island Art Projects",
"headTitle": "SF Arts Commission to Vote for Three Initial Treasure Island Art Projects | KQED",
"content": "\u003cp>The City of San Francisco is moving closer to finalizing plans for the installation of up to $50 million worth of public art on Treasure Island.\u003c/p>\n\u003cp>On Wednesday, the \u003ca href=\"http://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Arts Commission\u003c/a> will review a short list of artists competing to undertake major projects on three sites as part of the city’s renovation of Treasure Island.\u003c/p>\n\u003cp>Selected from 495 submissions, the list includes art world heavy-hitters like Chinese artist \u003ca href=\"http://aiweiwei.com/\" target=\"_blank\" rel=\"noopener\">Ai Weiwei\u003c/a>, the force behind a highly-trafficked installation on Alcatraz, and Britain’s \u003ca href=\"http://www.artnet.com/artists/andy-goldsworthy/\" target=\"_blank\" rel=\"noopener\">Andy Goldsworthy\u003c/a>, who has several works in the Presidio as well as a piece outside the de Young Museum.\u003c/p>\n\u003cp>“Some of the things that excited the committee were the range of expressions that the artists have,” says \u003ca href=\"http://sftreasureisland.org/\" target=\"_blank\" rel=\"noopener\">Treasure Island Development Authority\u003c/a> director Robert Beck. “They could develop something unique that’s responsive to the site, its history and its environment. They also have a track record of having delivered pieces that are of the scale anticipated for the sites.”\u003c/p>\n\u003cp>Among the finalists is just one Bay Area artist, sculptor \u003ca href=\"http://nedkahn.com/\" target=\"_blank\" rel=\"noopener\">Ned Kahn\u003c/a>, who is listed as an “alternate.”\u003c/p>\n\u003cfigure id=\"attachment_13817748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817748\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/rain-oc1.2-800x532.jpg\" alt=\"'Rain Oculus', an environmental art work located in Sigapore by Bay Area artist Ned Kahn.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/rain-oc1.2-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/rain-oc1.2-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/rain-oc1.2-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/rain-oc1.2-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/rain-oc1.2-1920x1276.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/rain-oc1.2-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/rain-oc1.2-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/rain-oc1.2-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/rain-oc1.2-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/rain-oc1.2-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/rain-oc1.2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Rain Oculus’, an environmental art work located in Singapore by Bay Area artist Ned Kahn. \u003ccite>(Photo: Courtesy of Ned Kahn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If one of the other artists doesn’t want to do it, or is too busy, they call me,” explains Kahn, who has created around 100 public art projects around the world over the past 30 years, including major local commissions for the San Francisco Transbay Terminal and the San Francisco Utilities Commission. “It’s kind of like losing the last game of your season or not qualifying for the playoffs.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As an artist who has undertaken many projects in foreign cities where his work was prioritized over that of locals, Kahn isn’t too put out about being selected as an alternate at home. He also points out that the city plans to install dozens more art installations beyond the initial three.\u003c/p>\n\u003cp>“This is just chapter one,” Kahn says. “I hope as the project develops that there will be other opportunities that will lend themselves more to local people. So it might be that the feathers get unruffled down the road.”\u003c/p>\n\u003cp>The Treasure Island Development Authority reflects Kahn’s viewpoint. “This will ultimately be a fairly extensive art program,” Beck says. “There has been a desire expressed by the Arts Commission and the Arts Steering Committee to pursue both a range of local, national and international artists.”\u003c/p>\n\u003cp>The Arts Steering Committee comprises members of the San Francisco Arts Commission, the Treasure Island Development Authority, and the real estate developer. Kahn says this committee will have the final say on the selection of artists and placement of their work on the island.\u003c/p>\n\u003cfigure id=\"attachment_13428268\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13428268\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Treasure-Island-Art-e1497388598574-800x450.jpg\" alt=\"The plaza outside the administrative building, a proposed site for one of the initial three Treasure Island art commissions. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Treasure-Island-Art-e1497388598574.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Treasure-Island-Art-e1497388598574-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Treasure-Island-Art-e1497388598574-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Treasure-Island-Art-e1497388598574-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Treasure-Island-Art-e1497388598574-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Treasure-Island-Art-e1497388598574-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The plaza outside the Navy administration building, a proposed site for one of the initial three Treasure Island art commissions. \u003ccite>(Photo: Courtesy of Treasure Island Development Authority)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After Wednesday’s review, the shortlist will go the Arts Steering Committee, which will then vote on the Arts Commission’s recommendations and authorize the artists to proceed with developing their proposals for the sites.\u003c/p>\n\u003cp>The three initial commissions are expected to have budgets in the range of $1–$2 million. The locations for these projects are:\u003c/p>\n\u003cul>\n\u003cli>The plaza in front of the old Navy administration building, known as Plaza 1.\u003c/li>\n\u003cli>Waterfront Plaza, on the shore facing San Francisco.\u003c/li>\n\u003cli>Yerba Buena Hilltop Park, a new area to be constructed.\u003c/li>\n\u003c/ul>\n\u003cp>Beck says the selected artists’ proposals should be ready for public comment by spring 2018. The plans will be put on display at a location to be determined, most likely at the Veterans Building in San Francisco or on Treasure Island.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Selected from 495 submissions, the short list includes art world heavy-hitters like Chinese artist Ai Weiwei and Britain’s Andy Goldsworthy.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The City of San Francisco is moving closer to finalizing plans for the installation of up to $50 million worth of public art on Treasure Island.\u003c/p>\n\u003cp>On Wednesday, the \u003ca href=\"http://www.sfartscommission.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Arts Commission\u003c/a> will review a short list of artists competing to undertake major projects on three sites as part of the city’s renovation of Treasure Island.\u003c/p>\n\u003cp>Selected from 495 submissions, the list includes art world heavy-hitters like Chinese artist \u003ca href=\"http://aiweiwei.com/\" target=\"_blank\" rel=\"noopener\">Ai Weiwei\u003c/a>, the force behind a highly-trafficked installation on Alcatraz, and Britain’s \u003ca href=\"http://www.artnet.com/artists/andy-goldsworthy/\" target=\"_blank\" rel=\"noopener\">Andy Goldsworthy\u003c/a>, who has several works in the Presidio as well as a piece outside the de Young Museum.\u003c/p>\n\u003cp>“Some of the things that excited the committee were the range of expressions that the artists have,” says \u003ca href=\"http://sftreasureisland.org/\" target=\"_blank\" rel=\"noopener\">Treasure Island Development Authority\u003c/a> director Robert Beck. “They could develop something unique that’s responsive to the site, its history and its environment. They also have a track record of having delivered pieces that are of the scale anticipated for the sites.”\u003c/p>\n\u003cp>Among the finalists is just one Bay Area artist, sculptor \u003ca href=\"http://nedkahn.com/\" target=\"_blank\" rel=\"noopener\">Ned Kahn\u003c/a>, who is listed as an “alternate.”\u003c/p>\n\u003cfigure id=\"attachment_13817748\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13817748\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/rain-oc1.2-800x532.jpg\" alt=\"'Rain Oculus', an environmental art work located in Sigapore by Bay Area artist Ned Kahn.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/rain-oc1.2-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/rain-oc1.2-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/rain-oc1.2-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/rain-oc1.2-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/rain-oc1.2-1920x1276.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/rain-oc1.2-1180x784.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/rain-oc1.2-960x638.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/rain-oc1.2-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/rain-oc1.2-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/rain-oc1.2-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/rain-oc1.2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Rain Oculus’, an environmental art work located in Singapore by Bay Area artist Ned Kahn. \u003ccite>(Photo: Courtesy of Ned Kahn)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If one of the other artists doesn’t want to do it, or is too busy, they call me,” explains Kahn, who has created around 100 public art projects around the world over the past 30 years, including major local commissions for the San Francisco Transbay Terminal and the San Francisco Utilities Commission. “It’s kind of like losing the last game of your season or not qualifying for the playoffs.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As an artist who has undertaken many projects in foreign cities where his work was prioritized over that of locals, Kahn isn’t too put out about being selected as an alternate at home. He also points out that the city plans to install dozens more art installations beyond the initial three.\u003c/p>\n\u003cp>“This is just chapter one,” Kahn says. “I hope as the project develops that there will be other opportunities that will lend themselves more to local people. So it might be that the feathers get unruffled down the road.”\u003c/p>\n\u003cp>The Treasure Island Development Authority reflects Kahn’s viewpoint. “This will ultimately be a fairly extensive art program,” Beck says. “There has been a desire expressed by the Arts Commission and the Arts Steering Committee to pursue both a range of local, national and international artists.”\u003c/p>\n\u003cp>The Arts Steering Committee comprises members of the San Francisco Arts Commission, the Treasure Island Development Authority, and the real estate developer. Kahn says this committee will have the final say on the selection of artists and placement of their work on the island.\u003c/p>\n\u003cfigure id=\"attachment_13428268\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13428268\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/Treasure-Island-Art-e1497388598574-800x450.jpg\" alt=\"The plaza outside the administrative building, a proposed site for one of the initial three Treasure Island art commissions. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Treasure-Island-Art-e1497388598574.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Treasure-Island-Art-e1497388598574-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Treasure-Island-Art-e1497388598574-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Treasure-Island-Art-e1497388598574-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Treasure-Island-Art-e1497388598574-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/Treasure-Island-Art-e1497388598574-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The plaza outside the Navy administration building, a proposed site for one of the initial three Treasure Island art commissions. \u003ccite>(Photo: Courtesy of Treasure Island Development Authority)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After Wednesday’s review, the shortlist will go the Arts Steering Committee, which will then vote on the Arts Commission’s recommendations and authorize the artists to proceed with developing their proposals for the sites.\u003c/p>\n\u003cp>The three initial commissions are expected to have budgets in the range of $1–$2 million. The locations for these projects are:\u003c/p>\n\u003cul>\n\u003cli>The plaza in front of the old Navy administration building, known as Plaza 1.\u003c/li>\n\u003cli>Waterfront Plaza, on the shore facing San Francisco.\u003c/li>\n\u003cli>Yerba Buena Hilltop Park, a new area to be constructed.\u003c/li>\n\u003c/ul>\n\u003cp>Beck says the selected artists’ proposals should be ready for public comment by spring 2018. The plans will be put on display at a location to be determined, most likely at the Veterans Building in San Francisco or on Treasure Island.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Enduring, Resonant Appeal of the Sing-Along 'Messiah'",
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"content": "\u003cp>If you haven’t been to a sing-along \u003cem>Messiah\u003c/em> yet, it’s the time of year to warm up your vocal chords and find one. These performances are seasonal treats — unless you’re a musician, in which case they could be an occupational hazard.\u003c/p>\n\u003cp>But for the rest of us, there aren’t many opportunities for genuine amateurs to belt out music, in a theatre, surrounded by hundreds of people doing the same thing, backed by a professional orchestra and possibly a choir. Since \u003ca href=\"https://www.smithsonianmag.com/arts-culture/the-glorious-history-of-handels-messiah-148168540/\" target=\"_blank\" rel=\"noopener\">Handel’s \u003cem>Messiah\u003c/em> debut\u003c/a> in 1742, it’s proven a massive hit with crowds. At some point, those crowds wanted to sing along, and a tradition was born.\u003c/p>\n\u003cp>“It’s a unique, musically edifying — most of the time — occasion,” says Gregory Wait, music director at \u003ca href=\"https://scholacantorum.org/home\" target=\"_blank\" rel=\"noopener\">Schola Cantorum Silicon Valley\u003c/a>, which hosts its \u003ca href=\"https://tickets.mvcpa.com/eventperformances.asp?evt=154\" target=\"_blank\" rel=\"noopener\">51st annual sing-along \u003cem>Messiah\u003c/em>\u003c/a> this year. That would make it the oldest sing-along \u003cem>Messiah\u003c/em> in the Bay Area.\u003c/p>\n\u003cp>“Everybody gets to kind of sing everything,” Wait says. “I jokingly ask attendees to attempt to sing them in the octave written, but that doesn’t always happen.”\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/RDnews/2017/12/MessiahSingAlongforweb.mp3\" Image=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/ScholaSing2017_800x461-800x461.png\" Title=\"Sing-A-Long Messiahs A Perennial Favorite\" program=\"KQED News\"]\u003c/p>\n\u003cp>Despite the fact that \u003cem>Messiah\u003c/em> is a profoundly religious work, you don’t need to be a Christian to appreciate how fun it is to sing. As Wait says, “The music is spectacular. It has life and vibrancy and — most of the time — up tempo. I think it makes people happy.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This upcoming sing-along \u003cem>Messiah\u003c/em> will be Wait’s 29th. How has he survived so long? Low expectations. “If you’re reading a piece of music, say for the first time, I would prioritize the rhythm. Be at the right time in the right (place), you know, and the notes… they’ll come along.”\u003c/p>\n\u003cp>Of course, sometimes the professionals mess up, too.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=_9gBGaB5bwI]\u003c/p>\n\u003cp>(Whoever uploaded the above video graciously didn’t mention which orchestra performed it. My favorite comment: “The organist didn’t \u003ci>Handel\u003c/i> that very well.”)\u003c/p>\n\u003cp>Are you game? Here’s a list of Bay Area \u003cem>Messiah\u003c/em> sing-alongs still available.\u003c/p>\n\u003cp>\u003ca href=\"http://dancepalace.org/events/sing-along-messiah-2017\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Sing-Along Messiah At The Dance Palace\u003c/strong>\u003c/a>\u003cbr>\nOrganization: Dance Palace Community & Cultural Center\u003cbr>\nVenue: Dance Palace Community Center\u003cbr>\nDate: Dec. 16, 2017 3:00pm\u003cbr>\n\u003ca href=\"http://dancepalace.org/events/sing-along-messiah-2017\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://uucb.org/events/sing-along-messiah/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Messiah Sing-Along\u003c/strong>\u003c/a>\u003cbr>\nOrganization: Unitarian Universalist Church of Berkeley\u003cbr>\nVenue: Unitarian Universalist Church of Berkeley\u003cbr>\nDate: Dec. 17, 2017 6:00pm\u003cbr>\n\u003ca href=\"http://uucb.org/events/sing-along-messiah/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://www.srsymphonyleague.org/sing-along-messiah.html\" target=\"_blank\" rel=\"noopener\">\u003cstrong>The Redwood Empire Sing-Along Messiah\u003c/strong>\u003c/a>\u003cbr>\nOrganization: Santa Rosa Symphony League\u003cbr>\nVenue: Jackson Theatre\u003cbr>\nDate: Dec. 17, 2017 3:00pm\u003cbr>\n\u003ca href=\"http://www.srsymphonyleague.org/sing-along-messiah.html\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://tickets.mvcpa.com/eventperformances.asp?evt=154\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Sing Along To Handel’s “Messiah”\u003c/strong>\u003c/a>\u003cbr>\nOrganization: Schola Cantorum Silicon Valley\u003cbr>\nVenue: Mountain View Center for the Performing Arts\u003cbr>\nDate: Dec. 18, 2017 7:30pm\u003cbr>\n\u003ca href=\"https://tickets.mvcpa.com/eventperformances.asp?evt=154\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://sanjosesymphonicchoir.org/upcoming-concerts\" target=\"_blank\" rel=\"noopener\">\u003cstrong>You-Sing-It-Messiah\u003c/strong>\u003c/a>\u003cbr>\nOrganization: San Jose Symphonic Choir\u003cbr>\nVenue: Cathedral Basilica of Saint Joseph, San Jose\u003cbr>\nDate: Dec. 18, 2017 7:30pm\u003cbr>\n\u003ca href=\"http://sanjosesymphonicchoir.org/upcoming-concerts\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you haven’t been to a sing-along \u003cem>Messiah\u003c/em> yet, it’s the time of year to warm up your vocal chords and find one. These performances are seasonal treats — unless you’re a musician, in which case they could be an occupational hazard.\u003c/p>\n\u003cp>But for the rest of us, there aren’t many opportunities for genuine amateurs to belt out music, in a theatre, surrounded by hundreds of people doing the same thing, backed by a professional orchestra and possibly a choir. Since \u003ca href=\"https://www.smithsonianmag.com/arts-culture/the-glorious-history-of-handels-messiah-148168540/\" target=\"_blank\" rel=\"noopener\">Handel’s \u003cem>Messiah\u003c/em> debut\u003c/a> in 1742, it’s proven a massive hit with crowds. At some point, those crowds wanted to sing along, and a tradition was born.\u003c/p>\n\u003cp>“It’s a unique, musically edifying — most of the time — occasion,” says Gregory Wait, music director at \u003ca href=\"https://scholacantorum.org/home\" target=\"_blank\" rel=\"noopener\">Schola Cantorum Silicon Valley\u003c/a>, which hosts its \u003ca href=\"https://tickets.mvcpa.com/eventperformances.asp?evt=154\" target=\"_blank\" rel=\"noopener\">51st annual sing-along \u003cem>Messiah\u003c/em>\u003c/a> this year. That would make it the oldest sing-along \u003cem>Messiah\u003c/em> in the Bay Area.\u003c/p>\n\u003cp>“Everybody gets to kind of sing everything,” Wait says. “I jokingly ask attendees to attempt to sing them in the octave written, but that doesn’t always happen.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This upcoming sing-along \u003cem>Messiah\u003c/em> will be Wait’s 29th. How has he survived so long? Low expectations. “If you’re reading a piece of music, say for the first time, I would prioritize the rhythm. Be at the right time in the right (place), you know, and the notes… they’ll come along.”\u003c/p>\n\u003cp>Of course, sometimes the professionals mess up, too.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/_9gBGaB5bwI'\n title='//www.youtube.com/embed/_9gBGaB5bwI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>(Whoever uploaded the above video graciously didn’t mention which orchestra performed it. My favorite comment: “The organist didn’t \u003ci>Handel\u003c/i> that very well.”)\u003c/p>\n\u003cp>Are you game? Here’s a list of Bay Area \u003cem>Messiah\u003c/em> sing-alongs still available.\u003c/p>\n\u003cp>\u003ca href=\"http://dancepalace.org/events/sing-along-messiah-2017\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Sing-Along Messiah At The Dance Palace\u003c/strong>\u003c/a>\u003cbr>\nOrganization: Dance Palace Community & Cultural Center\u003cbr>\nVenue: Dance Palace Community Center\u003cbr>\nDate: Dec. 16, 2017 3:00pm\u003cbr>\n\u003ca href=\"http://dancepalace.org/events/sing-along-messiah-2017\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://uucb.org/events/sing-along-messiah/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Messiah Sing-Along\u003c/strong>\u003c/a>\u003cbr>\nOrganization: Unitarian Universalist Church of Berkeley\u003cbr>\nVenue: Unitarian Universalist Church of Berkeley\u003cbr>\nDate: Dec. 17, 2017 6:00pm\u003cbr>\n\u003ca href=\"http://uucb.org/events/sing-along-messiah/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://www.srsymphonyleague.org/sing-along-messiah.html\" target=\"_blank\" rel=\"noopener\">\u003cstrong>The Redwood Empire Sing-Along Messiah\u003c/strong>\u003c/a>\u003cbr>\nOrganization: Santa Rosa Symphony League\u003cbr>\nVenue: Jackson Theatre\u003cbr>\nDate: Dec. 17, 2017 3:00pm\u003cbr>\n\u003ca href=\"http://www.srsymphonyleague.org/sing-along-messiah.html\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://tickets.mvcpa.com/eventperformances.asp?evt=154\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Sing Along To Handel’s “Messiah”\u003c/strong>\u003c/a>\u003cbr>\nOrganization: Schola Cantorum Silicon Valley\u003cbr>\nVenue: Mountain View Center for the Performing Arts\u003cbr>\nDate: Dec. 18, 2017 7:30pm\u003cbr>\n\u003ca href=\"https://tickets.mvcpa.com/eventperformances.asp?evt=154\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://sanjosesymphonicchoir.org/upcoming-concerts\" target=\"_blank\" rel=\"noopener\">\u003cstrong>You-Sing-It-Messiah\u003c/strong>\u003c/a>\u003cbr>\nOrganization: San Jose Symphonic Choir\u003cbr>\nVenue: Cathedral Basilica of Saint Joseph, San Jose\u003cbr>\nDate: Dec. 18, 2017 7:30pm\u003cbr>\n\u003ca href=\"http://sanjosesymphonicchoir.org/upcoming-concerts\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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