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"content": "\u003cfigure id=\"attachment_13968658\" class=\"wp-caption aligncenter\" style=\"max-width: 752px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968658\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-26-at-11.15.03%E2%80%AFAM.png\" alt=\"A book cover showing an illustration of a woman's face upside down. Only the nose, mouth and neck are visible.\" width=\"752\" height=\"1132\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-26-at-11.15.03 AM.png 752w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-26-at-11.15.03 AM-160x241.png 160w\" sizes=\"(max-width: 752px) 100vw, 752px\">\u003cfigcaption class=\"wp-caption-text\">‘This Is Why We Can’t Have Nice Things’ by Naomi Wood. \u003ccite>(Phoenix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Naomi Wood, an English author not yet well known in the U.S., has written three historical novels, including the well-regarded \u003cem>Mrs. Hemingway\u003c/em>, about the four wives of Ernest Hemingway. During the Covid lockdowns, when her kids were confined at home and she had less time to herself, she turned to the short story form. The result, \u003cem>This Is Why We Can’t Have Nice Things\u003c/em>, is an astonishingly good debut collection that often incorporates the bizarre, life-altering reality of the pandemic into the plots.\u003c/p>\n\u003cp>[aside postid='arts_13968593']The main characters tend to be 30-something women trying to have it all. Kids, relationships, satisfying careers — the “seductive slipstream of productivity.” They also strive to be good citizens of an ailing planet and have sex with their partners more than once in a blue moon.\u003c/p>\n\u003cp>In “Comorbidities,” which won the 2023 BBC National Short Story Award, a couple with young children tries to spice up their marriage by making a sex tape. In an abundance of caution, the man pauses the action to read up on digital security and adjust his devices. Hours later, when the glow has worn off, the woman has a panic attack, worrying it might somehow end up in the “deadly slime of the internet.”\u003c/p>\n\u003cp>Her female protagonists happen to be a lusty bunch, enjoying sex in flavors that some might consider kinky. But once the little ones arrive, everything changes. Fathers might leave, but these mothers wouldn’t dream of it. “They’re the grand love affair, in the end. The kids. No one else,” says a character in the story “A/A/A/A.”\u003c/p>\n\u003cp>But don’t think for a minute that they’re selfless or saintly. Feminism has freed them to enter the 21st century labor market and take on high-powered jobs, where they prove to be just as scheming, selfish and manipulative as the men.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Recently, I had started to notice my bad energy, and I began to follow it, wondering where it would take me,” says the main character in “Wedding Day.” And where was that? To a scheme to disrupt her ex-boyfriend’s wedding by insisting he leave the party early to bring their daughter home for her bedtime. But revenge is bittersweet because once he is back in the apartment they used to share, she is overcome with painful memories of their powerful erotic attraction.\u003c/p>\n\u003cp>[aside postid='arts_13968272']For all their flaws — and they have lots of them — the women in these delectable stories are insanely fun to be with because they are so fully imagined and true to the way we live now.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This Is Why We Can’t Have Nice Things by Naomi Wood is out now, via Phoenix.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cp>Do you have a someone in your life who plays Vulture’s Cinematrix game every morning? Or maybe they have the kitchen television turned to Turner Classic Movies all day and make a point of organizing Oscar polls at work? Hate to break it to you: They might be a hard-to-please cinephile.\u003c/p>\n\u003cp>But while you might not want to get into a winless debate over the \u003ca href=\"https://www.kqed.org/arts/13967891/juror-2-movie-review-legal-thriller-clint-eastwood-nicholas-hoult\">\u003cem>Juror No. 2\u003c/em>\u003c/a> release or the merits of \u003ca href=\"https://www.kqed.org/arts/13965555/megalopolis-francis-ford-coppola-review\">\u003cem>Megalopolis\u003c/em>\u003c/a> with said person, they don’t have to be hard to buy gifts for. The Associated Press has gathered up some of the best items out there to keep any movie lover stylish and informed.\u003c/p>\n\u003ch2>‘Interstellar’ 4K UHD\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=HYVxnPmb15E\u003c/p>\n\u003cp>While Christopher Nolan dreams up his next film, fans can tide themselves over by revisiting his modern classic \u003cem>Interstellar\u003c/em>, which will be back in IMAX theaters on the weekend of Dec. 6, followed by the home release of a new collector’s edition on 4K Ultra HD and Blu-ray ($59.95). A third disc in the set, available Dec. 10, contains more than two hours of bonus content, like a never-before-seen storyboard sequence, and new interviews with Nolan, producer Emma Thomas and famous fans Peter Jackson and Denis Villeneuve.\u003c/p>\n\u003ch2>A ‘Matrix’ hoodie\u003c/h2>\n\u003cp>The Academy Museum of Motion Pictures has an exclusive new \u003cem>Matrix\u003c/em> sweatshirt for sale in conjunction with its Cyberpunk exhibition. Brain Dead Studios designed and created several items, including the \u003ca href=\"https://academymuseumstore.org/products/the-matrix-hoodie?variant=44461479526577\">black hoodie\u003c/a> ($140), a white rabbit tee ($54) and a pint glass ($18).\u003c/p>\n\u003ch2>An Academy Museum exhibition catalog\u003c/h2>\n\u003cp>If you can’t make it to Los Angeles to check out the \u003cem>Color in Motion\u003c/em> exhibit for yourself, the Academy Museum also has a beautiful new companion book for sale ($55) charting the development of color technology in film and its impact. It includes photos from films like \u003ca href=\"https://www.pbs.org/wnet/gperf/the-red-shoes-about/12909/\">\u003cem>The Red Shoes\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/pop/11694/10-films-you-need-to-see-to-have-a-conversation-in-san-francisco\">\u003cem>Vertigo\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/pop/102906/50-years-later-2001-a-space-odyssey-is-still-a-cinematic-landmark\">\u003cem>2001: A Space Odyssey\u003c/em>\u003c/a>, and images of rare prints from the silent era. The Academy Museum Store is having a sale (20% off everything) from Nov. 28 to Dec. 2.\u003c/p>\n\u003ch2>A biography of Elaine May\u003c/h2>\n\u003cfigure id=\"attachment_13968641\" class=\"wp-caption aligncenter\" style=\"max-width: 1363px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968641\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elaine.png\" alt=\"A book cover featuring a black and white photo of a white woman with dark hair, deep in thought.\" width=\"1363\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elaine.png 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elaine-800x1174.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elaine-1020x1497.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elaine-160x235.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elaine-768x1127.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elaine-1047x1536.png 1047w\" sizes=\"(max-width: 1363px) 100vw, 1363px\">\u003cfigcaption class=\"wp-caption-text\">‘Miss May Does Not Exist: The Life and Work of Elaine May, Hollywood’s Hidden Genius,’ by Carrie Courogen. \u003ccite>(St. Martin's Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Elaine May does not give interviews anymore. But thankfully that didn’t deter writer Carrie Courogen, who did a remarkable job stitching together the life of one of our culture’s most fascinating, and prickly, talents. \u003cem>Miss May Does Not Exist\u003c/em> is full of delightful anecdotes about the sharp and satirical comedian who gained fame as one half of Nichols and May and went on to direct films like \u003cem>The Heartbreak Kid\u003c/em> and \u003cem>Mikey and Nicky\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Courogen writes about May’s successes, flops and her legendary scuffles with the Hollywood establishment. It’s a vital companion to Mark Harris’ biography of Mike Nichols. Macmillan. $30.\u003c/p>\n\u003ch2>A status tote\u003c/h2>\n\u003cp>Want to look like a real film festival warrior, the kind who sees five movies a day, files a review and still manages to make the late-night karaoke party? You’re going to need the ultimate status \u003ca href=\"https://shop.mubi.com/en-us/products/back-to-black-bag\">tote from the independent streaming service MUBI\u003c/a>. Simple, to-the-point and only for people in the know. $25.\u003c/p>\n\u003ch2>‘The Metrograph’ magazine\u003c/h2>\n\u003cp>Film magazines may be an endangered species, but print is not dead at \u003ca href=\"https://metrograph.com/?v=0b3b97fa6688\">\u003cem>The Metrograph\u003c/em>\u003c/a>. Manhattan’s coolest movie theater is starting a biannual print publication “for cinephiles and cultural connoisseurs alike.” The first issue’s cover art is by cinematographer Ed Lachman (\u003cem>Carol\u003c/em>), and contributors include the likes of \u003ca href=\"https://www.kqed.org/arts/13935619/in-daniel-clowes-monica-grief-nefarious-hippies-and-a-personal-apocalypse\">Daniel Clowes\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13860690/midsommar-shines-a-solstice-nightmare-unfolds-in-broad-daylight\">Ari Aster\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13954796/steve-martin-apple-tv-documentary-then-now-stand-up\">Steve Martin\u003c/a> and Simon Rex. There’s also a conversation with \u003ca href=\"https://video.kqed.org/video/clint-eastwood-for-the-mule-ejnwjt/\">Clint Eastwood\u003c/a>. It’s currently available for pre-order and will be in bookstores Dec. 10 for $25 ($15 for Metrograph members).\u003c/p>\n\u003ch2>Director style\u003c/h2>\n\u003cfigure id=\"attachment_13968643\" class=\"wp-caption aligncenter\" style=\"max-width: 1520px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968643\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/directors.png\" alt=\"A book cover featuring a photo of a woman in a director's chair wearing an oversized suit.\" width=\"1520\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/directors.png 1520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/directors-800x1053.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/directors-1020x1342.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/directors-160x211.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/directors-768x1011.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/directors-1167x1536.png 1167w\" sizes=\"(max-width: 1520px) 100vw, 1520px\">\u003cfigcaption class=\"wp-caption-text\">‘How Directors Dress: On Set, in the Edit, and Down the Red Carpet,’ by A24. \u003ccite>(A24 Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>This is not a book about filmmaking styles, camera angles and leadership choices. It’s literally about what directors wear. \u003cem>\u003ca href=\"https://shop.a24films.com/products/how-directors-dress\">How Directors Dress: On Set, in the Edit, and Down the Red Carpet\u003c/a>\u003c/em> ($40) has over 200 archival photos of filmmakers in action: Spike Lee in his basketball caps, Sofia Coppola in her Charvet button-ups, Steven Spielberg’s denim on denim and many more. With a forward by the always elegant Joanna Hogg and writing from some of the top fashion journalists, it’s a beautiful look at how filmmakers really dress for work — and might even be a source of inspiration.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Do you have a someone in your life who plays Vulture’s Cinematrix game every morning? Or maybe they have the kitchen television turned to Turner Classic Movies all day and make a point of organizing Oscar polls at work? Hate to break it to you: They might be a hard-to-please cinephile.\u003c/p>\n\u003cp>But while you might not want to get into a winless debate over the \u003ca href=\"https://www.kqed.org/arts/13967891/juror-2-movie-review-legal-thriller-clint-eastwood-nicholas-hoult\">\u003cem>Juror No. 2\u003c/em>\u003c/a> release or the merits of \u003ca href=\"https://www.kqed.org/arts/13965555/megalopolis-francis-ford-coppola-review\">\u003cem>Megalopolis\u003c/em>\u003c/a> with said person, they don’t have to be hard to buy gifts for. The Associated Press has gathered up some of the best items out there to keep any movie lover stylish and informed.\u003c/p>\n\u003ch2>‘Interstellar’ 4K UHD\u003c/h2>\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/HYVxnPmb15E'\n title='//www.youtube.com/embed/HYVxnPmb15E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While Christopher Nolan dreams up his next film, fans can tide themselves over by revisiting his modern classic \u003cem>Interstellar\u003c/em>, which will be back in IMAX theaters on the weekend of Dec. 6, followed by the home release of a new collector’s edition on 4K Ultra HD and Blu-ray ($59.95). A third disc in the set, available Dec. 10, contains more than two hours of bonus content, like a never-before-seen storyboard sequence, and new interviews with Nolan, producer Emma Thomas and famous fans Peter Jackson and Denis Villeneuve.\u003c/p>\n\u003ch2>A ‘Matrix’ hoodie\u003c/h2>\n\u003cp>The Academy Museum of Motion Pictures has an exclusive new \u003cem>Matrix\u003c/em> sweatshirt for sale in conjunction with its Cyberpunk exhibition. Brain Dead Studios designed and created several items, including the \u003ca href=\"https://academymuseumstore.org/products/the-matrix-hoodie?variant=44461479526577\">black hoodie\u003c/a> ($140), a white rabbit tee ($54) and a pint glass ($18).\u003c/p>\n\u003ch2>An Academy Museum exhibition catalog\u003c/h2>\n\u003cp>If you can’t make it to Los Angeles to check out the \u003cem>Color in Motion\u003c/em> exhibit for yourself, the Academy Museum also has a beautiful new companion book for sale ($55) charting the development of color technology in film and its impact. It includes photos from films like \u003ca href=\"https://www.pbs.org/wnet/gperf/the-red-shoes-about/12909/\">\u003cem>The Red Shoes\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/pop/11694/10-films-you-need-to-see-to-have-a-conversation-in-san-francisco\">\u003cem>Vertigo\u003c/em>\u003c/a>, \u003ca href=\"https://www.kqed.org/pop/102906/50-years-later-2001-a-space-odyssey-is-still-a-cinematic-landmark\">\u003cem>2001: A Space Odyssey\u003c/em>\u003c/a>, and images of rare prints from the silent era. The Academy Museum Store is having a sale (20% off everything) from Nov. 28 to Dec. 2.\u003c/p>\n\u003ch2>A biography of Elaine May\u003c/h2>\n\u003cfigure id=\"attachment_13968641\" class=\"wp-caption aligncenter\" style=\"max-width: 1363px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968641\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elaine.png\" alt=\"A book cover featuring a black and white photo of a white woman with dark hair, deep in thought.\" width=\"1363\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elaine.png 1363w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elaine-800x1174.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elaine-1020x1497.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elaine-160x235.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elaine-768x1127.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elaine-1047x1536.png 1047w\" sizes=\"(max-width: 1363px) 100vw, 1363px\">\u003cfigcaption class=\"wp-caption-text\">‘Miss May Does Not Exist: The Life and Work of Elaine May, Hollywood’s Hidden Genius,’ by Carrie Courogen. \u003ccite>(St. Martin's Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Elaine May does not give interviews anymore. But thankfully that didn’t deter writer Carrie Courogen, who did a remarkable job stitching together the life of one of our culture’s most fascinating, and prickly, talents. \u003cem>Miss May Does Not Exist\u003c/em> is full of delightful anecdotes about the sharp and satirical comedian who gained fame as one half of Nichols and May and went on to direct films like \u003cem>The Heartbreak Kid\u003c/em> and \u003cem>Mikey and Nicky\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Courogen writes about May’s successes, flops and her legendary scuffles with the Hollywood establishment. It’s a vital companion to Mark Harris’ biography of Mike Nichols. Macmillan. $30.\u003c/p>\n\u003ch2>A status tote\u003c/h2>\n\u003cp>Want to look like a real film festival warrior, the kind who sees five movies a day, files a review and still manages to make the late-night karaoke party? You’re going to need the ultimate status \u003ca href=\"https://shop.mubi.com/en-us/products/back-to-black-bag\">tote from the independent streaming service MUBI\u003c/a>. Simple, to-the-point and only for people in the know. $25.\u003c/p>\n\u003ch2>‘The Metrograph’ magazine\u003c/h2>\n\u003cp>Film magazines may be an endangered species, but print is not dead at \u003ca href=\"https://metrograph.com/?v=0b3b97fa6688\">\u003cem>The Metrograph\u003c/em>\u003c/a>. Manhattan’s coolest movie theater is starting a biannual print publication “for cinephiles and cultural connoisseurs alike.” The first issue’s cover art is by cinematographer Ed Lachman (\u003cem>Carol\u003c/em>), and contributors include the likes of \u003ca href=\"https://www.kqed.org/arts/13935619/in-daniel-clowes-monica-grief-nefarious-hippies-and-a-personal-apocalypse\">Daniel Clowes\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13860690/midsommar-shines-a-solstice-nightmare-unfolds-in-broad-daylight\">Ari Aster\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13954796/steve-martin-apple-tv-documentary-then-now-stand-up\">Steve Martin\u003c/a> and Simon Rex. There’s also a conversation with \u003ca href=\"https://video.kqed.org/video/clint-eastwood-for-the-mule-ejnwjt/\">Clint Eastwood\u003c/a>. It’s currently available for pre-order and will be in bookstores Dec. 10 for $25 ($15 for Metrograph members).\u003c/p>\n\u003ch2>Director style\u003c/h2>\n\u003cfigure id=\"attachment_13968643\" class=\"wp-caption aligncenter\" style=\"max-width: 1520px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968643\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/directors.png\" alt=\"A book cover featuring a photo of a woman in a director's chair wearing an oversized suit.\" width=\"1520\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/directors.png 1520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/directors-800x1053.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/directors-1020x1342.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/directors-160x211.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/directors-768x1011.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/directors-1167x1536.png 1167w\" sizes=\"(max-width: 1520px) 100vw, 1520px\">\u003cfigcaption class=\"wp-caption-text\">‘How Directors Dress: On Set, in the Edit, and Down the Red Carpet,’ by A24. \u003ccite>(A24 Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>This is not a book about filmmaking styles, camera angles and leadership choices. It’s literally about what directors wear. \u003cem>\u003ca href=\"https://shop.a24films.com/products/how-directors-dress\">How Directors Dress: On Set, in the Edit, and Down the Red Carpet\u003c/a>\u003c/em> ($40) has over 200 archival photos of filmmakers in action: Spike Lee in his basketball caps, Sofia Coppola in her Charvet button-ups, Steven Spielberg’s denim on denim and many more. With a forward by the always elegant Joanna Hogg and writing from some of the top fashion journalists, it’s a beautiful look at how filmmakers really dress for work — and might even be a source of inspiration.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Love Turkeys? ‘Blood Freak’ Is the Perfect Thanksgiving Revenge Movie",
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"headTitle": "Love Turkeys? ‘Blood Freak’ Is the Perfect Thanksgiving Revenge Movie | KQED",
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"content": "\u003cfigure id=\"attachment_13968623\" class=\"wp-caption aligncenter\" style=\"max-width: 1309px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968623\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak.png\" alt=\"A 1970s-era slasher movie poster, featuring a beautiful woman being dragged away by a man-sized turkey.\" width=\"1309\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak.png 1309w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak-800x1222.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak-1020x1558.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak-160x244.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak-768x1173.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak-1005x1536.png 1005w\" sizes=\"(max-width: 1309px) 100vw, 1309px\">\u003cfigcaption class=\"wp-caption-text\">‘Blood Freak.’ Yes, that is a man-turkey kidnapping a woman. Just go with it. \u003ccite>(Clamil Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As we all know (and probably try to ignore as much as possible), this is an extremely bad time of year to be a turkey. As such, you might be wondering this \u003ca href=\"https://www.kqed.org/arts/tag/thanksgiving\">Thanksgiving\u003c/a> how best to distract the very sad herbivores in your life. Fortunately, we have a suggestion! It’s called \u003cem>Blood Freak\u003c/em>: a preposterous (and occasionally gory) slasher flick from 1972. Better yet: the character at the center of the movie has the head of a turkey and a thirst for human blood. (A turkey? Turning the tables on us? Doesn’t that sound like fun? Anyone? No?)\u003c/p>\n\u003cp>I’m getting ahead of myself.\u003c/p>\n\u003cp>Our story begins with our leading man/future turkey (his name is Herschell) riding his motorcycle on a freeway. He pulls over to help a beautiful young woman named Angel who has a flat tire, and the two hit it off. Herschell has recently returned from Vietnam and is trying his darnedest to look like Vegas-era Elvis, which I genuinely didn’t know was a thing that anyone did unless they were kind of joking.\u003c/p>\n\u003cfigure id=\"attachment_13968622\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968622\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve.png\" alt=\"A brooding man wearing a black shirt stands, black hair blowing in the breeze.\" width=\"2000\" height=\"1112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve-800x445.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve-1020x567.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve-768x427.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve-1536x854.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve-1038x576.png 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve-1920x1068.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">See what I mean? \u003ccite>(Clamil Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Naturally, this being the 1970s, Herschell and Angel immediately go to a drug-fueled party at Angel’s sister Ann’s house. For some reason, hanging out in this den of iniquity is the elderly owner of a turkey farm. (Don’t ask questions!) And for some reason, he immediately offers Herschell a job. (Seems totally fine!)\u003c/p>\n\u003cp>Angel won’t stop talking about the Bible and is less fun than she looks, so Herschell does sex with Ann instead and smokes mysterious drugs that Ann provides. Hours later, Herschell finds himself sweating and writhing around in pain on Ann’s leopard-print waterbed. (You heard me…) Ann gives him more unspecified drugs to smoke, which immediately makes him feel better. Herschell then angrily declares that he is “hooked,” which is kind of amazing if you know anything at all about how drugs work.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the morning, Herschell heads to the poultry farm, where his job involves eating turkey that has been chemically altered for government-related testing reasons. A variety of men wearing white lab coats are as vague as possible about the reasons for this, lest this movie make any salient points about anything whatsoever.\u003c/p>\n\u003cp>[aside postid='arts_13879754']After Herschell eats the chemically enhanced turkey, he immediately passes out in the grass and starts having seizures. When Herschell wakes up hours later, he has turned into a turkey himself — but only from the neck up because special effects are expensive. (See also: \u003ca href=\"https://kalamazoomuseum.org/full-calendar/the-fly-1958\">the grand finale of 1958’s \u003cem>The Fly\u003c/em>\u003c/a>.) Herschell stumbles back to Ann’s (on foot, which kind of sucks because I really wanted to see a turkey riding a motorcycle today).\u003c/p>\n\u003cp>Because his mouth only makes “gobble-gobble” noises now, Herschell passes Ann handwritten notes explaining that he’s turned into a turkey mutant. Which is fairly obvious because he looks like this now:\u003c/p>\n\u003cfigure id=\"attachment_13968625\" class=\"wp-caption aligncenter\" style=\"max-width: 1470px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968625\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/hersh.png\" alt=\"A man's body with the head of an evil-looking turkey.\" width=\"1470\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/hersh.png 1470w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/hersh-800x1088.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/hersh-1020x1388.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/hersh-160x218.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/hersh-768x1045.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/hersh-1129x1536.png 1129w\" sizes=\"(max-width: 1470px) 100vw, 1470px\">\u003cfigcaption class=\"wp-caption-text\">It’s a man-turkey. And he wants to drink your blood. But only if you do drugs. It’s complicated, okay? \u003ccite>(Clamil Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ann takes all of this pretty well and calmly makes a (frankly brilliant) speech about whether or not their kids are going to look like turkeys now. (Aside from another scene in which an attempted rapist has his leg sawn off, this is my favorite moment in the entire movie. Turkey-headed children, for the win!)\u003c/p>\n\u003cp>[aside postid='arts_13939927']Off the cuff entirely, Herschell decides to go on a killing spree, specifically targeting drug users and then drinking their blood. (One of them is a lady he called “a tramp” at the drug party, so she obviously deserves this.) When Herschell murders ladies, the same (short) scream track plays on a loop over and over again in the background and we’re not supposed to notice. Which is actually a lot more fun than it sounds.\u003c/p>\n\u003cp>Herschell does not have an efficient system for gathering and drinking his victims’ blood, so just cups his hands into the stream and does a slurping thing with his giant beak. GET YOURSELF A BUCKET, TURKEY-HERSCHELL. YOU’RE WASTING SO MUCH DRUG-BLOOD.\u003c/p>\n\u003cfigure id=\"attachment_13968628\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968628\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/turkey-murder.png\" alt=\"A man in a white t-shirt and jeans stands stunned while a man with a turkey head grips him by the neck.\" width=\"900\" height=\"634\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/turkey-murder.png 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/turkey-murder-800x564.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/turkey-murder-160x113.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/turkey-murder-768x541.png 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">Herschell the turkey-man, doing an attack. \u003ccite>(Clamil Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I don’t want to spoil the ending, but it involves finding sobriety, God and a nice pier to stand on. Also, I would be remiss if I didn’t mention the fact that this entire movie is sporadically interrupted by a guy in a shiny shirt, smoking a cigarette from behind a desk and trying desperately to provide sensible, \u003cem>Twilight Zone\u003c/em>-esque commentary. (This is not very successful. In part because this gentleman is reading his lines off a piece of paper. Also in part because he resembles what would happen if Christopher Lee and Ron Jeremy combined forces to become one human.)\u003c/p>\n\u003cp>Shiny shirt guy’s real name is Brad F. Grinter and he co-wrote and co-directed \u003cem>Blood Freak\u003c/em> with Steve Hawkes. And guess who played Herschell? Steve Hawkes, that’s who! Which means Hawkes and Grinter actually did all of this to themselves, on purpose, entirely willingly. And for that? We should all be grateful.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Blood Freak’ is streaming for free on \u003ca href=\"https://watch.plex.tv/watch/movie/blood-freak\">Plex\u003c/a> right now.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13968623\" class=\"wp-caption aligncenter\" style=\"max-width: 1309px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968623\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak.png\" alt=\"A 1970s-era slasher movie poster, featuring a beautiful woman being dragged away by a man-sized turkey.\" width=\"1309\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak.png 1309w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak-800x1222.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak-1020x1558.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak-160x244.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak-768x1173.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/blood-freak-1005x1536.png 1005w\" sizes=\"(max-width: 1309px) 100vw, 1309px\">\u003cfigcaption class=\"wp-caption-text\">‘Blood Freak.’ Yes, that is a man-turkey kidnapping a woman. Just go with it. \u003ccite>(Clamil Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As we all know (and probably try to ignore as much as possible), this is an extremely bad time of year to be a turkey. As such, you might be wondering this \u003ca href=\"https://www.kqed.org/arts/tag/thanksgiving\">Thanksgiving\u003c/a> how best to distract the very sad herbivores in your life. Fortunately, we have a suggestion! It’s called \u003cem>Blood Freak\u003c/em>: a preposterous (and occasionally gory) slasher flick from 1972. Better yet: the character at the center of the movie has the head of a turkey and a thirst for human blood. (A turkey? Turning the tables on us? Doesn’t that sound like fun? Anyone? No?)\u003c/p>\n\u003cp>I’m getting ahead of myself.\u003c/p>\n\u003cp>Our story begins with our leading man/future turkey (his name is Herschell) riding his motorcycle on a freeway. He pulls over to help a beautiful young woman named Angel who has a flat tire, and the two hit it off. Herschell has recently returned from Vietnam and is trying his darnedest to look like Vegas-era Elvis, which I genuinely didn’t know was a thing that anyone did unless they were kind of joking.\u003c/p>\n\u003cfigure id=\"attachment_13968622\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968622\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve.png\" alt=\"A brooding man wearing a black shirt stands, black hair blowing in the breeze.\" width=\"2000\" height=\"1112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve-800x445.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve-1020x567.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve-768x427.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve-1536x854.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve-1038x576.png 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/elvis-steve-1920x1068.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">See what I mean? \u003ccite>(Clamil Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Naturally, this being the 1970s, Herschell and Angel immediately go to a drug-fueled party at Angel’s sister Ann’s house. For some reason, hanging out in this den of iniquity is the elderly owner of a turkey farm. (Don’t ask questions!) And for some reason, he immediately offers Herschell a job. (Seems totally fine!)\u003c/p>\n\u003cp>Angel won’t stop talking about the Bible and is less fun than she looks, so Herschell does sex with Ann instead and smokes mysterious drugs that Ann provides. Hours later, Herschell finds himself sweating and writhing around in pain on Ann’s leopard-print waterbed. (You heard me…) Ann gives him more unspecified drugs to smoke, which immediately makes him feel better. Herschell then angrily declares that he is “hooked,” which is kind of amazing if you know anything at all about how drugs work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the morning, Herschell heads to the poultry farm, where his job involves eating turkey that has been chemically altered for government-related testing reasons. A variety of men wearing white lab coats are as vague as possible about the reasons for this, lest this movie make any salient points about anything whatsoever.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>After Herschell eats the chemically enhanced turkey, he immediately passes out in the grass and starts having seizures. When Herschell wakes up hours later, he has turned into a turkey himself — but only from the neck up because special effects are expensive. (See also: \u003ca href=\"https://kalamazoomuseum.org/full-calendar/the-fly-1958\">the grand finale of 1958’s \u003cem>The Fly\u003c/em>\u003c/a>.) Herschell stumbles back to Ann’s (on foot, which kind of sucks because I really wanted to see a turkey riding a motorcycle today).\u003c/p>\n\u003cp>Because his mouth only makes “gobble-gobble” noises now, Herschell passes Ann handwritten notes explaining that he’s turned into a turkey mutant. Which is fairly obvious because he looks like this now:\u003c/p>\n\u003cfigure id=\"attachment_13968625\" class=\"wp-caption aligncenter\" style=\"max-width: 1470px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968625\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/hersh.png\" alt=\"A man's body with the head of an evil-looking turkey.\" width=\"1470\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/hersh.png 1470w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/hersh-800x1088.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/hersh-1020x1388.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/hersh-160x218.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/hersh-768x1045.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/hersh-1129x1536.png 1129w\" sizes=\"(max-width: 1470px) 100vw, 1470px\">\u003cfigcaption class=\"wp-caption-text\">It’s a man-turkey. And he wants to drink your blood. But only if you do drugs. It’s complicated, okay? \u003ccite>(Clamil Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ann takes all of this pretty well and calmly makes a (frankly brilliant) speech about whether or not their kids are going to look like turkeys now. (Aside from another scene in which an attempted rapist has his leg sawn off, this is my favorite moment in the entire movie. Turkey-headed children, for the win!)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Off the cuff entirely, Herschell decides to go on a killing spree, specifically targeting drug users and then drinking their blood. (One of them is a lady he called “a tramp” at the drug party, so she obviously deserves this.) When Herschell murders ladies, the same (short) scream track plays on a loop over and over again in the background and we’re not supposed to notice. Which is actually a lot more fun than it sounds.\u003c/p>\n\u003cp>Herschell does not have an efficient system for gathering and drinking his victims’ blood, so just cups his hands into the stream and does a slurping thing with his giant beak. GET YOURSELF A BUCKET, TURKEY-HERSCHELL. YOU’RE WASTING SO MUCH DRUG-BLOOD.\u003c/p>\n\u003cfigure id=\"attachment_13968628\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968628\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/turkey-murder.png\" alt=\"A man in a white t-shirt and jeans stands stunned while a man with a turkey head grips him by the neck.\" width=\"900\" height=\"634\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/turkey-murder.png 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/turkey-murder-800x564.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/turkey-murder-160x113.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/turkey-murder-768x541.png 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">Herschell the turkey-man, doing an attack. \u003ccite>(Clamil Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I don’t want to spoil the ending, but it involves finding sobriety, God and a nice pier to stand on. Also, I would be remiss if I didn’t mention the fact that this entire movie is sporadically interrupted by a guy in a shiny shirt, smoking a cigarette from behind a desk and trying desperately to provide sensible, \u003cem>Twilight Zone\u003c/em>-esque commentary. (This is not very successful. In part because this gentleman is reading his lines off a piece of paper. Also in part because he resembles what would happen if Christopher Lee and Ron Jeremy combined forces to become one human.)\u003c/p>\n\u003cp>Shiny shirt guy’s real name is Brad F. Grinter and he co-wrote and co-directed \u003cem>Blood Freak\u003c/em> with Steve Hawkes. And guess who played Herschell? Steve Hawkes, that’s who! Which means Hawkes and Grinter actually did all of this to themselves, on purpose, entirely willingly. And for that? We should all be grateful.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Blood Freak’ is streaming for free on \u003ca href=\"https://watch.plex.tv/watch/movie/blood-freak\">Plex\u003c/a> right now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Dead Air’ Tells History of Night Orson Welles Unleashed a Martian Invasion",
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"content": "\u003cfigure id=\"attachment_13968595\" class=\"wp-caption aligncenter\" style=\"max-width: 1381px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968595\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dead-air.png\" alt=\"A book cover featuring a black and white image of a radio performer gesturing dramatically while speaking into a microphone.\" width=\"1381\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dead-air.png 1381w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dead-air-800x1159.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dead-air-1020x1477.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dead-air-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dead-air-768x1112.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dead-air-1061x1536.png 1061w\" sizes=\"auto, (max-width: 1381px) 100vw, 1381px\">\u003cfigcaption class=\"wp-caption-text\">‘Dead Air: The Night That Orson Welles Terrified America’ by William Elliott Hazelgrove. \u003ccite>(Rowman & Littlefield Publishers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Long before Donald Trump used the term “fake news” to complain about coverage he didn’t like, Orson Welles mastered the art of actual fake news.\u003c/p>\n\u003cp>Welles’ 1938 radio adaptation of H.G. Wells’ \u003cem>The War of the Worlds\u003c/em> is the focus of William Elliott Hazelgrove’s \u003cem>Dead Air: The Night That Orson Welles Terrified America.\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13968272']The book serves as an enjoyable history of the radio drama, with a fair share of fascinating details about its production and historical context. But it falls short on exploring the legendary reports of mass hysteria among listeners who believed they were hearing an actual Martian invasion unfold.\u003c/p>\n\u003cp>In appropriately cinematic detail, Hazelgrove chronicles Welles’ rise and manic working style — even including a hilarious account of a scuffle that broke out between Welles and Ernest Hemingway and ended with the pair toasting each other over whiskey.\u003c/p>\n\u003cp>The book highlights what made Welles’ production particularly powerful, airing at a time when millions remained unemployed from the Great Depression and the nation was on edge about the threat of Nazi Germany. He details how Welles took advantage of those fears, including using an actor who sounded like Franklin D. Roosevelt for a part in his broadcast.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“A bottled-up sense of panic was in the air and people could almost smell the fear,” he writes. “Orson Welles would open that bottle and let the fear run wild.”\u003c/p>\n\u003cp>The book’s biggest flaw is Hazelgrove’s exploration of just how wild that fear ran. Hazelgrove too easily dismisses the modern reappraisal that reports of a widespread panic were exaggerated, and shows little skepticism about news accounts from then that were largely based on anecdotal reports.\u003c/p>\n\u003cp>[aside postid='arts_13968478']Hazelgrove also makes an unconvincing argument that there were deaths that can be attributed to the panic over the broadcast. He even stretches to speculate that a car accident reported on the night of the broadcast could have been related without any evidence to back that up.\u003c/p>\n\u003cp>There’ no doubt that Welles’ drama had a major impact on pop culture, and \u003cem>War of the Worlds\u003c/em> will have an enduring legacy. Hazelgrove’s book misses an opportunity to fully revisit the reports of the panic it caused.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dead Air: The Night That Orson Welles Terrified America’ by William Elliott Hazelgrove is out now, via Rowman & Littlefield Publishers.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13968595\" class=\"wp-caption aligncenter\" style=\"max-width: 1381px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968595\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dead-air.png\" alt=\"A book cover featuring a black and white image of a radio performer gesturing dramatically while speaking into a microphone.\" width=\"1381\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dead-air.png 1381w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dead-air-800x1159.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dead-air-1020x1477.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dead-air-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dead-air-768x1112.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dead-air-1061x1536.png 1061w\" sizes=\"auto, (max-width: 1381px) 100vw, 1381px\">\u003cfigcaption class=\"wp-caption-text\">‘Dead Air: The Night That Orson Welles Terrified America’ by William Elliott Hazelgrove. \u003ccite>(Rowman & Littlefield Publishers)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Long before Donald Trump used the term “fake news” to complain about coverage he didn’t like, Orson Welles mastered the art of actual fake news.\u003c/p>\n\u003cp>Welles’ 1938 radio adaptation of H.G. Wells’ \u003cem>The War of the Worlds\u003c/em> is the focus of William Elliott Hazelgrove’s \u003cem>Dead Air: The Night That Orson Welles Terrified America.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Hazelgrove also makes an unconvincing argument that there were deaths that can be attributed to the panic over the broadcast. He even stretches to speculate that a car accident reported on the night of the broadcast could have been related without any evidence to back that up.\u003c/p>\n\u003cp>There’ no doubt that Welles’ drama had a major impact on pop culture, and \u003cem>War of the Worlds\u003c/em> will have an enduring legacy. Hazelgrove’s book misses an opportunity to fully revisit the reports of the panic it caused.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Dead Air: The Night That Orson Welles Terrified America’ by William Elliott Hazelgrove is out now, via Rowman & Littlefield Publishers.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Music fans should be easy to shop for this holiday season, right?\u003c/p>\n\u003cp>[aside postid='arts_13968478']Wrong! What do you pick up for the friend who knew about that rapper months before the rest of the world? What about the audiophile, whose listening habits are particular and immovable? Your sister loves Taylor Swift, but surely she already owns everything the pop star has ever released, right?\u003c/p>\n\u003cp>Here’s a gift guide for the audio lover in your life — from a can’t-miss box set for the Elvis Costello obsessive to a set of wine glasses that will be music to everyone’s ears.\u003c/p>\n\u003ch2>Play it by … wine\u003c/h2>\n\u003cp>Chances are, you’ve seen someone play water glasses before — rubbing the rim of a glass with a finger can produce musical notes, which change depending on how full the glass is. Uncommon Goods has taken the idea a step further: What if, instead of water glasses, you used wine? And what if there was a way to determine which notes could be produced, by marking each glass like a measuring cup? Well, that’s exactly what they did. Compose a symphony of one with these wine glasses. $68.\u003c/p>\n\u003ch2>Clear the way\u003c/h2>\n\u003cp>A recent trend in venue security is the clear-bag policy. The goal is to streamline bag checks upon entry, making the process safer and faster. If you’re looking for a great gift for a loved one who plans their life around stadium and arena shows, look no further. The clear bag is an alternative to shoving everything in your pockets and clutching your smartphone to your palm. Herschel has a few reasonably priced bags that are practical, stylish and will meet most venue guidelines. $35.\u003c/p>\n\u003ch2>Elvis Costello has entered the building\u003c/h2>\n\u003cfigure id=\"attachment_13968550\" class=\"wp-caption aligncenter\" style=\"max-width: 1124px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968550\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-2.34.18%E2%80%AFPM.png\" alt=\"An album cover featuring a white man wearing a denim jacket and an elaborate crown.\" width=\"1124\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-2.34.18 PM.png 1124w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-2.34.18 PM-800x767.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-2.34.18 PM-1020x978.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-2.34.18 PM-160x153.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-2.34.18 PM-768x737.png 768w\" sizes=\"(max-width: 1124px) 100vw, 1124px\">\u003cfigcaption class=\"wp-caption-text\">‘King Of America & Other Realms,’ by Elvis Costello. \u003ccite>(UMe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A new six-disc Elvis Costello box set, \u003cem>King Of America & Other Realms\u003c/em>, has what you’d expect from a revisit to Costello’s 1986 \u003cem>King of America\u003c/em> album — a remastered version of the original, demos of most songs, a live concert from the era, even some newly recorded takes. The \u003cem>Other Realms\u003c/em> is what sets it apart. Building on the original album’s roots-based theme, half of the set explores other Costello recording adventures in the United States — many from the 2000s — with alternate versions and previously unreleased tracks.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Highlights are duets with Lucinda Williams and Emmylou Harris, and the often overlooked “April 5th” song with Rosanne Cash and the late Kris Kristofferson. Inventive and full of buried treasures, the box is an enriching look back — and a great gift. $139.98.\u003c/p>\n\u003ch2>Learn Korean!\u003c/h2>\n\u003cp>There’s no better gift to give or receive than one that expands horizons. In \u003cem>Learn! Korean with BTS\u003c/em>, K-pop fans can discover a new language through their love of BTS and members Jin, Suga, J-Hope, RM, Jimin, V and Jungkook. The book package teaches Korean consonants and vowels, using the names and songs of BTS. A workbook is supplemented by video and other media. What could be better — or more rewarding — for the K-pop fan? $44.49.\u003c/p>\n\u003ch2>Loud and proud\u003c/h2>\n\u003cp>A decent pair of headphones is step one on the journey to true bliss for the audiophile. However, carrying around a studio set may not always be in the cards. But a noise-canceling pair? That’s necessary. Bose’s QuietComfort Headphones are a solid investment, all high-fidelity audio perfect for a long plane ride or a daily commute in equal measure. $229.\u003c/p>\n\u003ch2>For the soul\u003c/h2>\n\u003cfigure id=\"attachment_13968549\" class=\"wp-caption aligncenter\" style=\"max-width: 1370px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968549\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/high-and-rising.png\" alt=\"A yellow book cover featuring the members of De La Soul as they looked in the 1980s.\" width=\"1370\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/high-and-rising.png 1370w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/high-and-rising-800x1168.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/high-and-rising-1020x1489.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/high-and-rising-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/high-and-rising-768x1121.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/high-and-rising-1052x1536.png 1052w\" sizes=\"(max-width: 1370px) 100vw, 1370px\">\u003cfigcaption class=\"wp-caption-text\">‘High and Rising: A Book About De La Soul’ by Marcus J. Moore. \u003ccite>(Dey Street Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Music books are always a good idea. For the hip-hop expert, a new text from the critic Marcus J. Moore, \u003cem>High and Rising: A Book About De La Soul\u003c/em>, is a necessary cultural history of the hip-hop trio of Kelvin “Posdnuos” Mercer, Dave “Trugoy the Dove” Jolicoeur and Vincent “Maseo” Mason, who changed music forever. The book covers their ascent, and the ways in which the group defied expectations and defined a new Black alternative music, as well as the legal troubles they faced. $27.89.\u003c/p>\n\u003ch2>For the Swifties\u003c/h2>\n\u003cp>Everyone knows someone who loves Taylor Swift. But what do you give the superfan who already owns all her albums in every colorway? Unisex jewelry, maybe? In honor of this year’s release of \u003cem>The Tortured Poets Department\u003c/em>, get them the official gold-plated, stainless-steel, chain-link bracelet featuring the “TTPD” logo on the pop star’s website. It comes in two sizes: a small/medium option, 7.5 inches long, and a large/extra-large option, 8.5 inches long. $40.\u003c/p>\n\u003ch2>Get up and go\u003c/h2>\n\u003cp>Pop-punk band Green Day’s coffee brand, Punk Bunny Coffee, is ideal for fans of their palm-muted power chords and political anthems — and for those who prefer their morning brew to be organic, fair trade and delicious. This holiday season, they’re offering a few limited-edition roasts, including some themed after their best-known albums, like \u003cem>Dookie\u003c/em> and \u003cem>American Idiot\u003c/em>. If coffee isn’t preferable, no worries! They’ve got a limited-edition hot cocoa, too. $13.99-$17.99.\u003c/p>\n\u003ch2>Take a trip to West Germany\u003c/h2>\n\u003cfigure id=\"attachment_13968548\" class=\"wp-caption aligncenter\" style=\"max-width: 1302px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968548\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/neu.png\" alt=\"A book cover featuring an angular 3-D rectangular shape with two thin tubes within.\" width=\"1302\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/neu.png 1302w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/neu-800x1229.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/neu-1020x1567.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/neu-160x246.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/neu-768x1180.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/neu-1000x1536.png 1000w\" sizes=\"(max-width: 1302px) 100vw, 1302px\">\u003cfigcaption class=\"wp-caption-text\">‘Neu Klang: The Definitive History of Krautrock’ by Christoph Dallach. \u003ccite>(Faber & Faber via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Let’s be honest: True music lovers enjoy all different genres and styles. Those with the deepest knowledge are insatiable; they want to learn as much as they can about a variety of different subcultures and niches. For those real ones, the best gift this holiday season is the first ever oral history of Krautrock, Christoph Dallach’s \u003cem>Neu Klang: The Definitive History of Krautrock\u003c/em>, featuring German bands like Can, Neu!, Amon Düül, Popul Vuh, Tangerine Dream, Faust, Cluster and, of course, Kraftwerk. $29.80.\u003c/p>\n\u003ch2>Lights out and away we go\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>There’s never a wrong time to buy Bad Bunny merchandise. And there’s really never a time to buy Bad Bunny merch when it is themed after his blockbuster single “Monaco” and features Formula 1 iconography. The pinnacle of motorsports is growing in popularity globally, so if you know someone who loves both reggaeton and Sergio “Checo” Pérez — and who doesn’t? — Bad Bunny’s concert T-shirts are at the intersection of both. $55.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Wrong! What do you pick up for the friend who knew about that rapper months before the rest of the world? What about the audiophile, whose listening habits are particular and immovable? Your sister loves Taylor Swift, but surely she already owns everything the pop star has ever released, right?\u003c/p>\n\u003cp>Here’s a gift guide for the audio lover in your life — from a can’t-miss box set for the Elvis Costello obsessive to a set of wine glasses that will be music to everyone’s ears.\u003c/p>\n\u003ch2>Play it by … wine\u003c/h2>\n\u003cp>Chances are, you’ve seen someone play water glasses before — rubbing the rim of a glass with a finger can produce musical notes, which change depending on how full the glass is. Uncommon Goods has taken the idea a step further: What if, instead of water glasses, you used wine? And what if there was a way to determine which notes could be produced, by marking each glass like a measuring cup? Well, that’s exactly what they did. Compose a symphony of one with these wine glasses. $68.\u003c/p>\n\u003ch2>Clear the way\u003c/h2>\n\u003cp>A recent trend in venue security is the clear-bag policy. The goal is to streamline bag checks upon entry, making the process safer and faster. If you’re looking for a great gift for a loved one who plans their life around stadium and arena shows, look no further. The clear bag is an alternative to shoving everything in your pockets and clutching your smartphone to your palm. Herschel has a few reasonably priced bags that are practical, stylish and will meet most venue guidelines. $35.\u003c/p>\n\u003ch2>Elvis Costello has entered the building\u003c/h2>\n\u003cfigure id=\"attachment_13968550\" class=\"wp-caption aligncenter\" style=\"max-width: 1124px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968550\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-2.34.18%E2%80%AFPM.png\" alt=\"An album cover featuring a white man wearing a denim jacket and an elaborate crown.\" width=\"1124\" height=\"1078\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-2.34.18 PM.png 1124w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-2.34.18 PM-800x767.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-2.34.18 PM-1020x978.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-2.34.18 PM-160x153.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-2.34.18 PM-768x737.png 768w\" sizes=\"(max-width: 1124px) 100vw, 1124px\">\u003cfigcaption class=\"wp-caption-text\">‘King Of America & Other Realms,’ by Elvis Costello. \u003ccite>(UMe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A new six-disc Elvis Costello box set, \u003cem>King Of America & Other Realms\u003c/em>, has what you’d expect from a revisit to Costello’s 1986 \u003cem>King of America\u003c/em> album — a remastered version of the original, demos of most songs, a live concert from the era, even some newly recorded takes. The \u003cem>Other Realms\u003c/em> is what sets it apart. Building on the original album’s roots-based theme, half of the set explores other Costello recording adventures in the United States — many from the 2000s — with alternate versions and previously unreleased tracks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Highlights are duets with Lucinda Williams and Emmylou Harris, and the often overlooked “April 5th” song with Rosanne Cash and the late Kris Kristofferson. Inventive and full of buried treasures, the box is an enriching look back — and a great gift. $139.98.\u003c/p>\n\u003ch2>Learn Korean!\u003c/h2>\n\u003cp>There’s no better gift to give or receive than one that expands horizons. In \u003cem>Learn! Korean with BTS\u003c/em>, K-pop fans can discover a new language through their love of BTS and members Jin, Suga, J-Hope, RM, Jimin, V and Jungkook. The book package teaches Korean consonants and vowels, using the names and songs of BTS. A workbook is supplemented by video and other media. What could be better — or more rewarding — for the K-pop fan? $44.49.\u003c/p>\n\u003ch2>Loud and proud\u003c/h2>\n\u003cp>A decent pair of headphones is step one on the journey to true bliss for the audiophile. However, carrying around a studio set may not always be in the cards. But a noise-canceling pair? That’s necessary. Bose’s QuietComfort Headphones are a solid investment, all high-fidelity audio perfect for a long plane ride or a daily commute in equal measure. $229.\u003c/p>\n\u003ch2>For the soul\u003c/h2>\n\u003cfigure id=\"attachment_13968549\" class=\"wp-caption aligncenter\" style=\"max-width: 1370px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968549\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/high-and-rising.png\" alt=\"A yellow book cover featuring the members of De La Soul as they looked in the 1980s.\" width=\"1370\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/high-and-rising.png 1370w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/high-and-rising-800x1168.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/high-and-rising-1020x1489.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/high-and-rising-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/high-and-rising-768x1121.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/high-and-rising-1052x1536.png 1052w\" sizes=\"(max-width: 1370px) 100vw, 1370px\">\u003cfigcaption class=\"wp-caption-text\">‘High and Rising: A Book About De La Soul’ by Marcus J. Moore. \u003ccite>(Dey Street Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Music books are always a good idea. For the hip-hop expert, a new text from the critic Marcus J. Moore, \u003cem>High and Rising: A Book About De La Soul\u003c/em>, is a necessary cultural history of the hip-hop trio of Kelvin “Posdnuos” Mercer, Dave “Trugoy the Dove” Jolicoeur and Vincent “Maseo” Mason, who changed music forever. The book covers their ascent, and the ways in which the group defied expectations and defined a new Black alternative music, as well as the legal troubles they faced. $27.89.\u003c/p>\n\u003ch2>For the Swifties\u003c/h2>\n\u003cp>Everyone knows someone who loves Taylor Swift. But what do you give the superfan who already owns all her albums in every colorway? Unisex jewelry, maybe? In honor of this year’s release of \u003cem>The Tortured Poets Department\u003c/em>, get them the official gold-plated, stainless-steel, chain-link bracelet featuring the “TTPD” logo on the pop star’s website. It comes in two sizes: a small/medium option, 7.5 inches long, and a large/extra-large option, 8.5 inches long. $40.\u003c/p>\n\u003ch2>Get up and go\u003c/h2>\n\u003cp>Pop-punk band Green Day’s coffee brand, Punk Bunny Coffee, is ideal for fans of their palm-muted power chords and political anthems — and for those who prefer their morning brew to be organic, fair trade and delicious. This holiday season, they’re offering a few limited-edition roasts, including some themed after their best-known albums, like \u003cem>Dookie\u003c/em> and \u003cem>American Idiot\u003c/em>. If coffee isn’t preferable, no worries! They’ve got a limited-edition hot cocoa, too. $13.99-$17.99.\u003c/p>\n\u003ch2>Take a trip to West Germany\u003c/h2>\n\u003cfigure id=\"attachment_13968548\" class=\"wp-caption aligncenter\" style=\"max-width: 1302px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968548\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/neu.png\" alt=\"A book cover featuring an angular 3-D rectangular shape with two thin tubes within.\" width=\"1302\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/neu.png 1302w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/neu-800x1229.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/neu-1020x1567.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/neu-160x246.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/neu-768x1180.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/neu-1000x1536.png 1000w\" sizes=\"(max-width: 1302px) 100vw, 1302px\">\u003cfigcaption class=\"wp-caption-text\">‘Neu Klang: The Definitive History of Krautrock’ by Christoph Dallach. \u003ccite>(Faber & Faber via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Let’s be honest: True music lovers enjoy all different genres and styles. Those with the deepest knowledge are insatiable; they want to learn as much as they can about a variety of different subcultures and niches. For those real ones, the best gift this holiday season is the first ever oral history of Krautrock, Christoph Dallach’s \u003cem>Neu Klang: The Definitive History of Krautrock\u003c/em>, featuring German bands like Can, Neu!, Amon Düül, Popul Vuh, Tangerine Dream, Faust, Cluster and, of course, Kraftwerk. $29.80.\u003c/p>\n\u003ch2>Lights out and away we go\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s never a wrong time to buy Bad Bunny merchandise. And there’s really never a time to buy Bad Bunny merch when it is themed after his blockbuster single “Monaco” and features Formula 1 iconography. The pinnacle of motorsports is growing in popularity globally, so if you know someone who loves both reggaeton and Sergio “Checo” Pérez — and who doesn’t? — Bad Bunny’s concert T-shirts are at the intersection of both. $55.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13968273\" class=\"wp-caption aligncenter\" style=\"max-width: 1636px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968273\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Theatrical-Adventures-of-Edward-Gorey-front-cover.jpg\" alt=\"A book cover featuring white dancing figures against a black background. They are surrounded by floating ribbon.\" width=\"1636\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Theatrical-Adventures-of-Edward-Gorey-front-cover.jpg 1636w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Theatrical-Adventures-of-Edward-Gorey-front-cover-800x978.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Theatrical-Adventures-of-Edward-Gorey-front-cover-1020x1247.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Theatrical-Adventures-of-Edward-Gorey-front-cover-160x196.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Theatrical-Adventures-of-Edward-Gorey-front-cover-768x939.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Theatrical-Adventures-of-Edward-Gorey-front-cover-1256x1536.jpg 1256w\" sizes=\"auto, (max-width: 1636px) 100vw, 1636px\">\u003cfigcaption class=\"wp-caption-text\">‘The Theatrical Adventures of Edward Gorey’ by Carol Verburg. \u003ccite>(Chronicle Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Although rumors persisted that Edward Gorey was British and dead,” Carol Verburg writes in \u003cem>The Theatrical Adventures of Edward Gorey\u003c/em>, “he regarded himself as American and very much alive, thank you.”\u003c/p>\n\u003cp>[aside postid='arts_13968478']That sentence is a perfect distillation of not just Gorey’s appeal — a winning combination of mystery and absurdity — but the appeal of Verburg’s new book. The San Francisco author spent decades working with Gorey in the Northeastern U.S., collaborating on a plethora of theatrical productions, many of which Gorey wrote himself.\u003c/p>\n\u003cp>\u003cem>Theatrical Adventures\u003c/em> offers a rich sampling of the many, many plays (or, as he called them, “entertainments”) that Gorey worked on throughout the ’70s, ’80s and ’90s. The book contains Gorey-illustrated programs, script pages, set designs, theater merch, posters, lithographs, as well as wonderful behind-the-scenes photos. As descriptions of these productions unfold, you’ll learn about Gorey’s collaborators, inspirations, creative processes, predilections for making soft toys (especially for the people involved in bringing his work to life) and his unwavering passion for puppetry.\u003c/p>\n\u003cfigure id=\"attachment_13968516\" class=\"wp-caption aligncenter\" style=\"max-width: 1294px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968516\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dracula.jpg\" alt=\"A fine line black and white drawing used as a promotional poster for a production of 'Dracula.' It features dark clouds, bats and a mysterious figure.\" width=\"1294\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dracula.jpg 1294w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dracula-800x1236.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dracula-1020x1577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dracula-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dracula-768x1187.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dracula-994x1536.jpg 994w\" sizes=\"auto, (max-width: 1294px) 100vw, 1294px\">\u003cfigcaption class=\"wp-caption-text\">In 1973, Gorey designed elaborately detailed gothic sets for a production of ‘Dracula’ at the Nantucket Stage Company. Within four years, it was on Broadway and starring Frank Langella. \u003ccite>(Chronicle Books 2024)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Theatrical Adventures\u003c/em> is, as one senses Gorey’s life was, organized chaos in the most delightful sense. The core that holds the book together is Verburg’s wry humor and tone. She revels in recounting the surreal (and often silly) nature of her shared projects with Gorey. She also happens to be in possession of a dry wit that feels very much like an extension of Gorey himself. (“Neither of us was big on seasonal sentimentality,” she writes of their Christmas productions, “Edward being an artist of discerning taste, and I being named Carol.”)\u003c/p>\n\u003cp>Verburg is careful to pepper the book with biographical essentials about Gorey — he studied at Harvard, holidayed in Cape Cod, worked in an administrative role during World War II and had a career in New York as a book designer and illustrator. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But it is the intimate personal details Verburg shares that really bring Gorey’s personality to life. (Some memorable nuggets: His favorite television shows were \u003cem>Buffy the Vampire Slayer\u003c/em> and \u003cem>The X-Files\u003c/em>. He had a room in his house dedicated to round objects. Another room contained only mystery novels, which overflowed from every nook and cranny.)\u003c/p>\n\u003cfigure id=\"attachment_13968517\" class=\"wp-caption aligncenter\" style=\"max-width: 938px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968517\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/inspired-by-friends-baby.png\" alt=\"An illustration of a man sitting in an armchair reading while a strange creature sits on the floor next to him, flinging papers in the air.\" width=\"938\" height=\"858\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/inspired-by-friends-baby.png 938w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/inspired-by-friends-baby-800x732.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/inspired-by-friends-baby-160x146.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/inspired-by-friends-baby-768x702.png 768w\" sizes=\"auto, (max-width: 938px) 100vw, 938px\">\u003cfigcaption class=\"wp-caption-text\">Gorey’s ‘The Doubtful Guest’ was inspired by a friend’s baby. \u003ccite>(Chronicle Books 2024)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Verburg’s descriptions of Gorey’s homelife are quite extraordinary. The artist lived in what Verburg refers to as “an antique house” in Yarmouth, Massachusetts that he dubbed “The Shelter.” And his main source of company comprised of many, many pet cats. Verburg writes:\u003c/p>\n\u003cblockquote>\u003cp>Edward ran the household, but the cats ran the house — shredding the furniture, spraying an aroma which discouraged visitors, occasionally jumping onto his drawings … Black and white oil paintings hung beside ornamental displays of rusted hinges and window catches. Some of his eye-catching treasures came from galleries, some from yard sales … Edward filled his space with diverse objects that caught his fancy: ginger jars, handheld eggbeaters, frogs, finials, glass doorknobs, rusty window fasteners.\u003c/p>\u003c/blockquote>\n\u003cp>Another great joy in \u003cem>Theatrical Adventures\u003c/em> is the many insights offered to the reader as to how Gorey’s stage ideas took shape. His hand-written stories in black fountain pen are often illegible. There are copious notes crammed onto scripts, rudimentary sketches of fantastical characters and rough drawings of stage sets that contain the tiniest of details.\u003c/p>\n\u003cfigure id=\"attachment_13968521\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968521\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/12-09-sketch-enraged_telephone-room-1-scaled.jpg\" alt=\"Roughly drawn sketch in black ink of a man standing in a living room next to a writing desk. A cat is on the rug.\" width=\"2560\" height=\"1977\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/12-09-sketch-enraged_telephone-room-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/12-09-sketch-enraged_telephone-room-1-800x618.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/12-09-sketch-enraged_telephone-room-1-1020x788.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/12-09-sketch-enraged_telephone-room-1-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/12-09-sketch-enraged_telephone-room-1-768x593.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/12-09-sketch-enraged_telephone-room-1-1536x1186.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/12-09-sketch-enraged_telephone-room-1-2048x1582.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/12-09-sketch-enraged_telephone-room-1-1920x1483.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A sketch for the staging of ‘The Enraged Telephone,’ which Gorey originally wrote in 1963. \u003ccite>(Chronicle Books 2024)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The idea for \u003cem>Theatrical Adventures\u003c/em> was originally posed to Verburg by Andrea Brown, an executor of Gorey’s estate. Brown had suggested Verburg compile a book of Gorey’s scripts. Realizing there was simply too much to put into one book, Verburg instead put together this marvelous and thoughtfully curated hodgepodge of materials. The end result offers strange insights into the recesses of Gorey’s darkly humorous mind from as many angles as possible. We are also left in no doubt that the artist was, in fact, a “thoughtful, gentle man with a soft heart and a generous soul.”\u003c/p>\n\u003cp>[aside postid='arts_13967831']There is real delectation in the way Verburg recounts her many adventures with Gorey, as well as a warmth towards him that brightens every page. Verburg is, I was quite certain by the end of her book’s 258 pages, the only person who could ever have put such a captivating book together on this topic. \u003cem>Theatrical Adventures\u003c/em> lifts the curtain not just on Gorey’s stage work, but on his personal life. It’s a fascinating read for any fan.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.chroniclebooks.com/products/theatrical-adventures-of-edward-gorey\">The Theatrical Adventures of Edward Gorey: Rare Drawings, Scripts, and Stories\u003c/a>’ by Carol Verburg is available now from Chronicle Books. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13968273\" class=\"wp-caption aligncenter\" style=\"max-width: 1636px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968273\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Theatrical-Adventures-of-Edward-Gorey-front-cover.jpg\" alt=\"A book cover featuring white dancing figures against a black background. They are surrounded by floating ribbon.\" width=\"1636\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Theatrical-Adventures-of-Edward-Gorey-front-cover.jpg 1636w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Theatrical-Adventures-of-Edward-Gorey-front-cover-800x978.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Theatrical-Adventures-of-Edward-Gorey-front-cover-1020x1247.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Theatrical-Adventures-of-Edward-Gorey-front-cover-160x196.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Theatrical-Adventures-of-Edward-Gorey-front-cover-768x939.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Theatrical-Adventures-of-Edward-Gorey-front-cover-1256x1536.jpg 1256w\" sizes=\"auto, (max-width: 1636px) 100vw, 1636px\">\u003cfigcaption class=\"wp-caption-text\">‘The Theatrical Adventures of Edward Gorey’ by Carol Verburg. \u003ccite>(Chronicle Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Although rumors persisted that Edward Gorey was British and dead,” Carol Verburg writes in \u003cem>The Theatrical Adventures of Edward Gorey\u003c/em>, “he regarded himself as American and very much alive, thank you.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That sentence is a perfect distillation of not just Gorey’s appeal — a winning combination of mystery and absurdity — but the appeal of Verburg’s new book. The San Francisco author spent decades working with Gorey in the Northeastern U.S., collaborating on a plethora of theatrical productions, many of which Gorey wrote himself.\u003c/p>\n\u003cp>\u003cem>Theatrical Adventures\u003c/em> offers a rich sampling of the many, many plays (or, as he called them, “entertainments”) that Gorey worked on throughout the ’70s, ’80s and ’90s. The book contains Gorey-illustrated programs, script pages, set designs, theater merch, posters, lithographs, as well as wonderful behind-the-scenes photos. As descriptions of these productions unfold, you’ll learn about Gorey’s collaborators, inspirations, creative processes, predilections for making soft toys (especially for the people involved in bringing his work to life) and his unwavering passion for puppetry.\u003c/p>\n\u003cfigure id=\"attachment_13968516\" class=\"wp-caption aligncenter\" style=\"max-width: 1294px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968516\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dracula.jpg\" alt=\"A fine line black and white drawing used as a promotional poster for a production of 'Dracula.' It features dark clouds, bats and a mysterious figure.\" width=\"1294\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dracula.jpg 1294w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dracula-800x1236.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dracula-1020x1577.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dracula-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dracula-768x1187.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/dracula-994x1536.jpg 994w\" sizes=\"auto, (max-width: 1294px) 100vw, 1294px\">\u003cfigcaption class=\"wp-caption-text\">In 1973, Gorey designed elaborately detailed gothic sets for a production of ‘Dracula’ at the Nantucket Stage Company. Within four years, it was on Broadway and starring Frank Langella. \u003ccite>(Chronicle Books 2024)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Theatrical Adventures\u003c/em> is, as one senses Gorey’s life was, organized chaos in the most delightful sense. The core that holds the book together is Verburg’s wry humor and tone. She revels in recounting the surreal (and often silly) nature of her shared projects with Gorey. She also happens to be in possession of a dry wit that feels very much like an extension of Gorey himself. (“Neither of us was big on seasonal sentimentality,” she writes of their Christmas productions, “Edward being an artist of discerning taste, and I being named Carol.”)\u003c/p>\n\u003cp>Verburg is careful to pepper the book with biographical essentials about Gorey — he studied at Harvard, holidayed in Cape Cod, worked in an administrative role during World War II and had a career in New York as a book designer and illustrator. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But it is the intimate personal details Verburg shares that really bring Gorey’s personality to life. (Some memorable nuggets: His favorite television shows were \u003cem>Buffy the Vampire Slayer\u003c/em> and \u003cem>The X-Files\u003c/em>. He had a room in his house dedicated to round objects. Another room contained only mystery novels, which overflowed from every nook and cranny.)\u003c/p>\n\u003cfigure id=\"attachment_13968517\" class=\"wp-caption aligncenter\" style=\"max-width: 938px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968517\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/inspired-by-friends-baby.png\" alt=\"An illustration of a man sitting in an armchair reading while a strange creature sits on the floor next to him, flinging papers in the air.\" width=\"938\" height=\"858\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/inspired-by-friends-baby.png 938w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/inspired-by-friends-baby-800x732.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/inspired-by-friends-baby-160x146.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/inspired-by-friends-baby-768x702.png 768w\" sizes=\"auto, (max-width: 938px) 100vw, 938px\">\u003cfigcaption class=\"wp-caption-text\">Gorey’s ‘The Doubtful Guest’ was inspired by a friend’s baby. \u003ccite>(Chronicle Books 2024)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Verburg’s descriptions of Gorey’s homelife are quite extraordinary. The artist lived in what Verburg refers to as “an antique house” in Yarmouth, Massachusetts that he dubbed “The Shelter.” And his main source of company comprised of many, many pet cats. Verburg writes:\u003c/p>\n\u003cblockquote>\u003cp>Edward ran the household, but the cats ran the house — shredding the furniture, spraying an aroma which discouraged visitors, occasionally jumping onto his drawings … Black and white oil paintings hung beside ornamental displays of rusted hinges and window catches. Some of his eye-catching treasures came from galleries, some from yard sales … Edward filled his space with diverse objects that caught his fancy: ginger jars, handheld eggbeaters, frogs, finials, glass doorknobs, rusty window fasteners.\u003c/p>\u003c/blockquote>\n\u003cp>Another great joy in \u003cem>Theatrical Adventures\u003c/em> is the many insights offered to the reader as to how Gorey’s stage ideas took shape. His hand-written stories in black fountain pen are often illegible. There are copious notes crammed onto scripts, rudimentary sketches of fantastical characters and rough drawings of stage sets that contain the tiniest of details.\u003c/p>\n\u003cfigure id=\"attachment_13968521\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968521\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/12-09-sketch-enraged_telephone-room-1-scaled.jpg\" alt=\"Roughly drawn sketch in black ink of a man standing in a living room next to a writing desk. A cat is on the rug.\" width=\"2560\" height=\"1977\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/12-09-sketch-enraged_telephone-room-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/12-09-sketch-enraged_telephone-room-1-800x618.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/12-09-sketch-enraged_telephone-room-1-1020x788.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/12-09-sketch-enraged_telephone-room-1-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/12-09-sketch-enraged_telephone-room-1-768x593.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/12-09-sketch-enraged_telephone-room-1-1536x1186.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/12-09-sketch-enraged_telephone-room-1-2048x1582.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/12-09-sketch-enraged_telephone-room-1-1920x1483.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A sketch for the staging of ‘The Enraged Telephone,’ which Gorey originally wrote in 1963. \u003ccite>(Chronicle Books 2024)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The idea for \u003cem>Theatrical Adventures\u003c/em> was originally posed to Verburg by Andrea Brown, an executor of Gorey’s estate. Brown had suggested Verburg compile a book of Gorey’s scripts. Realizing there was simply too much to put into one book, Verburg instead put together this marvelous and thoughtfully curated hodgepodge of materials. The end result offers strange insights into the recesses of Gorey’s darkly humorous mind from as many angles as possible. We are also left in no doubt that the artist was, in fact, a “thoughtful, gentle man with a soft heart and a generous soul.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There is real delectation in the way Verburg recounts her many adventures with Gorey, as well as a warmth towards him that brightens every page. Verburg is, I was quite certain by the end of her book’s 258 pages, the only person who could ever have put such a captivating book together on this topic. \u003cem>Theatrical Adventures\u003c/em> lifts the curtain not just on Gorey’s stage work, but on his personal life. It’s a fascinating read for any fan.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.chroniclebooks.com/products/theatrical-adventures-of-edward-gorey\">The Theatrical Adventures of Edward Gorey: Rare Drawings, Scripts, and Stories\u003c/a>’ by Carol Verburg is available now from Chronicle Books. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "bay-area-ballroom-vogueing-oakland-to-all-ball",
"title": "Watch a Ballroom Takeover at KQED’s Headquarters",
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"headTitle": "Watch a Ballroom Takeover at KQED’s Headquarters | KQED",
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"content": "\u003cp>With style, dips and duckwalks, Oakland to All \u003ca href=\"https://www.kqed.org/event/4650\">took over KQED’s San Francisco headquarters\u003c/a> on Nov. 21 for a panel discussion on the state of the ballroom scene in the Bay Area. The night also featured the first-ever ballroom competition held at Northern California’s largest public media station.\u003c/p>\n\u003cp>Founded in 2020 by Shireen Rahimi, Ashlee Banks, Guerrilla Davis and Tremaine Wheaton, \u003ca href=\"https://www.kqed.org/arts/13913584/oakland-to-all-ballroom-vogue-lgbtq-mental-health\">Oakland to All\u003c/a> promotes ballroom, an artistic and cultural movement first formed in 1970s New York City by queer and trans people of color seeking spaces for creative expression safe from homophobia and transphobia. Ballroom has since expanded around the globe with the mainstream success of documentaries like \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=9SqvD1-0odY\">Paris is Burning\u003c/a>\u003c/em> and FX’s Emmy Award-winning show \u003cem>Pose\u003c/em>.\u003c/p>\n\u003cp>Within ballroom, queer people from different generations come together to form houses — chosen families that provide emotional and material support and celebrate each other’s growth as dancers, musicians and artists. Houses face off in competitions known as balls, where members compete across different categories like vogue performance, runway, face and realness, while an MC keeps the energy high with fast-paced rhymes and quick-witted commentary.\u003c/p>\n\u003cfigure id=\"attachment_13968493\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13968493 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez001.jpg\" alt=\"Three people stand on a large indoor stage. They smile and look away from the camera.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez001.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez001-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Ashlee Banks, Shireen Rahimi and Guerrilla Davis., at KQED Commons in San Francisco, Calif., on Nov. 21, 2024 The three, along with Tremaine Wheaton founded Oakland to All in 2020. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Oakland has a ballroom scene again. It did not just die down,” said Rahimi, on stage at the start of the event, with Banks and Davis standing next to her. “We are here, and what you’re going to see today is a whole new generation.”\u003c/p>\n\u003cp>Before the competition, Rahimi clarified that its common description as a “Vogue Ball” is a misnomer, and that voguing is just one part of ballroom. Then Davis — along with \u003ca href=\"https://www.npr.org/people/1143683347/corey-antonio-rose\">NPR’s Corey Antonio Rose\u003c/a>, who has recently become part of the ballroom scene — moderated a panel discussion with four key figures in the development of ballroom in Northern California: Envy Tisci, father of the Bay Area House of Tisci, ballroom icon Dhalimu Moschino, and OTA’s Banks and Wheaton.\u003c/p>\n\u003cfigure id=\"attachment_13968496\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968496\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez04.jpg\" alt='Six people sit on chairs on an indoor stage with a large projection behind them that reads, \"Oakland to All.\"' width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez04.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez04-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez04-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez04-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez04-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez04-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez04-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Dhalimu Moschino, Envy Tisci, Ashlee Basquiat, Tremaine Wheaton, Guerrilla Davis and Corey Antonio Rose, at KQED Commons in San Francisco, Calif., on Nov. 21, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the topics in the hour-long conversation was the pivotal role of SMAAC (Sexual Minority Alliance of Alameda County) played in the early ballroom scene in the Bay Area during the 1990s and early 2000s. SMAAC was an Oakland-based nonprofit that offered mentorship and public health services to thousands of young queer people, as well as a physical space for folks to practice and teach each other about ballroom.\u003c/p>\n\u003cp>In 2012, a fire \u003ca href=\"https://www.ebar.com/story.php?ch=news&id=242732\">destroyed the building that housed SMAAC\u003c/a>. The group was unable to recover, and the Bay Area’s ballroom scene had a hard time bouncing back, Banks said. “That time when SMAAC was gone, there was no way for the community to congregate,” she explained. “That safe space wasn’t there.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When she and other OTA founders began organizing outdoor practice sessions at Lake Merritt in 2020, Banks says the group wanted to recreate that same sense of safety and trust SMAAC had provided.\u003c/p>\n\u003cp>“We have to engage with the youth, and they have to want to trust us,” she said. “They have to trust that where they’re going is a safe place: ‘When I come to vogue class, I’ll be able to vogue and feel comfortable and feel safe and be able to go home after.’”\u003c/p>\n\u003cfigure id=\"attachment_13968494\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13968494 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez002.jpg\" alt=\"One person wearing a suit and holding a microphone stands on an indoor stage in front of a crowd. There is another person to the side sitting in front of a DJ table.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez002.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez002-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Corey Antonio Rose, standing, welcomes the audience to the event, “Oakland to All Mini-Ball: Fashion, Runway and Vogue Competition,” held at KQED Commons in San Francisco, Calif., on Nov. 21, 2024. To the right, Alora LeMalu, alias DJ Blossom Chanel, performed as DJ throughout the night. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the past four years, OTA has grown from practice sessions once a month to organizing dozens of events, including the annual Hella Hyphy Ball, the region’s first and only annual ball — now \u003ca href=\"https://oaklandside.org/2024/09/10/hella-hyphy-ball-oakland-pride/\">a major event\u003c/a> with competitors from all over the West Coast.\u003c/p>\n\u003cp>Many young people who didn’t have prior ballroom experience but got involved through OTA have become so skilled that they’re now part of nationally recognized houses. OTA’s goal is to eventually register as a nonprofit that can connect queer youth to housing and other social services, in line with OTA’s mission to \u003ca href=\"https://www.kqed.org/arts/13913584/oakland-to-all-ballroom-vogue-lgbtq-mental-health\">connect ballroom to the issues that impact its participants\u003c/a>.\u003c/p>\n\u003cp>[aside postID=\"arts_13913584\" hero=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/WORKING-FILE-Our-Creative-Futures-Featured-Image-1-1020x574.jpg\"]\u003c/p>\n\u003cp>Even ballroom veterans such as Dhalimu Moschino, who came up in the New York scene, have once again found a safe space in ballroom through OTA. “There is such a love of the art form … [it] is not taken advantage of, it is not appropriated, it’s just really, really beautiful to see,” he said, adding jokingly that, “The Bay Area has made New York jealous.”\u003c/p>\n\u003cp>But the Bay is not just talk — the future of the region’s ballroom scene \u003cem>showed up\u003c/em> after the panel to compete in four categories, each inspired by a different facet of journalism and mass media (we’re at KQED, after all). With Karma Versace as the MC, the categories were face, realness, runway and vogue performance.\u003c/p>\n\u003cp>KQED spoke with the winners from each category, all hailing from a different part of the Bay Area — a reflection of the impact Oakland to All has had beyond the East Bay.\u003c/p>\n\u003ch2>OTA FACE — News Break\u003c/h2>\n\u003cp>Category description: Politicians are utilizing beauty influencers to increase their reach across different demographics and persuade younger U.S. citizens to vote. Bring us your beautiful face and incorporate a political message, and no beauty influencer is set without product placement.\u003c/p>\n\u003cfigure id=\"attachment_13968498\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13968498 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez06.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez06.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez06-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez06-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez06-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez06-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez06-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez06-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tyler-Avery Lewis, alias Butterfly Garçon, to the right in the foreground, won the “Face — News Break” category at Oakland to All’s Mini-Ball held at KQED Commons in San Francisco, Calif., on Nov. 21, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Winner: Tyler-Avery Lewis, alias Butterfly Garçon\u003c/strong>\u003cbr>\n\u003cem>From New Iberia, Louisiana; now living in Santa Rosa\u003c/em>\u003c/p>\n\u003cp>Lewis participated in the face category to bring attention to mass incarceration, an issue she says is prevalent in her home state of Louisiana. “My category called for a political statement with product placement,” she said. “I wore a green dress to represent money. I wore chains to represent mass incarceration and my product was some setting spray because if you don’t have it, your face will melt.”\u003c/p>\n\u003cfigure id=\"attachment_13968501\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13968501 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez09.jpg\" alt=\"Two people perform in front of a group of judges that are sitting down inside an indoor auditorium. A large crowd sits behind them.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez09.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez09-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez09-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez09-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez09-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez09-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez09-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">One of the categories in Oakland to All’s Mini-Ball held at KQED Commons on Nov. 21, 2024, in San Francisco, Calif., was “Realness — Inside Scoop,” where participants needed to “bring it as a broadcast journalist.” \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>OTA REALNESS — Inside Scoop\u003c/h2>\n\u003cp>Category description: Queer icons Don Lemon and Anderson Cooper brought us the hottest topics at CNN. This powerful commentary served its right-wingers left & right. But behind the scenes, though they both fought for what’s right (or left if you will), they had a strained relationship at CNN. Tonight, bring it as a broadcast journalist.\u003c/p>\n\u003cfigure id=\"attachment_13968502\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13968502 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez10.jpg\" alt=\"A person holds up a plaque in a crowded auditorium and smiles at the camera.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez10.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez10-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez10-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kyla Kitagawa, alias Kyla Celine Saint Laurent, won the “Realness — Inside Scoop” category at Oakland to All’s Mini-Ball held at KQED Commons in San Francisco, Calif., on Nov. 21, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Winner: Kyla Kitagawa, alias Kyla Celine Saint Laurent\u003c/strong>\u003cbr>\n\u003cem>From San José and Oakland\u003c/em>\u003c/p>\n\u003cp>Kitagawa says it’s rare to see categories that require business formal presentation in the Bay Area, but adds that because she has recently started a “more corporate job,” this was her chance to bring together her professional and ballroom universes. She says that she’s been involved with OTA for a few years now, thanks to her sister who got her involved. “She knew that this was a space that was meant for me as well,” she added. “It’s addictive. The community feels right.”\u003c/p>\n\u003ch2>OTA RUNWAY — Fake News\u003c/h2>\n\u003cp>Category description: The FIDM museum has decided to curate a Musical Legends Retrospective that will include stage costumes of the most inspirational artists from each decade. Some of the most outrageous costumes from the likes of David Bowie, Michael Jackson, Little Richard, and more will be a part of the exhibit. Recreate a look worn by a departed music legend and bring it to the runway.\u003c/p>\n\u003cfigure id=\"attachment_13968504\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13968504 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez12.jpg\" alt=\"Two people stand in the middle of an auditorium and hold a plaque.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez12.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez12-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez12-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez12-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez12-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez12-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Scarlet, left, and Soho Tisci, right, both won the “Runway — Fake News” category at Oakland to All’s Mini-Ball held at KQED Commons in San Francisco, Calif., on Nov. 21, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Winner: Scarlet Tisci and Soho Tisci\u003c/strong>\u003cbr>\n\u003cem>From San José and Richmond, respectively\u003c/em>\u003c/p>\n\u003cp>Scarlet says that she actually didn’t expect to participate in this ball as she had just flown in from New York, but after looking at the category description, thought of Tina Turner as someone she could quickly embody. Soho, who competed in the category as their version of David Bowie, says that they first got involved in ballroom 15 years ago in New York. “Ballroom has always been about the community at the end of the day,” they say, “providing a safe space for them to come and be themselves while also helping with daily life.”\u003c/p>\n\u003cfigure id=\"attachment_13968506\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968506\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez14.jpg\" alt=\"Two people dance in the middle of a crowded auditorium.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez14.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez14-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez14-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez14-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez14-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez14-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez14-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">“Performance — Climate Change” was the last category in Oakland to All’s Mini-Ball held at KQED Commons in San Francisco, Calif., on Nov, 21, 2024. Event organizers wanted participants in this category to “STORM the runway inspired by one of the 5 components of nature: Earth, Water, Fire, Air, or Space,” and take into account the impacts of climate change in their performance. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>OTA PERFORMANCE — Climate Change\u003c/h2>\n\u003cp>Category description: Deforestation and climate change have tree huggers on edge! Activists are seeking more executive orders to protect forests across the country that would aid their mission of environmental activism. For this category we want to see you STORM the runway inspired by one of the 5 components of nature: Earth, Water, Fire, Air, or Space.\u003c/p>\n\u003cfigure id=\"attachment_13968508\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13968508 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez16.jpg\" alt=\"A person poses on top of a stage in an auditorium and holds up a plaque.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez16.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez16-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez16-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez16-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez16-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez16-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez16-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Aurris Garçon won the “Performance — Climate Change” category at Oakland to All’s Mini-Ball held at KQED Commons in San Francisco, Calif., on Nov. 21, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Winner: Aurris Garçon\u003c/strong>\u003cbr>\n\u003cem>From San Francisco and Oakland\u003c/em>\u003c/p>\n\u003cp>For the final event of the night, Garçon brought the heat — literally. In response the category, Garçon wanted to embody the “ever-increasing heat” California is experiencing due to climate change. “Global warming is probably one of the biggest issues in our world today, but yet we’re focused on who’s fighting who for political office,” Garçon said. “And in reality, we only got about 15 years left on this bitch before we burn up.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "A ballroom competition and panel discussion led by Oakland To All showed that the scene is stronger than ever in the Bay Area.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With style, dips and duckwalks, Oakland to All \u003ca href=\"https://www.kqed.org/event/4650\">took over KQED’s San Francisco headquarters\u003c/a> on Nov. 21 for a panel discussion on the state of the ballroom scene in the Bay Area. The night also featured the first-ever ballroom competition held at Northern California’s largest public media station.\u003c/p>\n\u003cp>Founded in 2020 by Shireen Rahimi, Ashlee Banks, Guerrilla Davis and Tremaine Wheaton, \u003ca href=\"https://www.kqed.org/arts/13913584/oakland-to-all-ballroom-vogue-lgbtq-mental-health\">Oakland to All\u003c/a> promotes ballroom, an artistic and cultural movement first formed in 1970s New York City by queer and trans people of color seeking spaces for creative expression safe from homophobia and transphobia. Ballroom has since expanded around the globe with the mainstream success of documentaries like \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=9SqvD1-0odY\">Paris is Burning\u003c/a>\u003c/em> and FX’s Emmy Award-winning show \u003cem>Pose\u003c/em>.\u003c/p>\n\u003cp>Within ballroom, queer people from different generations come together to form houses — chosen families that provide emotional and material support and celebrate each other’s growth as dancers, musicians and artists. Houses face off in competitions known as balls, where members compete across different categories like vogue performance, runway, face and realness, while an MC keeps the energy high with fast-paced rhymes and quick-witted commentary.\u003c/p>\n\u003cfigure id=\"attachment_13968493\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13968493 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez001.jpg\" alt=\"Three people stand on a large indoor stage. They smile and look away from the camera.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez001.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez001-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez001-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez001-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez001-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez001-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez001-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Ashlee Banks, Shireen Rahimi and Guerrilla Davis., at KQED Commons in San Francisco, Calif., on Nov. 21, 2024 The three, along with Tremaine Wheaton founded Oakland to All in 2020. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Oakland has a ballroom scene again. It did not just die down,” said Rahimi, on stage at the start of the event, with Banks and Davis standing next to her. “We are here, and what you’re going to see today is a whole new generation.”\u003c/p>\n\u003cp>Before the competition, Rahimi clarified that its common description as a “Vogue Ball” is a misnomer, and that voguing is just one part of ballroom. Then Davis — along with \u003ca href=\"https://www.npr.org/people/1143683347/corey-antonio-rose\">NPR’s Corey Antonio Rose\u003c/a>, who has recently become part of the ballroom scene — moderated a panel discussion with four key figures in the development of ballroom in Northern California: Envy Tisci, father of the Bay Area House of Tisci, ballroom icon Dhalimu Moschino, and OTA’s Banks and Wheaton.\u003c/p>\n\u003cfigure id=\"attachment_13968496\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968496\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez04.jpg\" alt='Six people sit on chairs on an indoor stage with a large projection behind them that reads, \"Oakland to All.\"' width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez04.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez04-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez04-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez04-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez04-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez04-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez04-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Dhalimu Moschino, Envy Tisci, Ashlee Basquiat, Tremaine Wheaton, Guerrilla Davis and Corey Antonio Rose, at KQED Commons in San Francisco, Calif., on Nov. 21, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the topics in the hour-long conversation was the pivotal role of SMAAC (Sexual Minority Alliance of Alameda County) played in the early ballroom scene in the Bay Area during the 1990s and early 2000s. SMAAC was an Oakland-based nonprofit that offered mentorship and public health services to thousands of young queer people, as well as a physical space for folks to practice and teach each other about ballroom.\u003c/p>\n\u003cp>In 2012, a fire \u003ca href=\"https://www.ebar.com/story.php?ch=news&id=242732\">destroyed the building that housed SMAAC\u003c/a>. The group was unable to recover, and the Bay Area’s ballroom scene had a hard time bouncing back, Banks said. “That time when SMAAC was gone, there was no way for the community to congregate,” she explained. “That safe space wasn’t there.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When she and other OTA founders began organizing outdoor practice sessions at Lake Merritt in 2020, Banks says the group wanted to recreate that same sense of safety and trust SMAAC had provided.\u003c/p>\n\u003cp>“We have to engage with the youth, and they have to want to trust us,” she said. “They have to trust that where they’re going is a safe place: ‘When I come to vogue class, I’ll be able to vogue and feel comfortable and feel safe and be able to go home after.’”\u003c/p>\n\u003cfigure id=\"attachment_13968494\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13968494 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez002.jpg\" alt=\"One person wearing a suit and holding a microphone stands on an indoor stage in front of a crowd. There is another person to the side sitting in front of a DJ table.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez002.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez002-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Corey Antonio Rose, standing, welcomes the audience to the event, “Oakland to All Mini-Ball: Fashion, Runway and Vogue Competition,” held at KQED Commons in San Francisco, Calif., on Nov. 21, 2024. To the right, Alora LeMalu, alias DJ Blossom Chanel, performed as DJ throughout the night. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the past four years, OTA has grown from practice sessions once a month to organizing dozens of events, including the annual Hella Hyphy Ball, the region’s first and only annual ball — now \u003ca href=\"https://oaklandside.org/2024/09/10/hella-hyphy-ball-oakland-pride/\">a major event\u003c/a> with competitors from all over the West Coast.\u003c/p>\n\u003cp>Many young people who didn’t have prior ballroom experience but got involved through OTA have become so skilled that they’re now part of nationally recognized houses. OTA’s goal is to eventually register as a nonprofit that can connect queer youth to housing and other social services, in line with OTA’s mission to \u003ca href=\"https://www.kqed.org/arts/13913584/oakland-to-all-ballroom-vogue-lgbtq-mental-health\">connect ballroom to the issues that impact its participants\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even ballroom veterans such as Dhalimu Moschino, who came up in the New York scene, have once again found a safe space in ballroom through OTA. “There is such a love of the art form … [it] is not taken advantage of, it is not appropriated, it’s just really, really beautiful to see,” he said, adding jokingly that, “The Bay Area has made New York jealous.”\u003c/p>\n\u003cp>But the Bay is not just talk — the future of the region’s ballroom scene \u003cem>showed up\u003c/em> after the panel to compete in four categories, each inspired by a different facet of journalism and mass media (we’re at KQED, after all). With Karma Versace as the MC, the categories were face, realness, runway and vogue performance.\u003c/p>\n\u003cp>KQED spoke with the winners from each category, all hailing from a different part of the Bay Area — a reflection of the impact Oakland to All has had beyond the East Bay.\u003c/p>\n\u003ch2>OTA FACE — News Break\u003c/h2>\n\u003cp>Category description: Politicians are utilizing beauty influencers to increase their reach across different demographics and persuade younger U.S. citizens to vote. Bring us your beautiful face and incorporate a political message, and no beauty influencer is set without product placement.\u003c/p>\n\u003cfigure id=\"attachment_13968498\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13968498 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez06.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez06.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez06-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez06-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez06-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez06-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez06-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez06-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Tyler-Avery Lewis, alias Butterfly Garçon, to the right in the foreground, won the “Face — News Break” category at Oakland to All’s Mini-Ball held at KQED Commons in San Francisco, Calif., on Nov. 21, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Winner: Tyler-Avery Lewis, alias Butterfly Garçon\u003c/strong>\u003cbr>\n\u003cem>From New Iberia, Louisiana; now living in Santa Rosa\u003c/em>\u003c/p>\n\u003cp>Lewis participated in the face category to bring attention to mass incarceration, an issue she says is prevalent in her home state of Louisiana. “My category called for a political statement with product placement,” she said. “I wore a green dress to represent money. I wore chains to represent mass incarceration and my product was some setting spray because if you don’t have it, your face will melt.”\u003c/p>\n\u003cfigure id=\"attachment_13968501\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13968501 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez09.jpg\" alt=\"Two people perform in front of a group of judges that are sitting down inside an indoor auditorium. A large crowd sits behind them.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez09.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez09-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez09-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez09-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez09-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez09-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez09-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">One of the categories in Oakland to All’s Mini-Ball held at KQED Commons on Nov. 21, 2024, in San Francisco, Calif., was “Realness — Inside Scoop,” where participants needed to “bring it as a broadcast journalist.” \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>OTA REALNESS — Inside Scoop\u003c/h2>\n\u003cp>Category description: Queer icons Don Lemon and Anderson Cooper brought us the hottest topics at CNN. This powerful commentary served its right-wingers left & right. But behind the scenes, though they both fought for what’s right (or left if you will), they had a strained relationship at CNN. Tonight, bring it as a broadcast journalist.\u003c/p>\n\u003cfigure id=\"attachment_13968502\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13968502 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez10.jpg\" alt=\"A person holds up a plaque in a crowded auditorium and smiles at the camera.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez10.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez10-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez10-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kyla Kitagawa, alias Kyla Celine Saint Laurent, won the “Realness — Inside Scoop” category at Oakland to All’s Mini-Ball held at KQED Commons in San Francisco, Calif., on Nov. 21, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Winner: Kyla Kitagawa, alias Kyla Celine Saint Laurent\u003c/strong>\u003cbr>\n\u003cem>From San José and Oakland\u003c/em>\u003c/p>\n\u003cp>Kitagawa says it’s rare to see categories that require business formal presentation in the Bay Area, but adds that because she has recently started a “more corporate job,” this was her chance to bring together her professional and ballroom universes. She says that she’s been involved with OTA for a few years now, thanks to her sister who got her involved. “She knew that this was a space that was meant for me as well,” she added. “It’s addictive. The community feels right.”\u003c/p>\n\u003ch2>OTA RUNWAY — Fake News\u003c/h2>\n\u003cp>Category description: The FIDM museum has decided to curate a Musical Legends Retrospective that will include stage costumes of the most inspirational artists from each decade. Some of the most outrageous costumes from the likes of David Bowie, Michael Jackson, Little Richard, and more will be a part of the exhibit. Recreate a look worn by a departed music legend and bring it to the runway.\u003c/p>\n\u003cfigure id=\"attachment_13968504\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13968504 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez12.jpg\" alt=\"Two people stand in the middle of an auditorium and hold a plaque.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez12.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez12-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez12-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez12-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez12-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez12-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez12-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Scarlet, left, and Soho Tisci, right, both won the “Runway — Fake News” category at Oakland to All’s Mini-Ball held at KQED Commons in San Francisco, Calif., on Nov. 21, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Winner: Scarlet Tisci and Soho Tisci\u003c/strong>\u003cbr>\n\u003cem>From San José and Richmond, respectively\u003c/em>\u003c/p>\n\u003cp>Scarlet says that she actually didn’t expect to participate in this ball as she had just flown in from New York, but after looking at the category description, thought of Tina Turner as someone she could quickly embody. Soho, who competed in the category as their version of David Bowie, says that they first got involved in ballroom 15 years ago in New York. “Ballroom has always been about the community at the end of the day,” they say, “providing a safe space for them to come and be themselves while also helping with daily life.”\u003c/p>\n\u003cfigure id=\"attachment_13968506\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968506\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez14.jpg\" alt=\"Two people dance in the middle of a crowded auditorium.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez14.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez14-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez14-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez14-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez14-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez14-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez14-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">“Performance — Climate Change” was the last category in Oakland to All’s Mini-Ball held at KQED Commons in San Francisco, Calif., on Nov, 21, 2024. Event organizers wanted participants in this category to “STORM the runway inspired by one of the 5 components of nature: Earth, Water, Fire, Air, or Space,” and take into account the impacts of climate change in their performance. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>OTA PERFORMANCE — Climate Change\u003c/h2>\n\u003cp>Category description: Deforestation and climate change have tree huggers on edge! Activists are seeking more executive orders to protect forests across the country that would aid their mission of environmental activism. For this category we want to see you STORM the runway inspired by one of the 5 components of nature: Earth, Water, Fire, Air, or Space.\u003c/p>\n\u003cfigure id=\"attachment_13968508\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13968508 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez16.jpg\" alt=\"A person poses on top of a stage in an auditorium and holds up a plaque.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez16.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez16-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez16-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez16-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez16-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez16-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/KQEDBALL_EstefanyGonzalez16-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Aurris Garçon won the “Performance — Climate Change” category at Oakland to All’s Mini-Ball held at KQED Commons in San Francisco, Calif., on Nov. 21, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Winner: Aurris Garçon\u003c/strong>\u003cbr>\n\u003cem>From San Francisco and Oakland\u003c/em>\u003c/p>\n\u003cp>For the final event of the night, Garçon brought the heat — literally. In response the category, Garçon wanted to embody the “ever-increasing heat” California is experiencing due to climate change. “Global warming is probably one of the biggest issues in our world today, but yet we’re focused on who’s fighting who for political office,” Garçon said. “And in reality, we only got about 15 years left on this bitch before we burn up.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Hard as it may be to believe, changing the future of cinema was not on Mike Cheslik’s mind when he was making \u003cem>Hundreds of Beavers\u003c/em>. Cheslik was in the Northwoods of Wisconsin with a crew of four, sometimes six, standing in snow and making his friend, Ryland Tews, fall down funny.\u003c/p>\n\u003cp>“When we were shooting, I kept thinking: It would be so stupid if this got mythologized,” says Cheslik.\u003c/p>\n\u003cp>[aside postid='arts_13968348']And yet, \u003cem>Hundreds of Beavers\u003c/em> has accrued the stuff of, if not quite myth, then certainly lo-fi legend. Cheslik’s film, made for just $150,000 and self-distributed in theaters, has managed to gnaw its way into a movie culture largely dominated by big-budget sequels.\u003c/p>\n\u003cp>\u003cem>Hundreds of Beavers\u003c/em> is a wordless black-and-white bonanza of slapstick antics about a stranded 19th century applejack salesman (Tews) at war with a bevy of beavers, all of whom are played by actors in mascot costumes.\u003c/p>\n\u003cp>No one would call \u003cem>Hundreds of Beavers\u003c/em> expensive looking, but it’s far more inventive than much of what Hollywood produces. With some 1,500 effects shots Cheslik slaved over on his home computer, he crafted something like the human version of Donald Duck’s snowball fight, and a low-budget heir to the waning tradition of Buster Keaton and \u003cem>Naked Gun\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At a time when independent filmmaking is more challenged than ever, \u003cem>Hundreds of Beavers\u003c/em> has, maybe, suggested a new path forward, albeit a particularly beaver-festooned path.\u003c/p>\n\u003cp>After no major distributor stepped forward, the filmmakers opted to launch the movie themselves, beginning with carnivalesque roadshow screenings. Since opening in January, \u003cem>Hundreds of Beavers\u003c/em> has played in at least one theater every week of the year, though never more than 33 at once. (Blockbusters typically play in around 4,000 locations.) More than half of its approximately $500,000 in ticket sales came after the movie went to video-on-demand.\u003c/p>\n\u003cp>Daniel Scheinert, the co-director of the best picture-winning \u003cem>Everything Everywhere All at Once\u003c/em>, recently called \u003cem>Hundreds of “Beavers\u003c/em> “the future of cinema.” That bold pronouncement, which ricocheted around film blogs, might seem extreme for a movie about a guy wearing a comically large beaver hat.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5h4P-26kHAw\u003c/p>\n\u003cp>But in a shrinking movie industry, DIY microbudget filmmaking may increasingly be left to fill some of the void left by risk-adverse, corporate-driven Hollywood.\u003c/p>\n\u003cp>[aside postid='arts_13968446']“I hope people can stop shooting things to make them look like commercials and just get back to more of the nitty gritty and letting your imagination flow,” says Tews, who also co-wrote the movie with Cheslik. “I just hope we stop bowing down to Hollywood and thinking they’re the gold standard. Because they just aren’t.”\u003c/p>\n\u003cp>The year-to-date box office in North America is down 11% from last year and about 25% from before the pandemic. More movies are making a tiny impact in theaters; according to Franchise Entertainment Research, 41 wide releases in 2024 have grossed less than $3 million — nearly three times the amount in 2019.\u003c/p>\n\u003cp>The costs not just to make wide-release films but to market them has greatly shifted what even indie distributors are willing to back. Just to get eyeballs on \u003ca href=\"https://www.kqed.org/arts/13967953/gladiator-ii-review-ridley-scott-sequel-denzel-washington-paul-mescal\">\u003cem>Gladiator II\u003c/em>\u003c/a>, which carries a $250 million budget, Paramount Pictures took the extraordinary step of running a trailer of the film simultaneously on more than 4,000 platforms, including TV networks, radio stations and digital outlets. For even the biggest movies, it’s hard to get people’s attention.\u003c/p>\n\u003cp>In such an environment, where the expense of making and marketing a movie is potentially prohibitive for everything but the safest of bets, more filmmakers are questioning the economics. That’s especially because after last year’s strikes, movie production hasn’t rebounded. In a contracting movie industry, many remain out of work.\u003c/p>\n\u003cp>Brady Corbet, director of the highly touted \u003cem>The Brutalist\u003c/em>, a 3 ½-hour epic shot in VistaVision, for less than $10 million, has preached that smaller budgets don’t have to mean less artistic ambition. Sean Baker, whose breakthrough film \u003ca href=\"https://www.kqed.org/arts/10692425/shot-on-iphone-tangerine-raises-profile-of-transgender-actors\">\u003cem>Tangerine\u003c/em>\u003c/a> was shot with iPhones, has argued movie budgets can come down without sacrificing what’s on the screen. His $6 million \u003ca href=\"https://www.kqed.org/arts/13967226/anora-movie-review-sean-baker-mikey-madison\">\u003cem>Anora\u003c/em>\u003c/a> is one of the year’s most acclaimed films.\u003c/p>\n\u003cp>“Right now, it’s panic in LA,” Baker said in an earlier interview. “I’m like: We don’t have to make films for that much. They don’t have to cost as much.”\u003c/p>\n\u003cp>[aside postid='arts_13968359']\u003cem>Hundreds of Beavers\u003c/em> is a more micro example, but it was likewise made with a strong belief in the big screen. On Dec. 5, the movie will begin an encore tour in theaters, at some 70 locations. That’s the widest release yet for \u003cem>Hundreds of Beavers\u003c/em>, nearly a year after it opened. They’re calling it “A Northwoods Christmas.”\u003c/p>\n\u003cp>It’s a victory tour (with a Blu-ray release to follow) for \u003cem>Hundreds of Beavers\u003c/em>, a barnstorming indie hit that Cheslik hopes shows aspiring filmmakers that the same kind of goofy inventiveness that goes into a TikTok video can be channeled into a movie.\u003c/p>\n\u003cp>“You still can do whatever you want,” Cheslik says. “No one’s going to stop you if you take a phone and make a 90-minute timeline instead of a 30-second timeline.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Hundreds of Beavers’ is playing at San Francisco’s Balboa Theater on Nov. 25 and Dec. 5, 2024. It is also playing on Dec. 5 at Berkeley’s Rialto Cinemas Elmwood.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And yet, \u003cem>Hundreds of Beavers\u003c/em> has accrued the stuff of, if not quite myth, then certainly lo-fi legend. Cheslik’s film, made for just $150,000 and self-distributed in theaters, has managed to gnaw its way into a movie culture largely dominated by big-budget sequels.\u003c/p>\n\u003cp>\u003cem>Hundreds of Beavers\u003c/em> is a wordless black-and-white bonanza of slapstick antics about a stranded 19th century applejack salesman (Tews) at war with a bevy of beavers, all of whom are played by actors in mascot costumes.\u003c/p>\n\u003cp>No one would call \u003cem>Hundreds of Beavers\u003c/em> expensive looking, but it’s far more inventive than much of what Hollywood produces. With some 1,500 effects shots Cheslik slaved over on his home computer, he crafted something like the human version of Donald Duck’s snowball fight, and a low-budget heir to the waning tradition of Buster Keaton and \u003cem>Naked Gun\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At a time when independent filmmaking is more challenged than ever, \u003cem>Hundreds of Beavers\u003c/em> has, maybe, suggested a new path forward, albeit a particularly beaver-festooned path.\u003c/p>\n\u003cp>After no major distributor stepped forward, the filmmakers opted to launch the movie themselves, beginning with carnivalesque roadshow screenings. Since opening in January, \u003cem>Hundreds of Beavers\u003c/em> has played in at least one theater every week of the year, though never more than 33 at once. (Blockbusters typically play in around 4,000 locations.) More than half of its approximately $500,000 in ticket sales came after the movie went to video-on-demand.\u003c/p>\n\u003cp>Daniel Scheinert, the co-director of the best picture-winning \u003cem>Everything Everywhere All at Once\u003c/em>, recently called \u003cem>Hundreds of “Beavers\u003c/em> “the future of cinema.” That bold pronouncement, which ricocheted around film blogs, might seem extreme for a movie about a guy wearing a comically large beaver hat.\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/5h4P-26kHAw'\n title='//www.youtube.com/embed/5h4P-26kHAw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But in a shrinking movie industry, DIY microbudget filmmaking may increasingly be left to fill some of the void left by risk-adverse, corporate-driven Hollywood.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I hope people can stop shooting things to make them look like commercials and just get back to more of the nitty gritty and letting your imagination flow,” says Tews, who also co-wrote the movie with Cheslik. “I just hope we stop bowing down to Hollywood and thinking they’re the gold standard. Because they just aren’t.”\u003c/p>\n\u003cp>The year-to-date box office in North America is down 11% from last year and about 25% from before the pandemic. More movies are making a tiny impact in theaters; according to Franchise Entertainment Research, 41 wide releases in 2024 have grossed less than $3 million — nearly three times the amount in 2019.\u003c/p>\n\u003cp>The costs not just to make wide-release films but to market them has greatly shifted what even indie distributors are willing to back. Just to get eyeballs on \u003ca href=\"https://www.kqed.org/arts/13967953/gladiator-ii-review-ridley-scott-sequel-denzel-washington-paul-mescal\">\u003cem>Gladiator II\u003c/em>\u003c/a>, which carries a $250 million budget, Paramount Pictures took the extraordinary step of running a trailer of the film simultaneously on more than 4,000 platforms, including TV networks, radio stations and digital outlets. For even the biggest movies, it’s hard to get people’s attention.\u003c/p>\n\u003cp>In such an environment, where the expense of making and marketing a movie is potentially prohibitive for everything but the safest of bets, more filmmakers are questioning the economics. That’s especially because after last year’s strikes, movie production hasn’t rebounded. In a contracting movie industry, many remain out of work.\u003c/p>\n\u003cp>Brady Corbet, director of the highly touted \u003cem>The Brutalist\u003c/em>, a 3 ½-hour epic shot in VistaVision, for less than $10 million, has preached that smaller budgets don’t have to mean less artistic ambition. Sean Baker, whose breakthrough film \u003ca href=\"https://www.kqed.org/arts/10692425/shot-on-iphone-tangerine-raises-profile-of-transgender-actors\">\u003cem>Tangerine\u003c/em>\u003c/a> was shot with iPhones, has argued movie budgets can come down without sacrificing what’s on the screen. His $6 million \u003ca href=\"https://www.kqed.org/arts/13967226/anora-movie-review-sean-baker-mikey-madison\">\u003cem>Anora\u003c/em>\u003c/a> is one of the year’s most acclaimed films.\u003c/p>\n\u003cp>“Right now, it’s panic in LA,” Baker said in an earlier interview. “I’m like: We don’t have to make films for that much. They don’t have to cost as much.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Hundreds of Beavers\u003c/em> is a more micro example, but it was likewise made with a strong belief in the big screen. On Dec. 5, the movie will begin an encore tour in theaters, at some 70 locations. That’s the widest release yet for \u003cem>Hundreds of Beavers\u003c/em>, nearly a year after it opened. They’re calling it “A Northwoods Christmas.”\u003c/p>\n\u003cp>It’s a victory tour (with a Blu-ray release to follow) for \u003cem>Hundreds of Beavers\u003c/em>, a barnstorming indie hit that Cheslik hopes shows aspiring filmmakers that the same kind of goofy inventiveness that goes into a TikTok video can be channeled into a movie.\u003c/p>\n\u003cp>“You still can do whatever you want,” Cheslik says. “No one’s going to stop you if you take a phone and make a 90-minute timeline instead of a 30-second timeline.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Hundreds of Beavers’ is playing at San Francisco’s Balboa Theater on Nov. 25 and Dec. 5, 2024. It is also playing on Dec. 5 at Berkeley’s Rialto Cinemas Elmwood.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The sometimes pricey, often large-format books are abundant at holiday time. Take care to invest in just the right one to avoid sad or puzzled eyes when your gift is unwrapped.\u003c/p>\n\u003cp>Some suggestions among new releases:\u003c/p>\n\u003ch2>‘LIFE. Hollywood’\u003c/h2>\n\u003cp>This two-volume opus covers the film industry from 1936 to 1972. More than 700 pages of photos and stories plucked from the archives of \u003cem>Life\u003c/em> magazine show icons and others behind the scenes and in front of the cameras. Take 6-year-old Natalie Wood hanging upside down on a swing. The nearly 17 pounds’ worth of nostalgia is packed with both color and black-and-white images, along with photo essays for context. Taschen, with slipcase. $250.\u003c/p>\n\u003ch2>‘Black in Fashion: 100 Years of Style, Influence & Culture’\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13968480\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.24.48%E2%80%AFAM.png\" alt=\"\" width=\"830\" height=\"958\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.24.48 AM.png 830w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.24.48 AM-800x923.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.24.48 AM-160x185.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.24.48 AM-768x886.png 768w\" sizes=\"(max-width: 830px) 100vw, 830px\">\u003c/p>\n\u003cp>A celebration of Black voices from \u003cem>Women’s Wear Daily\u003c/em>, dating to the publication’s start in 1910. There are early efforts by Black garment workers to unionize. And Josephine Baker’s 67th birthday bash. There’s the rise of the late Virgil Abloh and working designers today, including LaQuan Smith and Sergio Hudson. Union Square & Co. Text by Tonya Blazio-Licorish and Tara Donaldson. $65.\u003c/p>\n\u003ch2>‘Amazing Grapes’\u003c/h2>\n\u003cp>This is Jules Feiffer’s first graphic novel for young readers. The offbeat, Pulitzer-winning cartoonist takes a family on a wacky adventure to the Lost Dimension. Feiffer said in press notes that writing for young readers “connects me professionally to a part of myself that I didn’t know how to let out until I was 60.” He’s now 95. His artwork is colorful and out of this world. Good for ages 8-12. HarperCollins. $12.99.\u003c/p>\n\u003ch2>‘The Women Who Changed Photography’\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13968481\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.24.00%E2%80%AFAM.png\" alt=\"\" width=\"918\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.24.00 AM.png 918w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.24.00 AM-800x941.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.24.00 AM-160x188.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.24.00 AM-768x904.png 768w\" sizes=\"(max-width: 918px) 100vw, 918px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Profiles of 50 groundbreaking female photographers through time and around the world, told in short essays. Many developed new techniques to capture images from war to fashion. The book offers tips on how to achieve the same outcomes. Cindy Sherman, Anna Atkins, Shirin Neshat and Lorna Simpson are included. By Gemma Padley. Laurence King Publishing. $24.99.\u003c/p>\n\u003ch2>‘Making the Case for Equality’\u003c/h2>\n\u003cp>Lambda Legal has been fighting for LGBTQ+ rights for 50 years. This book takes readers through dozens of the nonprofit’s milestone cases, from 1973 to 2023. It profiles leading players on both sides and tells the personal stories behind the legal briefs. By Jennifer C. Pizer and Ellen Ann Andersen. With a foreword by Roxane Gay. Monacelli. $59.95.\u003c/p>\n\u003ch2>‘1001 Movie Posters: Designs of the Times’\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13968482\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.25.56%E2%80%AFAM.png\" alt=\"\" width=\"896\" height=\"1082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.25.56 AM.png 896w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.25.56 AM-800x966.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.25.56 AM-160x193.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.25.56 AM-768x927.png 768w\" sizes=\"(max-width: 896px) 100vw, 896px\">\u003c/p>\n\u003cp>A 640-page tome offering movie art from more than 20 countries. “We’re not rated X for nothin’, baby!” declares a 1972 poster for \u003cem>Fritz the Cat\u003c/em>. It was, in fact, the first animated film to be given an X rating. Also included: 1896 Parisian lithographs for the first public screening by the Lumière brothers, Auguste and Louis. They were among early pioneers of cinema. By Tony Nourmand, Graham Marsh, Christopher Frayling and Alison Elangasinghe. Reel Art Press. $95.\u003c/p>\n\u003ch2>‘The Day of the Dead: A Celebration of Death and Life’\u003c/h2>\n\u003cp>A tribute to Mexico’s beloved holiday when families welcome back the souls of their dead relatives. This lively volume unfolds with contemporary and historical context through photos and explanatory text focused on how the November holiday plays out in specific states and cities in Mexico. By Déborah Holtz and Juan Carlos Mena. Rizzoli New York. $65.\u003c/p>\n\u003ch2>‘Dare to Bird’\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13968483\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.41.58%E2%80%AFAM.png\" alt=\"\" width=\"1250\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.41.58 AM.png 1250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.41.58 AM-800x691.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.41.58 AM-1020x881.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.41.58 AM-160x138.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.41.58 AM-768x664.png 768w\" sizes=\"(max-width: 1250px) 100vw, 1250px\">\u003c/p>\n\u003cp>British Columbia birder and photographer Melissa Hafting explores the joy and comfort her beloved birds have provided her in hard times, including the deaths of both of her parents. Her images of birds in the U.S. and Canada are intertwined with her personal narrative. “Who knows how many tomorrows I have left in my life, but all my tomorrows will be for the birds,” she writes. Rocky Mountain Books. $45.\u003c/p>\n\u003ch2>‘Colorful’\u003c/h2>\n\u003cp>In the summer of 2023, at age 102, style icon Iris Apfel began work on this book. She called it her “legacy” book. She died the following March but her voice lives on in the memories she put down here. “The book is about living. Creating. Coloring life,” she wrote in the introduction. What follows is just that: a technicolor journey in words and pictures through Apfel’s childhood, marriage, work and home. What a treat to hear her voice again. Easily browsable with digestible text. Abrams. $50.\u003c/p>\n\u003ch2>‘Mickalene: All About Love’\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13968484\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.33.45%E2%80%AFAM.png\" alt=\"\" width=\"876\" height=\"1082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.33.45 AM.png 876w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.33.45 AM-800x988.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.33.45 AM-160x198.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.33.45 AM-768x949.png 768w\" sizes=\"(max-width: 876px) 100vw, 876px\">\u003c/p>\n\u003cp>The work of Brooklyn artist Mickalene Thomas spans painting, collage, photography and video as she expresses her vision of womanhood in this monograph that accompanies a touring exhibition. She is known for elaborate portraits of Black women using rhinestones, acrylic and enamel. The book includes essays about Thomas and her impact. “Often when I think about my love for others I think about how I see myself in them,” Thomas said in an interview included in the book. D.A.P. $60.\u003c/p>\n\u003ch2>‘LaChapelle: Lost + Found’\u003c/h2>\n\u003cp>The surreal, color-saturated work of the renowned photographer and video artist David LaChapelle is on display in this book originally published in 2016 as part of a limited-edition boxed set. The publisher, Taschen, is now launching the volume and another, \u003cem>Good News\u003c/em>, as separate unlimited trade editions. Provocative set pieces and celebrity portraits are included. There’s a nude Pamela Anderson, a Chris Rock in Black Panther garb, an angelic Pharrell Williams and a host of others: Julian Assange, Britney Spears, Ye, Hillary Clinton and Rihanna, to name a few. $50.\u003c/p>\n\u003ch2>‘Atlas of Finance: Mapping the Global Story of Money’\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13968485\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.44.04%E2%80%AFAM.png\" alt=\"\" width=\"790\" height=\"994\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.44.04 AM.png 790w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.44.04 AM-160x201.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.44.04 AM-768x966.png 768w\" sizes=\"(max-width: 790px) 100vw, 790px\">\u003c/p>\n\u003cp>Most of the world’s adults don’t have a grasp of basic financial concepts, according to this easy-to-follow look at how money works. What, exactly, is microfinance? What influences the International Monetary Fund and the World Bank? That and more is covered in text and engaging visuals. By Dariusz Wójcik, a widely published, award-winning economic geographer. Maps and graphics by James Cheshire and Oliver Uberti. Yale University Press. $40.\u003c/p>\n\u003ch2>‘Courtside: 40 Years of NBA Photography’\u003c/h2>\n\u003cp>A contemplative Kobe Bryant. A fierce Ben Wallace. A cigar chomping Steph Curry. NBA photographer Nathaniel S. Butler has shot them all as the ultimate insider. The work here spans championship celebrations to moody portraits. Butler’s photos are accompanied by commentary from some of his most famous subjects. With a foreword by Patrick Ewing and an afterword by basketball super fan Spike Lee. Additional words by David McMenamin. Abrams. $55.\u003c/p>\n\u003ch2>‘Gray Malin: Dogs’\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13968486\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.45.27%E2%80%AFAM.png\" alt=\"\" width=\"1456\" height=\"1082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.45.27 AM.png 1456w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.45.27 AM-800x595.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.45.27 AM-1020x758.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.45.27 AM-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.45.27 AM-768x571.png 768w\" sizes=\"(max-width: 1456px) 100vw, 1456px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Photographer Malin plus dogs plus iconic locations around the world are what drive this fun and fluffy book. Malin replaced people with dogs to create his canine scenes. There are dogs picnicking near the Eiffel Tower. He’s got dogs settled in on a luxury private jet over Palm Beach, Florida, and dogs poolside at the Beverly Hills Hotel. His pups are on ski slopes, in vintage cars and taking in Boston on a duck boat. Let the dopamine flow. Abrams. $45.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The sometimes pricey, often large-format books are abundant at holiday time. Take care to invest in just the right one to avoid sad or puzzled eyes when your gift is unwrapped.\u003c/p>\n\u003cp>Some suggestions among new releases:\u003c/p>\n\u003ch2>‘LIFE. Hollywood’\u003c/h2>\n\u003cp>This two-volume opus covers the film industry from 1936 to 1972. More than 700 pages of photos and stories plucked from the archives of \u003cem>Life\u003c/em> magazine show icons and others behind the scenes and in front of the cameras. Take 6-year-old Natalie Wood hanging upside down on a swing. The nearly 17 pounds’ worth of nostalgia is packed with both color and black-and-white images, along with photo essays for context. Taschen, with slipcase. $250.\u003c/p>\n\u003ch2>‘Black in Fashion: 100 Years of Style, Influence & Culture’\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13968480\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.24.48%E2%80%AFAM.png\" alt=\"\" width=\"830\" height=\"958\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.24.48 AM.png 830w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.24.48 AM-800x923.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.24.48 AM-160x185.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.24.48 AM-768x886.png 768w\" sizes=\"(max-width: 830px) 100vw, 830px\">\u003c/p>\n\u003cp>A celebration of Black voices from \u003cem>Women’s Wear Daily\u003c/em>, dating to the publication’s start in 1910. There are early efforts by Black garment workers to unionize. And Josephine Baker’s 67th birthday bash. There’s the rise of the late Virgil Abloh and working designers today, including LaQuan Smith and Sergio Hudson. Union Square & Co. Text by Tonya Blazio-Licorish and Tara Donaldson. $65.\u003c/p>\n\u003ch2>‘Amazing Grapes’\u003c/h2>\n\u003cp>This is Jules Feiffer’s first graphic novel for young readers. The offbeat, Pulitzer-winning cartoonist takes a family on a wacky adventure to the Lost Dimension. Feiffer said in press notes that writing for young readers “connects me professionally to a part of myself that I didn’t know how to let out until I was 60.” He’s now 95. His artwork is colorful and out of this world. Good for ages 8-12. HarperCollins. $12.99.\u003c/p>\n\u003ch2>‘The Women Who Changed Photography’\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13968481\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.24.00%E2%80%AFAM.png\" alt=\"\" width=\"918\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.24.00 AM.png 918w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.24.00 AM-800x941.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.24.00 AM-160x188.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.24.00 AM-768x904.png 768w\" sizes=\"(max-width: 918px) 100vw, 918px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Profiles of 50 groundbreaking female photographers through time and around the world, told in short essays. Many developed new techniques to capture images from war to fashion. The book offers tips on how to achieve the same outcomes. Cindy Sherman, Anna Atkins, Shirin Neshat and Lorna Simpson are included. By Gemma Padley. Laurence King Publishing. $24.99.\u003c/p>\n\u003ch2>‘Making the Case for Equality’\u003c/h2>\n\u003cp>Lambda Legal has been fighting for LGBTQ+ rights for 50 years. This book takes readers through dozens of the nonprofit’s milestone cases, from 1973 to 2023. It profiles leading players on both sides and tells the personal stories behind the legal briefs. By Jennifer C. Pizer and Ellen Ann Andersen. With a foreword by Roxane Gay. Monacelli. $59.95.\u003c/p>\n\u003ch2>‘1001 Movie Posters: Designs of the Times’\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13968482\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.25.56%E2%80%AFAM.png\" alt=\"\" width=\"896\" height=\"1082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.25.56 AM.png 896w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.25.56 AM-800x966.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.25.56 AM-160x193.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.25.56 AM-768x927.png 768w\" sizes=\"(max-width: 896px) 100vw, 896px\">\u003c/p>\n\u003cp>A 640-page tome offering movie art from more than 20 countries. “We’re not rated X for nothin’, baby!” declares a 1972 poster for \u003cem>Fritz the Cat\u003c/em>. It was, in fact, the first animated film to be given an X rating. Also included: 1896 Parisian lithographs for the first public screening by the Lumière brothers, Auguste and Louis. They were among early pioneers of cinema. By Tony Nourmand, Graham Marsh, Christopher Frayling and Alison Elangasinghe. Reel Art Press. $95.\u003c/p>\n\u003ch2>‘The Day of the Dead: A Celebration of Death and Life’\u003c/h2>\n\u003cp>A tribute to Mexico’s beloved holiday when families welcome back the souls of their dead relatives. This lively volume unfolds with contemporary and historical context through photos and explanatory text focused on how the November holiday plays out in specific states and cities in Mexico. By Déborah Holtz and Juan Carlos Mena. Rizzoli New York. $65.\u003c/p>\n\u003ch2>‘Dare to Bird’\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13968483\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.41.58%E2%80%AFAM.png\" alt=\"\" width=\"1250\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.41.58 AM.png 1250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.41.58 AM-800x691.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.41.58 AM-1020x881.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.41.58 AM-160x138.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.41.58 AM-768x664.png 768w\" sizes=\"(max-width: 1250px) 100vw, 1250px\">\u003c/p>\n\u003cp>British Columbia birder and photographer Melissa Hafting explores the joy and comfort her beloved birds have provided her in hard times, including the deaths of both of her parents. Her images of birds in the U.S. and Canada are intertwined with her personal narrative. “Who knows how many tomorrows I have left in my life, but all my tomorrows will be for the birds,” she writes. Rocky Mountain Books. $45.\u003c/p>\n\u003ch2>‘Colorful’\u003c/h2>\n\u003cp>In the summer of 2023, at age 102, style icon Iris Apfel began work on this book. She called it her “legacy” book. She died the following March but her voice lives on in the memories she put down here. “The book is about living. Creating. Coloring life,” she wrote in the introduction. What follows is just that: a technicolor journey in words and pictures through Apfel’s childhood, marriage, work and home. What a treat to hear her voice again. Easily browsable with digestible text. Abrams. $50.\u003c/p>\n\u003ch2>‘Mickalene: All About Love’\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13968484\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.33.45%E2%80%AFAM.png\" alt=\"\" width=\"876\" height=\"1082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.33.45 AM.png 876w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.33.45 AM-800x988.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.33.45 AM-160x198.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.33.45 AM-768x949.png 768w\" sizes=\"(max-width: 876px) 100vw, 876px\">\u003c/p>\n\u003cp>The work of Brooklyn artist Mickalene Thomas spans painting, collage, photography and video as she expresses her vision of womanhood in this monograph that accompanies a touring exhibition. She is known for elaborate portraits of Black women using rhinestones, acrylic and enamel. The book includes essays about Thomas and her impact. “Often when I think about my love for others I think about how I see myself in them,” Thomas said in an interview included in the book. D.A.P. $60.\u003c/p>\n\u003ch2>‘LaChapelle: Lost + Found’\u003c/h2>\n\u003cp>The surreal, color-saturated work of the renowned photographer and video artist David LaChapelle is on display in this book originally published in 2016 as part of a limited-edition boxed set. The publisher, Taschen, is now launching the volume and another, \u003cem>Good News\u003c/em>, as separate unlimited trade editions. Provocative set pieces and celebrity portraits are included. There’s a nude Pamela Anderson, a Chris Rock in Black Panther garb, an angelic Pharrell Williams and a host of others: Julian Assange, Britney Spears, Ye, Hillary Clinton and Rihanna, to name a few. $50.\u003c/p>\n\u003ch2>‘Atlas of Finance: Mapping the Global Story of Money’\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13968485\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.44.04%E2%80%AFAM.png\" alt=\"\" width=\"790\" height=\"994\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.44.04 AM.png 790w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.44.04 AM-160x201.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.44.04 AM-768x966.png 768w\" sizes=\"(max-width: 790px) 100vw, 790px\">\u003c/p>\n\u003cp>Most of the world’s adults don’t have a grasp of basic financial concepts, according to this easy-to-follow look at how money works. What, exactly, is microfinance? What influences the International Monetary Fund and the World Bank? That and more is covered in text and engaging visuals. By Dariusz Wójcik, a widely published, award-winning economic geographer. Maps and graphics by James Cheshire and Oliver Uberti. Yale University Press. $40.\u003c/p>\n\u003ch2>‘Courtside: 40 Years of NBA Photography’\u003c/h2>\n\u003cp>A contemplative Kobe Bryant. A fierce Ben Wallace. A cigar chomping Steph Curry. NBA photographer Nathaniel S. Butler has shot them all as the ultimate insider. The work here spans championship celebrations to moody portraits. Butler’s photos are accompanied by commentary from some of his most famous subjects. With a foreword by Patrick Ewing and an afterword by basketball super fan Spike Lee. Additional words by David McMenamin. Abrams. $55.\u003c/p>\n\u003ch2>‘Gray Malin: Dogs’\u003c/h2>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13968486\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.45.27%E2%80%AFAM.png\" alt=\"\" width=\"1456\" height=\"1082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.45.27 AM.png 1456w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.45.27 AM-800x595.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.45.27 AM-1020x758.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.45.27 AM-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Screenshot-2024-11-22-at-10.45.27 AM-768x571.png 768w\" sizes=\"(max-width: 1456px) 100vw, 1456px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Photographer Malin plus dogs plus iconic locations around the world are what drive this fun and fluffy book. Malin replaced people with dogs to create his canine scenes. There are dogs picnicking near the Eiffel Tower. He’s got dogs settled in on a luxury private jet over Palm Beach, Florida, and dogs poolside at the Beverly Hills Hotel. His pups are on ski slopes, in vintage cars and taking in Boston on a duck boat. Let the dopamine flow. Abrams. $45.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Netflix’s ‘Joy’ Is a Loud Cheer for Fertility, for Never Giving Up — and Science",
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"content": "\u003cp>Toward the end of Netflix’s \u003cem>Joy\u003c/em>, the muffled cry of a newborn baby prompts a man and woman in a hospital to embrace out of pure bliss. They aren’t the parents, but they had as much to do with the birth as the mom and dad.\u003c/p>\n\u003cp>This charming and winning movie charts the decade-long true story of how the world’s first IVF baby was born in England in 1978 — a 5-pound, 12-ounce girl who paved the way for millions more. It’s an upbeat, very English affair, mixing sober discussion of endometriosis with chocolate biscuits.\u003c/p>\n\u003cp>[aside postid='arts_13968348']The couple embracing that day were pioneering scientist Robert Edwards and Jean Purdy, a young nurse and embryologist. Together with surgeon Patrick Steptoe, the trio succeeded with in vitro fertilization, a method of treating infertility. Edwards would go on to win the Nobel Prize.\u003c/p>\n\u003cp>\u003cem>Joy\u003c/em> has been birthed at a time when science is under threat in America — even IVF — so it’s downright inspiring to see plucky, smart scientists working hard to change the world. “What we’re doing, it matters,” says Steptoe, played with quiet economy by Bill Nighy.\u003c/p>\n\u003cp>\u003cem>Joy\u003c/em> is the personal stories of the three scientists — mostly through the eyes of Purdy, a polite lab-coated warrior. “If I hear a commotion, I’m not very good at staying out of it,” she says. Perfectly played by Thomasin McKenzie, Purdy is both vulnerable and strong, learning through the process to be a better human. James Norton plays Edwards with charm, self-doubt and calm spirit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Qoyn5BCm37o\u003c/p>\n\u003cp>Jack Thorne’s script nicely explains the massive pressure the trio faced. IVF may have become common and uncontroversial over the last decades, but back in the late ’70s it was experimental and shunned. The Anglican church called it a sin, the newspapers labeled it Frankenstein-ish and other scientists warned of freak babies. “You’re aware they’ll throw the book at us,” Nighy’s Steptoe tells the team. “We will unite them all against us.”\u003c/p>\n\u003cp>Purdy, a single woman as the swinging ’60s lead to the ’70s, is exiled by her own pious mother — “You can’t play God with this,” the elder woman tells her daughter — and disinvited by her church. No matter. “This fight is ours. We don’t have a choice,” Purdy says. The film also celebrates the brave would-be mothers who volunteered their bodies to be poked and prodded at the edge of science.\u003c/p>\n\u003cp>Our hero researchers try to argue to the skeptical world in vain that IVF is simply a way for science to help those in need, like glasses for the shortsighted or dentures for those with teeth decay. It’s remarkable to return to this debate now when science’s great achievements today may be under threat, like fluoridated water.\u003c/p>\n\u003cp>[aside postid='arts_13968285']Director Ben Taylor keeps the story small and intimate, a series of vignettes adding up to almost like a play. It features moments of quiet and polite bravery, and small conversations over a pint of ale — a reminder of the power of performances and that changing the world doesn’t need a muscle-bound bro with X-ray vision.\u003c/p>\n\u003cp>It’s held together by a superb soundtrack with witty selections like “Yes We Can Can” by Lee Dorsey, “Nobody But Me” by The Human Beinz and “Here Comes the Sun” by George Harrison, each song encapsulating the moment in time, like pearls on a strand.\u003c/p>\n\u003cp>“Joy” is not all joy. There is frustration and loss and tears along the way, but it is a triumphant film about the way humans can make the world better and how a baby’s cry can be a priceless gift.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Joy’ begins streaming on Netflix on Nov. 22, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Director Ben Taylor keeps the story small and intimate, a series of vignettes adding up to almost like a play. It features moments of quiet and polite bravery, and small conversations over a pint of ale — a reminder of the power of performances and that changing the world doesn’t need a muscle-bound bro with X-ray vision.\u003c/p>\n\u003cp>It’s held together by a superb soundtrack with witty selections like “Yes We Can Can” by Lee Dorsey, “Nobody But Me” by The Human Beinz and “Here Comes the Sun” by George Harrison, each song encapsulating the moment in time, like pearls on a strand.\u003c/p>\n\u003cp>“Joy” is not all joy. There is frustration and loss and tears along the way, but it is a triumphant film about the way humans can make the world better and how a baby’s cry can be a priceless gift.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Joy’ begins streaming on Netflix on Nov. 22, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Eagle lovers around the world who were crushed by the live-streamed collapse of a nest housing two birds and their chick will get another viewing opportunity when a new eagle camera goes live on Thursday.\u003c/p>\n\u003cp>The new camera, operated by the Minnesota Department of Natural Resources, is in a different location and will show a different nesting pair, the agency announced Tuesday. But the DNR will also keep its old EagleCam running because the old pair built a new nest about a half-mile away and still visit their old territory. They’ve been seen there as recently as Friday.\u003c/p>\n\u003cp>[aside postid='arts_13967643']The old camera had viewers in 50 states and around 160 countries, in homes, classrooms and nursing homes, according to Lori Naumann, a spokesperson for the DNR’s Nongame Wildlife Program, which runs the cameras. The old nest was home to a pair that viewers unofficially nicknamed “Nancy and Beau” until it collapsed during a heavy snowstorm on April 2, 2023. The female bird flew off as a branch supporting the 2,000-pound (900-kilogram) nest, which was over 20 years old, gave way. The chick was later found dead.\u003c/p>\n\u003cp>There was an outpouring of grief in popular Facebook groups that followed the pair, and members of those groups expressed excitement at the news Tuesday.\u003c/p>\n\u003cp>Naumann told reporters they often had thousands of viewers at any given time before the nest collapse, especially during the pandemic as homebound viewers went online to get their nature fixes. Minnesota has the largest eagle population in the lower 48 states, building nests even in urban areas.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The pair at the new, undisclosed location has nested there for at least four years and has reared several broods of eaglets, Naumann said. Officials aren’t sure exactly how long the nest has been there or how many chicks the parents have hatched because they haven’t followed them closely yet, she said.\u003c/p>\n\u003cp>Both cameras will go live around 6 a.m. CST Thursday on the \u003ca href=\"https://www.dnr.state.mn.us/features/webcams/eaglecam/index.html\">DNR website\u003c/a> and on the agency’s \u003ca href=\"https://www.youtube.com/channel/UCkibG4ONyUmGlnOR3F3qq6Q\">YouTube channel\u003c/a>.\u003c/p>\n\u003cp>There isn’t a lot of activity at the nest at the moment, though that will change, Naumann said.\u003c/p>\n\u003cp>[aside postid='arts_13962216']“It’s not really breeding season right now,” she said. “We expect them to start bringing new branches and new nesting material into the nest over the next several months, when their courtship behavior will start ramping up. And when that happens, they actively build the nest together, showing their dedication to each other and their worthiness of being a partner.”\u003c/p>\n\u003cp>The female is expected to lay two or three eggs sometime around February, she said, and they’ll take about 35 days to hatch. Both adults typically care for their chicks, constantly bringing them dead fish to satisfy their enormous appetites.\u003c/p>\n\u003cp>As for “Nancy and Beau” — the DNR doesn’t name the animals it follows — it wasn’t feasible to run power to and install a camera at their new nest, where they successfully raised two chicks last season. So the agency launched an extensive search before settling on the new, more accessible location with a healthy tree. They installed the camera in early October at a total cost of about $5,000. Minneapolis-based Xcel Energy provided the bucket lift truck and other services to set up the new camera at no charge, as it did with the original.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The eagles serve as ambassadors for the Nongame Wildlife Program, which is supported by direct donations and a voluntary checkoff on the state’s personal income tax form. It funds a range of wildlife projects across the state to benefit struggling species. The cameras are going live on Thursday to leverage a statewide charity event, although as a government agency the DNR isn’t an official participant.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The old camera had viewers in 50 states and around 160 countries, in homes, classrooms and nursing homes, according to Lori Naumann, a spokesperson for the DNR’s Nongame Wildlife Program, which runs the cameras. The old nest was home to a pair that viewers unofficially nicknamed “Nancy and Beau” until it collapsed during a heavy snowstorm on April 2, 2023. The female bird flew off as a branch supporting the 2,000-pound (900-kilogram) nest, which was over 20 years old, gave way. The chick was later found dead.\u003c/p>\n\u003cp>There was an outpouring of grief in popular Facebook groups that followed the pair, and members of those groups expressed excitement at the news Tuesday.\u003c/p>\n\u003cp>Naumann told reporters they often had thousands of viewers at any given time before the nest collapse, especially during the pandemic as homebound viewers went online to get their nature fixes. Minnesota has the largest eagle population in the lower 48 states, building nests even in urban areas.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The pair at the new, undisclosed location has nested there for at least four years and has reared several broods of eaglets, Naumann said. Officials aren’t sure exactly how long the nest has been there or how many chicks the parents have hatched because they haven’t followed them closely yet, she said.\u003c/p>\n\u003cp>Both cameras will go live around 6 a.m. CST Thursday on the \u003ca href=\"https://www.dnr.state.mn.us/features/webcams/eaglecam/index.html\">DNR website\u003c/a> and on the agency’s \u003ca href=\"https://www.youtube.com/channel/UCkibG4ONyUmGlnOR3F3qq6Q\">YouTube channel\u003c/a>.\u003c/p>\n\u003cp>There isn’t a lot of activity at the nest at the moment, though that will change, Naumann said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It’s not really breeding season right now,” she said. “We expect them to start bringing new branches and new nesting material into the nest over the next several months, when their courtship behavior will start ramping up. And when that happens, they actively build the nest together, showing their dedication to each other and their worthiness of being a partner.”\u003c/p>\n\u003cp>The female is expected to lay two or three eggs sometime around February, she said, and they’ll take about 35 days to hatch. Both adults typically care for their chicks, constantly bringing them dead fish to satisfy their enormous appetites.\u003c/p>\n\u003cp>As for “Nancy and Beau” — the DNR doesn’t name the animals it follows — it wasn’t feasible to run power to and install a camera at their new nest, where they successfully raised two chicks last season. So the agency launched an extensive search before settling on the new, more accessible location with a healthy tree. They installed the camera in early October at a total cost of about $5,000. Minneapolis-based Xcel Energy provided the bucket lift truck and other services to set up the new camera at no charge, as it did with the original.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The eagles serve as ambassadors for the Nongame Wildlife Program, which is supported by direct donations and a voluntary checkoff on the state’s personal income tax form. It funds a range of wildlife projects across the state to benefit struggling species. The cameras are going live on Thursday to leverage a statewide charity event, although as a government agency the DNR isn’t an official participant.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Goodness knows, it feels as if \u003ca href=\"https://video.kqed.org/video/cynthia-erivo-performs-days-of-wine-and-roses-u7ei8z/\">Cynthia Erivo\u003c/a> and \u003ca href=\"https://www.kqed.org/pop/tag/ariana-grande\">Ariana Grande\u003c/a> have been attached at the hip for the better part of this century, \u003ca href=\"https://www.huffpost.com/entry/ariana-grande-cynthia-erivo-crying_n_673776ade4b04e397bc671af\">crying\u003c/a> and bantering together while adorned in fabulous ensembles of green, black, and pink, the (un?)official colors of \u003cem>\u003ca href=\"https://video.kqed.org/video/reopening-wicked-3v8m0j/\">Wicked\u003c/a>.\u003c/em> The press tour and behind-the-scenes gossip accompanying Jon M. Chu’s long-awaited spectacular have been exhaustingly \u003cem>dramatique\u003c/em> — probably to be expected for the film adaptation of a Broadway musical juggernaut beloved by theater kids all over (I was one of them), and starring one of the era’s biggest pop stars.\u003c/p>\n\u003cp>[aside postid='pop_84656']Ultimately, it’s what lands on the screen that matters. And with regards to \u003cem>Wicked: Part 1 \u003c/em>many things are true at once: the excellent Erivo and Grande couldn’t have been better suited to play Elphaba, the Wicked Witch of the West, and Galinda, who goes on to become Glinda the Good Witch; the movie’s themes are evergreen and relevant; and whoever made the decision to divide the stage show into two separate movies deserves to be cursed by a spell from the book of the \u003ca href=\"https://wicked.fandom.com/wiki/Grimmerie\">Grimmerie\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Wicked\u003c/em>, very loosely based on Gregory Maguire’s \u003cem>Wizard of Oz \u003c/em>revisionist novel \u003cem>Wicked: The Life and Times of the Wicked Witch of the West\u003c/em>, tells the origin story of Elphaba and how she became L. Frank Baum’s emblematic villain. She’s shunned by her father and ostracized by her peers for the mere fact of being born with abnormally green skin, and at a young age discovers that in response to their callousness, her rage manifests uncontrollably as a magic force from within. Years later, that ability comes to the attention of Madame Morrible (\u003ca href=\"https://www.kqed.org/arts/13926277/michelle-yeoh-called-out-sexism-in-hollywood-will-it-help-close-the-gender-gap\">Michelle Yeoh\u003c/a>), the no-nonsense headmistress of Shiz University, who eagerly takes Elphaba under her wing for private tutelage in sorcery.\u003c/p>\n\u003ch3>Two good friends, two best friends\u003c/h3>\n\u003cp>Elphaba is assigned to room with Galinda, the bubbly, supremely vain beauty queen who’s none too happy she now has to share her private suite with the school’s oddball. The two clash for all the expected reasons: if Elphaba’s whole vibe is “emo-goth girl who shops at Hot Topic circa 2003,” Galinda’s is “Barbie.” Galinda’s initially jealous that she herself doesn’t get to study with Madame Morrible. But soon enough, they become friends (best friends, even), just as Oz enters a period of social unrest.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6COmYeLsz4c\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s a lot to recommend here, particularly for fans of the show — the humor is punchy, Christopher Scott’s expressive choreography enhances the characterizations, and Paul Tazewell’s costume design details are perfection. But by far the standout of \u003cem>Wicked \u003c/em>is that central relationship between these two enemies-turned-friends. Erivo and Grande have the goods: both come from theater backgrounds (the former has won a Tony) but are also naturals on camera, and so they’re able to bring subtlety and grandiosity as needed. Even under the green makeup and against the backdrop of some hideously overwhelming CGI aesthetics, their chemistry is undeniable, whether they’re bickering during one of the show’s highlights, “What Is This Feeling?” or finding common ground during the show-stopping Act I finale “Denying Gravity.”\u003c/p>\n\u003cp>This is most palpable during the big Ozdust Ballroom sequence, in which Elphaba, once again ostracized by her classmates, defiantly reacts to their laughter with dance, and Galinda, feeling empathy for possibly the first time ever, joins her. It’s both the most musical theater-y thing that could happen in this most musical theater-y of shows, and gets at the essence of the show’s enduring appeal.\u003c/p>\n\u003ch3>A timely allegory — to a tune\u003c/h3>\n\u003cp>Meanwhile, the show’s other central concern is striking to take in at this moment. Gregory Maguire’s 1995 book is a sprawling, bleak meditation on the nature of good vs. evil, and what it means to resist or give over into fascist movements. Oz is a world where animals have evolved to be just as intelligent as humans, with the ability to talk and live just as humans do, though they’ve long faced discrimination for doing so. (In the movie Elphaba’s beloved professor Dr. Dillamond is a goat voiced by Peter Dinklage.) The paternalistic, self-anointed Wizard (Jeff Goldblum, at his Goldblum-iest) is intent on stripping Oz’s animals of their autonomy and rights, and using Elphaba’s powers to do so.\u003c/p>\n\u003cp>[aside postid='arts_13968135']The musical, both on stage and screen, is a significantly diluted and altogether different take on Maguire’s novel. But its parallels to our real world — currently marked by calls for mass deportations, the erosion of abortion rights; etc. — are still unmistakably apparent to anyone reading today’s news.\u003c/p>\n\u003cp>The allegories of minority persecution are rendered even more palpable by casting Erivo, a Black woman, in the role as Wicked Witch of the West. (To date, only one Black actress has played her in an onstage production full-time: Alexia Khadime, in London’s West End over a decade ago.) By coding the outcast-turned-political agitator as Black — her hair is in microbraids, and save for the green makeup, Erivo’s facial features are fully visible — the realities of the world we live in are inescapable.\u003c/p>\n\u003cp>“Her green skin is an outward manifestation of her twisted nature!” a character proclaims to the people of Oz at one point, riling them up to position Elphaba as the common enemy. Arguing that her skin — who she is — is reason enough to demonize her: It isn’t altogether different from, say, \u003ca href=\"https://www.npr.org/2024/10/02/1202966831/haitian-immigrants\">recent rhetoric used to target Haitian immigrants in Ohio\u003c/a>.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/7952x5304+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F30%2Fdc%2F57c15206467f8940cbd45fe9076e%2F2551-d031-00223r.jpg\" alt=\"Jonathan Bailey dances through life as Prince Fiyero as Boq (Ethan Slater) watches on.\">\u003cfigcaption>Jonathan Bailey dances through life as Prince Fiyero as Boq (Ethan Slater) watches on. \u003ccite> (Giles Keyte | Universal Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For all its virtues and relevance, however, it’s curious that in this two-hour-41-minute adaptation of \u003cem>the first act\u003c/em> of the show — longer, it should be noted, than the entire stage production without intermission — little of substance was added to justify making this affair a two-parter.\u003c/p>\n\u003cp>[aside postid='arts_13968236']Chu and screenwriters Winnie Holzman and Dana Fox stay quite faithful to the source material (which Holzman also wrote) and there are no new songs to go alongside all of composer Stephen Schwartz’s original ones. (Reportedly Part 2 will have some new songs, which may be for the best considering Act 2’s numbers suffer in comparison to the stacked first half.) There are few attempts to incorporate more of Maguire’s excessive lore from the book, and other secondary characters, like Elphaba’s younger sister Nessarose (Marissa Bode) and romantic interest Fiyero (Jonathan Bailey) aren’t fleshed out any more than they are in show.\u003c/p>\n\u003cp>The result is a movie that, while pleasant and occasionally moving, concludes with its apex (“Defying Gravity”) which also happens to be a cliffhanger. It’s an unusually and exceedingly peculiar state — both complete and incomplete at the same time. The feeling isn’t quite loathing, exactly. But it is a bit tiresome, especially since it likely means we have to expect yet another full year of a \u003cem>Wicked \u003c/em>press tour. Like its predecessor, it’s an imperfect production that has a lot of heart and brains. If it only had the courage to tell a complete story in a reasonable amount of time.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Wicked’ is released nationwide on Nov. 22, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ultimately, it’s what lands on the screen that matters. And with regards to \u003cem>Wicked: Part 1 \u003c/em>many things are true at once: the excellent Erivo and Grande couldn’t have been better suited to play Elphaba, the Wicked Witch of the West, and Galinda, who goes on to become Glinda the Good Witch; the movie’s themes are evergreen and relevant; and whoever made the decision to divide the stage show into two separate movies deserves to be cursed by a spell from the book of the \u003ca href=\"https://wicked.fandom.com/wiki/Grimmerie\">Grimmerie\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Wicked\u003c/em>, very loosely based on Gregory Maguire’s \u003cem>Wizard of Oz \u003c/em>revisionist novel \u003cem>Wicked: The Life and Times of the Wicked Witch of the West\u003c/em>, tells the origin story of Elphaba and how she became L. Frank Baum’s emblematic villain. She’s shunned by her father and ostracized by her peers for the mere fact of being born with abnormally green skin, and at a young age discovers that in response to their callousness, her rage manifests uncontrollably as a magic force from within. Years later, that ability comes to the attention of Madame Morrible (\u003ca href=\"https://www.kqed.org/arts/13926277/michelle-yeoh-called-out-sexism-in-hollywood-will-it-help-close-the-gender-gap\">Michelle Yeoh\u003c/a>), the no-nonsense headmistress of Shiz University, who eagerly takes Elphaba under her wing for private tutelage in sorcery.\u003c/p>\n\u003ch3>Two good friends, two best friends\u003c/h3>\n\u003cp>Elphaba is assigned to room with Galinda, the bubbly, supremely vain beauty queen who’s none too happy she now has to share her private suite with the school’s oddball. The two clash for all the expected reasons: if Elphaba’s whole vibe is “emo-goth girl who shops at Hot Topic circa 2003,” Galinda’s is “Barbie.” Galinda’s initially jealous that she herself doesn’t get to study with Madame Morrible. But soon enough, they become friends (best friends, even), just as Oz enters a period of social unrest.\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/6COmYeLsz4c'\n title='//www.youtube.com/embed/6COmYeLsz4c'\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": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s a lot to recommend here, particularly for fans of the show — the humor is punchy, Christopher Scott’s expressive choreography enhances the characterizations, and Paul Tazewell’s costume design details are perfection. But by far the standout of \u003cem>Wicked \u003c/em>is that central relationship between these two enemies-turned-friends. Erivo and Grande have the goods: both come from theater backgrounds (the former has won a Tony) but are also naturals on camera, and so they’re able to bring subtlety and grandiosity as needed. Even under the green makeup and against the backdrop of some hideously overwhelming CGI aesthetics, their chemistry is undeniable, whether they’re bickering during one of the show’s highlights, “What Is This Feeling?” or finding common ground during the show-stopping Act I finale “Denying Gravity.”\u003c/p>\n\u003cp>This is most palpable during the big Ozdust Ballroom sequence, in which Elphaba, once again ostracized by her classmates, defiantly reacts to their laughter with dance, and Galinda, feeling empathy for possibly the first time ever, joins her. It’s both the most musical theater-y thing that could happen in this most musical theater-y of shows, and gets at the essence of the show’s enduring appeal.\u003c/p>\n\u003ch3>A timely allegory — to a tune\u003c/h3>\n\u003cp>Meanwhile, the show’s other central concern is striking to take in at this moment. Gregory Maguire’s 1995 book is a sprawling, bleak meditation on the nature of good vs. evil, and what it means to resist or give over into fascist movements. Oz is a world where animals have evolved to be just as intelligent as humans, with the ability to talk and live just as humans do, though they’ve long faced discrimination for doing so. (In the movie Elphaba’s beloved professor Dr. Dillamond is a goat voiced by Peter Dinklage.) The paternalistic, self-anointed Wizard (Jeff Goldblum, at his Goldblum-iest) is intent on stripping Oz’s animals of their autonomy and rights, and using Elphaba’s powers to do so.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The musical, both on stage and screen, is a significantly diluted and altogether different take on Maguire’s novel. But its parallels to our real world — currently marked by calls for mass deportations, the erosion of abortion rights; etc. — are still unmistakably apparent to anyone reading today’s news.\u003c/p>\n\u003cp>The allegories of minority persecution are rendered even more palpable by casting Erivo, a Black woman, in the role as Wicked Witch of the West. (To date, only one Black actress has played her in an onstage production full-time: Alexia Khadime, in London’s West End over a decade ago.) By coding the outcast-turned-political agitator as Black — her hair is in microbraids, and save for the green makeup, Erivo’s facial features are fully visible — the realities of the world we live in are inescapable.\u003c/p>\n\u003cp>“Her green skin is an outward manifestation of her twisted nature!” a character proclaims to the people of Oz at one point, riling them up to position Elphaba as the common enemy. Arguing that her skin — who she is — is reason enough to demonize her: It isn’t altogether different from, say, \u003ca href=\"https://www.npr.org/2024/10/02/1202966831/haitian-immigrants\">recent rhetoric used to target Haitian immigrants in Ohio\u003c/a>.\u003c/p>\n\u003cfigure class=\"wp-block-image size-large\">\u003cimg decoding=\"async\" src=\"https://npr.brightspotcdn.com/dims3/default/strip/false/crop/7952x5304+0+0/resize/1200/quality/75/format/jpeg/?url=http%3A%2F%2Fnpr-brightspot.s3.amazonaws.com%2F30%2Fdc%2F57c15206467f8940cbd45fe9076e%2F2551-d031-00223r.jpg\" alt=\"Jonathan Bailey dances through life as Prince Fiyero as Boq (Ethan Slater) watches on.\">\u003cfigcaption>Jonathan Bailey dances through life as Prince Fiyero as Boq (Ethan Slater) watches on. \u003ccite> (Giles Keyte | Universal Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For all its virtues and relevance, however, it’s curious that in this two-hour-41-minute adaptation of \u003cem>the first act\u003c/em> of the show — longer, it should be noted, than the entire stage production without intermission — little of substance was added to justify making this affair a two-parter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Chu and screenwriters Winnie Holzman and Dana Fox stay quite faithful to the source material (which Holzman also wrote) and there are no new songs to go alongside all of composer Stephen Schwartz’s original ones. (Reportedly Part 2 will have some new songs, which may be for the best considering Act 2’s numbers suffer in comparison to the stacked first half.) There are few attempts to incorporate more of Maguire’s excessive lore from the book, and other secondary characters, like Elphaba’s younger sister Nessarose (Marissa Bode) and romantic interest Fiyero (Jonathan Bailey) aren’t fleshed out any more than they are in show.\u003c/p>\n\u003cp>The result is a movie that, while pleasant and occasionally moving, concludes with its apex (“Defying Gravity”) which also happens to be a cliffhanger. It’s an unusually and exceedingly peculiar state — both complete and incomplete at the same time. The feeling isn’t quite loathing, exactly. But it is a bit tiresome, especially since it likely means we have to expect yet another full year of a \u003cem>Wicked \u003c/em>press tour. Like its predecessor, it’s an imperfect production that has a lot of heart and brains. If it only had the courage to tell a complete story in a reasonable amount of time.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Wicked’ is released nationwide on Nov. 22, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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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": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"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.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"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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"order": 16
},
"link": "/podcasts/rightnowish",
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