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"content": "\u003cp>It’s election week. Stakes are high. Nerves are frayed. And every reasonable person in America is sick and tired of waking up to a mailbox jammed full of unreasonably large flyers. You might be wondering how to get through this home stretch. Maybe you’ve run out of new ways to take mental health breaks.\u003c/p>\n\u003cp>Fear not voters, for we have figured out the perfect distraction. His name is Merlin, he’s a Davis-dwelling house pig and he knows how to \u003ca href=\"https://www.kqed.org/arts/13893259/get-to-know-tiktoks-talking-animals-bunny-billi-bastian-and-steve-b\">use those talking buttons to communicate\u003c/a> with his human roommates. His primary concern in the world is consuming vegetables and ice cubes and, when he doesn’t get them on demand, he has … feelings.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@mina.alali/video/7401228664081321258\" data-video-id=\"7401228664081321258\">\n\u003csection>\u003ca title=\"@mina.alali\" href=\"https://www.tiktok.com/@mina.alali?refer=embed\" target=\"_blank\" rel=\"noopener\">@mina.alali\u003c/a>istg he’s going through his teenager phase. he’ll be listening to my chemical romance in no time\u003ca title=\"♬ original sound - Mina Alali\" href=\"https://www.tiktok.com/music/original-sound-7401228592551594794?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Mina Alali\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>And it’s not just door-slamming Merlin is willing to employ when he doesn’t get his way. Check out his response to not getting to eat a snack that was never intended for him in the first place.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@mina.alali/video/7424261243382271275\" data-video-id=\"7424261243382271275\">\n\u003csection>\u003ca title=\"@mina.alali\" href=\"https://www.tiktok.com/@mina.alali?refer=embed\" target=\"_blank\" rel=\"noopener\">@mina.alali\u003c/a>I sincerely hope none of you ever have to experience a hoof to the tata\u003ca title=\"♬ original sound - Mina Alali\" href=\"https://www.tiktok.com/music/original-sound-7424261193591753514?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Mina Alali\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>Delightfully, he also hits a “child abuse!” button every time his doggie roommate Maverick wants to play.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@mina.alali/video/7415682202064686379\" data-video-id=\"7415682202064686379\">\n\u003csection>\u003ca title=\"@mina.alali\" href=\"https://www.tiktok.com/@mina.alali?refer=embed\" target=\"_blank\" rel=\"noopener\">@mina.alali\u003c/a>Merlin had a lot to say this morning\u003ca title=\"♬ original sound - Mina Alali\" href=\"https://www.tiktok.com/music/original-sound-7415682162273684267?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Mina Alali\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>Merlin’s owner Mina Alali is a \u003ca href=\"https://www.youtube.com/watch?v=sytGdkZwDHQ\">singer-songwriter\u003c/a> and influencer who also lives with \u003ca href=\"https://www.tiktok.com/@mina.alali/video/7422819374307855658?lang=en\">pigeons, rats and a bearded dragon\u003c/a>, in addition to taking care of \u003ca href=\"https://www.tiktok.com/@mina.alali/video/7416792818099785003?lang=en\">a rescued cow named Moo\u003c/a> that lives elsewhere. Together, they have over 92 million (!) likes on TikTok and 2.3 million followers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Alali, along with her husband Alex, makes keeping this menagerie seem surprisingly normal, taking Merlin for (incredibly slow) walks.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@mina.alali/video/7411933177687706923\" data-video-id=\"7411933177687706923\">\n\u003csection>\u003ca title=\"@mina.alali\" href=\"https://www.tiktok.com/@mina.alali?refer=embed\" target=\"_blank\" rel=\"noopener\">@mina.alali\u003c/a>My boy really said, “no pictures or videos unless I get a treat🐽”\u003ca title=\"♬ original sound - Mina Alali\" href=\"https://www.tiktok.com/music/original-sound-7411933162856516394?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Mina Alali\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>As well as for hangouts at the Davis farmer’s market.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@mina.alali/video/7417215269124214059\" data-video-id=\"7417215269124214059\">\n\u003csection>\u003ca title=\"@mina.alali\" href=\"https://www.tiktok.com/@mina.alali?refer=embed\" target=\"_blank\" rel=\"noopener\">@mina.alali\u003c/a>king merlin stopped by for a visit at our local farmer’s market 🙂\u003ca title=\"♬ original sound - Mina Alali\" href=\"https://www.tiktok.com/music/original-sound-7417215268013411114?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Mina Alali\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>Alali is also teaching Merlin impeccable table manners, as one must with any willful child.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@mina.alali/video/7419799796900302122\" data-video-id=\"7419799796900302122\">\n\u003csection>\u003ca title=\"@mina.alali\" href=\"https://www.tiktok.com/@mina.alali?refer=embed\" target=\"_blank\" rel=\"noopener\">@mina.alali\u003c/a>Had to go over manners with Merlin cause he’s getting sassier by the day\u003ca title=\"♬ original sound - Mina Alali\" href=\"https://www.tiktok.com/music/original-sound-7419799805175565098?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Mina Alali\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>Especially one that will wreck a kitchen the second he’s left unattended.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@mina.alali/video/7374932270144113962\" data-video-id=\"7374932270144113962\">\n\u003csection>\u003ca title=\"@mina.alali\" href=\"https://www.tiktok.com/@mina.alali?refer=embed\" target=\"_blank\" rel=\"noopener\">@mina.alali\u003c/a>reason number 526 why you should maybe reconsider adopting a pig\u003ca title=\"♬ original sound - Mina Alali\" href=\"https://www.tiktok.com/music/original-sound-7374932289119062827?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Mina Alali\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>At least Merlin is learning to clean on command.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@mina.alali/video/7426452931735555374\" data-video-id=\"7426452931735555374\">\n\u003csection>\u003ca title=\"@mina.alali\" href=\"https://www.tiktok.com/@mina.alali?refer=embed\" target=\"_blank\" rel=\"noopener\">@mina.alali\u003c/a>Merlin still does housekeeping for anyone who’s interested, rate is 15 ice cubes & 18 blueberries per hour\u003ca title=\"♬ original sound - Mina Alali\" href=\"https://www.tiktok.com/music/original-sound-7426452875766795054?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Mina Alali\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>And when he’s content? He’s a perfect angel.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@mina.alali/video/7385301244438482219\" data-video-id=\"7385301244438482219\">\n\u003csection>\u003ca title=\"@mina.alali\" href=\"https://www.tiktok.com/@mina.alali?refer=embed\" target=\"_blank\" rel=\"noopener\">@mina.alali\u003c/a> my friend, simira, said watching this was more therapeutic than her last therapy session LMAO \u003ca title=\"merlinthepig\" href=\"https://www.tiktok.com/tag/merlinthepig?refer=embed\" target=\"_blank\" rel=\"noopener\">#merlinthepig\u003c/a> \u003ca title=\"rats\" href=\"https://www.tiktok.com/tag/rats?refer=embed\" target=\"_blank\" rel=\"noopener\">#rats\u003c/a> \u003ca title=\"ratsoftiktok\" href=\"https://www.tiktok.com/tag/ratsoftiktok?refer=embed\" target=\"_blank\" rel=\"noopener\">#ratsoftiktok\u003c/a> \u003ca title=\"cutestvideos\" href=\"https://www.tiktok.com/tag/cutestvideos?refer=embed\" target=\"_blank\" rel=\"noopener\">#cutestvideos\u003c/a> \u003ca title=\"pigsoftiktok\" href=\"https://www.tiktok.com/tag/pigsoftiktok?refer=embed\" target=\"_blank\" rel=\"noopener\">#pigsoftiktok\u003c/a> \u003ca title=\"mina\" href=\"https://www.tiktok.com/tag/mina?refer=embed\" target=\"_blank\" rel=\"noopener\">#mina\u003c/a> \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener\">#fyp\u003c/a> \u003ca title=\"xyzbca\" href=\"https://www.tiktok.com/tag/xyzbca?refer=embed\" target=\"_blank\" rel=\"noopener\">#xyzbca\u003c/a> \u003ca title=\"♬ original sound - Mina Alali\" href=\"https://www.tiktok.com/music/original-sound-7385301266408278830?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Mina Alali\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>[tiktok]\u003c/p>\n\u003cp>(Merlin’s love for his rat siblings is intense. Alali has previously disclosed that she had to put extra locks on her rat cage because \u003ca href=\"https://www.tiktok.com/@mina.alali/video/7394550883750612266?lang=en\">Merlin kept letting his rodent friends out\u003c/a> when she wasn’t looking. “I would come home and there would just be rats on his back,” she said, “crawling around the house.”)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So, any time you need a break this week, remember: There’s always Merlin the pig. You can follow him, Alali and the whole gang on \u003ca href=\"https://www.tiktok.com/@mina.alali?lang=en\">TikTok\u003c/a>, \u003ca href=\"https://www.instagram.com/merlinthepig/?hl=en\">Instagram\u003c/a> and \u003ca href=\"https://www.facebook.com/p/Merlin-The-Pig-61552154128401/\">Facebook\u003c/a>.\u003c/p>\n\n",
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"excerpt": "A mischievous pig who lives in Davis with his musician mom is what we need to get through the next week.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s election week. Stakes are high. Nerves are frayed. And every reasonable person in America is sick and tired of waking up to a mailbox jammed full of unreasonably large flyers. You might be wondering how to get through this home stretch. Maybe you’ve run out of new ways to take mental health breaks.\u003c/p>\n\u003cp>Fear not voters, for we have figured out the perfect distraction. His name is Merlin, he’s a Davis-dwelling house pig and he knows how to \u003ca href=\"https://www.kqed.org/arts/13893259/get-to-know-tiktoks-talking-animals-bunny-billi-bastian-and-steve-b\">use those talking buttons to communicate\u003c/a> with his human roommates. His primary concern in the world is consuming vegetables and ice cubes and, when he doesn’t get them on demand, he has … feelings.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@mina.alali/video/7401228664081321258\" data-video-id=\"7401228664081321258\">\n\u003csection>\u003ca title=\"@mina.alali\" href=\"https://www.tiktok.com/@mina.alali?refer=embed\" target=\"_blank\" rel=\"noopener\">@mina.alali\u003c/a>istg he’s going through his teenager phase. he’ll be listening to my chemical romance in no time\u003ca title=\"♬ original sound - Mina Alali\" href=\"https://www.tiktok.com/music/original-sound-7401228592551594794?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Mina Alali\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And it’s not just door-slamming Merlin is willing to employ when he doesn’t get his way. Check out his response to not getting to eat a snack that was never intended for him in the first place.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@mina.alali/video/7424261243382271275\" data-video-id=\"7424261243382271275\">\n\u003csection>\u003ca title=\"@mina.alali\" href=\"https://www.tiktok.com/@mina.alali?refer=embed\" target=\"_blank\" rel=\"noopener\">@mina.alali\u003c/a>I sincerely hope none of you ever have to experience a hoof to the tata\u003ca title=\"♬ original sound - Mina Alali\" href=\"https://www.tiktok.com/music/original-sound-7424261193591753514?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Mina Alali\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Delightfully, he also hits a “child abuse!” button every time his doggie roommate Maverick wants to play.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@mina.alali/video/7415682202064686379\" data-video-id=\"7415682202064686379\">\n\u003csection>\u003ca title=\"@mina.alali\" href=\"https://www.tiktok.com/@mina.alali?refer=embed\" target=\"_blank\" rel=\"noopener\">@mina.alali\u003c/a>Merlin had a lot to say this morning\u003ca title=\"♬ original sound - Mina Alali\" href=\"https://www.tiktok.com/music/original-sound-7415682162273684267?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Mina Alali\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Merlin’s owner Mina Alali is a \u003ca href=\"https://www.youtube.com/watch?v=sytGdkZwDHQ\">singer-songwriter\u003c/a> and influencer who also lives with \u003ca href=\"https://www.tiktok.com/@mina.alali/video/7422819374307855658?lang=en\">pigeons, rats and a bearded dragon\u003c/a>, in addition to taking care of \u003ca href=\"https://www.tiktok.com/@mina.alali/video/7416792818099785003?lang=en\">a rescued cow named Moo\u003c/a> that lives elsewhere. Together, they have over 92 million (!) likes on TikTok and 2.3 million followers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Alali, along with her husband Alex, makes keeping this menagerie seem surprisingly normal, taking Merlin for (incredibly slow) walks.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@mina.alali/video/7411933177687706923\" data-video-id=\"7411933177687706923\">\n\u003csection>\u003ca title=\"@mina.alali\" href=\"https://www.tiktok.com/@mina.alali?refer=embed\" target=\"_blank\" rel=\"noopener\">@mina.alali\u003c/a>My boy really said, “no pictures or videos unless I get a treat🐽”\u003ca title=\"♬ original sound - Mina Alali\" href=\"https://www.tiktok.com/music/original-sound-7411933162856516394?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Mina Alali\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As well as for hangouts at the Davis farmer’s market.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@mina.alali/video/7417215269124214059\" data-video-id=\"7417215269124214059\">\n\u003csection>\u003ca title=\"@mina.alali\" href=\"https://www.tiktok.com/@mina.alali?refer=embed\" target=\"_blank\" rel=\"noopener\">@mina.alali\u003c/a>king merlin stopped by for a visit at our local farmer’s market 🙂\u003ca title=\"♬ original sound - Mina Alali\" href=\"https://www.tiktok.com/music/original-sound-7417215268013411114?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Mina Alali\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Alali is also teaching Merlin impeccable table manners, as one must with any willful child.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@mina.alali/video/7419799796900302122\" data-video-id=\"7419799796900302122\">\n\u003csection>\u003ca title=\"@mina.alali\" href=\"https://www.tiktok.com/@mina.alali?refer=embed\" target=\"_blank\" rel=\"noopener\">@mina.alali\u003c/a>Had to go over manners with Merlin cause he’s getting sassier by the day\u003ca title=\"♬ original sound - Mina Alali\" href=\"https://www.tiktok.com/music/original-sound-7419799805175565098?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Mina Alali\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Especially one that will wreck a kitchen the second he’s left unattended.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@mina.alali/video/7374932270144113962\" data-video-id=\"7374932270144113962\">\n\u003csection>\u003ca title=\"@mina.alali\" href=\"https://www.tiktok.com/@mina.alali?refer=embed\" target=\"_blank\" rel=\"noopener\">@mina.alali\u003c/a>reason number 526 why you should maybe reconsider adopting a pig\u003ca title=\"♬ original sound - Mina Alali\" href=\"https://www.tiktok.com/music/original-sound-7374932289119062827?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Mina Alali\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At least Merlin is learning to clean on command.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@mina.alali/video/7426452931735555374\" data-video-id=\"7426452931735555374\">\n\u003csection>\u003ca title=\"@mina.alali\" href=\"https://www.tiktok.com/@mina.alali?refer=embed\" target=\"_blank\" rel=\"noopener\">@mina.alali\u003c/a>Merlin still does housekeeping for anyone who’s interested, rate is 15 ice cubes & 18 blueberries per hour\u003ca title=\"♬ original sound - Mina Alali\" href=\"https://www.tiktok.com/music/original-sound-7426452875766795054?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Mina Alali\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And when he’s content? He’s a perfect angel.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@mina.alali/video/7385301244438482219\" data-video-id=\"7385301244438482219\">\n\u003csection>\u003ca title=\"@mina.alali\" href=\"https://www.tiktok.com/@mina.alali?refer=embed\" target=\"_blank\" rel=\"noopener\">@mina.alali\u003c/a> my friend, simira, said watching this was more therapeutic than her last therapy session LMAO \u003ca title=\"merlinthepig\" href=\"https://www.tiktok.com/tag/merlinthepig?refer=embed\" target=\"_blank\" rel=\"noopener\">#merlinthepig\u003c/a> \u003ca title=\"rats\" href=\"https://www.tiktok.com/tag/rats?refer=embed\" target=\"_blank\" rel=\"noopener\">#rats\u003c/a> \u003ca title=\"ratsoftiktok\" href=\"https://www.tiktok.com/tag/ratsoftiktok?refer=embed\" target=\"_blank\" rel=\"noopener\">#ratsoftiktok\u003c/a> \u003ca title=\"cutestvideos\" href=\"https://www.tiktok.com/tag/cutestvideos?refer=embed\" target=\"_blank\" rel=\"noopener\">#cutestvideos\u003c/a> \u003ca title=\"pigsoftiktok\" href=\"https://www.tiktok.com/tag/pigsoftiktok?refer=embed\" target=\"_blank\" rel=\"noopener\">#pigsoftiktok\u003c/a> \u003ca title=\"mina\" href=\"https://www.tiktok.com/tag/mina?refer=embed\" target=\"_blank\" rel=\"noopener\">#mina\u003c/a> \u003ca title=\"fyp\" href=\"https://www.tiktok.com/tag/fyp?refer=embed\" target=\"_blank\" rel=\"noopener\">#fyp\u003c/a> \u003ca title=\"xyzbca\" href=\"https://www.tiktok.com/tag/xyzbca?refer=embed\" target=\"_blank\" rel=\"noopener\">#xyzbca\u003c/a> \u003ca title=\"♬ original sound - Mina Alali\" href=\"https://www.tiktok.com/music/original-sound-7385301266408278830?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – Mina Alali\u003c/a>\u003c/section>\n\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>(Merlin’s love for his rat siblings is intense. Alali has previously disclosed that she had to put extra locks on her rat cage because \u003ca href=\"https://www.tiktok.com/@mina.alali/video/7394550883750612266?lang=en\">Merlin kept letting his rodent friends out\u003c/a> when she wasn’t looking. “I would come home and there would just be rats on his back,” she said, “crawling around the house.”)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So, any time you need a break this week, remember: There’s always Merlin the pig. You can follow him, Alali and the whole gang on \u003ca href=\"https://www.tiktok.com/@mina.alali?lang=en\">TikTok\u003c/a>, \u003ca href=\"https://www.instagram.com/merlinthepig/?hl=en\">Instagram\u003c/a> and \u003ca href=\"https://www.facebook.com/p/Merlin-The-Pig-61552154128401/\">Facebook\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "An Unmoving Camera and De-Aging Technology Make ‘Here’ Painful to Watch",
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"content": "\u003cp>Robert Zemeckis’ latest movie is insanely ambitious, starting with the dinosaurs and ending in present day with the Roomba. But it’s fixed on just one spot.\u003c/p>\n\u003cp>\u003cem>Here\u003c/em> reunites Zemeckis, screenwriter Eric Roth and actors Tom Hanks and Robin Wright, who collaborated on \u003cem>Forrest Gump\u003c/em>. This time, they’re not telling the larger-than-life story of a man moving through time — they’re telling the centuries-old story of a living room and all the different people who lived there.\u003c/p>\n\u003cp>[aside postid='arts_13967200']In this living room, we see a wedding, a death, a birth, a marriage tested, a funeral, lots of vacuuming, many birthdays, Christmases and Thanksgivings, some sex, adults getting drunk and Jazzercise.\u003c/p>\n\u003cp>Zemeckis puts the camera at a fixed angle for the movie’s entire 105-minute duration without moving. It’s not so strange after a while — so bursting with life is each shot and vignette — but there’s a gnawing feeling that we’re in some sort of film experiment, like testing an audience on how long they’ll watch old security camera footage.\u003c/p>\n\u003cp>The camera may not move but the eras do, melting back and forth in time from pre-history, to the 1700s, to the 1940s, back to hunter-gatherer times and then the ’60s and ’70s, before hitting the early 1900s. It begins and ends in 2022.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hanks and Wright form the movie’s spine, as Richard and Margaret. Over dozens of little scenes, we watch him as a boy grow up in the house and fall in love with Margaret, marry, move her in, have a baby and inherit it all. Whether they survive as a couple isn’t guaranteed.\u003c/p>\n\u003cp>Zemeckis is a filmmaker known for incorporating the latest in technology and this time it’s de-aging as a visual effect, basically turning 68-year-old Hanks into what he looked like while filming \u003cem>Splash\u003c/em>. It’s a lot of work, clumsy often, and Zemeckis has gotten lost in the uncanny valley, trying to tell a very human story about what unites us but by altering the actors so much that the human connection is lost. Look closely and you’ll see cigarette smoke go into one character, but never come out.\u003c/p>\n\u003cp>[aside postid='arts_13967293']Other roles include Richard’s parents — played brilliantly by Paul Bettany and Kelly Reilly — and some unconnected people: a fun-loving couple living in the home from 1925 to 1944, and a less fun couple in the early 1900s. There’s an Indigenous couple in the 1600s who frolic in the space the living room will take over in 300 years and another family who rides out 2020 in the house amid the pandemic.\u003c/p>\n\u003cp>If that isn’t enough, we have an appearance by Benjamin Franklin. Why Benjamin Franklin? He’s connected to the house across the street. What he adds is not entirely clear. The movie could do with fewer Founding Fathers and cutesy touches like hummingbirds.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=I_id-SkGU2k\u003c/p>\n\u003cp>We watch the living room as a TV is added — the Beatles’ performance on \u003cem>The Ed Sullivan Show\u003c/em> leads to \u003cem>CHiPs\u003c/em> — and the vehicles outside go from horse to Model Ts to sedans. The home goes from $3,400 just after World War II to $1 million today and the fashions go from Victorian heeled boots to teased hair and American flag shirts.\u003c/p>\n\u003cp>\u003cem>Here\u003c/em> — based on the graphic novel by Richard McGuire — is best when events at different times are linked — like when a roof starts leaking in one era only to dissolve into a pregnant woman’s water breaking in another. Or when there’s mention of influenza in 1918 and we later see the effects of the coronavirus pandemic.\u003c/p>\n\u003cp>[aside postid='arts_13967226']One theme that is touched on but could have been strengthened is the impact of downsizing and economic disruptions on psyches, with Richard’s father in full Willy Loman mode one day, sobbing after being laid off: “They shrunk me.” Deferred dreams are another, but there’s not enough time for that if you’ve got silly visits by Benjamin Franklin. And while it’s inclusive to embrace Native Americans, the scenes add little to the narrative.\u003c/p>\n\u003cp>\u003cem>Here\u003c/em> fails to connect all these centuries of human experiences, other than to celebrate the human experience in all its messiness, triumph and sadness. In fact, if these walls could talk, most of the characters are happiest away from this living room. Maybe the strongest theme is uttered by one character lamenting: “Time just went.”\u003c/p>\n\u003cp>Zemeckis nicely apes the graphic novel’s use of squares within the frame that show a peek at what’s going on in different eras — like little time travel devices — and kudos to Jesse Goldsmith for fantastic editing work.\u003c/p>\n\u003cp>But one visual trick sums up the movie: It’s supposed to be the story of a real wood-and-brick house, but it was filmed at Sony’s studio complex in Culver City, California. The main character is fake. \u003cem>Here\u003c/em> is nowhere.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Here’ is released nationwide on Nov. 1, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In this living room, we see a wedding, a death, a birth, a marriage tested, a funeral, lots of vacuuming, many birthdays, Christmases and Thanksgivings, some sex, adults getting drunk and Jazzercise.\u003c/p>\n\u003cp>Zemeckis puts the camera at a fixed angle for the movie’s entire 105-minute duration without moving. It’s not so strange after a while — so bursting with life is each shot and vignette — but there’s a gnawing feeling that we’re in some sort of film experiment, like testing an audience on how long they’ll watch old security camera footage.\u003c/p>\n\u003cp>The camera may not move but the eras do, melting back and forth in time from pre-history, to the 1700s, to the 1940s, back to hunter-gatherer times and then the ’60s and ’70s, before hitting the early 1900s. It begins and ends in 2022.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hanks and Wright form the movie’s spine, as Richard and Margaret. Over dozens of little scenes, we watch him as a boy grow up in the house and fall in love with Margaret, marry, move her in, have a baby and inherit it all. Whether they survive as a couple isn’t guaranteed.\u003c/p>\n\u003cp>Zemeckis is a filmmaker known for incorporating the latest in technology and this time it’s de-aging as a visual effect, basically turning 68-year-old Hanks into what he looked like while filming \u003cem>Splash\u003c/em>. It’s a lot of work, clumsy often, and Zemeckis has gotten lost in the uncanny valley, trying to tell a very human story about what unites us but by altering the actors so much that the human connection is lost. Look closely and you’ll see cigarette smoke go into one character, but never come out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Other roles include Richard’s parents — played brilliantly by Paul Bettany and Kelly Reilly — and some unconnected people: a fun-loving couple living in the home from 1925 to 1944, and a less fun couple in the early 1900s. There’s an Indigenous couple in the 1600s who frolic in the space the living room will take over in 300 years and another family who rides out 2020 in the house amid the pandemic.\u003c/p>\n\u003cp>If that isn’t enough, we have an appearance by Benjamin Franklin. Why Benjamin Franklin? He’s connected to the house across the street. What he adds is not entirely clear. The movie could do with fewer Founding Fathers and cutesy touches like hummingbirds.\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/I_id-SkGU2k'\n title='//www.youtube.com/embed/I_id-SkGU2k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We watch the living room as a TV is added — the Beatles’ performance on \u003cem>The Ed Sullivan Show\u003c/em> leads to \u003cem>CHiPs\u003c/em> — and the vehicles outside go from horse to Model Ts to sedans. The home goes from $3,400 just after World War II to $1 million today and the fashions go from Victorian heeled boots to teased hair and American flag shirts.\u003c/p>\n\u003cp>\u003cem>Here\u003c/em> — based on the graphic novel by Richard McGuire — is best when events at different times are linked — like when a roof starts leaking in one era only to dissolve into a pregnant woman’s water breaking in another. Or when there’s mention of influenza in 1918 and we later see the effects of the coronavirus pandemic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One theme that is touched on but could have been strengthened is the impact of downsizing and economic disruptions on psyches, with Richard’s father in full Willy Loman mode one day, sobbing after being laid off: “They shrunk me.” Deferred dreams are another, but there’s not enough time for that if you’ve got silly visits by Benjamin Franklin. And while it’s inclusive to embrace Native Americans, the scenes add little to the narrative.\u003c/p>\n\u003cp>\u003cem>Here\u003c/em> fails to connect all these centuries of human experiences, other than to celebrate the human experience in all its messiness, triumph and sadness. In fact, if these walls could talk, most of the characters are happiest away from this living room. Maybe the strongest theme is uttered by one character lamenting: “Time just went.”\u003c/p>\n\u003cp>Zemeckis nicely apes the graphic novel’s use of squares within the frame that show a peek at what’s going on in different eras — like little time travel devices — and kudos to Jesse Goldsmith for fantastic editing work.\u003c/p>\n\u003cp>But one visual trick sums up the movie: It’s supposed to be the story of a real wood-and-brick house, but it was filmed at Sony’s studio complex in Culver City, California. The main character is fake. \u003cem>Here\u003c/em> is nowhere.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Here’ is released nationwide on Nov. 1, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "tobin-yelland-skateboard-photography-san-francisco-deluxe-mission-dlx",
"title": "Tobin Yelland Exhibit Launches Deluxe Skate Shop’s New Mission Location",
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"content": "\u003cp>\u003ca href=\"https://www.tobinyelland.com/\">Tobin Yelland\u003c/a> is a bonafide photographic legend, but nowhere is he more beloved than in \u003ca href=\"https://www.kqed.org/arts/13931352/skateboarding-san-francisco-ted-barrow-thrasher\">San Francisco’s skateboarding community\u003c/a>. Yelland grew up in the city and got his first skate photo published when he was just 15. His reverence, not just for skateboarding, but for his fellow skaters, shines through every shot — as does the community’s unruly camaraderie.\u003c/p>\n\u003cp>[aside postid='arts_13963560']It’s only fitting, then, that a collection of 24 of Yelland’s photographs is on display right now to celebrate the launch of \u003ca href=\"https://dlxskateshop.com/\">Deluxe Skate Shop\u003c/a>’s new location in the Mission. Deluxe is as much of a Bay Area institution as Yelland is; its Potrero-based distribution center opened in 1986.\u003c/p>\n\u003cp>The Yelland images on display at 2330 Mission St. were all captured between 1988 and 1993 — a game-changing period for street skating, when San Francisco was at the forefront. Yelland was one of only a handful of photographers working to capture it all.\u003c/p>\n\u003cfigure id=\"attachment_13967360\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967360\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2.jpg\" alt=\"A young man balances on his skateboard on the top edge of a half pipe built behind someone's house. Spectators watch on from underneath.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jesse Driggs skating a backyard half pipe in 1989, as captured by Tobin Yelland. \u003ccite>(Courtesy of Tobin Yelland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s clear that Yelland carefully curated the images for this show to give a well-rounded and complete picture of what was happening in San Francisco skate culture during that time: Wide shots of kids gathered with their boards at the Embarcadero (EMB) “Wave.” Wallrides outside the 16th Street Walgreens. Hill bombing in Twin Peaks. Three decades later, watching these young men mastering their craft remains a joy to behold.\u003c/p>\n\u003cp>Even better, there are as many stationary portraits of key individuals here as there are actual skate shots. And often, these are the images that tell you the most. Whether it’s a smiling Mark Gonzalez hanging outside of a deli or a haunted-looking John Cardiel in the passenger seat of a car, these small moments speak volumes. None louder than the image of Mickey Reyes and Jeff Whitehead detained in the back of a police car. (Whitehead looks thoroughly indifferent, Reyes is gleefully laughing.)\u003c/p>\n\u003cfigure id=\"attachment_13967374\" class=\"wp-caption aligncenter\" style=\"max-width: 1318px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13967374 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0008-89-27_ZZPhil_Shao_Tobin_Yelland.jpg\" alt=\"A young Asian man stands and smiles warmly for the camera in the middle of a city street.\" width=\"1318\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0008-89-27_ZZPhil_Shao_Tobin_Yelland.jpg 1318w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0008-89-27_ZZPhil_Shao_Tobin_Yelland-800x1214.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0008-89-27_ZZPhil_Shao_Tobin_Yelland-1020x1548.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0008-89-27_ZZPhil_Shao_Tobin_Yelland-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0008-89-27_ZZPhil_Shao_Tobin_Yelland-768x1165.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0008-89-27_ZZPhil_Shao_Tobin_Yelland-1012x1536.jpg 1012w\" sizes=\"(max-width: 1318px) 100vw, 1318px\">\u003cfigcaption class=\"wp-caption-text\">A poignant portrait of Phil Shao at the Embarcadero in 1992. The beloved Redwood City skater died in a car crash, aged 24. \u003ccite>(Courtesy of Tobin Yelland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This particular period of images struck me as a good fit for the new Deluxe store for other, less exciting reasons. In many ways, Deluxe remains married to a period of skateboarding in which women were entirely invisible (unless they were in a state of objectification). Based on my visit, the new store is currently as male-focused as skating was throughout the 1990s, despite the emergence of \u003ca href=\"https://www.kqed.org/arts/13961542/minna-stess-skateboarding-petaluma-paris-olympics\">a new generation of female skaters\u003c/a> who are pushing the sport forward. Deluxe describes their clothing and footwear offerings as gender neutral, and women skaters’ pro decks are featured on the wall, and yet the lone instance of female imagery I saw in Deluxe were naked women inside a book.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13961542']This oversight disappointed me, given how much thought has clearly gone into designing the store. Colorful figures painted by \u003ca href=\"https://www.instagram.com/jeffcheung1/?hl=en\">Jeffrey Cheung\u003c/a> decorate the wall outside the restroom and storeroom. Another wall is dominated by a San Francisco-themed mural by \u003ca href=\"https://altmansiegel.com/artists/chris-johanson/\">Chris Johanson\u003c/a> and \u003ca href=\"https://www.maxmarttila.com/about\">Max Marttila\u003c/a>. Then there’s the restroom, which features probably the greatest \u003ca href=\"https://toddfrancis.com/\">Todd Francis\u003c/a> pigeon mural I’ve ever seen. Ten birds circle the walls, one awkwardly giving “full blown eye contact,” another clutching the corner of a Taqueria Cancún menu, and two judging any men foolish enough to stand before the toilet bowl. To be in the center of it all is a jubilant experience.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@rae_alexandra/video/7430916865867746603\" data-video-id=\"7430916865867746603\">\n\u003csection>\u003ca title=\"@rae_alexandra\" href=\"https://www.tiktok.com/@rae_alexandra?refer=embed\" target=\"_blank\" rel=\"noopener\">@rae_alexandra\u003c/a>The Todd Francis bathroom at the new Mission Deluxe store is a thing of true beauty.\u003ca title=\"♬ original sound - rae_alexandra\" href=\"https://www.tiktok.com/music/original-sound-7430916856354982698?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – rae_alexandra\u003c/a>\u003c/section>\n\u003cp>[tiktok]\u003c/p>\u003c/blockquote>\n\u003cp>These paintings will be permanent fixtures at Deluxe, while Yelland’s photos will be up for six months only. His images — a time capsule of sorts — capture a key moment in San Francisco history. The photographer may be based in Los Angeles now, but in an \u003ca href=\"https://www.monsterchildren.com/articles/tobin-yelland-20-year-issue\">interview with Australia’s \u003cem>Monster Children\u003c/em>\u003c/a> published earlier this year, Yelland himself noted, “Being in San Francisco was such a great place. I don’t think I could have done it in any other city.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Tobin Yelland’s photography is on display at Deluxe Skate Shop (2330 Mission St., San Francisco) through April 2025.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story was updated to more accurately reflect Deluxe’s clothing, footwear and skate deck offerings.\u003c/i>\u003c/p>\n\n",
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"title": "New DLX SF Location Displays Tobin Yelland Skate Photos | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.tobinyelland.com/\">Tobin Yelland\u003c/a> is a bonafide photographic legend, but nowhere is he more beloved than in \u003ca href=\"https://www.kqed.org/arts/13931352/skateboarding-san-francisco-ted-barrow-thrasher\">San Francisco’s skateboarding community\u003c/a>. Yelland grew up in the city and got his first skate photo published when he was just 15. His reverence, not just for skateboarding, but for his fellow skaters, shines through every shot — as does the community’s unruly camaraderie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s only fitting, then, that a collection of 24 of Yelland’s photographs is on display right now to celebrate the launch of \u003ca href=\"https://dlxskateshop.com/\">Deluxe Skate Shop\u003c/a>’s new location in the Mission. Deluxe is as much of a Bay Area institution as Yelland is; its Potrero-based distribution center opened in 1986.\u003c/p>\n\u003cp>The Yelland images on display at 2330 Mission St. were all captured between 1988 and 1993 — a game-changing period for street skating, when San Francisco was at the forefront. Yelland was one of only a handful of photographers working to capture it all.\u003c/p>\n\u003cfigure id=\"attachment_13967360\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967360\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2.jpg\" alt=\"A young man balances on his skateboard on the top edge of a half pipe built behind someone's house. Spectators watch on from underneath.\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1989-0017-02_Jesse_Driggs_Tobin_Yelland-2-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jesse Driggs skating a backyard half pipe in 1989, as captured by Tobin Yelland. \u003ccite>(Courtesy of Tobin Yelland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s clear that Yelland carefully curated the images for this show to give a well-rounded and complete picture of what was happening in San Francisco skate culture during that time: Wide shots of kids gathered with their boards at the Embarcadero (EMB) “Wave.” Wallrides outside the 16th Street Walgreens. Hill bombing in Twin Peaks. Three decades later, watching these young men mastering their craft remains a joy to behold.\u003c/p>\n\u003cp>Even better, there are as many stationary portraits of key individuals here as there are actual skate shots. And often, these are the images that tell you the most. Whether it’s a smiling Mark Gonzalez hanging outside of a deli or a haunted-looking John Cardiel in the passenger seat of a car, these small moments speak volumes. None louder than the image of Mickey Reyes and Jeff Whitehead detained in the back of a police car. (Whitehead looks thoroughly indifferent, Reyes is gleefully laughing.)\u003c/p>\n\u003cfigure id=\"attachment_13967374\" class=\"wp-caption aligncenter\" style=\"max-width: 1318px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13967374 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0008-89-27_ZZPhil_Shao_Tobin_Yelland.jpg\" alt=\"A young Asian man stands and smiles warmly for the camera in the middle of a city street.\" width=\"1318\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0008-89-27_ZZPhil_Shao_Tobin_Yelland.jpg 1318w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0008-89-27_ZZPhil_Shao_Tobin_Yelland-800x1214.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0008-89-27_ZZPhil_Shao_Tobin_Yelland-1020x1548.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0008-89-27_ZZPhil_Shao_Tobin_Yelland-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0008-89-27_ZZPhil_Shao_Tobin_Yelland-768x1165.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/0008-89-27_ZZPhil_Shao_Tobin_Yelland-1012x1536.jpg 1012w\" sizes=\"(max-width: 1318px) 100vw, 1318px\">\u003cfigcaption class=\"wp-caption-text\">A poignant portrait of Phil Shao at the Embarcadero in 1992. The beloved Redwood City skater died in a car crash, aged 24. \u003ccite>(Courtesy of Tobin Yelland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This particular period of images struck me as a good fit for the new Deluxe store for other, less exciting reasons. In many ways, Deluxe remains married to a period of skateboarding in which women were entirely invisible (unless they were in a state of objectification). Based on my visit, the new store is currently as male-focused as skating was throughout the 1990s, despite the emergence of \u003ca href=\"https://www.kqed.org/arts/13961542/minna-stess-skateboarding-petaluma-paris-olympics\">a new generation of female skaters\u003c/a> who are pushing the sport forward. Deluxe describes their clothing and footwear offerings as gender neutral, and women skaters’ pro decks are featured on the wall, and yet the lone instance of female imagery I saw in Deluxe were naked women inside a book.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This oversight disappointed me, given how much thought has clearly gone into designing the store. Colorful figures painted by \u003ca href=\"https://www.instagram.com/jeffcheung1/?hl=en\">Jeffrey Cheung\u003c/a> decorate the wall outside the restroom and storeroom. Another wall is dominated by a San Francisco-themed mural by \u003ca href=\"https://altmansiegel.com/artists/chris-johanson/\">Chris Johanson\u003c/a> and \u003ca href=\"https://www.maxmarttila.com/about\">Max Marttila\u003c/a>. Then there’s the restroom, which features probably the greatest \u003ca href=\"https://toddfrancis.com/\">Todd Francis\u003c/a> pigeon mural I’ve ever seen. Ten birds circle the walls, one awkwardly giving “full blown eye contact,” another clutching the corner of a Taqueria Cancún menu, and two judging any men foolish enough to stand before the toilet bowl. To be in the center of it all is a jubilant experience.\u003c/p>\n\u003cblockquote class=\"tiktok-embed\" style=\"max-width: 605px;min-width: 325px\" cite=\"https://www.tiktok.com/@rae_alexandra/video/7430916865867746603\" data-video-id=\"7430916865867746603\">\n\u003csection>\u003ca title=\"@rae_alexandra\" href=\"https://www.tiktok.com/@rae_alexandra?refer=embed\" target=\"_blank\" rel=\"noopener\">@rae_alexandra\u003c/a>The Todd Francis bathroom at the new Mission Deluxe store is a thing of true beauty.\u003ca title=\"♬ original sound - rae_alexandra\" href=\"https://www.tiktok.com/music/original-sound-7430916856354982698?refer=embed\" target=\"_blank\" rel=\"noopener\">♬ original sound – rae_alexandra\u003c/a>\u003c/section>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/blockquote>\n\u003cp>These paintings will be permanent fixtures at Deluxe, while Yelland’s photos will be up for six months only. His images — a time capsule of sorts — capture a key moment in San Francisco history. The photographer may be based in Los Angeles now, but in an \u003ca href=\"https://www.monsterchildren.com/articles/tobin-yelland-20-year-issue\">interview with Australia’s \u003cem>Monster Children\u003c/em>\u003c/a> published earlier this year, Yelland himself noted, “Being in San Francisco was such a great place. I don’t think I could have done it in any other city.”\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Tobin Yelland’s photography is on display at Deluxe Skate Shop (2330 Mission St., San Francisco) through April 2025.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story was updated to more accurately reflect Deluxe’s clothing, footwear and skate deck offerings.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Move over, Fat Bear Week. A bat beauty contest is now stepping up to the plate.\u003c/p>\n\u003cp>The Bureau of Land Management has hosted \u003ca href=\"https://www.facebook.com/BLMNational/posts/pfbid0SKLtSR3fw7X6hXyYwWm9s4SzvLie3obhKHe2w44xVPiTkVPNMFEHSh6Dz9mS52aZl\">the online competition\u003c/a> since 2019 to raise awareness about the animal’s ecological importance. The federal agency posts photos of bats on its \u003ca href=\"https://www.facebook.com/BLMNational\">Facebook\u003c/a> and \u003ca href=\"https://www.instagram.com/mypubliclands/\">Instagram\u003c/a> accounts, and then asks people to vote for the cutest one. The bats are part of wild populations living on public lands, and are photographed by agency staff.\u003c/p>\n\u003cp>The first round of voting began Thursday and pitted a Townsend’s big-eared bat named “Sir Flaps-A-Lot” from Utah against a hoary bat fittingly named “Hoary Potter” from Oregon. The contest coincides with the start of Bat Week, during which bat experts across the country and the world hold educational events celebrating the only flying mammal.\u003c/p>\n\u003cp>https://x.com/BLMWyoming/status/1850205948154880265\u003c/p>\n\u003cp>The defining feature of a Townsend’s big-eared bat is, unsurprisingly, its ears, which can reach a length of 1.5 inches (38 millimeters). The large ears funnel sound into the ear canal, provide lift during flight and help with temperature regulation, the Bureau of Land Management said in its Facebook post presenting the first two contestants.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hoary bats, meanwhile, are known for swift flight and wrapping themselves in their own tails to mimic leaves and hide from predators, the agency said. Due to this attribute, it estimated Hoary Potter would be “the perfect candidate for seeker on this year’s Quidditch team,” referring to the game in Harry Potter that is played on flying brooms.\u003c/p>\n\u003cp>[aside postid='arts_13965878']Neither species are federally listed as endangered. However, Oregon has included them on its list of species needing conservation attention, and Utah has done the same for the Townsend’s big-eared bat.\u003c/p>\n\u003cp>Emma Busk, the BLM wildlife technician who photographed Hoary Potter, said bats around the world play a key role in the environment by eating insects and pollinating flowers and fruits. But they’re increasingly facing the threats of habitat loss, disease and light pollution, and are often misunderstood as scary disease carriers, she said.\u003c/p>\n\u003cp>“There’s a lot of fear and misconceptions around bats,” she said, noting that people often associate rabies with the animal. “But less than 1% of all bat populations actually carry rabies, and the bat-to-human disease transmission is actually really low.”\u003c/p>\n\u003cfigure id=\"attachment_13967346\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967346\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hoary.png\" alt=\"Close up of a furry little bat with pointed ears lying on a log.\" width=\"2000\" height=\"1479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hoary.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hoary-800x592.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hoary-1020x754.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hoary-160x118.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hoary-768x568.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hoary-1536x1136.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hoary-1920x1420.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A very cute bat named Hoary Potter. Just go with it. \u003ccite>(Emma Busk/Bureau of Land Management via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Busk is rooting for Hoary Potter in the hopes that an Oregon bat will win the beauty contest for a third time. Last year, “William ShakespEAR,” a female Townsend’s big-eared bat from southern Oregon whom Busk also photographed, claimed the crown. And in 2022, a canyon bat named “Barbara” similarly hailing from southern Oregon was declared the winner.\u003c/p>\n\u003cp>[aside postid='arts_13962787']“Our effort every year is to just collect as much data as we can on the species in our resource area, so that we do know how to better protect them moving forward,” Busk said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The beauty contest will continue in rounds over the next week. It’s timed to wrap up on Halloween next Thursday, when the winner will be announced.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Neither species are federally listed as endangered. However, Oregon has included them on its list of species needing conservation attention, and Utah has done the same for the Townsend’s big-eared bat.\u003c/p>\n\u003cp>Emma Busk, the BLM wildlife technician who photographed Hoary Potter, said bats around the world play a key role in the environment by eating insects and pollinating flowers and fruits. But they’re increasingly facing the threats of habitat loss, disease and light pollution, and are often misunderstood as scary disease carriers, she said.\u003c/p>\n\u003cp>“There’s a lot of fear and misconceptions around bats,” she said, noting that people often associate rabies with the animal. “But less than 1% of all bat populations actually carry rabies, and the bat-to-human disease transmission is actually really low.”\u003c/p>\n\u003cfigure id=\"attachment_13967346\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967346\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hoary.png\" alt=\"Close up of a furry little bat with pointed ears lying on a log.\" width=\"2000\" height=\"1479\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hoary.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hoary-800x592.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hoary-1020x754.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hoary-160x118.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hoary-768x568.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hoary-1536x1136.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Hoary-1920x1420.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A very cute bat named Hoary Potter. Just go with it. \u003ccite>(Emma Busk/Bureau of Land Management via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Busk is rooting for Hoary Potter in the hopes that an Oregon bat will win the beauty contest for a third time. Last year, “William ShakespEAR,” a female Townsend’s big-eared bat from southern Oregon whom Busk also photographed, claimed the crown. And in 2022, a canyon bat named “Barbara” similarly hailing from southern Oregon was declared the winner.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cfigure id=\"attachment_13967331\" class=\"wp-caption aligncenter\" style=\"max-width: 1344px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967331\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/mike-fu.png\" alt=\"A book cover featuring an illustration of flowers against a yellow circle on a black background.\" width=\"1344\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/mike-fu.png 1344w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/mike-fu-800x1190.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/mike-fu-1020x1518.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/mike-fu-160x238.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/mike-fu-768x1143.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/mike-fu-1032x1536.png 1032w\" sizes=\"(max-width: 1344px) 100vw, 1344px\">\u003cfigcaption class=\"wp-caption-text\">‘Masquerade’ by Mike Fu. \u003ccite>(Tin House Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meadow is coming up on 10 years living in New York, and he’s still adrift. His boyfriend ghosted him, his current residence is actually a housesitting gig, and his bartending job isn’t exactly filling his parents with pride. But this summer, strange things keep happening that will make or break him.\u003c/p>\n\u003cp>[aside postid='arts_13967077']Right at the start of Mike Fu’s debut novel, \u003cem>Masquerade\u003c/em>, Meadow finds a strange book called \u003cem>The Masquerade\u003c/em> — written by someone with his same name.\u003c/p>\n\u003cp>In a rush to catch the plane to visit his parents in Shanghai, he stuffs the book in his bag. As he reads it, he finds uncanny parallels between his life and the novel.\u003c/p>\n\u003cp>Dream-like, \u003cem>Masquerade\u003c/em> begins somewhat aimless, introducing small mysteries and oddities that provide an unnerving background hum to an otherwise aimless plot. Like Meadow, we’re not sure where this is all going, or what is going to prove important later, though the occasional foreshadowing reminds us there’s a bigger issue at hand.\u003c/p>\n\u003cp>There’s a disappearance. There’s an apparent doppelganger, and maybe a ghost, too. And a strange mirror haunts Meadow’s dreams.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jumping around in time, Fu slowly reveals Meadow’s history — largely revolving around existential dread quieted or swept aside by a constant stream of parties and benders.\u003c/p>\n\u003cp>In his 20s, Meadow throws himself into postgraduate studies to avoid the financial crash, and then into office work to avoid the self-important but pointless academic work, then into bartending when he finds office work just as pointless and soul-sucking. Now in his 30s, he’s reckoning with a sort of second coming-of-age.\u003c/p>\n\u003cp>[aside postid='arts_13966822']\u003cem>Masquerade\u003c/em> is a meandering, surreal, and unsettling search for identity as Meadow examines the masks he’s worn throughout his adult life.\u003c/p>\n\u003cp>While various oddities turn out to be only mysterious — rather than actual mysteries — the novel’s ending has a hopefulness and purpose that helps counterbalance the main character’s lack of agency throughout most of the story.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Masquerade’ by Mike Fu is released on Oct. 29, 2024, via Tin House Books.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cp>There are only a handful of punk logos that have stood the test of time, and they’re almost universally recognized: \u003ca href=\"https://www.kqed.org/arts/13962592/raymond-pettibon-auction-black-flag-fliers-punk-rock-ephemera-fab-mab-on-broadway\">Black Flag\u003c/a>‘s bars, Misfits’ Crimson Ghost and Crass’ anti-authority cross.\u003c/p>\n\u003cp>[aside postid='arts_13967093']The last was designed by \u003ca href=\"https://www.kqed.org/arts/13868611/david-king-san-francisco-artist-who-designed-iconic-crass-emblem-dies-at-71\">David King\u003c/a>, a British experimental artist, graphic designer and musician. He moved from England to New York City in 1977, before relocating to San Francisco three years later. Here, he made art and zines, performed in bands (including \u003ca href=\"https://www.discogs.com/master/673023-Brain-Rust-Brain-Rust\">Brain Rust\u003c/a>) and attended the \u003ca href=\"https://www.kqed.org/arts/tag/sfai\">San Francisco Art Institute\u003c/a>. King died in 2019 at the age of 71, but left a wealth of subversive, era-defining work behind him.\u003c/p>\n\u003cp>A selection of that work is currently on display at the San Francisco Center for the Book. \u003cem>David King Publications 1977-2019\u003c/em> focuses on the artist’s zine work and, to a lesser degree, his show flyers. King’s work, as curated by Luca Antonucci and Matt Borruso, is consistently imposing, provocative and caustically humorous. Many of his designs also clearly reflect the moment each piece was made. His 1980s work, in particular, makes a mockery of the leaders of the day, including Margaret Thatcher, Ronald Reagan and Queen Elizabeth II. (One doctored image of the Queen kicking a baby into a manhole is as funny as it is jarring.)\u003c/p>\n\u003cfigure id=\"attachment_13967299\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967299\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs.png\" alt=\"Two black and white pages. One featuring a bat signal with the Crass band logo. The other features Batman and Robin looking at a chart of symbols.\" width=\"2000\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-800x512.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-1020x653.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-768x492.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-1536x983.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-1920x1229.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The first issue of ‘Sleeping Dogs’ zine, 1983. \u003ccite>(Courtesy of San Francisco Center for the Book)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There is, of course, a Crass component within the exhibit. Original stencils hang starkly in frames. One comic book-style panel has the band logo projected into the night sky, like the Bat Signal. Sitting tantalizingly in a display case is even a copy of \u003cem>Christ’s Reality Asylum\u003c/em>, the 1977 pamphlet written by Crass drummer Penny Rimbaud that inspired the very first use of the now-legendary anti-authority symbol.\u003c/p>\n\u003cp>[aside postid='arts_13938024']Other ephemera from King’s life includes home photos (of himself, Crass singer Steve Ignorant and a series of masked figures) and book covers designed by the artist, including the sci-fi paperback \u003ca href=\"https://en.wikipedia.org/wiki/Non-Stop_(novel)\">\u003cem>Non-Stop\u003c/em> by Brian Aldiss\u003c/a>. There are a couple of curious collages too — one now-ironic piece titled \u003cem>21st Century Lower Manhattan\u003c/em>, depicts the New York skyline awash with World Trade Center towers. (A demonstration that even the sharpest social critics can’t predict \u003cem>everything\u003c/em>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>King was prolific to a point that only the hugest of exhibitions could ever capture the breadth of what he created in his lifetime. \u003cem>David King Publications 1977-2019\u003c/em> can only act as a sort of tasting menu — but oh, what a delicious introduction it is.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://sfcb.org/davidanthonyking\">David King Publications 1977-2019\u003c/a>’ is on display now through Dec. 22, 2024 at \u003ca href=\"https://sfcb.org/\">San Francisco Center for the Book\u003c/a> (375 Rhode Island St.). \u003c/em>\u003c/p>\n\u003cp>\u003cem>An accompanying book, ‘David King Publications 1977–2019’ will be available in November via \u003ca href=\"https://www.colpapress.com/collections/frontpage\">Colpa Press\u003c/a> and San Francisco Center for the Book.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>On Dec. 6, San Francisco Center for the Book will host a roundtable discussion with curators Luca Antonucci and Matt Borruso in conversation with David Senior, SF MoMA’s Director of the Library.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are only a handful of punk logos that have stood the test of time, and they’re almost universally recognized: \u003ca href=\"https://www.kqed.org/arts/13962592/raymond-pettibon-auction-black-flag-fliers-punk-rock-ephemera-fab-mab-on-broadway\">Black Flag\u003c/a>‘s bars, Misfits’ Crimson Ghost and Crass’ anti-authority cross.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The last was designed by \u003ca href=\"https://www.kqed.org/arts/13868611/david-king-san-francisco-artist-who-designed-iconic-crass-emblem-dies-at-71\">David King\u003c/a>, a British experimental artist, graphic designer and musician. He moved from England to New York City in 1977, before relocating to San Francisco three years later. Here, he made art and zines, performed in bands (including \u003ca href=\"https://www.discogs.com/master/673023-Brain-Rust-Brain-Rust\">Brain Rust\u003c/a>) and attended the \u003ca href=\"https://www.kqed.org/arts/tag/sfai\">San Francisco Art Institute\u003c/a>. King died in 2019 at the age of 71, but left a wealth of subversive, era-defining work behind him.\u003c/p>\n\u003cp>A selection of that work is currently on display at the San Francisco Center for the Book. \u003cem>David King Publications 1977-2019\u003c/em> focuses on the artist’s zine work and, to a lesser degree, his show flyers. King’s work, as curated by Luca Antonucci and Matt Borruso, is consistently imposing, provocative and caustically humorous. Many of his designs also clearly reflect the moment each piece was made. His 1980s work, in particular, makes a mockery of the leaders of the day, including Margaret Thatcher, Ronald Reagan and Queen Elizabeth II. (One doctored image of the Queen kicking a baby into a manhole is as funny as it is jarring.)\u003c/p>\n\u003cfigure id=\"attachment_13967299\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967299\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs.png\" alt=\"Two black and white pages. One featuring a bat signal with the Crass band logo. The other features Batman and Robin looking at a chart of symbols.\" width=\"2000\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-800x512.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-1020x653.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-768x492.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-1536x983.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/sleeping-dogs-1920x1229.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The first issue of ‘Sleeping Dogs’ zine, 1983. \u003ccite>(Courtesy of San Francisco Center for the Book)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There is, of course, a Crass component within the exhibit. Original stencils hang starkly in frames. One comic book-style panel has the band logo projected into the night sky, like the Bat Signal. Sitting tantalizingly in a display case is even a copy of \u003cem>Christ’s Reality Asylum\u003c/em>, the 1977 pamphlet written by Crass drummer Penny Rimbaud that inspired the very first use of the now-legendary anti-authority symbol.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Other ephemera from King’s life includes home photos (of himself, Crass singer Steve Ignorant and a series of masked figures) and book covers designed by the artist, including the sci-fi paperback \u003ca href=\"https://en.wikipedia.org/wiki/Non-Stop_(novel)\">\u003cem>Non-Stop\u003c/em> by Brian Aldiss\u003c/a>. There are a couple of curious collages too — one now-ironic piece titled \u003cem>21st Century Lower Manhattan\u003c/em>, depicts the New York skyline awash with World Trade Center towers. (A demonstration that even the sharpest social critics can’t predict \u003cem>everything\u003c/em>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>King was prolific to a point that only the hugest of exhibitions could ever capture the breadth of what he created in his lifetime. \u003cem>David King Publications 1977-2019\u003c/em> can only act as a sort of tasting menu — but oh, what a delicious introduction it is.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://sfcb.org/davidanthonyking\">David King Publications 1977-2019\u003c/a>’ is on display now through Dec. 22, 2024 at \u003ca href=\"https://sfcb.org/\">San Francisco Center for the Book\u003c/a> (375 Rhode Island St.). \u003c/em>\u003c/p>\n\u003cp>\u003cem>An accompanying book, ‘David King Publications 1977–2019’ will be available in November via \u003ca href=\"https://www.colpapress.com/collections/frontpage\">Colpa Press\u003c/a> and San Francisco Center for the Book.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>On Dec. 6, San Francisco Center for the Book will host a roundtable discussion with curators Luca Antonucci and Matt Borruso in conversation with David Senior, SF MoMA’s Director of the Library.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For three films now, Tom Hardy has smushed Jekyll and Hyde into one strange and slimy double act. In a Marvel universe filled with alter egos that cloak stealthy superpowers, his investigative reporter Eddie Brock doesn’t transform. He shares his body with an ink-black alien symbiote (voiced with a baritone growl by Hardy), who sometimes swallows him whole, sometimes shoots a tentacle or two out, and always chipperly punctuates Eddie’s inner monologue.\u003c/p>\n\u003cp>These have been consistently messy, almost willfully bad movies, but Hardy’s performance has been a strangely compelling one-body buddy comedy. It’s one thing to throw a cape on and jump the sky. It’s another to run manically through the desert with an alien voice inside barking, as Eddie’s inner-alien does in the new \u003cem>Venom: The Last Dance\u003c/em>, “Engage your core,” “Nice horsey” and “Tequila!”\u003c/p>\n\u003cp>[aside postid='arts_13967226']The biggest dichotomy of these movies, though, isn’t the Eddie-symbiote split. It’s the contrast between Hardy’s funny, sometimes oddly touching performance and all of the CGI mess around him. There were moments of fun in the first two movies, but if \u003cem>The Last Dance\u003c/em>, which opens in theaters Thursday, is the swan song for this spun-off, half-formed franchise, it confirms that the \u003cem>Venom\u003c/em> films never quite figured themselves out.\u003c/p>\n\u003cp>In \u003cem>The Last Dance\u003c/em>, Kelly Marcel, co-writer of the first two \u003cem>Venom\u003c/em> films, takes over directing, following Andy Serkis (2021’s \u003cem>Venom: Let There Be Carnage\u003c/em>) and Ruben Fleischer (2018’s \u003cem>Venom\u003c/em>). We rejoin Venom (the fusion of Eddie and his alien-entity soulmate) in Mexico where they’re on the run from the law. But a new threat is also emerging.\u003c/p>\n\u003cp>The movie opens with Knull (Serkis), the symbiote creator who, from some icky distant and dark corner of space, dispatches aliens to retrieve a “codex” found within Venom’s spine that, if obtained, will lead to the annihilation of both humans and symbiotes.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HyIyd9joTTc\u003c/p>\n\u003cp>To me, bringing a typical comic book-style doomsday plot is about the last thing a \u003cem>Venom\u003c/em> movie needs. The best sequences in the first two movies are no more complicated than Venom craving lobster or ordering pizza. Smaller stakes better suit its warped comedy. The touchstone for these movies shouldn’t be the Marvel playbook but old episodes of \u003cem>The Odd Couple\u003c/em>.\u003c/p>\n\u003cp>Instead, we’re thrown into a pretty immediately boring Area 51 setting where an elaborate lab headed by Dr. Teddy Payne (Juno Temple) studies the symbiotes it has trapped with the help of a military division led by Rex Strickland (Chiwetel Ejiofor, lending more gravitas to the movie than it deserves). Once the alien insect things arrive seeking the codex, there’s plenty of running and fighting, with a UFO-enthusiast family in a VW bus (Rhys Ifans plays the dad) thrown into the mix. The ensuing battle ultimately, as the title promises, threatens to divide Venom for good.\u003c/p>\n\u003cp>[aside postid='arts_13967037']But the promise of the \u003cem>Venom\u003c/em> series, really, is that the mainline Marvel stuff would intrude less here. This is a B-movie realm of the multiverse with little appetite for solemnity, nobility or two-and-half-hour running times. They can feel a little like tossed-off knockoffs, which is both their appeal and their frustration.\u003c/p>\n\u003cp>I kept rooting for the surprisingly lifeless \u003cem>The Last Dance\u003c/em> to pull way back on its save-the-world plot (and its CGI) and lean more into its most potent effect: Hardy’s split-personality double act. If this is to be a last hurrah — which, granted is a dubious idea for anything even adjacently connected to \u003cem>Spider-Man\u003c/em> — it’s a shame that we never saw more of Venom in daily life. Eddie is a journalist after all. One can only imagine how he and the symbiote might have debated more pressing concerns than the fate of the universe, like Oxford commas.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Venom: The Last Dance’ is released nationwide on Oct. 24, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/HyIyd9joTTc'\n title='//www.youtube.com/embed/HyIyd9joTTc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>To me, bringing a typical comic book-style doomsday plot is about the last thing a \u003cem>Venom\u003c/em> movie needs. The best sequences in the first two movies are no more complicated than Venom craving lobster or ordering pizza. Smaller stakes better suit its warped comedy. The touchstone for these movies shouldn’t be the Marvel playbook but old episodes of \u003cem>The Odd Couple\u003c/em>.\u003c/p>\n\u003cp>Instead, we’re thrown into a pretty immediately boring Area 51 setting where an elaborate lab headed by Dr. Teddy Payne (Juno Temple) studies the symbiotes it has trapped with the help of a military division led by Rex Strickland (Chiwetel Ejiofor, lending more gravitas to the movie than it deserves). Once the alien insect things arrive seeking the codex, there’s plenty of running and fighting, with a UFO-enthusiast family in a VW bus (Rhys Ifans plays the dad) thrown into the mix. The ensuing battle ultimately, as the title promises, threatens to divide Venom for good.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But the promise of the \u003cem>Venom\u003c/em> series, really, is that the mainline Marvel stuff would intrude less here. This is a B-movie realm of the multiverse with little appetite for solemnity, nobility or two-and-half-hour running times. They can feel a little like tossed-off knockoffs, which is both their appeal and their frustration.\u003c/p>\n\u003cp>I kept rooting for the surprisingly lifeless \u003cem>The Last Dance\u003c/em> to pull way back on its save-the-world plot (and its CGI) and lean more into its most potent effect: Hardy’s split-personality double act. If this is to be a last hurrah — which, granted is a dubious idea for anything even adjacently connected to \u003cem>Spider-Man\u003c/em> — it’s a shame that we never saw more of Venom in daily life. Eddie is a journalist after all. One can only imagine how he and the symbiote might have debated more pressing concerns than the fate of the universe, like Oxford commas.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Venom: The Last Dance’ is released nationwide on Oct. 24, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In Edward Berger’s \u003cem>Conclave\u003c/em>, the selection of the pope is no holy affair. Instead, it’s a petty, political campaign carried out in secrecy, where gossip flows, agendas are malleable and loyalties are fleeting. All are there to serve God, they say. But we all know how helpful that has been in conflicts throughout history. \u003cem>Conclave\u003c/em> might not have much new or interesting to say about the Catholic Church, but it is a deliriously fun watch in the way that tense, smart thrillers with an ensemble of great actors can be.\u003c/p>\n\u003cp>It’s fitting that Peter Straughan, who co-wrote the script for \u003cem>Tinker Tailor Soldier Spy\u003c/em>, was the one to adapt Robert Harris’ 2016 novel, taking audiences inside the secretive halls of the Vatican in the immediate aftermath of the pope’s death. The film opens abruptly and effectively on Ralph Fiennes’ back, walking somewhere briskly. Nothing is said. You don’t even see his face. But between Volker Bertelmann’s heightened score and Fiennes’ pace and tensed shoulders, the mood is set. This, it is clear, is not going to be a straightforward affair. Plus, something seems a little fishy about this death.\u003c/p>\n\u003cp>[aside postid='arts_13967037']Fiennes plays Cardinal Thomas Lawrence, the dean of the College of Cardinals, whose duty is to oversee the election of the next pope. That means gathering a group of 100-some clergymen in Rome to vote. With many dreaming of ascending to the position, they’re secluded from the outside world and left to their own devices to lobby for support.\u003c/p>\n\u003cp>There are some formidable forces at play following the death of a more liberal-minded pope. Stanley Tucci’s Aldo Bellini is a progressive hoping to evolve the church dramatically. Sergio Castellitto’s Goffredo Tedesco thinks they’ve gone astray and wants to bring it back to the days of Latin Mass and Italian leadership. There’s also Lucian Msamati’s Joshua Adeyemi, from Nigeria, who stands to make history as the first Black pope but whose views on homosexuality worry the progressives. And finally, John Lithgow’s slick but earnest Joseph Tremblay, who, unlike Bellini, wears his ambition on his sleeve. He also happened to be the last official meeting on the pope’s schedule before he died and delayed before calling Lawrence with the news.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JX9jasdi3ic\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a film business where youth still reigns supreme, \u003cem>Conclave\u003c/em> is a symphony of lovely aging faces. These actors whose forehead lines don’t disappear at rest are in full command of their instruments showing a world of experience, doubt and regret in any given glance. Fiennes gets the majority of the close-ups, as a man who is having to manage this increasingly unwieldy proceeding while also grappling with his own internal crisis. He reveals to Bellini, who he hopes will be selected, that he recently attempted to resign. His request, he said, was denied.\u003c/p>\n\u003cp>[aside postid='arts_13967007']And now he’s left dealing with a bunch of babies in a conclave that is stretching on longer than anyone would like. There are rumors of a withdrawn report of gross misconduct, a sabotage plot and the surprise arrival of a cardinal no one knew existed: Carlos Diehz’s Vincent Benitez, who was secretly appointed archbishop of Kabul. With turmoil both on the streets and inside their claustrophobic and gossip-ridden surroundings, everyone is going a little mad wondering if they’ll have to simply settle for the least worst choice. Even Isabella Rossellini’s head nun, who is supposed to be a silent participant, gets involved (thank goodness for us).\u003c/p>\n\u003cp>Berger, a German-Austrian filmmaker who last made the stunning adaptation of \u003cem>All Quiet on the Western Front\u003c/em>, keeps the audience on the edge of their seats for the duration as you try to piece together the clues to figure out who is holding the strings. The specific setting of the Vatican adds mystery and dramatic flair — the filmmaker seems to take great pleasure in the elaborate and frequent costume changes and ceremony of it all — but this is also a classic story that could have easily been set near any seat of power. \u003cem>Conclave\u003c/em> is sure to ruffle some Catholic feathers — provocation is in its DNA. But for the rest of us, this juicy, smartly crafted thriller, is simply a great watch.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Conclave’ is released nationwide on Oct. 25, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And now he’s left dealing with a bunch of babies in a conclave that is stretching on longer than anyone would like. There are rumors of a withdrawn report of gross misconduct, a sabotage plot and the surprise arrival of a cardinal no one knew existed: Carlos Diehz’s Vincent Benitez, who was secretly appointed archbishop of Kabul. With turmoil both on the streets and inside their claustrophobic and gossip-ridden surroundings, everyone is going a little mad wondering if they’ll have to simply settle for the least worst choice. Even Isabella Rossellini’s head nun, who is supposed to be a silent participant, gets involved (thank goodness for us).\u003c/p>\n\u003cp>Berger, a German-Austrian filmmaker who last made the stunning adaptation of \u003cem>All Quiet on the Western Front\u003c/em>, keeps the audience on the edge of their seats for the duration as you try to piece together the clues to figure out who is holding the strings. The specific setting of the Vatican adds mystery and dramatic flair — the filmmaker seems to take great pleasure in the elaborate and frequent costume changes and ceremony of it all — but this is also a classic story that could have easily been set near any seat of power. \u003cem>Conclave\u003c/em> is sure to ruffle some Catholic feathers — provocation is in its DNA. But for the rest of us, this juicy, smartly crafted thriller, is simply a great watch.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Conclave’ is released nationwide on Oct. 25, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13967095\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967095\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/verve-recs-via-ap.png\" alt=\"An album cover showing drums and a Black man playing a saxophone.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/verve-recs-via-ap.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/verve-recs-via-ap-800x800.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/verve-recs-via-ap-1020x1020.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/verve-recs-via-ap-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/verve-recs-via-ap-768x768.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/verve-recs-via-ap-1536x1536.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/verve-recs-via-ap-1920x1920.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">‘Bird in Kansas City (Live)’ by Charlie Parker. \u003ccite>(Verve Records via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Listening to Charlie Parker’s saxophone gymnastics on a new album of rare recordings is like watching Simone Biles stretch during warmups.\u003c/p>\n\u003cp>A new collection, \u003cem>Bird in Kansas City\u003c/em> captures Parker’s grace and greatness in casual settings. On 13 cuts recorded in his hometown from 1941 to 1951, the bebop pioneer’s playing is largely informal and relaxed, yet still Olympian.\u003c/p>\n\u003cp>[aside postid='arts_13966868']The material, much of it never heard before, includes two sets of private recordings with local musicians made during breaks in his travels and concludes with two unreleased songs with the Jay McShann Band. The album will be released Friday.\u003c/p>\n\u003cp>Parker solos from start to finish on each of the private recordings, and he’s in fine form, ideas pouring through the sort of improbable improvisations that tested the limits of his instrument — and jazz. There’s some crackle and hiss in the recordings, and his rhythm section can be difficult to hear, but Bird’s alto sax comes through loud and clear.\u003c/p>\n\u003cp>He experiments with energetic embellishments and long, elaborate phrases never to be repeated. He doesn’t always stick the landing, but it’s virtuosity at high velocity, and his melodic invention still startles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Parker’s playful mood makes the performances especially appealing. He’s liable to insert scale practice or quotes from other tunes. On “Body and Soul (Phil Baxter Version),” he plays the same note 17 times in a row, and leaves others in the room laughing. That performance is one of seven captured via a portable wire recorder in 1951 during a late-night jam session at a friend’s home, with unknown accompanists on bass and drums.\u003c/p>\n\u003cp>[aside postid='arts_13967001']Also included are four cuts from a studio session arranged by a friend in 1944, when Parker was with the Billy Eckstine Band. Bird is joined by drummer Edward “Little Phil” Phillips and guitarist Efferge Ware, and his playing is especially effortless and even mellow. He makes longtime staple “Cherokee” sound new on the album’s Vic Damone version, delves into hot club jazz on “I’ve Found a New Baby,” and renders an especially romantic reading of “My Heart Tells Me.”\u003c/p>\n\u003cp>The cuts with McShann from 1941 seem tacked on. The stodgy performances haven’t aged well, and the band sounds remote, although Parker’s solo on “I’m Getting Sentimental Over You” is worth a careful listen.\u003c/p>\n\u003cp>Judges may not give \u003cem>Bird in Kansas City\u003c/em> a perfect score of 10, but it’s still a welcome addition to Parker’s monumental catalog.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Bird in Kansas City (Live)’ by Charlie Parker is released on Oct. 25, 2024, via Verve.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The material, much of it never heard before, includes two sets of private recordings with local musicians made during breaks in his travels and concludes with two unreleased songs with the Jay McShann Band. The album will be released Friday.\u003c/p>\n\u003cp>Parker solos from start to finish on each of the private recordings, and he’s in fine form, ideas pouring through the sort of improbable improvisations that tested the limits of his instrument — and jazz. There’s some crackle and hiss in the recordings, and his rhythm section can be difficult to hear, but Bird’s alto sax comes through loud and clear.\u003c/p>\n\u003cp>He experiments with energetic embellishments and long, elaborate phrases never to be repeated. He doesn’t always stick the landing, but it’s virtuosity at high velocity, and his melodic invention still startles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Parker’s playful mood makes the performances especially appealing. He’s liable to insert scale practice or quotes from other tunes. On “Body and Soul (Phil Baxter Version),” he plays the same note 17 times in a row, and leaves others in the room laughing. That performance is one of seven captured via a portable wire recorder in 1951 during a late-night jam session at a friend’s home, with unknown accompanists on bass and drums.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Also included are four cuts from a studio session arranged by a friend in 1944, when Parker was with the Billy Eckstine Band. Bird is joined by drummer Edward “Little Phil” Phillips and guitarist Efferge Ware, and his playing is especially effortless and even mellow. He makes longtime staple “Cherokee” sound new on the album’s Vic Damone version, delves into hot club jazz on “I’ve Found a New Baby,” and renders an especially romantic reading of “My Heart Tells Me.”\u003c/p>\n\u003cp>The cuts with McShann from 1941 seem tacked on. The stodgy performances haven’t aged well, and the band sounds remote, although Parker’s solo on “I’m Getting Sentimental Over You” is worth a careful listen.\u003c/p>\n\u003cp>Judges may not give \u003cem>Bird in Kansas City\u003c/em> a perfect score of 10, but it’s still a welcome addition to Parker’s monumental catalog.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Bird in Kansas City (Live)’ by Charlie Parker is released on Oct. 25, 2024, via Verve.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s not your typical stop-motion film when characters name pets after Sylvia Plath and read \u003cem>The Diary of Anne Frank\u003c/em> — or when the story’s inspired by a quote from existentialist thinker Søren Kierkegaard.\u003c/p>\n\u003cp>And it’s certainly not your typical stop-motion film when you find yourself crying as much as the characters do — in their case, with huge droplets leaking from bulging, egg-shaped eyes so authentic-looking, you expect the screen to get wet.\u003c/p>\n\u003cp>[aside postid='arts_13966836']But those are just a few of the unique things about Adam Elliot’s \u003cem>Memoir of a Snail\u003c/em>, a film that’s as heart-tugging as it is technically impressive, a work of both emotional resonance and great physical detail using only clay, wire, paper and paint.\u003c/p>\n\u003cp>One thing Elliot’s film is not, though, is for kids. So please take note before heading to the multiplex with family in tow: this film earns its R rating, as you’ll discover as soon as young Grace, voiced by Sarah Snook, tells us she thought masturbation was about chewing your food properly. Sex, nudity, drunk driving, a fat fetish — like we said, it’s R-rated for a reason.\u003c/p>\n\u003cp>But let’s start at the beginning. In this, his seventh “clayography” (for “clay” and “biography”), the Australian writer-director explores the process of collecting unnecessary objects. Otherwise known as hoarding, it’s something that weighs us down in ways we can’t see, for all the clutter. Elliot also argues that it helps us build constrictive shells around ourselves — like snail shells, perhaps.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ehc8cc7g31I\u003c/p>\n\u003cp>Our protagonist is Grace Pudel, voiced with a quirky warmth and plenty of empathy by the wonderfully agile Snook. We first encounter Grace as a grown woman, telling her long, lonely life story to her pet garden snail, Sylvia (named after Plath), at a moment of deep sadness.\u003c/p>\n\u003cp>[aside postid='arts_13966737']Then we flash back to childhood. Grace is born with a twin brother, Gilbert (Kodi Smit-McPhee). Their mother dies in childbirth, leaving the twins with their father, a film animator. Grace needs surgery to correct a cleft palate, and doctors ask young Gilbert to donate blood; he thinks that means he’ll have to die to let her live, and still says yes. (Those tears we mentioned? They start here.)\u003c/p>\n\u003cp>The two siblings endure a sad life with their father, a life that becomes sadder yet when a collision with a drunk driver renders him a paraplegic. It won’t be long before their father dies in his sleep, making them orphans. And nobody wants a full set of twins, so Grace and Gilbert are forcibly separated and sent to opposite sides of Australia.\u003c/p>\n\u003cp>Grace is sent to Canberra, a city so boring and safe that people drive cars with helmets on. And Gilbert is sent to a farm, with a cruel family of evangelists. The two exchange letters and pray they’ll meet again. Grace’s parents are swingers (this is the ’70s), and they end up leaving her for a nudist colony. Her only companions are her snails, which she loves, just like her mother did — both the live and ornamental versions.\u003c/p>\n\u003cp>Pinky comes along five years later. The elderly woman — raspily voiced by longtime Australian star Jacki Weaver — has quite the past. She lost her finger dancing on a bar in Barcelona. She played ping pong with Fidel Castro. She’s outlived two husbands. Her friendship eases Grace’s sadness.\u003c/p>\n\u003cp>But still, there’s a deep hole where brother Gilbert should be. Grace adds kleptomania to her “list of hobbies.” She also starts hoarding in earnest. Finally, she meets Ken, a microwave repairman. She believes she has found love.\u003c/p>\n\u003cp>Life has more cruel twists in store, though, and you won’t see them coming in this cleverly constructed — though unabashedly odd — screenplay. But Elliot served here not only as writer-director but as production designer, and his biggest achievement is a rich visual world dominated by varying shades of brown, and populated by 7,000 handmade objects. Some 135,000 photographs taken on 200 sets were used to create the film.\u003c/p>\n\u003cp>[aside postid='arts_13966390']Yet all that technical prowess would be rather useless without the emotional core that resonates throughout. Elliot has given wise Pinky, in her huge red spectacles, the aforementioned Kierkegaard line (with only the slightest edit): “Life can only be understood backwards, but we’ve got to live it forwards,” she tells Grace. And snails, she adds, never go backwards. Nor should Grace — and nor should we.\u003c/p>\n\u003cp>Who would have thought an R-rated stop-motion film about mollusks could pack such a universal lesson?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Memoir of a Snail’ plays in AMC theaters around the Bay Area on Oct. 23, 2024. It will receive a wider release on Nov. 7, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But those are just a few of the unique things about Adam Elliot’s \u003cem>Memoir of a Snail\u003c/em>, a film that’s as heart-tugging as it is technically impressive, a work of both emotional resonance and great physical detail using only clay, wire, paper and paint.\u003c/p>\n\u003cp>One thing Elliot’s film is not, though, is for kids. So please take note before heading to the multiplex with family in tow: this film earns its R rating, as you’ll discover as soon as young Grace, voiced by Sarah Snook, tells us she thought masturbation was about chewing your food properly. Sex, nudity, drunk driving, a fat fetish — like we said, it’s R-rated for a reason.\u003c/p>\n\u003cp>But let’s start at the beginning. In this, his seventh “clayography” (for “clay” and “biography”), the Australian writer-director explores the process of collecting unnecessary objects. Otherwise known as hoarding, it’s something that weighs us down in ways we can’t see, for all the clutter. Elliot also argues that it helps us build constrictive shells around ourselves — like snail shells, perhaps.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Then we flash back to childhood. Grace is born with a twin brother, Gilbert (Kodi Smit-McPhee). Their mother dies in childbirth, leaving the twins with their father, a film animator. Grace needs surgery to correct a cleft palate, and doctors ask young Gilbert to donate blood; he thinks that means he’ll have to die to let her live, and still says yes. (Those tears we mentioned? They start here.)\u003c/p>\n\u003cp>The two siblings endure a sad life with their father, a life that becomes sadder yet when a collision with a drunk driver renders him a paraplegic. It won’t be long before their father dies in his sleep, making them orphans. And nobody wants a full set of twins, so Grace and Gilbert are forcibly separated and sent to opposite sides of Australia.\u003c/p>\n\u003cp>Grace is sent to Canberra, a city so boring and safe that people drive cars with helmets on. And Gilbert is sent to a farm, with a cruel family of evangelists. The two exchange letters and pray they’ll meet again. Grace’s parents are swingers (this is the ’70s), and they end up leaving her for a nudist colony. Her only companions are her snails, which she loves, just like her mother did — both the live and ornamental versions.\u003c/p>\n\u003cp>Pinky comes along five years later. The elderly woman — raspily voiced by longtime Australian star Jacki Weaver — has quite the past. She lost her finger dancing on a bar in Barcelona. She played ping pong with Fidel Castro. She’s outlived two husbands. Her friendship eases Grace’s sadness.\u003c/p>\n\u003cp>But still, there’s a deep hole where brother Gilbert should be. Grace adds kleptomania to her “list of hobbies.” She also starts hoarding in earnest. Finally, she meets Ken, a microwave repairman. She believes she has found love.\u003c/p>\n\u003cp>Life has more cruel twists in store, though, and you won’t see them coming in this cleverly constructed — though unabashedly odd — screenplay. But Elliot served here not only as writer-director but as production designer, and his biggest achievement is a rich visual world dominated by varying shades of brown, and populated by 7,000 handmade objects. Some 135,000 photographs taken on 200 sets were used to create the film.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Yet all that technical prowess would be rather useless without the emotional core that resonates throughout. Elliot has given wise Pinky, in her huge red spectacles, the aforementioned Kierkegaard line (with only the slightest edit): “Life can only be understood backwards, but we’ve got to live it forwards,” she tells Grace. And snails, she adds, never go backwards. Nor should Grace — and nor should we.\u003c/p>\n\u003cp>Who would have thought an R-rated stop-motion film about mollusks could pack such a universal lesson?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Memoir of a Snail’ plays in AMC theaters around the Bay Area on Oct. 23, 2024. It will receive a wider release on Nov. 7, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13966954\" class=\"wp-caption aligncenter\" style=\"max-width: 1380px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966954\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/memorials.png\" alt=\"A book cover depicting a roadside cross and teddy bear.\" width=\"1380\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/memorials.png 1380w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/memorials-800x1159.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/memorials-1020x1478.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/memorials-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/memorials-768x1113.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/memorials-1060x1536.png 1060w\" sizes=\"(max-width: 1380px) 100vw, 1380px\">\u003cfigcaption class=\"wp-caption-text\">‘Memorials’ by Richard Chizmar. \u003ccite>(Gallery Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Richard Chizmar, who co-wrote parts of the \u003cem>Gwendy\u003c/em> trilogy with Stephen King from 2017-2022 (\u003cem>Gwendy’s Button Box\u003c/em> and \u003cem>Gwendy’s Final Task\u003c/em>), has written his longest novel yet and readers should not be surprised that it reads, at least somewhat, like something from the mind of Stephen King.\u003c/p>\n\u003cp>\u003cem>Memorials\u003c/em> is set in 1983 as three students embark on a road trip through Appalachia, documenting roadside memorials for their American Studies 301 class at York College. We soon learn that Billy, Melody and Troy experienced personal loss prior to their college years, so the act of documenting sites where someone else’s loved ones lost their lives turns out to be both educational and personal. Chizmar intentionally gives the trio a very \u003cem>Scooby Doo\u003c/em>-like vibe, even making their wheels, a “Volkswagen Westfalia pop-top camper,” reminiscent of the Mystery Machine.\u003c/p>\n\u003cp>[aside postid='arts_13966390']The plot starts off slow as they meander the back roads, taking Polaroids and shooting VHS video of crosses and balloons and stuffed animals that mark the spots where people died. Chizmark employs a cool narrative trick, providing transcripts of the video footage as they interview locals and loved ones. “The camera zooms closer on his face. His brown eyes are somber but steady. He clears his throat and continues,” is how part of the transcript of Billy’s interview reads. Billy lost his parents in a car accident in Sudbury, Pennsylvania, and it’s when he returns home, visits their roadside memorial, and starts asking questions, that the novel gets more interesting.\u003c/p>\n\u003cp>The story is stuffed with foreshadowing, as various characters are introduced and act suspiciously and as Billy, Melody and Troy begin to find occult signs at memorials and experience strange visions. And while the point is to definitely build tension until the novel’s climax, it sometimes comes across as heavy-handed. A few too many chapters end with italics and you can practically hear the foreboding music as the scene fades to black.\u003c/p>\n\u003cp>When the plot puzzle begins to assemble in the final 100 or so pages, \u003cem>Memorials\u003c/em> really takes off and becomes something altogether different, genuinely earning its placement in the horror section of the bookstore. Readers will have to decide for themselves if the payoff is worth it, but it’s an enjoyable enough ride.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Memorials’ by Richard Chizmar is out on Oct. 22, 2024, via Gallery Books.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13966954\" class=\"wp-caption aligncenter\" style=\"max-width: 1380px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966954\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/memorials.png\" alt=\"A book cover depicting a roadside cross and teddy bear.\" width=\"1380\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/memorials.png 1380w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/memorials-800x1159.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/memorials-1020x1478.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/memorials-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/memorials-768x1113.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/memorials-1060x1536.png 1060w\" sizes=\"(max-width: 1380px) 100vw, 1380px\">\u003cfigcaption class=\"wp-caption-text\">‘Memorials’ by Richard Chizmar. \u003ccite>(Gallery Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Richard Chizmar, who co-wrote parts of the \u003cem>Gwendy\u003c/em> trilogy with Stephen King from 2017-2022 (\u003cem>Gwendy’s Button Box\u003c/em> and \u003cem>Gwendy’s Final Task\u003c/em>), has written his longest novel yet and readers should not be surprised that it reads, at least somewhat, like something from the mind of Stephen King.\u003c/p>\n\u003cp>\u003cem>Memorials\u003c/em> is set in 1983 as three students embark on a road trip through Appalachia, documenting roadside memorials for their American Studies 301 class at York College. We soon learn that Billy, Melody and Troy experienced personal loss prior to their college years, so the act of documenting sites where someone else’s loved ones lost their lives turns out to be both educational and personal. Chizmar intentionally gives the trio a very \u003cem>Scooby Doo\u003c/em>-like vibe, even making their wheels, a “Volkswagen Westfalia pop-top camper,” reminiscent of the Mystery Machine.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The plot starts off slow as they meander the back roads, taking Polaroids and shooting VHS video of crosses and balloons and stuffed animals that mark the spots where people died. Chizmark employs a cool narrative trick, providing transcripts of the video footage as they interview locals and loved ones. “The camera zooms closer on his face. His brown eyes are somber but steady. He clears his throat and continues,” is how part of the transcript of Billy’s interview reads. Billy lost his parents in a car accident in Sudbury, Pennsylvania, and it’s when he returns home, visits their roadside memorial, and starts asking questions, that the novel gets more interesting.\u003c/p>\n\u003cp>The story is stuffed with foreshadowing, as various characters are introduced and act suspiciously and as Billy, Melody and Troy begin to find occult signs at memorials and experience strange visions. And while the point is to definitely build tension until the novel’s climax, it sometimes comes across as heavy-handed. A few too many chapters end with italics and you can practically hear the foreboding music as the scene fades to black.\u003c/p>\n\u003cp>When the plot puzzle begins to assemble in the final 100 or so pages, \u003cem>Memorials\u003c/em> really takes off and becomes something altogether different, genuinely earning its placement in the horror section of the bookstore. Readers will have to decide for themselves if the payoff is worth it, but it’s an enjoyable enough ride.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘Memorials’ by Richard Chizmar is out on Oct. 22, 2024, via Gallery Books.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Roving through the back of my magazine collection recently, I found a much-treasured copy of the second issue of short-lived Beastie Boys fanzine, \u003cem>Grand Royal\u003c/em>. It dates to 1995. I remember excitedly buying it in an X-Large store in New York City and poring over every single page. Looking at it in 2024 however, took me aback. That zine now stands as a screaming monument to how much longer our attention spans were before the internet lived in our pockets.\u003c/p>\n\u003cp>I mention this because opening \u003cem>Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/em> for the first time gave me a similar sensation. The new hardcover collection of \u003cem>Giant Robot\u003c/em> magazine’s highlights from the last three decades might look like a coffee table book on the outside, but on the inside, it’s a reflection of how we used to read. Page after page of densely packed text with minimal images to break up a font that often feels unreasonably small for pages of this size. (It all makes sense: \u003cem>Giant Robot\u003c/em> did, after all, start life in 1994 as a fanzine.)\u003c/p>\n\u003cp>[aside postid='arts_13966153']Facing down \u003cem>Giant Robot\u003c/em>’s nearly 500 pages for the first time would be an intimidating exercise if not for the thoughtfulness of the book’s editors. Eric Nakamura, Francine Yulo, Tracy Hurren, Megan Tan and Tom Devlin clearly anticipated the attention span challenge and adapted accordingly. As such, the content here is split into color-coded categories — identity, cinema, comics and manga, music, travel, food, fashion, sports, toys, and art — thereby making it easy to locate your passion of choice and dive in with intention.\u003c/p>\n\u003cp>The cinema section contains the most recognizable names in the book, thanks to interviews with the likes of Chow Yun-Fat, \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>, \u003ca href=\"https://www.kqed.org/arts/13915798/in-thor-love-and-thunder-waititis-familiar-strains-feel-familiar-and-strained\">Taika Waititi\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13955458/dev-patels-monkey-man-is-a-political-allegory-bathed-in-blood\">Dev Patel\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13750397/now-playing-johnnie-tos-crime-wave\">John Woo\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13915702/mr-malcolms-list-susan-allain-regency-romance-london\">Freida Pinto\u003c/a>, \u003ca href=\"https://www.kqed.org/news/tag/george-takei\">George Takei\u003c/a> and \u003cem>Spirited Away\u003c/em> legend \u003ca href=\"https://www.kqed.org/arts/13934544/the-boy-and-the-heron-hayao-miyazaki-animation-anime-dream\">Hayao Miyazaki\u003c/a>. My personal favorite, however, is a Q&A with \u003ca href=\"https://www.npr.org/sections/codeswitch/2015/02/06/384307677/whats-so-cringe-worthy-about-long-duk-dong-in-sixteen-candles\">Gedde Watanabe\u003c/a> (who played Long Duk Dong in \u003cem>Sixteen Candles\u003c/em>), in which he bluntly shares his feelings about the \u003ca href=\"https://www.kqed.org/arts/11815363/seoul-searching-transplants-80s-teen-movies-to-summer-camp-in-south-korea\">problematic character\u003c/a> he’s most famous for.\u003c/p>\n\u003cp>The music section sees stars like Yeah Yeah Yeahs and Money Mark rubbing shoulders with more obscure artists. The 2007 remembrance here of Lance Hahn — San Francisco punk rock treasure, J Church vocalist and former \u003cem>Giant Robot\u003c/em> contributor — almost knocked me down with a wave of bittersweet nostalgia. (The story also includes Bay Area folks from \u003ca href=\"https://www.kqed.org/arts/13804539/jawbreaker-plays-first-show-in-21-years-video-photos-setlist\">Jawbreaker\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/11782160/the-five-weirdest-records-i-ever-bought-at-aquarius-records-r-i-p\">Aquarius Records\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13833821/nofxs-fat-mike-under-fire-for-tasteless-joke-about-las-vegas-massacre\">Fat Wreck Chords\u003c/a> sharing quotes about Hahn’s life.)\u003c/p>\n\u003cfigure id=\"attachment_13966425\" class=\"wp-caption aligncenter\" style=\"max-width: 1498px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966425\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown.png\" alt=\"The page of a magazine headlined 'The OG of American Chinatowns.’\" width=\"1498\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown.png 1498w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-800x1068.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-1020x1362.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-160x214.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-768x1025.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-1150x1536.png 1150w\" sizes=\"(max-width: 1498px) 100vw, 1498px\">\u003cfigcaption class=\"wp-caption-text\">A 1998 story about the history of San Francisco’s Chinatown, as seen in ‘Giant Robot: Thirty Years of Defining Asian American Pop Culture.’ \u003ccite>(Robot Factory Incorporated/Drawn & Quarterly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Hahn profile is just one of the ways \u003cem>Giant Robot\u003c/em> reflects Bay Area culture, despite having always been based in Los Angeles. \u003ca href=\"https://www.kqed.org/arts/tag/chinatown\">San Francisco’s Chinatown\u003c/a> garners an article titled “The OG of American Chinatowns,” complete with an entire profile of Mr. Bing’s dive bar. There is a recollection of the student-led \u003ca href=\"https://www.youtube.com/watch?v=As_P3DueKrY\">San Francisco State University strike of 1968\u003c/a>. UC Berkeley radicals Richard Aoki, Harvey Dong, Steve Louie and Vicci Wong are also interviewed about historical Bay Area activism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So too are there Bay Area figures peppered throughout. \u003ca href=\"https://www.kqed.org/pop/20739/hollywood-so-white-margaret-cho-other-bay-area-locals-on-the-epidemic-of-invisibility\">Margaret Cho\u003c/a> contributes a particularly hilarious 1996 column titled “White Guys That Like Asian Girls.“ (Quote: “Andrew McCarthy is everything Asian girls like about white guys. Quietly handsome, not overly masculine, sweaty-palmed, neatly dressed in blues and grays and, when we want, really good at looking bewildered.”)\u003c/p>\n\u003cp>[aside postid='arts_13965937']Then there’s the food section: so gloriously anarchic, it almost defies description. Just know that it includes a defense of MSG, a guide to Asian liquor, recipes that the Filipino inmates at L.A. County Jail made after hours in 2002, and a 1995 article about something called the “Cambodian Doughnut Cartel.”\u003c/p>\n\u003cp>So, yes. Do not let the enormity of \u003cem>Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/em> turn you off. Having this portable collection of \u003cem>Giant Robot\u003c/em>’s back catalog isn’t just a treat, it also reflects how print media has changed and evolved during the age of the internet. (Unsurprisingly, those pages crammed with text dissipate as the years pass.) Even more importantly, this collection stands as an indispensable documentation of Asian American contributions to the culture, both mainstream and underground, over a very long period of time.\u003c/p>\n\u003cp>Best of all? It’s so entertaining, it’ll make you want to read like it’s still the ’90s.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.giantrobot.com/collections/giant-robot-magazine/products/preorder-giant-robot-thirty-years-of-defining-asian-american-pop-culture-hardcover-signed\">Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/a>’ edited by Eric Nakamura, Francine Yulo, Tracy Hurren, Megan Tan and Tom Devlin is out on Oct. 21, 2024, from \u003ca href=\"https://drawnandquarterly.com/books/giant-robot-thirty-years-of-defining-asian-american-pop-culture/\">Drawn & Quarterly\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Eric Nakamura will be at San Francisco’s \u003ca href=\"https://www.silversprocket.net/events/in-store-events-at-1018-valencia-st/\">Silver Sprocket\u003c/a> (1018 Valencia St.) for a booksigning on Oct. 26, 2024. He’ll also be in conversation with illustrator Felicia Chiao, artist Windy Chien and Jawbreaker drummer Adam Pfahler.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Roving through the back of my magazine collection recently, I found a much-treasured copy of the second issue of short-lived Beastie Boys fanzine, \u003cem>Grand Royal\u003c/em>. It dates to 1995. I remember excitedly buying it in an X-Large store in New York City and poring over every single page. Looking at it in 2024 however, took me aback. That zine now stands as a screaming monument to how much longer our attention spans were before the internet lived in our pockets.\u003c/p>\n\u003cp>I mention this because opening \u003cem>Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/em> for the first time gave me a similar sensation. The new hardcover collection of \u003cem>Giant Robot\u003c/em> magazine’s highlights from the last three decades might look like a coffee table book on the outside, but on the inside, it’s a reflection of how we used to read. Page after page of densely packed text with minimal images to break up a font that often feels unreasonably small for pages of this size. (It all makes sense: \u003cem>Giant Robot\u003c/em> did, after all, start life in 1994 as a fanzine.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Facing down \u003cem>Giant Robot\u003c/em>’s nearly 500 pages for the first time would be an intimidating exercise if not for the thoughtfulness of the book’s editors. Eric Nakamura, Francine Yulo, Tracy Hurren, Megan Tan and Tom Devlin clearly anticipated the attention span challenge and adapted accordingly. As such, the content here is split into color-coded categories — identity, cinema, comics and manga, music, travel, food, fashion, sports, toys, and art — thereby making it easy to locate your passion of choice and dive in with intention.\u003c/p>\n\u003cp>The cinema section contains the most recognizable names in the book, thanks to interviews with the likes of Chow Yun-Fat, \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>, \u003ca href=\"https://www.kqed.org/arts/13915798/in-thor-love-and-thunder-waititis-familiar-strains-feel-familiar-and-strained\">Taika Waititi\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13955458/dev-patels-monkey-man-is-a-political-allegory-bathed-in-blood\">Dev Patel\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13750397/now-playing-johnnie-tos-crime-wave\">John Woo\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13915702/mr-malcolms-list-susan-allain-regency-romance-london\">Freida Pinto\u003c/a>, \u003ca href=\"https://www.kqed.org/news/tag/george-takei\">George Takei\u003c/a> and \u003cem>Spirited Away\u003c/em> legend \u003ca href=\"https://www.kqed.org/arts/13934544/the-boy-and-the-heron-hayao-miyazaki-animation-anime-dream\">Hayao Miyazaki\u003c/a>. My personal favorite, however, is a Q&A with \u003ca href=\"https://www.npr.org/sections/codeswitch/2015/02/06/384307677/whats-so-cringe-worthy-about-long-duk-dong-in-sixteen-candles\">Gedde Watanabe\u003c/a> (who played Long Duk Dong in \u003cem>Sixteen Candles\u003c/em>), in which he bluntly shares his feelings about the \u003ca href=\"https://www.kqed.org/arts/11815363/seoul-searching-transplants-80s-teen-movies-to-summer-camp-in-south-korea\">problematic character\u003c/a> he’s most famous for.\u003c/p>\n\u003cp>The music section sees stars like Yeah Yeah Yeahs and Money Mark rubbing shoulders with more obscure artists. The 2007 remembrance here of Lance Hahn — San Francisco punk rock treasure, J Church vocalist and former \u003cem>Giant Robot\u003c/em> contributor — almost knocked me down with a wave of bittersweet nostalgia. (The story also includes Bay Area folks from \u003ca href=\"https://www.kqed.org/arts/13804539/jawbreaker-plays-first-show-in-21-years-video-photos-setlist\">Jawbreaker\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/11782160/the-five-weirdest-records-i-ever-bought-at-aquarius-records-r-i-p\">Aquarius Records\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13833821/nofxs-fat-mike-under-fire-for-tasteless-joke-about-las-vegas-massacre\">Fat Wreck Chords\u003c/a> sharing quotes about Hahn’s life.)\u003c/p>\n\u003cfigure id=\"attachment_13966425\" class=\"wp-caption aligncenter\" style=\"max-width: 1498px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966425\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown.png\" alt=\"The page of a magazine headlined 'The OG of American Chinatowns.’\" width=\"1498\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown.png 1498w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-800x1068.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-1020x1362.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-160x214.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-768x1025.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/chinatown-1150x1536.png 1150w\" sizes=\"(max-width: 1498px) 100vw, 1498px\">\u003cfigcaption class=\"wp-caption-text\">A 1998 story about the history of San Francisco’s Chinatown, as seen in ‘Giant Robot: Thirty Years of Defining Asian American Pop Culture.’ \u003ccite>(Robot Factory Incorporated/Drawn & Quarterly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Hahn profile is just one of the ways \u003cem>Giant Robot\u003c/em> reflects Bay Area culture, despite having always been based in Los Angeles. \u003ca href=\"https://www.kqed.org/arts/tag/chinatown\">San Francisco’s Chinatown\u003c/a> garners an article titled “The OG of American Chinatowns,” complete with an entire profile of Mr. Bing’s dive bar. There is a recollection of the student-led \u003ca href=\"https://www.youtube.com/watch?v=As_P3DueKrY\">San Francisco State University strike of 1968\u003c/a>. UC Berkeley radicals Richard Aoki, Harvey Dong, Steve Louie and Vicci Wong are also interviewed about historical Bay Area activism.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So too are there Bay Area figures peppered throughout. \u003ca href=\"https://www.kqed.org/pop/20739/hollywood-so-white-margaret-cho-other-bay-area-locals-on-the-epidemic-of-invisibility\">Margaret Cho\u003c/a> contributes a particularly hilarious 1996 column titled “White Guys That Like Asian Girls.“ (Quote: “Andrew McCarthy is everything Asian girls like about white guys. Quietly handsome, not overly masculine, sweaty-palmed, neatly dressed in blues and grays and, when we want, really good at looking bewildered.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Then there’s the food section: so gloriously anarchic, it almost defies description. Just know that it includes a defense of MSG, a guide to Asian liquor, recipes that the Filipino inmates at L.A. County Jail made after hours in 2002, and a 1995 article about something called the “Cambodian Doughnut Cartel.”\u003c/p>\n\u003cp>So, yes. Do not let the enormity of \u003cem>Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/em> turn you off. Having this portable collection of \u003cem>Giant Robot\u003c/em>’s back catalog isn’t just a treat, it also reflects how print media has changed and evolved during the age of the internet. (Unsurprisingly, those pages crammed with text dissipate as the years pass.) Even more importantly, this collection stands as an indispensable documentation of Asian American contributions to the culture, both mainstream and underground, over a very long period of time.\u003c/p>\n\u003cp>Best of all? It’s so entertaining, it’ll make you want to read like it’s still the ’90s.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.giantrobot.com/collections/giant-robot-magazine/products/preorder-giant-robot-thirty-years-of-defining-asian-american-pop-culture-hardcover-signed\">Giant Robot: Thirty Years of Defining Asian American Pop Culture\u003c/a>’ edited by Eric Nakamura, Francine Yulo, Tracy Hurren, Megan Tan and Tom Devlin is out on Oct. 21, 2024, from \u003ca href=\"https://drawnandquarterly.com/books/giant-robot-thirty-years-of-defining-asian-american-pop-culture/\">Drawn & Quarterly\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Eric Nakamura will be at San Francisco’s \u003ca href=\"https://www.silversprocket.net/events/in-store-events-at-1018-valencia-st/\">Silver Sprocket\u003c/a> (1018 Valencia St.) for a booksigning on Oct. 26, 2024. He’ll also be in conversation with illustrator Felicia Chiao, artist Windy Chien and Jawbreaker drummer Adam Pfahler.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"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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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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"info": "",
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"title": "Tech Nation Radio Podcast",
"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
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"ted-radio-hour": {
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"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
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