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"content": "\u003cp>“Are we racists?” That’s the blunt question posed by Bobo, a white girl living on a farm in Africa, to her horrified (and defensive) mother.\u003c/p>\n\u003cp>There are so many ways this three-word line reading could land wrongly — or just seem forced or mannered. But it feels thoroughly organic when voiced by Lexi Venter, an extraordinary first-time actor who gives, at age 7, one of the more compelling child performances in recent memory in \u003cem>Don’t Let’s Go to the Dogs Tonight.\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13978477']It’s a performance that was seeded, watered and nurtured by Embeth Davidtz, an extraordinary actor herself who wrote, directed and stars in this adaptation of Alexandra Fuller’s admired 2001 memoir. One imagines Davidtz, in her triple role (and as a first-time director), had hundreds upon hundreds of decisions to make. Her most important, though, was finding and casting this youngster possessed of a wild nature, a mop of unruly hair and a face like a broad canvas waiting to be painted.\u003c/p>\n\u003cp>The movie, which chronicles one family’s life in the turbulent, waning days of white rule in Zimbabwe (formerly Rhodesia), was not always going to be narrated by a child. Davidtz’s first attempt at adapting the memoir, told in third person, was too remote, she herself has said. Then she zoomed in on the idea of telling the tale uniquely from Bobo’s perspective.\u003c/p>\n\u003cp>Davidtz, who spent much of her childhood in South Africa, was drawn to the project because it recalled her own experience growing up in a world where racial inequality and violence were everywhere, but none of the adult explanations made much sense.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The director’s own family life also included, like the Fuller family’s, mental illness and alcoholism; she has said that neither the outside world nor home life felt safe.\u003c/p>\n\u003cp>And that’s how it is for Bobo, 8 years old when we meet her, the younger of two daughters of Nicola and Tim Fuller. We will soon learn that another daughter died as a toddler in a tragic drowning — one of the reasons Nicola (Davidtz) is so emotionally tied to the family farm, as conveyed in one particularly brutal scene brimming with rage. She may not be native to the land, but her offspring is buried in its soil.\u003c/p>\n\u003cp>[aside postid='arts_13978372']We begin with Bobo explaining how she’s afraid to go alone to pee in the night. “Terrorists,” as they’ve been described by the adults, might lurk anywhere, even on the way to the bathroom, carrying a gun or knife or spear.\u003c/p>\n\u003cp>But imaginary threats are accompanied by real ones. During the day, a trip into town with her mother necessitates an escort vehicle. “I really hope we don’t die in an ambush today,” Bobo says casually to an armed guard. This is a child who helps her Dad pack his ammo at breakfast.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WoDuyG6jLyA\u003c/p>\n\u003cp>The film, shot in South Africa, is set in the days before and after the 1980 parliamentary election — a crucial vote that will bring the Black majority to power in Zimbabwe under Robert Mugabe. Visiting her parents’ home, Nicola patronizingly instructs their Black servants which candidate to support.\u003c/p>\n\u003cp>At home, Nicola’s desperation rages. She drinks bourbon by the bottle and sleeps with a huge gun. She doesn’t spend much time with her daughters, which leaves Bobo plenty of time to hang out with the animals, ride her motorbike, and smoke cigarettes.\u003c/p>\n\u003cp>Such habits earn Bobo the disapproval of her most valued friend, Sarah (Zikhona Bali, in a warm and nuanced performance), one of two adult servants who work on the farm. The other is Jacob (Fumani N. Shilubana), who warns Sarah that her relationship with Bobo is too publicly affectionate in these precarious times. Besides, he tells her, Bobo thinks of her as a “stupid village girl.”\u003c/p>\n\u003cp>[aside postid='arts_13978260']But there is real affection between the two. Privately, they laugh and share stories. And Sarah, conscious of the risks, tries to be the attentive parent Bobo lacks. When she catches the girl, messy-haired and smudgy-faced, smoking — at age 7! — she scolds her. “There’s nothing wrong with me, I’m perfect!” Bobo replies, with the self-belief that comes from a childhood spent bossing around people like Sarah.\u003c/p>\n\u003cp>You can direct moments like this, as Davidtz does expertly while somehow turning in a heartbreaking and increasingly unhinged performance of her own. But you can’t manufacture lightning in a bottle — for example, the infectious joy Venter exudes, even while family is losing everything, singing a rowdy song about a stripper.\u003c/p>\n\u003cp>Davidtz has said she searched far and wide to find her star, interviewing experienced child actors but not finding the “feral” girl she needed. A Facebook search yielded Venter. Davidtz knew she was right before even meeting her in person. Working with the girl three hours a day, she did not give her a script, but rather provided guidance and let her improvise.\u003c/p>\n\u003cp>Nobody’s perfect, though Bobo may think she is. But in Venter’s performance, Davidtz has found something pretty close: a child actor who can carry an entire film and never seem like she’s acting. Bobo’s story has now been told; let’s hope we see young Venter telling many more.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Don’t Let’s Go to the Dogs Tonight’ is out nationwide on July 11, 2025.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Are we racists?” That’s the blunt question posed by Bobo, a white girl living on a farm in Africa, to her horrified (and defensive) mother.\u003c/p>\n\u003cp>There are so many ways this three-word line reading could land wrongly — or just seem forced or mannered. But it feels thoroughly organic when voiced by Lexi Venter, an extraordinary first-time actor who gives, at age 7, one of the more compelling child performances in recent memory in \u003cem>Don’t Let’s Go to the Dogs Tonight.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s a performance that was seeded, watered and nurtured by Embeth Davidtz, an extraordinary actor herself who wrote, directed and stars in this adaptation of Alexandra Fuller’s admired 2001 memoir. One imagines Davidtz, in her triple role (and as a first-time director), had hundreds upon hundreds of decisions to make. Her most important, though, was finding and casting this youngster possessed of a wild nature, a mop of unruly hair and a face like a broad canvas waiting to be painted.\u003c/p>\n\u003cp>The movie, which chronicles one family’s life in the turbulent, waning days of white rule in Zimbabwe (formerly Rhodesia), was not always going to be narrated by a child. Davidtz’s first attempt at adapting the memoir, told in third person, was too remote, she herself has said. Then she zoomed in on the idea of telling the tale uniquely from Bobo’s perspective.\u003c/p>\n\u003cp>Davidtz, who spent much of her childhood in South Africa, was drawn to the project because it recalled her own experience growing up in a world where racial inequality and violence were everywhere, but none of the adult explanations made much sense.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The director’s own family life also included, like the Fuller family’s, mental illness and alcoholism; she has said that neither the outside world nor home life felt safe.\u003c/p>\n\u003cp>And that’s how it is for Bobo, 8 years old when we meet her, the younger of two daughters of Nicola and Tim Fuller. We will soon learn that another daughter died as a toddler in a tragic drowning — one of the reasons Nicola (Davidtz) is so emotionally tied to the family farm, as conveyed in one particularly brutal scene brimming with rage. She may not be native to the land, but her offspring is buried in its soil.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>We begin with Bobo explaining how she’s afraid to go alone to pee in the night. “Terrorists,” as they’ve been described by the adults, might lurk anywhere, even on the way to the bathroom, carrying a gun or knife or spear.\u003c/p>\n\u003cp>But imaginary threats are accompanied by real ones. During the day, a trip into town with her mother necessitates an escort vehicle. “I really hope we don’t die in an ambush today,” Bobo says casually to an armed guard. This is a child who helps her Dad pack his ammo at breakfast.\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/WoDuyG6jLyA'\n title='//www.youtube.com/embed/WoDuyG6jLyA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The film, shot in South Africa, is set in the days before and after the 1980 parliamentary election — a crucial vote that will bring the Black majority to power in Zimbabwe under Robert Mugabe. Visiting her parents’ home, Nicola patronizingly instructs their Black servants which candidate to support.\u003c/p>\n\u003cp>At home, Nicola’s desperation rages. She drinks bourbon by the bottle and sleeps with a huge gun. She doesn’t spend much time with her daughters, which leaves Bobo plenty of time to hang out with the animals, ride her motorbike, and smoke cigarettes.\u003c/p>\n\u003cp>Such habits earn Bobo the disapproval of her most valued friend, Sarah (Zikhona Bali, in a warm and nuanced performance), one of two adult servants who work on the farm. The other is Jacob (Fumani N. Shilubana), who warns Sarah that her relationship with Bobo is too publicly affectionate in these precarious times. Besides, he tells her, Bobo thinks of her as a “stupid village girl.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But there is real affection between the two. Privately, they laugh and share stories. And Sarah, conscious of the risks, tries to be the attentive parent Bobo lacks. When she catches the girl, messy-haired and smudgy-faced, smoking — at age 7! — she scolds her. “There’s nothing wrong with me, I’m perfect!” Bobo replies, with the self-belief that comes from a childhood spent bossing around people like Sarah.\u003c/p>\n\u003cp>You can direct moments like this, as Davidtz does expertly while somehow turning in a heartbreaking and increasingly unhinged performance of her own. But you can’t manufacture lightning in a bottle — for example, the infectious joy Venter exudes, even while family is losing everything, singing a rowdy song about a stripper.\u003c/p>\n\u003cp>Davidtz has said she searched far and wide to find her star, interviewing experienced child actors but not finding the “feral” girl she needed. A Facebook search yielded Venter. Davidtz knew she was right before even meeting her in person. Working with the girl three hours a day, she did not give her a script, but rather provided guidance and let her improvise.\u003c/p>\n\u003cp>Nobody’s perfect, though Bobo may think she is. But in Venter’s performance, Davidtz has found something pretty close: a child actor who can carry an entire film and never seem like she’s acting. Bobo’s story has now been told; let’s hope we see young Venter telling many more.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Don’t Let’s Go to the Dogs Tonight’ is out nationwide on July 11, 2025.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The banjo is almost as symbolic of U.S. culture as the Washington Monument, and, just like the obelisk, it was \u003ca href=\"https://www.si.edu/spotlight/banjos-smithsonian\" target=\"_blank\" rel=\"noopener\">created by people from the African continent\u003c/a>.\u003c/p>\n\u003cp>That history is what \u003ca href=\"https://www.instagram.com/hannah_mayree/?hl=en\" target=\"_blank\" rel=\"noopener\">Hannah Mayree\u003c/a>, co-founder of \u003ca href=\"https://www.instagram.com/black.banjo.reclamation/\" target=\"_blank\" rel=\"noopener\">The Black Banjo Reclamation Project\u003c/a>, wants people to know. So this Sunday, July 13, at 924 Gilman in Berkeley, they’re hosting a \u003ca href=\"https://www.eventbrite.com/e/banjo-reclamation-showcase-tickets-1388958555429?aff=ebdsshios&fbclid=PAZXh0bgNhZW0CMTEAAaewgJF8cFPkoEwSiZ7DlG7OCHyiZPjGGPZZMlkg0zFf-9CZg2l2MdGJ557gLg_aem_DJWWSLrHKQcwluSjWsOToA\" target=\"_blank\" rel=\"noopener\">Banjo Reclamation Showcase\u003c/a>.\u003c/p>\n\u003cp>The event celebrates five years of banjo-making workshops in the Bay Area and around the nation. In that time, The Black Banjo Reclamation Project has gotten refurbished instruments into people’s hands while providing historical context to those who want to learn the art.\u003c/p>\n\u003cp>Sunday’s showcase will feature live performances, local food vendors and conversations about the instrument’s history. It caps off a week of cultural immersion, which includes \u003ca href=\"https://www.blackbanjoreclamationproject.org/events-1/afro-folk-vinyl-dinner-party-community-program\" target=\"_blank\" rel=\"noopener\">a more intimate gathering on Friday evening at Couch Date in downtown Oakland\u003c/a>.\u003c/p>\n\u003cp>Mayree, who has deep family roots in the Bay Area, says this work to highlight the banjo is about music, history and culture, as well as skilled labor.\u003c/p>\n\u003cfigure id=\"attachment_13978504\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978504\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-4-e1752041046811.jpg\" alt=\"\" width=\"2000\" height=\"1547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-4-e1752041046811.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-4-e1752041046811-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-4-e1752041046811-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-4-e1752041046811-1536x1188.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hannah Mayree is a singer, banjoist and woodworker who was born in the Bay Area and raised in Sacramento. \u003ccite>(Alan Shekter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A young Mayree first picked up the banjo after the Carolina Chocolate Drops \u003ca href=\"https://www.grammy.com/artists/carolina-chocolate-drops/14540\" target=\"_blank\" rel=\"noopener\">won a Grammy for their 2010 album, \u003cem>Genuine Negro Jig\u003c/em>\u003c/a>, thrusting Black banjo players into popular discourse.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the years since, former Chocolate Drops member Súle Greg Wilson worked alongside Mayree with The Black Banjo Reclamation Project. (In 2024, the band’s founder, Rhiannon Giddens, helped usher the instrument into pop culture once again when she played on Beyoncé’s hit “Texas Hold ’Em.” Next week \u003ca href=\"https://gmc.sonoma.edu/rhiannon-giddens/\" target=\"_blank\" rel=\"noopener\">Giddens is set to perform in Santa Rosa\u003c/a>, Mayree will open for her. ) [aside postid='arts_13978449']\u003c/p>\n\u003cp>Mayree has spent a decade-and-a-half touring, busking and performing at large venues. Often they find themselves having to explain a simple fact: “Not only do Black people play the banjo,” says Mayree, “but it comes from Black people.”\u003c/p>\n\u003cp>They wondered why this wasn’t common knowledge. Then they thought about representation, and who’s most often depicted playing the instrument. “I’m looking around,” says Mayree, “and I’m just seeing a lot of white people playing the banjo.”\u003c/p>\n\u003cp>But Mayree knew it was more of an issue of access than interest. So in late 2018 they launched The Banjo Brokerage, a program that invites people to donate used banjos so they can be repaired and re-homed to Black folks who want to learn how to play.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bBCNF2VKPLM&t=93s\u003c/p>\n\u003cp>Subsequently, they co-founded The Black Banjo Reclamation Project, which allows people the opportunity to craft their own instruments. And not just regular banjos, but gourd banjos as well.\u003c/p>\n\u003cp>Mayree grew interested in the gourd banjo because the handcrafted instrument has a unique sound. Made from raw materials, it allows musicians to forge a true connection to the earth.\u003c/p>\n\u003cp>“These gourds are heritage plants that have been used in Black culture, and African culture for thousands of years,” says Mayree, adding that the rare design adds a layer of difficulty.\u003c/p>\n\u003cp>But for the purposes of the workshops, the gourds are harvested in Arizona, paired with wood sourced from Northern California, pre-fabricated and put into user-friendly packages so attendees can learn how to craft their own banjos. [aside postid='arts_13978193']\u003c/p>\n\u003cp>The hope, Mayree says, is that person might even be inspired to seek a career in building and repairing other instruments.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dfoRDOGjFQs\u003c/p>\n\u003cp>“There are very few Black people who are in the profession of lutherie,” they say while discussing the craft of building and repairing string instruments.\u003c/p>\n\u003cp>Being a luthier is quality skilled labor. While their organization is all about sharing music and celebrating heritage, they’re also focused on the development of employable skills.\u003c/p>\n\u003cp>“American music, quote-unquote,” Mayree says, “is something that Black people are responsible for, so that’s why this became an initiative and a campaign to bring these skills back into the Black community.”\u003c/p>\n\u003cp>They add, “that way we’re not just asking white people for these banjo reparations. We’re actually using self-determination to create the solution.”\u003c/p>\n\u003cfigure id=\"attachment_13978509\" class=\"wp-caption aligncenter\" style=\"max-width: 824px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13978509 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1-1-e1752076453781.jpg\" alt=\"A candid black and white photo of a man with glasses and a hat playing a banjo. \" width=\"824\" height=\"850\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1-1-e1752076453781.jpg 824w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1-1-e1752076453781-160x165.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1-1-e1752076453781-768x792.jpg 768w\" sizes=\"auto, (max-width: 824px) 100vw, 824px\">\u003cfigcaption class=\"wp-caption-text\">Súle Greg Wilson, educator and musician, plays his banjo. \u003ccite>(Sulyiman Stokes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After setbacks during the COVID-19 pandemic, The Black Banjo Reclamation Project has steadily been building momentum.\u003c/p>\n\u003cp>Working with community since the start, the group has held gatherings at the \u003ca href=\"https://www.alenamuseum.com/\" target=\"_blank\" rel=\"noopener\">Alena Museum\u003c/a>, as well as potlucks at Oakland’s \u003ca href=\"https://www.eastsideartsalliance.org/\" target=\"_blank\" rel=\"noopener\">EastSide Arts Alliance\u003c/a> and events at the adjacent \u003ca href=\"https://bookshop.org/shop/BandungBooks\" target=\"_blank\" rel=\"noopener\">Bandung Books\u003c/a>.\u003c/p>\n\u003cp>They’ve done workshops in Chicago, Nashville and Port Townsend, Washington. Last year they received a grant from \u003ca href=\"https://actaonline.org/\" target=\"_blank\" rel=\"noopener\">the Alliance for California Traditional Arts\u003c/a>, and they currently offer monthly banjo workshops at \u003ca href=\"https://thefreight.org/\" target=\"_blank\" rel=\"noopener\">The Freight\u003c/a> in Berkeley.\u003c/p>\n\u003cp>Doing this work in the Bay Area is extremely important for Mayree. “My mom was born here,” they say, adding that their grandmother came to the Bay Area from Florida during the Great Migration. “I no longer live here,” adds Mayree, “but it was really important for us to bring this program back to the Bay Area.”\u003c/p>\n\u003cp>Referring to banjo music, craftsmanship, history and culture, Mayree says, “This is what we’re known for, around the country and around the world. And so, it was just really important to bring that back here.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Black Banjo Reclamation Project’s Banjo Showcase is July 13 at 924 Gilman in Berkeley. \u003ca href=\"https://www.blackbanjoreclamationproject.org/events-1/banjo-reclamation-showcase-community-program\" target=\"_blank\" rel=\"noopener\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"subhead": "The Black Banjo Reclamation Project is reviving the banjo in East Bay and beyond",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The banjo is almost as symbolic of U.S. culture as the Washington Monument, and, just like the obelisk, it was \u003ca href=\"https://www.si.edu/spotlight/banjos-smithsonian\" target=\"_blank\" rel=\"noopener\">created by people from the African continent\u003c/a>.\u003c/p>\n\u003cp>That history is what \u003ca href=\"https://www.instagram.com/hannah_mayree/?hl=en\" target=\"_blank\" rel=\"noopener\">Hannah Mayree\u003c/a>, co-founder of \u003ca href=\"https://www.instagram.com/black.banjo.reclamation/\" target=\"_blank\" rel=\"noopener\">The Black Banjo Reclamation Project\u003c/a>, wants people to know. So this Sunday, July 13, at 924 Gilman in Berkeley, they’re hosting a \u003ca href=\"https://www.eventbrite.com/e/banjo-reclamation-showcase-tickets-1388958555429?aff=ebdsshios&fbclid=PAZXh0bgNhZW0CMTEAAaewgJF8cFPkoEwSiZ7DlG7OCHyiZPjGGPZZMlkg0zFf-9CZg2l2MdGJ557gLg_aem_DJWWSLrHKQcwluSjWsOToA\" target=\"_blank\" rel=\"noopener\">Banjo Reclamation Showcase\u003c/a>.\u003c/p>\n\u003cp>The event celebrates five years of banjo-making workshops in the Bay Area and around the nation. In that time, The Black Banjo Reclamation Project has gotten refurbished instruments into people’s hands while providing historical context to those who want to learn the art.\u003c/p>\n\u003cp>Sunday’s showcase will feature live performances, local food vendors and conversations about the instrument’s history. It caps off a week of cultural immersion, which includes \u003ca href=\"https://www.blackbanjoreclamationproject.org/events-1/afro-folk-vinyl-dinner-party-community-program\" target=\"_blank\" rel=\"noopener\">a more intimate gathering on Friday evening at Couch Date in downtown Oakland\u003c/a>.\u003c/p>\n\u003cp>Mayree, who has deep family roots in the Bay Area, says this work to highlight the banjo is about music, history and culture, as well as skilled labor.\u003c/p>\n\u003cfigure id=\"attachment_13978504\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978504\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-4-e1752041046811.jpg\" alt=\"\" width=\"2000\" height=\"1547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-4-e1752041046811.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-4-e1752041046811-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-4-e1752041046811-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-4-e1752041046811-1536x1188.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hannah Mayree is a singer, banjoist and woodworker who was born in the Bay Area and raised in Sacramento. \u003ccite>(Alan Shekter)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A young Mayree first picked up the banjo after the Carolina Chocolate Drops \u003ca href=\"https://www.grammy.com/artists/carolina-chocolate-drops/14540\" target=\"_blank\" rel=\"noopener\">won a Grammy for their 2010 album, \u003cem>Genuine Negro Jig\u003c/em>\u003c/a>, thrusting Black banjo players into popular discourse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the years since, former Chocolate Drops member Súle Greg Wilson worked alongside Mayree with The Black Banjo Reclamation Project. (In 2024, the band’s founder, Rhiannon Giddens, helped usher the instrument into pop culture once again when she played on Beyoncé’s hit “Texas Hold ’Em.” Next week \u003ca href=\"https://gmc.sonoma.edu/rhiannon-giddens/\" target=\"_blank\" rel=\"noopener\">Giddens is set to perform in Santa Rosa\u003c/a>, Mayree will open for her. ) \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mayree has spent a decade-and-a-half touring, busking and performing at large venues. Often they find themselves having to explain a simple fact: “Not only do Black people play the banjo,” says Mayree, “but it comes from Black people.”\u003c/p>\n\u003cp>They wondered why this wasn’t common knowledge. Then they thought about representation, and who’s most often depicted playing the instrument. “I’m looking around,” says Mayree, “and I’m just seeing a lot of white people playing the banjo.”\u003c/p>\n\u003cp>But Mayree knew it was more of an issue of access than interest. So in late 2018 they launched The Banjo Brokerage, a program that invites people to donate used banjos so they can be repaired and re-homed to Black folks who want to learn how to play.\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/bBCNF2VKPLM'\n title='//www.youtube.com/embed/bBCNF2VKPLM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Subsequently, they co-founded The Black Banjo Reclamation Project, which allows people the opportunity to craft their own instruments. And not just regular banjos, but gourd banjos as well.\u003c/p>\n\u003cp>Mayree grew interested in the gourd banjo because the handcrafted instrument has a unique sound. Made from raw materials, it allows musicians to forge a true connection to the earth.\u003c/p>\n\u003cp>“These gourds are heritage plants that have been used in Black culture, and African culture for thousands of years,” says Mayree, adding that the rare design adds a layer of difficulty.\u003c/p>\n\u003cp>But for the purposes of the workshops, the gourds are harvested in Arizona, paired with wood sourced from Northern California, pre-fabricated and put into user-friendly packages so attendees can learn how to craft their own banjos. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The hope, Mayree says, is that person might even be inspired to seek a career in building and repairing other instruments.\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/dfoRDOGjFQs'\n title='//www.youtube.com/embed/dfoRDOGjFQs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“There are very few Black people who are in the profession of lutherie,” they say while discussing the craft of building and repairing string instruments.\u003c/p>\n\u003cp>Being a luthier is quality skilled labor. While their organization is all about sharing music and celebrating heritage, they’re also focused on the development of employable skills.\u003c/p>\n\u003cp>“American music, quote-unquote,” Mayree says, “is something that Black people are responsible for, so that’s why this became an initiative and a campaign to bring these skills back into the Black community.”\u003c/p>\n\u003cp>They add, “that way we’re not just asking white people for these banjo reparations. We’re actually using self-determination to create the solution.”\u003c/p>\n\u003cfigure id=\"attachment_13978509\" class=\"wp-caption aligncenter\" style=\"max-width: 824px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13978509 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1-1-e1752076453781.jpg\" alt=\"A candid black and white photo of a man with glasses and a hat playing a banjo. \" width=\"824\" height=\"850\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1-1-e1752076453781.jpg 824w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1-1-e1752076453781-160x165.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1-1-e1752076453781-768x792.jpg 768w\" sizes=\"auto, (max-width: 824px) 100vw, 824px\">\u003cfigcaption class=\"wp-caption-text\">Súle Greg Wilson, educator and musician, plays his banjo. \u003ccite>(Sulyiman Stokes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After setbacks during the COVID-19 pandemic, The Black Banjo Reclamation Project has steadily been building momentum.\u003c/p>\n\u003cp>Working with community since the start, the group has held gatherings at the \u003ca href=\"https://www.alenamuseum.com/\" target=\"_blank\" rel=\"noopener\">Alena Museum\u003c/a>, as well as potlucks at Oakland’s \u003ca href=\"https://www.eastsideartsalliance.org/\" target=\"_blank\" rel=\"noopener\">EastSide Arts Alliance\u003c/a> and events at the adjacent \u003ca href=\"https://bookshop.org/shop/BandungBooks\" target=\"_blank\" rel=\"noopener\">Bandung Books\u003c/a>.\u003c/p>\n\u003cp>They’ve done workshops in Chicago, Nashville and Port Townsend, Washington. Last year they received a grant from \u003ca href=\"https://actaonline.org/\" target=\"_blank\" rel=\"noopener\">the Alliance for California Traditional Arts\u003c/a>, and they currently offer monthly banjo workshops at \u003ca href=\"https://thefreight.org/\" target=\"_blank\" rel=\"noopener\">The Freight\u003c/a> in Berkeley.\u003c/p>\n\u003cp>Doing this work in the Bay Area is extremely important for Mayree. “My mom was born here,” they say, adding that their grandmother came to the Bay Area from Florida during the Great Migration. “I no longer live here,” adds Mayree, “but it was really important for us to bring this program back to the Bay Area.”\u003c/p>\n\u003cp>Referring to banjo music, craftsmanship, history and culture, Mayree says, “This is what we’re known for, around the country and around the world. And so, it was just really important to bring that back here.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Black Banjo Reclamation Project’s Banjo Showcase is July 13 at 924 Gilman in Berkeley. \u003ca href=\"https://www.blackbanjoreclamationproject.org/events-1/banjo-reclamation-showcase-community-program\" target=\"_blank\" rel=\"noopener\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There are regular scavenger hunts and then there is \u003ca href=\"https://sfpursuit.org/\">PURSUIT\u003c/a>, a series that lasts an entire month, traverses the length and breadth of San Francisco and includes 11 separate puzzles — or “missions” as the organizers like to call them. Time-strapped participants can skip as many missions as they wish without impacting their ability to complete the others.\u003c/p>\n\u003cp>PURSUIT, which starts on July 12, is the brainchild of Danielle Egan, Athena Leong and Riley Walz, who roped in at least 12 other friends to make it happen. (Walz’s name may already be familiar to fans of \u003ca href=\"https://www.kqed.org/arts/13965882/bop-spotter-riley-walz-mission-district-music-tastes-tech\">Bop Spotter\u003c/a>, the hidden phone in the Mission that logs what people are listening to on the street and turns it into a free, ever-growing \u003ca href=\"https://walzr.com/bop-spotter\">online playlist\u003c/a>.) The trio are all San Francisco residents in their 20s who set up PURSUIT for the sheer fun of it.\u003c/p>\n\u003cp>[aside postid='arts_13965882']Leong tells KQED in a phone call that PURSUIT is simply about “the friends you make along the way, the memories you make along the way.”\u003c/p>\n\u003cp>“Primarily,” Leong, who is originally from Singapore, continues, “we’re doing this because we want people to explore San Francisco. We want them to see the beauty in this amazing city. There are so many hidden gems that you might not find unless you really go look, you know?”\u003c/p>\n\u003cp>Egan, Leong and Walz all work in tech — something that has enhanced how parts of the missions play out. Anonymous equipment donors were called upon to assist in setting up some of PURSUIT’s more technologically-inspired components. And yet at its core, PURSUIT is scrappy enough to attract users the old-fashioned way: curious flyers posted around the city featuring a phone number to text.\u003c/p>\n\u003cfigure id=\"attachment_13978428\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978428\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Pursuit-flyers.jpg\" alt=\"Two separate photos featuring paper flyers taped to street poles.\" width=\"2000\" height=\"1238\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Pursuit-flyers.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Pursuit-flyers-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Pursuit-flyers-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Pursuit-flyers-1536x951.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Seen flyers similar to this around San Francisco recently? You’re being invited on a scavenger hunt.\u003c/figcaption>\u003c/figure>\n\u003cp>Once the number from the flyer is contacted, users receive a text from PURSUIT’s mascot, Percy — the smiling line-drawn fellow above. The text says:\u003c/p>\n\u003cblockquote>\u003cp>I’m Percy, and this is PURSUIT! An epic scavenger hunt around SF, made by a bunch of friends. We’ll send the first clue Saturday morning!\u003c/p>\u003c/blockquote>\n\u003cp>2025 is PURSUIT’s second year in action. Leong tells KQED that last year, the hunt received 3,000 enquiries via text message and that 1,000 of those texters completed at least one mission. Since some of those participants were working in groups or with family members, the exact number of people who took part in the scavenger hunt is impossible to calculate.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though this year’s PURSUIT stops will be completely different to anything that happened in 2024, Leong tells me that one of her favorite missions last year took place in Chinatown. Participants were tasked with hunting for special symbols throughout the neighborhood, solving a puzzle, finding a bakery, whispering a code word, then receiving a fortune cookie with another clue in it to get to the next stop. (Getting local businesses to join in the games is also part of PURSUIT’s mission.)\u003c/p>\n\u003cp>[aside postid='arts_13978433']When asked if PURSUIT was in any way inspired by the infamous \u003ca href=\"https://www.kqed.org/quest/8699/inside-the-jejune-institute-sfs-most-popular-alternative-reality-game\">Jejune Institute\u003c/a> scavenger hunt, which lasted three years between 2008 and 2011, Leong says it wasn’t, but that she and her friends love the concept.\u003c/p>\n\u003cp>“We think that was really cool,” she explains. “It all ties into the lore that San Francisco is a mysterious place where things like this can happen.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>PURSUIT’s first mission commences on July 12, 2025. Folks wishing to participate should text (415) 888-9518 and await further instruction.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are regular scavenger hunts and then there is \u003ca href=\"https://sfpursuit.org/\">PURSUIT\u003c/a>, a series that lasts an entire month, traverses the length and breadth of San Francisco and includes 11 separate puzzles — or “missions” as the organizers like to call them. Time-strapped participants can skip as many missions as they wish without impacting their ability to complete the others.\u003c/p>\n\u003cp>PURSUIT, which starts on July 12, is the brainchild of Danielle Egan, Athena Leong and Riley Walz, who roped in at least 12 other friends to make it happen. (Walz’s name may already be familiar to fans of \u003ca href=\"https://www.kqed.org/arts/13965882/bop-spotter-riley-walz-mission-district-music-tastes-tech\">Bop Spotter\u003c/a>, the hidden phone in the Mission that logs what people are listening to on the street and turns it into a free, ever-growing \u003ca href=\"https://walzr.com/bop-spotter\">online playlist\u003c/a>.) The trio are all San Francisco residents in their 20s who set up PURSUIT for the sheer fun of it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Leong tells KQED in a phone call that PURSUIT is simply about “the friends you make along the way, the memories you make along the way.”\u003c/p>\n\u003cp>“Primarily,” Leong, who is originally from Singapore, continues, “we’re doing this because we want people to explore San Francisco. We want them to see the beauty in this amazing city. There are so many hidden gems that you might not find unless you really go look, you know?”\u003c/p>\n\u003cp>Egan, Leong and Walz all work in tech — something that has enhanced how parts of the missions play out. Anonymous equipment donors were called upon to assist in setting up some of PURSUIT’s more technologically-inspired components. And yet at its core, PURSUIT is scrappy enough to attract users the old-fashioned way: curious flyers posted around the city featuring a phone number to text.\u003c/p>\n\u003cfigure id=\"attachment_13978428\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978428\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Pursuit-flyers.jpg\" alt=\"Two separate photos featuring paper flyers taped to street poles.\" width=\"2000\" height=\"1238\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Pursuit-flyers.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Pursuit-flyers-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Pursuit-flyers-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Pursuit-flyers-1536x951.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Seen flyers similar to this around San Francisco recently? You’re being invited on a scavenger hunt.\u003c/figcaption>\u003c/figure>\n\u003cp>Once the number from the flyer is contacted, users receive a text from PURSUIT’s mascot, Percy — the smiling line-drawn fellow above. The text says:\u003c/p>\n\u003cblockquote>\u003cp>I’m Percy, and this is PURSUIT! An epic scavenger hunt around SF, made by a bunch of friends. We’ll send the first clue Saturday morning!\u003c/p>\u003c/blockquote>\n\u003cp>2025 is PURSUIT’s second year in action. Leong tells KQED that last year, the hunt received 3,000 enquiries via text message and that 1,000 of those texters completed at least one mission. Since some of those participants were working in groups or with family members, the exact number of people who took part in the scavenger hunt is impossible to calculate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though this year’s PURSUIT stops will be completely different to anything that happened in 2024, Leong tells me that one of her favorite missions last year took place in Chinatown. Participants were tasked with hunting for special symbols throughout the neighborhood, solving a puzzle, finding a bakery, whispering a code word, then receiving a fortune cookie with another clue in it to get to the next stop. (Getting local businesses to join in the games is also part of PURSUIT’s mission.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When asked if PURSUIT was in any way inspired by the infamous \u003ca href=\"https://www.kqed.org/quest/8699/inside-the-jejune-institute-sfs-most-popular-alternative-reality-game\">Jejune Institute\u003c/a> scavenger hunt, which lasted three years between 2008 and 2011, Leong says it wasn’t, but that she and her friends love the concept.\u003c/p>\n\u003cp>“We think that was really cool,” she explains. “It all ties into the lore that San Francisco is a mysterious place where things like this can happen.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>PURSUIT’s first mission commences on July 12, 2025. Folks wishing to participate should text (415) 888-9518 and await further instruction.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The title of the stunning \u003ca href=\"https://www.kqed.org/arts/tag/bampfa\">BAMPFA\u003c/a> retrospective \u003ca href=\"https://bampfa.org/program/mikio-naruse-auteur-salaryman\" target=\"_blank\">\u003cem>Mikio Naruse: The Auteur as Salaryman\u003c/em>\u003c/a>, continuing through Dec. 21, neatly captures the artistic and pragmatic duality of the great 20th century Japanese director. In a career that spanned four decades and 89 films, Naruse refined his unflinching perspective on the plight of women while meeting the bottom-line demands of his studio bosses.\u003c/p>\n\u003cp>It’s fascinating to revisit Naruse’s films, especially the haunting landmarks \u003cem>Floating Clouds\u003c/em> and \u003cem>Yearning\u003c/em>, from a post-post-feminist perspective. The director mostly worked in the shomin-geki genre — set among the lower middle classes — where women, in particular, struggled with limited economic opportunities (if they weren’t “fortunate” enough to marry a well-off man). \u003c/p>\n\u003cp>A fatalist by nature, Naruse (1905-69) didn’t soft-soap his female characters’ endless sacrifices and thwarted dreams with dime-store hope and sentimentality. And yet while his movies depict the ritualistic inflexibility of pre-war Japanese society, and the postwar cracks and corruption that unmoored the system (with the loss of a generation of young men complicating women’s plans and prospects), Naruse’s women are persistently proactive in the face of every obstacle and constraint.\u003c/p>\n\u003cfigure id=\"attachment_13978501\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_When-a-Woman-Ascends-the-Stairs_005.jpg\" alt=\"\" width=\"2000\" height=\"1424\" class=\"size-full wp-image-13978501\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_When-a-Woman-Ascends-the-Stairs_005.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_When-a-Woman-Ascends-the-Stairs_005-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_When-a-Woman-Ascends-the-Stairs_005-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_When-a-Woman-Ascends-the-Stairs_005-1536x1094.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from Mikio Naruse’s ‘When a Woman Ascends the Stairs’ (1960). \u003ccite>(Toho / Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Late in his career, which wrapped in 1967, Naruse said of his characters, “If they move even a little, they quickly hit the wall. From the youngest age, I have thought that the world we live in betrays us; this thought still remains with me.”\u003c/p>\n\u003cp>Melodrama often entails tragedy, but Nakuse-style shomin-geki is worlds away from, say, the nihilistic doom of film noir. His female protagonists are generally moral, sincere and direct, not to mention valiant. Determined to gain a small measure of happiness, they don’t give up. The stakes are great; respect must be paid.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A contemporary of pantheon directors Kenji Mizoguchi and Yasujirō Ozu, Naruse used every filmmaking technique in the book when he finally got his shot at the director’s chair in 1930 after a decade as a prop man and set assistant. He gradually abandoned his experimentalism as the Silent Era gave way to the talkies and the ’30s became the ’40s, opting for a classical visual language that situated his characters in their domestic settings and highlighted their emotional lives.\u003c/p>\n\u003cfigure id=\"attachment_13978498\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Floating-Clouds_001.jpg\" alt=\"\" width=\"2000\" height=\"1420\" class=\"size-full wp-image-13978498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Floating-Clouds_001.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Floating-Clouds_001-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Floating-Clouds_001-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Floating-Clouds_001-1536x1091.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from Mikio Naruse’s ‘Floating Clouds’ (1955). \u003ccite>(Toho / Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Naruse’s essential 1955 film \u003cem>Floating Clouds\u003c/em> (screening July 16 and Sept. 14) employs enough exterior shots to convey the destruction and shock of Japan’s defeat in WWII, and to create a dismal contrast with the sun-dappled Indochina woods where Forestry Service newbie Yukiko (frequent Naruse star Hideko Takamine) had a wartime affair with her married older boss Kengo (Masayuki Mori). As Yukiko seeks to create a postwar life amid the ruins with her manipulative, self-pitying flame, the timelessly profound drama unfolds mostly indoors, in various homes, bars and inns that, paradoxically, provide no refuge for the erstwhile lovers.\u003c/p>\n\u003cp>A year later, Takamine played a slightly less desperate character in the mesmerizing women-in-the-workplace saga \u003cem>Flowing\u003c/em> (July 19 and Sept. 12). The office space, ahem, is a waning geisha house; cash-strapped proprietor Otsuta (Isuzu Yamada) is holding on amid changing times while daughter Katsuyo (Takamine) tries to plot a future involving neither the family business nor a husband. \u003c/p>\n\u003cp>Takamine is a sublime actress, able to communicate to the audience with her face and the smallest movement the opposite of whatever her character has just said. Naruse’s 1964 masterpiece \u003cem>Yearning\u003c/em> (Aug. 15 and Sept. 21) centers her as Reiko, the hardworking, late-30s proprietor of a family grocery store. Reiko was married to the family’s oldest son for all of six months before he was killed in the war, and she has remained a widow all these years.\u003c/p>\n\u003cfigure id=\"attachment_13978499\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Yearning_003.jpg\" alt=\"\" width=\"2000\" height=\"1320\" class=\"size-full wp-image-13978499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Yearning_003.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Yearning_003-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Yearning_003-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Yearning_003-1536x1014.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from Mikio Naruse’s ‘Yearning’ (1964). \u003ccite>(Toho / Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her status in the family, her sweat equity in the store and her identity are all jeopardized by the supermarkets that have invaded her Tokyo suburb. The other factor upsetting the longstanding status quo is her ne’er-do-well brother-in-law, Koji (Yuzo Kayama, doing a credible Montgomery Clift), who was a young boy when Reiko came into his world.\u003c/p>\n\u003cp>Filmed in glorious widescreen black-and-white, \u003cem>Yearning\u003c/em> is fantastic from start to finish. Reiko has mastered the art of self-sacrifice, up to a specific point: she bends but does not break. That’s a necessary quality when even those who love you, and want to help, don’t come through in a pinch.\u003c/p>\n\u003cp>For the women in Mikio Naruse’s world, even the limited opportunities come with strings attached. This is a distressing view of the world, but Naruse doesn’t leave the viewer hopeless. His judgment-free outlook and unfailing empathy provide the outline for a kinder society. He stands with the other great humanists of the cinema, Jean Renoir and especially Satyajit Ray, as a chronicler of our grace and dignity as well as our cruelty and selfishness.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Mikio Naruse: The Auteur as Salaryman’ runs through Dec. 21 at BAMPFA in Berkeley. \u003ca href=\"https://bampfa.org/program/mikio-naruse-auteur-salaryman\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The title of the stunning \u003ca href=\"https://www.kqed.org/arts/tag/bampfa\">BAMPFA\u003c/a> retrospective \u003ca href=\"https://bampfa.org/program/mikio-naruse-auteur-salaryman\" target=\"_blank\">\u003cem>Mikio Naruse: The Auteur as Salaryman\u003c/em>\u003c/a>, continuing through Dec. 21, neatly captures the artistic and pragmatic duality of the great 20th century Japanese director. In a career that spanned four decades and 89 films, Naruse refined his unflinching perspective on the plight of women while meeting the bottom-line demands of his studio bosses.\u003c/p>\n\u003cp>It’s fascinating to revisit Naruse’s films, especially the haunting landmarks \u003cem>Floating Clouds\u003c/em> and \u003cem>Yearning\u003c/em>, from a post-post-feminist perspective. The director mostly worked in the shomin-geki genre — set among the lower middle classes — where women, in particular, struggled with limited economic opportunities (if they weren’t “fortunate” enough to marry a well-off man). \u003c/p>\n\u003cp>A fatalist by nature, Naruse (1905-69) didn’t soft-soap his female characters’ endless sacrifices and thwarted dreams with dime-store hope and sentimentality. And yet while his movies depict the ritualistic inflexibility of pre-war Japanese society, and the postwar cracks and corruption that unmoored the system (with the loss of a generation of young men complicating women’s plans and prospects), Naruse’s women are persistently proactive in the face of every obstacle and constraint.\u003c/p>\n\u003cfigure id=\"attachment_13978501\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_When-a-Woman-Ascends-the-Stairs_005.jpg\" alt=\"\" width=\"2000\" height=\"1424\" class=\"size-full wp-image-13978501\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_When-a-Woman-Ascends-the-Stairs_005.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_When-a-Woman-Ascends-the-Stairs_005-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_When-a-Woman-Ascends-the-Stairs_005-768x547.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_When-a-Woman-Ascends-the-Stairs_005-1536x1094.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from Mikio Naruse’s ‘When a Woman Ascends the Stairs’ (1960). \u003ccite>(Toho / Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Late in his career, which wrapped in 1967, Naruse said of his characters, “If they move even a little, they quickly hit the wall. From the youngest age, I have thought that the world we live in betrays us; this thought still remains with me.”\u003c/p>\n\u003cp>Melodrama often entails tragedy, but Nakuse-style shomin-geki is worlds away from, say, the nihilistic doom of film noir. His female protagonists are generally moral, sincere and direct, not to mention valiant. Determined to gain a small measure of happiness, they don’t give up. The stakes are great; respect must be paid.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A contemporary of pantheon directors Kenji Mizoguchi and Yasujirō Ozu, Naruse used every filmmaking technique in the book when he finally got his shot at the director’s chair in 1930 after a decade as a prop man and set assistant. He gradually abandoned his experimentalism as the Silent Era gave way to the talkies and the ’30s became the ’40s, opting for a classical visual language that situated his characters in their domestic settings and highlighted their emotional lives.\u003c/p>\n\u003cfigure id=\"attachment_13978498\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Floating-Clouds_001.jpg\" alt=\"\" width=\"2000\" height=\"1420\" class=\"size-full wp-image-13978498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Floating-Clouds_001.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Floating-Clouds_001-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Floating-Clouds_001-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Floating-Clouds_001-1536x1091.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from Mikio Naruse’s ‘Floating Clouds’ (1955). \u003ccite>(Toho / Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Naruse’s essential 1955 film \u003cem>Floating Clouds\u003c/em> (screening July 16 and Sept. 14) employs enough exterior shots to convey the destruction and shock of Japan’s defeat in WWII, and to create a dismal contrast with the sun-dappled Indochina woods where Forestry Service newbie Yukiko (frequent Naruse star Hideko Takamine) had a wartime affair with her married older boss Kengo (Masayuki Mori). As Yukiko seeks to create a postwar life amid the ruins with her manipulative, self-pitying flame, the timelessly profound drama unfolds mostly indoors, in various homes, bars and inns that, paradoxically, provide no refuge for the erstwhile lovers.\u003c/p>\n\u003cp>A year later, Takamine played a slightly less desperate character in the mesmerizing women-in-the-workplace saga \u003cem>Flowing\u003c/em> (July 19 and Sept. 12). The office space, ahem, is a waning geisha house; cash-strapped proprietor Otsuta (Isuzu Yamada) is holding on amid changing times while daughter Katsuyo (Takamine) tries to plot a future involving neither the family business nor a husband. \u003c/p>\n\u003cp>Takamine is a sublime actress, able to communicate to the audience with her face and the smallest movement the opposite of whatever her character has just said. Naruse’s 1964 masterpiece \u003cem>Yearning\u003c/em> (Aug. 15 and Sept. 21) centers her as Reiko, the hardworking, late-30s proprietor of a family grocery store. Reiko was married to the family’s oldest son for all of six months before he was killed in the war, and she has remained a widow all these years.\u003c/p>\n\u003cfigure id=\"attachment_13978499\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Yearning_003.jpg\" alt=\"\" width=\"2000\" height=\"1320\" class=\"size-full wp-image-13978499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Yearning_003.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Yearning_003-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Yearning_003-768x507.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Naruse_Yearning_003-1536x1014.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A still from Mikio Naruse’s ‘Yearning’ (1964). \u003ccite>(Toho / Courtesy BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her status in the family, her sweat equity in the store and her identity are all jeopardized by the supermarkets that have invaded her Tokyo suburb. The other factor upsetting the longstanding status quo is her ne’er-do-well brother-in-law, Koji (Yuzo Kayama, doing a credible Montgomery Clift), who was a young boy when Reiko came into his world.\u003c/p>\n\u003cp>Filmed in glorious widescreen black-and-white, \u003cem>Yearning\u003c/em> is fantastic from start to finish. Reiko has mastered the art of self-sacrifice, up to a specific point: she bends but does not break. That’s a necessary quality when even those who love you, and want to help, don’t come through in a pinch.\u003c/p>\n\u003cp>For the women in Mikio Naruse’s world, even the limited opportunities come with strings attached. This is a distressing view of the world, but Naruse doesn’t leave the viewer hopeless. His judgment-free outlook and unfailing empathy provide the outline for a kinder society. He stands with the other great humanists of the cinema, Jean Renoir and especially Satyajit Ray, as a chronicler of our grace and dignity as well as our cruelty and selfishness.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Mikio Naruse: The Auteur as Salaryman’ runs through Dec. 21 at BAMPFA in Berkeley. \u003ca href=\"https://bampfa.org/program/mikio-naruse-auteur-salaryman\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Raphael Saadiq Talks One-Man Show, Beyoncé’s Work Ethic and ‘Sinners’",
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"content": "\u003cp>Raphael Saadiq has always admired the boldness of stand-up icons like Dave Chappelle and Eddie Murphy who commanded the stage alone with only their stories.\u003c/p>\n\u003cp>Now, the three-time Grammy winner is taking a similar leap, stepping into the spotlight solo for his own one-man show tour, announced Tuesday. The intimate No Bandwidth tour will pull back the curtain on Saadiq’s life and music, weaving never-before-told stories with performances spanning \u003ca href=\"https://www.kqed.org/arts/13937961/tony-toni-tone-reunion-oakland-interview-paramount-theatre\">Tony! Toni! Toné!\u003c/a>, Lucy Pearl and his solo catalog.\u003c/p>\n\u003cp>[aside postid='arts_13977304']The tour kicks off in Sacramento on Sept. 7 that’s expected to run into mid-October. It’ll mark a return to the stage that began with a recent limited four-city sneak peek in New York, Los Angeles and his hometown of Oakland.\u003c/p>\n\u003cp>It’s been a high note kind of year for Saadiq, who won a Grammy for his work on Beyoncé’s \u003ca href=\"https://www.kqed.org/arts/13955021/beyonces-cowboy-carter-first-impressions\">\u003cem>Cowboy Carter\u003c/em>\u003c/a>, wrote “I Lied to You” for Ryan Coogler’s \u003ca href=\"https://www.kqed.org/arts/13974810/ryan-coogler-sinners-grand-lake-theatre-interview\">\u003cem>Sinners\u003c/em>\u003c/a> and is preparing the rerelease of his 2004 solo album \u003cem>Ray Ray\u003c/em> through his Vinyl Club, a membership that reissues his catalog.\u003c/p>\n\u003cp>In a recent interview with The Associated Press, Saadiq reflected on it all, including who he thinks should headline the \u003ca href=\"https://www.kqed.org/arts/tag/super-bowl\">Super Bowl\u003c/a> halftime show and how he’s honoring the legacy of his late brother, \u003ca href=\"https://www.kqed.org/arts/13972818/dwayne-wiggins-dead-oakland-musician-tony-toni-tone-died\">D’Wayne Wiggins\u003c/a>, who died in March.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>AP: Does doing the one-man show feel like you’re taking a risk or more of a spiritual enlightenment?\u003cbr>\n\u003c/strong>SAADIQ: I felt like it was more of a spiritual type of quest, and I thought it was a risk. But I like taking risks. I’m totally confident about being on the stage, but I definitely got to give props to people who do one-man shows. Comedians have a glass of water and a stool. I’ve always wanted to do that.\u003c/p>\n\u003cp>\u003cstrong>AP: What inspired you?\u003c/strong>\u003cbr>\nSAADIQ: I was really inspired by Mike Tyson’s \u003cem>Undisputed Truth\u003c/em>. I watched Mike’s show. It wasn’t like I looked at it and said “I could do it if Mike Tyson did it.” Mike Tyson’s one-man show made it look difficult, but it was so good. It pulled me into Mike’s life. Then that’s when I said “I want to do a one-man show.” It took this long, so it was therapy to do it.\u003c/p>\n\u003cp>\u003cstrong>AP: You was recruited by Ludwig Göransson — who scored \u003cem>Sinners\u003c/em> — to write the film’s pivotal track “I Lied to You.” What did you pull away from that experience?\u003c/strong>\u003cbr>\nSAADIQ: Being that I score film already, what you learn when you work with people like Ludwig and Ryan is the art of storytelling through music and visuals. You got to love the process. Working with Ryan and Ludwig, you’re listening to two perspectives. One person scores, one person writes and shoots. It’s like having a super team with those two guys. Adding me to the equation, it should only get better.\u003c/p>\n\u003cp>[aside postid='arts_13937961']Ludwig is an amazing composer, guitar player, producer. Ryan’s from my hometown. He’s a good dude. Solid, great storyteller and you want to show up for a movie that’s deeply rooted in blues and gospel and tradition because this is going to go for generations for other people to see what this music was about. I was honored that I could contribute.\u003c/p>\n\u003cp>\u003cstrong>AP: You worked on \u003cem>Cowboy Carter\u003c/em> tracks like “Texas Hold ‘Em,” “Bodyguard” and “16 Carriages.” How was being a part of the album’s process and seeing Beyoncé in full work mode?\u003c/strong>\u003cbr>\nSAADIQ: It was amazing, lucky, fun. Besides the whole country thing, just being a part of Beyoncé’s critical thinking, it was great for me. I never meet too many people that can work harder than me. That’s somebody who can. I was excited about the energy of her whole team. It would be like playing football for the Jacksonville Jaguars as a receiver and you get traded to the Kansas City Chiefs and got Patrick Mahomes throwing to you. That’s how I felt. You just knew you was in a new camp and everybody on the team is like “Let’s get ready to go.”\u003c/p>\n\u003cfigure id=\"attachment_13978467\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978467\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/raphael-saadiq.png\" alt=\"A Black man with tattooed forearms, wearing a white t-shirt, baseball cap and beige pants sits legs crossed on a black chair.\" width=\"2000\" height=\"1336\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/raphael-saadiq.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/raphael-saadiq-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/raphael-saadiq-768x513.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/raphael-saadiq-1536x1026.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Raphael Saadiq in 2025. \u003ccite>(AP Photo/Chris Pizzello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>AP: What stood\u003c/strong> \u003cstrong>out to you about Beyoncé being such a hard worker?\u003c/strong>\u003cbr>\nSAADIQ: I watched her organize the storyboard. The vision board is nuts. Her vision board is crazy. When I saw her vision board, it blew me back. Then I saw the show before doing my one-man show too.\u003c/p>\n\u003cp>You need a challenge. You need to go be courageous. You need to like, you need to make some new challenges for yourself. That’s what I always wanted to do.\u003c/p>\n\u003cp>\u003cstrong>AP: You curated and performed a Bay Area tribute melody with a 14-piece band for the NBA All-Star Game in February. Next year’s Super Bowl will be played there in Santa Clara. Who do you think should be the halftime performer?\u003c/strong>\u003cbr>\nSAADIQ: As far as power, it’s got to be some \u003ca href=\"https://www.kqed.org/arts/tag/metallica\">Metallica\u003c/a> things happening. In a stadium, you’re supposed to be a power band, and they got the biggest records that would resonate all over TV. I would say Metallica to be honest. I wouldn’t even say myself in that. But I could definitely be a part of some things for the Super Bowl. But if you want to bring the urban side, I would say \u003ca href=\"https://www.kqed.org/arts/tag/too-hort\">Too $hort\u003c/a>. Those are biggest in the Bay for me.\u003c/p>\n\u003cp>\u003cstrong>AP: How did the death of your brother D’Wayne shift the focus of your music?\u003c/strong>\u003cbr>\nSAADIQ: It didn’t really shift anything when I think about music. But the blessing in the music is we got a chance to tour all together before one of us was gone. We got together to talk and have some camaraderie … and got the chance for all the fans to see us all together the way the group was really meant to be, because we spent a lot of years where we weren’t together.\u003c/p>\n\u003cp>\u003cstrong>AP: What did you learn from your brother personally and professionally that you are carrying forward?\u003c/strong>\u003cbr>\nSAADIQ: One thing I took from my brother was the music. Period. He was the person who played guitar. Wake up with the guitar. Walking outside calling and trying to put bands together. I took that from him. Growing up in school, he left every school on fire for me. He blazed a trail for me, then I started blazing it for him. His two kids are like that with me. I’m blazing it for them.\u003c/p>\n\u003cp>[aside postid='arts_13972818']But now they blazing it for me. My nephew (Dylan Wiggins) is working with \u003ca href=\"https://www.kqed.org/pop/tag/frank-ocean\">Frank Ocean\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13976380/the-weeknd-movie-review-hurry-up-tomorrow-abel-tesfaye-jenna-ortega\">The Weeknd\u003c/a>. So many people I can’t keep up with them. Everything that’s instilled in me and Dwayne is now instilled in Jaden (Wiggins). He’s a beast. He plays bass and guitar. He’s producing and playing with bands. I’m trying to keep everyone going forward, not backwards.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Raphael Saadiq’s ‘No Bandwidth’ tour dates include: Sacramento’s Channel 24 on Sept. 7, 2025 and San Francisco’s Davies Symphony Hall on Sept. 8.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Raphael Saadiq has always admired the boldness of stand-up icons like Dave Chappelle and Eddie Murphy who commanded the stage alone with only their stories.\u003c/p>\n\u003cp>Now, the three-time Grammy winner is taking a similar leap, stepping into the spotlight solo for his own one-man show tour, announced Tuesday. The intimate No Bandwidth tour will pull back the curtain on Saadiq’s life and music, weaving never-before-told stories with performances spanning \u003ca href=\"https://www.kqed.org/arts/13937961/tony-toni-tone-reunion-oakland-interview-paramount-theatre\">Tony! Toni! Toné!\u003c/a>, Lucy Pearl and his solo catalog.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The tour kicks off in Sacramento on Sept. 7 that’s expected to run into mid-October. It’ll mark a return to the stage that began with a recent limited four-city sneak peek in New York, Los Angeles and his hometown of Oakland.\u003c/p>\n\u003cp>It’s been a high note kind of year for Saadiq, who won a Grammy for his work on Beyoncé’s \u003ca href=\"https://www.kqed.org/arts/13955021/beyonces-cowboy-carter-first-impressions\">\u003cem>Cowboy Carter\u003c/em>\u003c/a>, wrote “I Lied to You” for Ryan Coogler’s \u003ca href=\"https://www.kqed.org/arts/13974810/ryan-coogler-sinners-grand-lake-theatre-interview\">\u003cem>Sinners\u003c/em>\u003c/a> and is preparing the rerelease of his 2004 solo album \u003cem>Ray Ray\u003c/em> through his Vinyl Club, a membership that reissues his catalog.\u003c/p>\n\u003cp>In a recent interview with The Associated Press, Saadiq reflected on it all, including who he thinks should headline the \u003ca href=\"https://www.kqed.org/arts/tag/super-bowl\">Super Bowl\u003c/a> halftime show and how he’s honoring the legacy of his late brother, \u003ca href=\"https://www.kqed.org/arts/13972818/dwayne-wiggins-dead-oakland-musician-tony-toni-tone-died\">D’Wayne Wiggins\u003c/a>, who died in March.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>AP: Does doing the one-man show feel like you’re taking a risk or more of a spiritual enlightenment?\u003cbr>\n\u003c/strong>SAADIQ: I felt like it was more of a spiritual type of quest, and I thought it was a risk. But I like taking risks. I’m totally confident about being on the stage, but I definitely got to give props to people who do one-man shows. Comedians have a glass of water and a stool. I’ve always wanted to do that.\u003c/p>\n\u003cp>\u003cstrong>AP: What inspired you?\u003c/strong>\u003cbr>\nSAADIQ: I was really inspired by Mike Tyson’s \u003cem>Undisputed Truth\u003c/em>. I watched Mike’s show. It wasn’t like I looked at it and said “I could do it if Mike Tyson did it.” Mike Tyson’s one-man show made it look difficult, but it was so good. It pulled me into Mike’s life. Then that’s when I said “I want to do a one-man show.” It took this long, so it was therapy to do it.\u003c/p>\n\u003cp>\u003cstrong>AP: You was recruited by Ludwig Göransson — who scored \u003cem>Sinners\u003c/em> — to write the film’s pivotal track “I Lied to You.” What did you pull away from that experience?\u003c/strong>\u003cbr>\nSAADIQ: Being that I score film already, what you learn when you work with people like Ludwig and Ryan is the art of storytelling through music and visuals. You got to love the process. Working with Ryan and Ludwig, you’re listening to two perspectives. One person scores, one person writes and shoots. It’s like having a super team with those two guys. Adding me to the equation, it should only get better.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Ludwig is an amazing composer, guitar player, producer. Ryan’s from my hometown. He’s a good dude. Solid, great storyteller and you want to show up for a movie that’s deeply rooted in blues and gospel and tradition because this is going to go for generations for other people to see what this music was about. I was honored that I could contribute.\u003c/p>\n\u003cp>\u003cstrong>AP: You worked on \u003cem>Cowboy Carter\u003c/em> tracks like “Texas Hold ‘Em,” “Bodyguard” and “16 Carriages.” How was being a part of the album’s process and seeing Beyoncé in full work mode?\u003c/strong>\u003cbr>\nSAADIQ: It was amazing, lucky, fun. Besides the whole country thing, just being a part of Beyoncé’s critical thinking, it was great for me. I never meet too many people that can work harder than me. That’s somebody who can. I was excited about the energy of her whole team. It would be like playing football for the Jacksonville Jaguars as a receiver and you get traded to the Kansas City Chiefs and got Patrick Mahomes throwing to you. That’s how I felt. You just knew you was in a new camp and everybody on the team is like “Let’s get ready to go.”\u003c/p>\n\u003cfigure id=\"attachment_13978467\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978467\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/raphael-saadiq.png\" alt=\"A Black man with tattooed forearms, wearing a white t-shirt, baseball cap and beige pants sits legs crossed on a black chair.\" width=\"2000\" height=\"1336\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/raphael-saadiq.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/raphael-saadiq-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/raphael-saadiq-768x513.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/raphael-saadiq-1536x1026.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Raphael Saadiq in 2025. \u003ccite>(AP Photo/Chris Pizzello)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>AP: What stood\u003c/strong> \u003cstrong>out to you about Beyoncé being such a hard worker?\u003c/strong>\u003cbr>\nSAADIQ: I watched her organize the storyboard. The vision board is nuts. Her vision board is crazy. When I saw her vision board, it blew me back. Then I saw the show before doing my one-man show too.\u003c/p>\n\u003cp>You need a challenge. You need to go be courageous. You need to like, you need to make some new challenges for yourself. That’s what I always wanted to do.\u003c/p>\n\u003cp>\u003cstrong>AP: You curated and performed a Bay Area tribute melody with a 14-piece band for the NBA All-Star Game in February. Next year’s Super Bowl will be played there in Santa Clara. Who do you think should be the halftime performer?\u003c/strong>\u003cbr>\nSAADIQ: As far as power, it’s got to be some \u003ca href=\"https://www.kqed.org/arts/tag/metallica\">Metallica\u003c/a> things happening. In a stadium, you’re supposed to be a power band, and they got the biggest records that would resonate all over TV. I would say Metallica to be honest. I wouldn’t even say myself in that. But I could definitely be a part of some things for the Super Bowl. But if you want to bring the urban side, I would say \u003ca href=\"https://www.kqed.org/arts/tag/too-hort\">Too $hort\u003c/a>. Those are biggest in the Bay for me.\u003c/p>\n\u003cp>\u003cstrong>AP: How did the death of your brother D’Wayne shift the focus of your music?\u003c/strong>\u003cbr>\nSAADIQ: It didn’t really shift anything when I think about music. But the blessing in the music is we got a chance to tour all together before one of us was gone. We got together to talk and have some camaraderie … and got the chance for all the fans to see us all together the way the group was really meant to be, because we spent a lot of years where we weren’t together.\u003c/p>\n\u003cp>\u003cstrong>AP: What did you learn from your brother personally and professionally that you are carrying forward?\u003c/strong>\u003cbr>\nSAADIQ: One thing I took from my brother was the music. Period. He was the person who played guitar. Wake up with the guitar. Walking outside calling and trying to put bands together. I took that from him. Growing up in school, he left every school on fire for me. He blazed a trail for me, then I started blazing it for him. His two kids are like that with me. I’m blazing it for them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But now they blazing it for me. My nephew (Dylan Wiggins) is working with \u003ca href=\"https://www.kqed.org/pop/tag/frank-ocean\">Frank Ocean\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13976380/the-weeknd-movie-review-hurry-up-tomorrow-abel-tesfaye-jenna-ortega\">The Weeknd\u003c/a>. So many people I can’t keep up with them. Everything that’s instilled in me and Dwayne is now instilled in Jaden (Wiggins). He’s a beast. He plays bass and guitar. He’s producing and playing with bands. I’m trying to keep everyone going forward, not backwards.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Raphael Saadiq’s ‘No Bandwidth’ tour dates include: Sacramento’s Channel 24 on Sept. 7, 2025 and San Francisco’s Davies Symphony Hall on Sept. 8.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When Saeed Crumpler comes to the Bay Area this weekend for the \u003ca href=\"https://bravemaker.com/film-fest/\">BraveMaker \u003c/a>\u003ca href=\"https://www.kqed.org/arts/tag/film-festivals\">Film Festival\u003c/a>, he’ll be returning to the soil that launched an unlikely journey.\u003c/p>\n\u003cp>For 20 years, the Oakland-raised Crumpler rapped under the stage name \u003ca href=\"https://www.instagram.com/balance510/\">Balance\u003c/a>, making music with \u003ca href=\"https://open.spotify.com/track/1uWkVUZVqH5142GmIZvWWM#:~:text=Fa%20Sho%20(feat.,%2C%20Jay%20Rock%2C%20Freeway%20%7C%20Spotify\">Kendrick Lamar\u003c/a> and \u003ca href=\"https://open.spotify.com/track/4pU8UwbehBafBSAu4zFEeq?si=0e7f32df5d1e41a4\">Traxamillion\u003c/a> before flipping the script in 2021 to become a full-time television and film writer. \u003c/p>\n\u003cp>On Saturday, Crumpler appears alongside podcast host \u003ca href=\"https://www.instagram.com/hilliardguess/\" target=\"_blank\" rel=\"noopener\">Hilliard Guess\u003c/a> at the film festival’s \u003ca href=\"https://bravemakerfilmfest2025.eventive.org/schedule/6836717aa36cd38e4e27ab56\" target=\"_blank\" rel=\"noopener\">Screenwriters’ Rant Room “Live” Roundtable\u003c/a> to discuss his unconventional path to Hollywood and unique approach to the industry.\u003c/p>\n\u003cp>[aside postID='arts_13978193']Running July 10–13 in Redwood City, the BraveMaker Film Festival includes more than 90 film screenings, a dozen workshops and multiple panel discussions ranging from lighting techniques to character development. Founded by Redwood City’s own Tony Gapastione, the festival brings together Bay Area writers, filmmakers and actors to showcase their talents.\u003c/p>\n\u003cp>Gapastione says such platforms are important, particularly now, as Hollywood makes \u003ca href=\"https://www.npr.org/2023/09/24/1200770450/writers-strike-ends\" target=\"_blank\" rel=\"noopener\">post-writers strike adjustments\u003c/a> and simultaneously recovers from \u003ca href=\"https://www.kqed.org/news/12020765/thousands-flee-los-angeles-area-as-wildfires-burn-out-of-control-destroying-homes\" target=\"_blank\" rel=\"noopener\">this year’s massive fires\u003c/a>. Those challenges have been echoed by Governor Newsom, who last week \u003ca href=\"https://www.gov.ca.gov/2025/07/02/governor-newsom-marks-historic-expansion-of-californias-film-and-television-tax-credit-program-announces-16-new-projects-to-film-in-the-golden-state/\" target=\"_blank\" rel=\"noopener\">signed a bill\u003c/a> more than doubling the annual funding of California’s film and television tax credit program.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The \u003ca href=\"https://bravemakerfilmfest2025.eventive.org/schedule\" target=\"_blank\" rel=\"noopener\">schedule\u003c/a> for this year’s BraveMaker Film Festival includes a variety of films, including a handful from East Bay screenwriters, like Kristina Thomas (\u003ca href=\"https://bravemakerfilmfest2025.eventive.org/schedule/6836709e05fd0071757f4141\" target=\"_blank\" rel=\"noopener\">\u003cem>Saving All My Love\u003c/em>\u003c/a>), Nijla Mu’min (\u003cem>\u003ca href=\"https://bravemakerfilmfest2025.eventive.org/films/683ccd4cbd8a37df3a5502a8\" target=\"_blank\" rel=\"noopener\">Noor\u003c/a>)\u003c/em> and D’Angelo “D’Lo” Louis (\u003ca href=\"https://bravemakerfilmfest2025.eventive.org/films/683ccd4cbd8a37df3a5502c5\" target=\"_blank\" rel=\"noopener\">\u003cem>Shoebox\u003c/em>\u003c/a>). Social events include a Saturday afternoon mixer hosted by Bay Area actor \u003ca href=\"https://www.eventbrite.com/e/latino-creatorsactorsfilmmakers-mixer-bravemaker-film-fest-tickets-1406816739739?msockid=170b5be2715564360361492870d165a9\" target=\"_blank\" rel=\"noopener\">Belgica Rodriguez\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13978430\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13978430 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/download-1.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/download-1.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/download-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/download-1-768x1152.jpg 768w\" sizes=\"auto, (max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Saaed Crumpler, TV and film writer. \u003ccite>(Jerry Jerome)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Prior to his rap career, Crumpler studied film at San Francisco State, and a decade ago he took a screenwriting class. But he sincerely champions the fellowship route, which led to him working on the Starz series \u003cem>Blindspotting\u003c/em> and MTV’s \u003cem>Hip Hop Family Christmas\u003c/em>.\u003c/p>\n\u003cp>In 2021, while still rapping, Crumpler got accepted to the \u003ca href=\"https://writers.coverfly.com/competitions/view/nickelodeon-writing-program\" target=\"_blank\" rel=\"noopener\">Nickelodeon Writing Program\u003c/a>. He shadowed writers and worked across Paramount Pictures’ many subsidiaries. Once his foot was in the door, Crumpler went right in.\u003c/p>\n\u003cp>“I wrote an episode of a Nickelodeon show called \u003cem>Blaze and the Monster Machines\u003c/em>, which my nephew, he’s three, loves,” Crumpler says. Simultaneously, he wrote \u003cem>Flatbush Misdemeanors\u003c/em>, “an R-rated comedy that takes place in Flatbush, New York.” \u003c/p>\n\u003cp>[aside postID='arts_13978142']Within a year, Crumpler signed a first-look deal with \u003ca href=\"https://deadline.com/2022/09/saeed-crumpler-overall-deal-sony-pictures-television-1235112994/\">Sony Pictures Television,\u003c/a> where he’s currently at work on several projects. “I’ve got an animated show, got a comedy, and we’ve got like two dramas,” says Crumpler. “All of them take place pretty much in the Bay Area.”\u003c/p>\n\u003cp>The lack of Bay Area representation in TV and film pushed Crumpler to focus on hometown stories, he says, noting that he’s also written a number of unreleased movies, including a biopic on \u003ca href=\"https://www.kqed.org/arts/tag/mac-dre\">Mac Dre\u003c/a>.\u003c/p>\n\u003cp>Ahead of Saturday’s conversation, Crumpler, who lives in Los Angeles, offered some advice to storytellers looking to get into the industry.\u003c/p>\n\u003cp>Hollywood is indeed in flux, he says. It’s not as easy to film in Southern California as it once was, but the industry hub is still there. And while he’s a proponent of the fellowship route, he sees potential for indie television and filmmakers. It’s not exactly the same as the independent rap game in the Bay Area — where artists both make and distribute their art — but there are some parallels, he says.\u003c/p>\n\u003cp>[aside postID='arts_13976029']“Instead of trying to make a movie for five thousand dollars,” Crumpler suggests, “try to make a three-minute trailer for the movie,” adding that filmmakers can take that as proof of concept to investors; it’s all about making a small iteration of an idea in order to show it to the world.\u003c/p>\n\u003cp>“As an independent creator, your benefit is, you don’t have anybody trying to change your ideas,” he says. “Being an independent creative, you can just create and put it out without a filter. And sometimes those things take off.”\u003c/p>\n\u003cp>This weekend, Redwood City will be full of creatives looking to launch their ideas into the world.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The BraveMaker Film Festival takes place July 10–13 at various venues in downtown Redwood City. \u003ca href=\"https://bravemaker.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Saeed Crumpler comes to the Bay Area this weekend for the \u003ca href=\"https://bravemaker.com/film-fest/\">BraveMaker \u003c/a>\u003ca href=\"https://www.kqed.org/arts/tag/film-festivals\">Film Festival\u003c/a>, he’ll be returning to the soil that launched an unlikely journey.\u003c/p>\n\u003cp>For 20 years, the Oakland-raised Crumpler rapped under the stage name \u003ca href=\"https://www.instagram.com/balance510/\">Balance\u003c/a>, making music with \u003ca href=\"https://open.spotify.com/track/1uWkVUZVqH5142GmIZvWWM#:~:text=Fa%20Sho%20(feat.,%2C%20Jay%20Rock%2C%20Freeway%20%7C%20Spotify\">Kendrick Lamar\u003c/a> and \u003ca href=\"https://open.spotify.com/track/4pU8UwbehBafBSAu4zFEeq?si=0e7f32df5d1e41a4\">Traxamillion\u003c/a> before flipping the script in 2021 to become a full-time television and film writer. \u003c/p>\n\u003cp>On Saturday, Crumpler appears alongside podcast host \u003ca href=\"https://www.instagram.com/hilliardguess/\" target=\"_blank\" rel=\"noopener\">Hilliard Guess\u003c/a> at the film festival’s \u003ca href=\"https://bravemakerfilmfest2025.eventive.org/schedule/6836717aa36cd38e4e27ab56\" target=\"_blank\" rel=\"noopener\">Screenwriters’ Rant Room “Live” Roundtable\u003c/a> to discuss his unconventional path to Hollywood and unique approach to the industry.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Running July 10–13 in Redwood City, the BraveMaker Film Festival includes more than 90 film screenings, a dozen workshops and multiple panel discussions ranging from lighting techniques to character development. Founded by Redwood City’s own Tony Gapastione, the festival brings together Bay Area writers, filmmakers and actors to showcase their talents.\u003c/p>\n\u003cp>Gapastione says such platforms are important, particularly now, as Hollywood makes \u003ca href=\"https://www.npr.org/2023/09/24/1200770450/writers-strike-ends\" target=\"_blank\" rel=\"noopener\">post-writers strike adjustments\u003c/a> and simultaneously recovers from \u003ca href=\"https://www.kqed.org/news/12020765/thousands-flee-los-angeles-area-as-wildfires-burn-out-of-control-destroying-homes\" target=\"_blank\" rel=\"noopener\">this year’s massive fires\u003c/a>. Those challenges have been echoed by Governor Newsom, who last week \u003ca href=\"https://www.gov.ca.gov/2025/07/02/governor-newsom-marks-historic-expansion-of-californias-film-and-television-tax-credit-program-announces-16-new-projects-to-film-in-the-golden-state/\" target=\"_blank\" rel=\"noopener\">signed a bill\u003c/a> more than doubling the annual funding of California’s film and television tax credit program.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"https://bravemakerfilmfest2025.eventive.org/schedule\" target=\"_blank\" rel=\"noopener\">schedule\u003c/a> for this year’s BraveMaker Film Festival includes a variety of films, including a handful from East Bay screenwriters, like Kristina Thomas (\u003ca href=\"https://bravemakerfilmfest2025.eventive.org/schedule/6836709e05fd0071757f4141\" target=\"_blank\" rel=\"noopener\">\u003cem>Saving All My Love\u003c/em>\u003c/a>), Nijla Mu’min (\u003cem>\u003ca href=\"https://bravemakerfilmfest2025.eventive.org/films/683ccd4cbd8a37df3a5502a8\" target=\"_blank\" rel=\"noopener\">Noor\u003c/a>)\u003c/em> and D’Angelo “D’Lo” Louis (\u003ca href=\"https://bravemakerfilmfest2025.eventive.org/films/683ccd4cbd8a37df3a5502c5\" target=\"_blank\" rel=\"noopener\">\u003cem>Shoebox\u003c/em>\u003c/a>). Social events include a Saturday afternoon mixer hosted by Bay Area actor \u003ca href=\"https://www.eventbrite.com/e/latino-creatorsactorsfilmmakers-mixer-bravemaker-film-fest-tickets-1406816739739?msockid=170b5be2715564360361492870d165a9\" target=\"_blank\" rel=\"noopener\">Belgica Rodriguez\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13978430\" class=\"wp-caption aligncenter\" style=\"max-width: 853px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13978430 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/download-1.jpg\" alt=\"\" width=\"853\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/download-1.jpg 853w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/download-1-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/download-1-768x1152.jpg 768w\" sizes=\"auto, (max-width: 853px) 100vw, 853px\">\u003cfigcaption class=\"wp-caption-text\">Saaed Crumpler, TV and film writer. \u003ccite>(Jerry Jerome)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Prior to his rap career, Crumpler studied film at San Francisco State, and a decade ago he took a screenwriting class. But he sincerely champions the fellowship route, which led to him working on the Starz series \u003cem>Blindspotting\u003c/em> and MTV’s \u003cem>Hip Hop Family Christmas\u003c/em>.\u003c/p>\n\u003cp>In 2021, while still rapping, Crumpler got accepted to the \u003ca href=\"https://writers.coverfly.com/competitions/view/nickelodeon-writing-program\" target=\"_blank\" rel=\"noopener\">Nickelodeon Writing Program\u003c/a>. He shadowed writers and worked across Paramount Pictures’ many subsidiaries. Once his foot was in the door, Crumpler went right in.\u003c/p>\n\u003cp>“I wrote an episode of a Nickelodeon show called \u003cem>Blaze and the Monster Machines\u003c/em>, which my nephew, he’s three, loves,” Crumpler says. Simultaneously, he wrote \u003cem>Flatbush Misdemeanors\u003c/em>, “an R-rated comedy that takes place in Flatbush, New York.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Within a year, Crumpler signed a first-look deal with \u003ca href=\"https://deadline.com/2022/09/saeed-crumpler-overall-deal-sony-pictures-television-1235112994/\">Sony Pictures Television,\u003c/a> where he’s currently at work on several projects. “I’ve got an animated show, got a comedy, and we’ve got like two dramas,” says Crumpler. “All of them take place pretty much in the Bay Area.”\u003c/p>\n\u003cp>The lack of Bay Area representation in TV and film pushed Crumpler to focus on hometown stories, he says, noting that he’s also written a number of unreleased movies, including a biopic on \u003ca href=\"https://www.kqed.org/arts/tag/mac-dre\">Mac Dre\u003c/a>.\u003c/p>\n\u003cp>Ahead of Saturday’s conversation, Crumpler, who lives in Los Angeles, offered some advice to storytellers looking to get into the industry.\u003c/p>\n\u003cp>Hollywood is indeed in flux, he says. It’s not as easy to film in Southern California as it once was, but the industry hub is still there. And while he’s a proponent of the fellowship route, he sees potential for indie television and filmmakers. It’s not exactly the same as the independent rap game in the Bay Area — where artists both make and distribute their art — but there are some parallels, he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Instead of trying to make a movie for five thousand dollars,” Crumpler suggests, “try to make a three-minute trailer for the movie,” adding that filmmakers can take that as proof of concept to investors; it’s all about making a small iteration of an idea in order to show it to the world.\u003c/p>\n\u003cp>“As an independent creator, your benefit is, you don’t have anybody trying to change your ideas,” he says. “Being an independent creative, you can just create and put it out without a filter. And sometimes those things take off.”\u003c/p>\n\u003cp>This weekend, Redwood City will be full of creatives looking to launch their ideas into the world.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The BraveMaker Film Festival takes place July 10–13 at various venues in downtown Redwood City. \u003ca href=\"https://bravemaker.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "superman-movie-review-james-gunn-david-corenswet",
"title": "James Gunn’s ‘Superman’ Is a Surprising and Creative Immigrant Story",
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"headTitle": "James Gunn’s ‘Superman’ Is a Surprising and Creative Immigrant Story | KQED",
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"content": "\u003cp>It’s a bird, it’s a plane, it’s a … a purple and orange shape-shifting chemical compound?\u003c/p>\n\u003cp>Writer-director James Gunn’s \u003ca href=\"https://www.kqed.org/pop/tag/superman\">\u003cem>Superman\u003c/em>\u003c/a> was always going to be a strange chemistry of filmmaker and material. Gunn, the mind behind \u003ca href=\"https://www.kqed.org/arts/13928607/all-creatures-great-and-small-in-guardians-3\">\u003cem>Guardians of the Galaxy\u003c/em>\u003c/a> and \u003cem>The Suicide Squad\u003c/em>, has reliably drifted toward a B-movie superhero realm populated (usually over-populated) with the lesser-known freaks, oddities and grotesquerie of back-issue comics.\u003c/p>\n\u003cp>[aside postid='pop_101544']But you don’t get more mainstream than Superman. And let’s face it, unless \u003ca href=\"https://www.kqed.org/arts/13964034/super-man-documentary-review-christopher-reeve-dana-cnn-hbo\">Christopher Reeve\u003c/a> is in the suit, the rock-jawed Man of Steel can be a bit of a bore. Much of the fun and frustration of Gunn’s movie is seeing how he stretches and strains to make Superman, you know, interesting.\u003c/p>\n\u003cp>In the latest revamp for the archetypal superhero, Gunn does a lot to give Superman (played with an easy charm by David Corenswet) a lift. He scraps the origin story. He gives Superman a dog. And he ropes in not just expected regulars like Lois Lane (\u003ca href=\"https://www.kqed.org/arts/13816633/zippy-and-delightful-the-marvelous-mrs-maisel-spotlights-an-unlikely-comic\">Rachel Brosnahan\u003c/a>) and Lex Luthor (\u003ca href=\"https://www.kqed.org/arts/13967891/juror-2-movie-review-legal-thriller-clint-eastwood-nicholas-hoult\">Nicholas Hoult\u003c/a>) but some less conventional choices — none more so than that colorful jumble of elements, Metamorpho (\u003ca href=\"https://www.kqed.org/arts/13927815/barry-season-four-hbo-what-to-expect-bill-hader-interview\">Anthony Carrigan\u003c/a>).\u003c/p>\n\u003cp>Metamorpho, a melancholy, mutilated man whose powers were born out of tragedy, is just one of many side shows in \u003cem>Superman\u003c/em>. But he’s the most representative of what Gunn is going for. Gunn might favor a traditional-looking hero at the center, like \u003ca href=\"https://www.kqed.org/pop/tag/chris-pratt\">Chris Pratt\u003c/a>’s Star-Lord in \u003cem>Guardians of the Galaxy\u003c/em>. And Corenswet, complete with hair curl, looks the part, too. But Gunn’s heart is with the weirdos who soldier on.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The heavy lift of \u003cem>Superman\u003c/em> is making the case that the perfect superhuman being with “S” on his chest is strange, too. He’s a do-gooder at a time when no one does good anymore.\u003c/p>\n\u003cp>Not everything works in \u003cem>Superman\u003c/em>. For those who like their Superman classically drawn, Gunn’s film will probably seem too irreverent and messy. But for anyone who found \u003ca href=\"https://www.kqed.org/arts/13894194/here-at-long-really-long-last-zack-snyders-justice-league-is-pretty-good\">Zack Snyder\u003c/a>’s previous administration painfully ponderous, this \u003cem>Superman\u003c/em>, at least, has a pulse.\u003c/p>\n\u003cp>[aside postid='arts_13978110']It would be hard to find a more drastic 180 in franchise stewardship. Where Snyder’s films were super-serious mythical clashes of colossuses, Gunn’s \u003cem>Superman\u003c/em> is lightly earthbound, quirky and sentimental. When this Superman flies, he even keeps his arms back, like an Olympic skeleton rider.\u003c/p>\n\u003cp>We begin not on Krypton or Kansas but in Antarctica, near the Fortress of Solitude. The opening titles set-up the medias res beginning. Three centuries ago, metahumans first appeared on Earth. Three minutes ago, Superman lost a battle for the first time. Lying bloodied in the snow, he whistles and his faithful super dog, Krypto, comes running.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ox8ZLF6cGM0\u003c/p>\n\u003cp>Like some of Gunn’s other novelty gags (I’m looking at you Groot), Krypto is both a highlight and overused gag throughout. Superman is in the midst of a battle by proxy with Luthor. From atop his Luthor Corp. skyscraper headquarters, Luther gives instructions to a team sitting before computer screens while, on a headset, barking out coded battle directions to drone-assisted henchmen. “13-B!” he shouts, like a Bingo caller.\u003c/p>\n\u003cp>[aside postid='arts_13978260']Whether this is an ideal localizing of main characters in conflict is a debate that recedes a bit when, back in Metropolis, Clark Kent returns to the Daily Planet. There’s Wendell Pierce as the editor-in-chief, Perry White, and Skyler Gisondo as Jimmy Olsen. But the character of real interest here is, of course, Lois.\u003c/p>\n\u003cp>She and Kent are already an item in \u003cem>Superman\u003c/em>. When alone, Lois chides him over the journalistic ethics of interviewing himself after some daring do, and questions his flying into countries without their leaders’ approval. Brosnahan slides so comfortably into the role that I wonder if \u003cem>Superman\u003c/em> ought to have been \u003cem>Lois\u003c/em>, instead. Her scenes with Corenswet are the best in the film, and the movie loses its snap when she’s not around.\u003c/p>\n\u003cp>That’s unfortunately for a substantial amount of time. Luthor traps Superman in a pocket universe (enter Metamorpho, among others) and the eccentric members of the Justice Gang — Nathan Fillion’s Green Lantern, Edi Gathegi’s Mister Terrific and Isabela Merced’s Hawkgirl — are called upon to lend a hand. They come begrudgingly. But if there’s anyone else that comes close to stealing the movie, it’s Gathegi, who meets increasingly absurd cataclysm with wry deadpan.\u003c/p>\n\u003cp>The fate of the world, naturally, again turns iffy. There’s a rift in the universe, not to mention some vaguely defined trouble in Boravia and Jarhanpur. In such scenes, Gunn’s juggling act is especially uneasy and you can feel the movie lurching from one thing to another. Usually, that’s Krypto’s cue to fly back into the movie and run amok.\u003c/p>\n\u003cp>[aside postid='arts_13978142']Gunn, who now presides over DC Studios with producer Peter Safran, is better with internal strife than he is international politics. Superman is often called “the Kryptonian” or “the alien” by humans, and Gunn leans into his outsider status. Not for the first time, Superman’s opponents try to paint him as an untrustworthy foreigner. With a modicum of timeliness, \u003cem>Superman\u003c/em> is an immigrant story.\u003c/p>\n\u003cp>Mileage will inevitably vary when it comes to Gunn’s idiosyncratic touch. He can be outlandish and sweet, often at once. In a conversation between metahumans, he will insert a donut into the scene for no real reason, and cut from a body falling through the air to an Alka-Seltzer tablet dropping into a glass. Some might call such moments glib, a not-unfair label for Gunn. But I’d say they make this pleasantly imperfect \u003cem>Superman\u003c/em> something quite rare in the assembly line-style of superhero moviemaking today: human.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Superman’ is out nationwide on July 11, 2025.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a bird, it’s a plane, it’s a … a purple and orange shape-shifting chemical compound?\u003c/p>\n\u003cp>Writer-director James Gunn’s \u003ca href=\"https://www.kqed.org/pop/tag/superman\">\u003cem>Superman\u003c/em>\u003c/a> was always going to be a strange chemistry of filmmaker and material. Gunn, the mind behind \u003ca href=\"https://www.kqed.org/arts/13928607/all-creatures-great-and-small-in-guardians-3\">\u003cem>Guardians of the Galaxy\u003c/em>\u003c/a> and \u003cem>The Suicide Squad\u003c/em>, has reliably drifted toward a B-movie superhero realm populated (usually over-populated) with the lesser-known freaks, oddities and grotesquerie of back-issue comics.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But you don’t get more mainstream than Superman. And let’s face it, unless \u003ca href=\"https://www.kqed.org/arts/13964034/super-man-documentary-review-christopher-reeve-dana-cnn-hbo\">Christopher Reeve\u003c/a> is in the suit, the rock-jawed Man of Steel can be a bit of a bore. Much of the fun and frustration of Gunn’s movie is seeing how he stretches and strains to make Superman, you know, interesting.\u003c/p>\n\u003cp>In the latest revamp for the archetypal superhero, Gunn does a lot to give Superman (played with an easy charm by David Corenswet) a lift. He scraps the origin story. He gives Superman a dog. And he ropes in not just expected regulars like Lois Lane (\u003ca href=\"https://www.kqed.org/arts/13816633/zippy-and-delightful-the-marvelous-mrs-maisel-spotlights-an-unlikely-comic\">Rachel Brosnahan\u003c/a>) and Lex Luthor (\u003ca href=\"https://www.kqed.org/arts/13967891/juror-2-movie-review-legal-thriller-clint-eastwood-nicholas-hoult\">Nicholas Hoult\u003c/a>) but some less conventional choices — none more so than that colorful jumble of elements, Metamorpho (\u003ca href=\"https://www.kqed.org/arts/13927815/barry-season-four-hbo-what-to-expect-bill-hader-interview\">Anthony Carrigan\u003c/a>).\u003c/p>\n\u003cp>Metamorpho, a melancholy, mutilated man whose powers were born out of tragedy, is just one of many side shows in \u003cem>Superman\u003c/em>. But he’s the most representative of what Gunn is going for. Gunn might favor a traditional-looking hero at the center, like \u003ca href=\"https://www.kqed.org/pop/tag/chris-pratt\">Chris Pratt\u003c/a>’s Star-Lord in \u003cem>Guardians of the Galaxy\u003c/em>. And Corenswet, complete with hair curl, looks the part, too. But Gunn’s heart is with the weirdos who soldier on.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The heavy lift of \u003cem>Superman\u003c/em> is making the case that the perfect superhuman being with “S” on his chest is strange, too. He’s a do-gooder at a time when no one does good anymore.\u003c/p>\n\u003cp>Not everything works in \u003cem>Superman\u003c/em>. For those who like their Superman classically drawn, Gunn’s film will probably seem too irreverent and messy. But for anyone who found \u003ca href=\"https://www.kqed.org/arts/13894194/here-at-long-really-long-last-zack-snyders-justice-league-is-pretty-good\">Zack Snyder\u003c/a>’s previous administration painfully ponderous, this \u003cem>Superman\u003c/em>, at least, has a pulse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It would be hard to find a more drastic 180 in franchise stewardship. Where Snyder’s films were super-serious mythical clashes of colossuses, Gunn’s \u003cem>Superman\u003c/em> is lightly earthbound, quirky and sentimental. When this Superman flies, he even keeps his arms back, like an Olympic skeleton rider.\u003c/p>\n\u003cp>We begin not on Krypton or Kansas but in Antarctica, near the Fortress of Solitude. The opening titles set-up the medias res beginning. Three centuries ago, metahumans first appeared on Earth. Three minutes ago, Superman lost a battle for the first time. Lying bloodied in the snow, he whistles and his faithful super dog, Krypto, comes running.\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/Ox8ZLF6cGM0'\n title='//www.youtube.com/embed/Ox8ZLF6cGM0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Like some of Gunn’s other novelty gags (I’m looking at you Groot), Krypto is both a highlight and overused gag throughout. Superman is in the midst of a battle by proxy with Luthor. From atop his Luthor Corp. skyscraper headquarters, Luther gives instructions to a team sitting before computer screens while, on a headset, barking out coded battle directions to drone-assisted henchmen. “13-B!” he shouts, like a Bingo caller.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Whether this is an ideal localizing of main characters in conflict is a debate that recedes a bit when, back in Metropolis, Clark Kent returns to the Daily Planet. There’s Wendell Pierce as the editor-in-chief, Perry White, and Skyler Gisondo as Jimmy Olsen. But the character of real interest here is, of course, Lois.\u003c/p>\n\u003cp>She and Kent are already an item in \u003cem>Superman\u003c/em>. When alone, Lois chides him over the journalistic ethics of interviewing himself after some daring do, and questions his flying into countries without their leaders’ approval. Brosnahan slides so comfortably into the role that I wonder if \u003cem>Superman\u003c/em> ought to have been \u003cem>Lois\u003c/em>, instead. Her scenes with Corenswet are the best in the film, and the movie loses its snap when she’s not around.\u003c/p>\n\u003cp>That’s unfortunately for a substantial amount of time. Luthor traps Superman in a pocket universe (enter Metamorpho, among others) and the eccentric members of the Justice Gang — Nathan Fillion’s Green Lantern, Edi Gathegi’s Mister Terrific and Isabela Merced’s Hawkgirl — are called upon to lend a hand. They come begrudgingly. But if there’s anyone else that comes close to stealing the movie, it’s Gathegi, who meets increasingly absurd cataclysm with wry deadpan.\u003c/p>\n\u003cp>The fate of the world, naturally, again turns iffy. There’s a rift in the universe, not to mention some vaguely defined trouble in Boravia and Jarhanpur. In such scenes, Gunn’s juggling act is especially uneasy and you can feel the movie lurching from one thing to another. Usually, that’s Krypto’s cue to fly back into the movie and run amok.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Gunn, who now presides over DC Studios with producer Peter Safran, is better with internal strife than he is international politics. Superman is often called “the Kryptonian” or “the alien” by humans, and Gunn leans into his outsider status. Not for the first time, Superman’s opponents try to paint him as an untrustworthy foreigner. With a modicum of timeliness, \u003cem>Superman\u003c/em> is an immigrant story.\u003c/p>\n\u003cp>Mileage will inevitably vary when it comes to Gunn’s idiosyncratic touch. He can be outlandish and sweet, often at once. In a conversation between metahumans, he will insert a donut into the scene for no real reason, and cut from a body falling through the air to an Alka-Seltzer tablet dropping into a glass. Some might call such moments glib, a not-unfair label for Gunn. But I’d say they make this pleasantly imperfect \u003cem>Superman\u003c/em> something quite rare in the assembly line-style of superhero moviemaking today: human.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Superman’ is out nationwide on July 11, 2025.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "audium-celebrates-50th-anniversary-by-revisiting-its-very-first-soundscape",
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"content": "\u003cp>In 1970, Stan Shaff and Douglas McEachern bought a building in \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> with a vision to choreograph sound.\u003c/p>\n\u003cp>For five years, they tinkered with the former donut shop’s layout and design, testing different kinds of audio speakers and acoustic treatments. And in 1975, they formally opened their final version of Audium, a sound theater \u003ca href=\"https://www.kqed.org/arts/13909188/audium-residency-san-francisco-sound\">known today\u003c/a> for its dark inner sanctum and 176 speakers dispersed over the walls, ceiling and floor.\u003c/p>\n\u003cp>To celebrate Audium’s 50th anniversary on Bush Street this summer, Dave Shaff, the director of Audium and son of founder Stan Shaff, is reviving \u003cem>Audium VI\u003c/em>, the very first tape piece for the space, created by his father, that will run as an immersive, in-the-dark experience every weekend between mid-July and August. \u003c/p>\n\u003cfigure id=\"attachment_13978439\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/pICT0034.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13978439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/pICT0034.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/pICT0034-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/pICT0034-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/pICT0034-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Construction in the early 1970s transformed the former Stempel’s donut shop on Bush Street to Audium as it’s known today. \u003ccite>(Courtesy Audium)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Audium experience goes much deeper than simply listening to prerecorded music. “There is a performance,” Shaff says, “and that’s the movement of the sound, literally like the choreography of taking the sound and moving it from one speaker to another.” \u003c/p>\n\u003cp>When the lights go out, “you’ve got nowhere else to go but inside yourself,” says Shaff. The sounds bouncing around the room tend to bring up memories, ideas and fantasies, he says, adding that “it kind of touches the subconscious.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>During the \u003cem>Audium VI\u003c/em> performances, Audium’s lobby space will display archival ephemera: an old desk with the writings of Stan Shaff, a telephone that plays a surprise recording when listeners hold it up to their ear, the old analog control board from the 1970s and even the original studio four-track tape machine used for shows. \u003c/p>\n\u003cfigure id=\"attachment_13978440\" class=\"wp-caption aligncenter\" style=\"max-width: 1513px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/chematics.jpg\" alt=\"\" width=\"1513\" height=\"2000\" class=\"size-full wp-image-13978440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/chematics.jpg 1513w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/chematics-160x212.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/chematics-768x1015.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/chematics-1162x1536.jpg 1162w\" sizes=\"auto, (max-width: 1513px) 100vw, 1513px\">\u003cfigcaption class=\"wp-caption-text\">A schematic from the original plans for Audium. \u003ccite>(Courtesy Audium)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s been a lot of memories,” Shaff says about working with the archive. He described the process as “almost too personal.”\u003c/p>\n\u003cp>“It’s discovering, like, some parts of my parents and their own personal lives,” says Shaff, “I’ll hear them talking to each other on the tape at points, as younger adults.”\u003c/p>\n\u003cp>\u003cem>Audium VI\u003c/em> was composed 10 years before Shaff was born. He describes it as “pretty funky” and “out of the bounds of ordinary” — but he also resisted the urge to clean up the experimental composition’s rough edges. \u003c/p>\n\u003cp>“Dad liked to throw a lot of sounds at his audience,” says Shaff. “He’s like Jackson Pollock, you know, the painter that just threw paint on the canvas, except he’s throwing sounds.” \u003c/p>\n\u003cfigure id=\"attachment_13909229\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13909229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The listening room at Audium is outfitted with 176 speakers. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those sounds could include electronic noises, field recordings from nature, melodic passages, fog horns and freight trains. In 2022, the resident artist Victoria Shen called Audium “\u003ca href=\"https://www.kqed.org/arts/13909188/audium-residency-san-francisco-sound\">one of the last cool, weird, old-school things in San Francisco\u003c/a>.”\u003c/p>\n\u003cp>The mission for Audium now, Shaff says, is to keep a little bit of that soul of San Francisco alive, while modernizing it for the present day. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Audium VI: Rewind’ runs July 11–Aug. 23 at Audium in San Francisco. \u003ca href=\"https://www.audium.org/audium-vi-rewind/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1970, Stan Shaff and Douglas McEachern bought a building in \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco\">San Francisco\u003c/a> with a vision to choreograph sound.\u003c/p>\n\u003cp>For five years, they tinkered with the former donut shop’s layout and design, testing different kinds of audio speakers and acoustic treatments. And in 1975, they formally opened their final version of Audium, a sound theater \u003ca href=\"https://www.kqed.org/arts/13909188/audium-residency-san-francisco-sound\">known today\u003c/a> for its dark inner sanctum and 176 speakers dispersed over the walls, ceiling and floor.\u003c/p>\n\u003cp>To celebrate Audium’s 50th anniversary on Bush Street this summer, Dave Shaff, the director of Audium and son of founder Stan Shaff, is reviving \u003cem>Audium VI\u003c/em>, the very first tape piece for the space, created by his father, that will run as an immersive, in-the-dark experience every weekend between mid-July and August. \u003c/p>\n\u003cfigure id=\"attachment_13978439\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/pICT0034.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13978439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/pICT0034.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/pICT0034-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/pICT0034-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/pICT0034-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Construction in the early 1970s transformed the former Stempel’s donut shop on Bush Street to Audium as it’s known today. \u003ccite>(Courtesy Audium)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Audium experience goes much deeper than simply listening to prerecorded music. “There is a performance,” Shaff says, “and that’s the movement of the sound, literally like the choreography of taking the sound and moving it from one speaker to another.” \u003c/p>\n\u003cp>When the lights go out, “you’ve got nowhere else to go but inside yourself,” says Shaff. The sounds bouncing around the room tend to bring up memories, ideas and fantasies, he says, adding that “it kind of touches the subconscious.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>During the \u003cem>Audium VI\u003c/em> performances, Audium’s lobby space will display archival ephemera: an old desk with the writings of Stan Shaff, a telephone that plays a surprise recording when listeners hold it up to their ear, the old analog control board from the 1970s and even the original studio four-track tape machine used for shows. \u003c/p>\n\u003cfigure id=\"attachment_13978440\" class=\"wp-caption aligncenter\" style=\"max-width: 1513px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/chematics.jpg\" alt=\"\" width=\"1513\" height=\"2000\" class=\"size-full wp-image-13978440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/chematics.jpg 1513w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/chematics-160x212.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/chematics-768x1015.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/chematics-1162x1536.jpg 1162w\" sizes=\"auto, (max-width: 1513px) 100vw, 1513px\">\u003cfigcaption class=\"wp-caption-text\">A schematic from the original plans for Audium. \u003ccite>(Courtesy Audium)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There’s been a lot of memories,” Shaff says about working with the archive. He described the process as “almost too personal.”\u003c/p>\n\u003cp>“It’s discovering, like, some parts of my parents and their own personal lives,” says Shaff, “I’ll hear them talking to each other on the tape at points, as younger adults.”\u003c/p>\n\u003cp>\u003cem>Audium VI\u003c/em> was composed 10 years before Shaff was born. He describes it as “pretty funky” and “out of the bounds of ordinary” — but he also resisted the urge to clean up the experimental composition’s rough edges. \u003c/p>\n\u003cp>“Dad liked to throw a lot of sounds at his audience,” says Shaff. “He’s like Jackson Pollock, you know, the painter that just threw paint on the canvas, except he’s throwing sounds.” \u003c/p>\n\u003cfigure id=\"attachment_13909229\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_.jpg\" alt=\"\" width=\"1920\" height=\"1440\" class=\"size-full wp-image-13909229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/Audium.Room_-1536x1152.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The listening room at Audium is outfitted with 176 speakers. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those sounds could include electronic noises, field recordings from nature, melodic passages, fog horns and freight trains. In 2022, the resident artist Victoria Shen called Audium “\u003ca href=\"https://www.kqed.org/arts/13909188/audium-residency-san-francisco-sound\">one of the last cool, weird, old-school things in San Francisco\u003c/a>.”\u003c/p>\n\u003cp>The mission for Audium now, Shaff says, is to keep a little bit of that soul of San Francisco alive, while modernizing it for the present day. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Audium VI: Rewind’ runs July 11–Aug. 23 at Audium in San Francisco. \u003ca href=\"https://www.audium.org/audium-vi-rewind/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We’ve all been there. One minute you’re casually browsing newspaper archives in the library, the next you’re stumbling across a story from yore that’s so bizarre, you just \u003cem>have\u003c/em> to render it in miniature form.\u003c/p>\n\u003cp>Yeah, okay, so, no. We clearly haven’t all been \u003cem>there\u003c/em>. But apparently, there are enough people who get overcome with a history-fueled desire to create dioramas that the Oakland Library is building an entire exhibition around it.\u003c/p>\n\u003cp>[aside postid='arts_13910308']\u003cem>All the News That’s Fit to Build: Local News Dioramas \u003c/em>will take over the Oakland History Center on the second floor of the Oakland library’s main branch between early August and late November. The plan is for the show to be a creative and engaging way to bring stories from East Bay history into the present day.\u003c/p>\n\u003cp>Best of all? The Oakland Library is specifically requesting that participants get as weird as possible. Examples of \u003ca href=\"https://oaklandlibrary.org/blogs/post/calling-all-crafters-make-an-oakland-history-diorama/\">newspaper story subjects that library staff think would make for good dioramas\u003c/a> include: a cop who put a raccoon in jail for disorderly conduct, a man who got accidentally buried up to his neck in mud at Lake Merritt, and a 1940s Hayward highway that was blocked by 10 tons of tomatoes.\u003c/p>\n\u003cp>All clearly excellent suggestions, but we at KQED Arts & Culture would like to add some to the pile, if we may be so bold. Such as:\u003c/p>\n\u003col>\n\u003cli>The \u003ca href=\"https://www.kqed.org/arts/13957514/1896-mystery-airship-bay-area-ufo-history-victorian-aliens\">entire streetcar of witnesses in Fruitvale who saw a Victorian UFO\u003c/a> one night in 1896\u003c/li>\n\u003cli>The “City of Oakland” hot air balloon pilots who went on a \u003ca href=\"https://www.kqed.org/arts/13910308/city-of-oakland-hot-air-balloon-idora-park-piedmont-baths-neptune-beach\">mayhem-drenched near-death ride\u003c/a> in 1909\u003c/li>\n\u003cli>The San Antonio Spurs players who, in 2014, were \u003ca href=\"https://www.kqed.org/arts/13879301/5-haunted-bay-area-locations-to-scare-people-into-social-distancing\">terrorized by a ghost baby\u003c/a> in a Berkeley hotel\u003c/li>\n\u003cli>The \u003ca href=\"https://www.kqed.org/arts/13934227/history-kids-weapons-dynamite-30s-40s-50s-tweens-with-bombs\">dumb 1950s teens in Walnut Creek who stole some dynamite\u003c/a> and shattered a square-mile’s worth of windows\u003c/li>\n\u003cli>The seven West Oakland junkyard tweens who built themselves a \u003ca href=\"https://www.kqed.org/arts/13910308/city-of-oakland-hot-air-balloon-idora-park-piedmont-baths-neptune-beach\">functioning rollercoaster in 1915\u003c/a>\u003c/li>\n\u003c/ol>\n\u003cp>Feeling inspired yet?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If you need some extra incentive, outstanding creations will be honored at a special reception on Oct. 4 with prizes provided by Kala Art Institute, Flax Art & Design, Fenton’s Creamery and East Bay Depot for Creative Reuse.\u003c/p>\n\u003cp>The Oakland Library is requesting that all dioramas — which must not exceed 6 inches in height — be delivered between July 21 and Aug. 2, 2025, along with a copy of the newspaper story it’s based on. (This should include important details like name of newspaper and publication date.)\u003c/p>\n\u003cp>Creators are welcome to access the library’s archives and newspapers.com account for inspiration. Finding ghost baby and/or raccoon figurines is entirely up to you.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan class=\"OYPEnA font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\">\u003cem>‘All the News That’s Fit to Build: Local News Dioramas’ will be on display at The Oakland Library’s History Center (125 14th Street, 2nd Floor)\u003c/em>\u003c/span>\u003cem>\u003cspan class=\"OYPEnA font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"> between Aug. 9 and Nov. 29, 2025. Potential participants can find \u003ca href=\"https://oaklandlibrary.org/diorama/\">full instructions at the library’s website\u003c/a>.\u003c/span>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’ve all been there. One minute you’re casually browsing newspaper archives in the library, the next you’re stumbling across a story from yore that’s so bizarre, you just \u003cem>have\u003c/em> to render it in miniature form.\u003c/p>\n\u003cp>Yeah, okay, so, no. We clearly haven’t all been \u003cem>there\u003c/em>. But apparently, there are enough people who get overcome with a history-fueled desire to create dioramas that the Oakland Library is building an entire exhibition around it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>All the News That’s Fit to Build: Local News Dioramas \u003c/em>will take over the Oakland History Center on the second floor of the Oakland library’s main branch between early August and late November. The plan is for the show to be a creative and engaging way to bring stories from East Bay history into the present day.\u003c/p>\n\u003cp>Best of all? The Oakland Library is specifically requesting that participants get as weird as possible. Examples of \u003ca href=\"https://oaklandlibrary.org/blogs/post/calling-all-crafters-make-an-oakland-history-diorama/\">newspaper story subjects that library staff think would make for good dioramas\u003c/a> include: a cop who put a raccoon in jail for disorderly conduct, a man who got accidentally buried up to his neck in mud at Lake Merritt, and a 1940s Hayward highway that was blocked by 10 tons of tomatoes.\u003c/p>\n\u003cp>All clearly excellent suggestions, but we at KQED Arts & Culture would like to add some to the pile, if we may be so bold. Such as:\u003c/p>\n\u003col>\n\u003cli>The \u003ca href=\"https://www.kqed.org/arts/13957514/1896-mystery-airship-bay-area-ufo-history-victorian-aliens\">entire streetcar of witnesses in Fruitvale who saw a Victorian UFO\u003c/a> one night in 1896\u003c/li>\n\u003cli>The “City of Oakland” hot air balloon pilots who went on a \u003ca href=\"https://www.kqed.org/arts/13910308/city-of-oakland-hot-air-balloon-idora-park-piedmont-baths-neptune-beach\">mayhem-drenched near-death ride\u003c/a> in 1909\u003c/li>\n\u003cli>The San Antonio Spurs players who, in 2014, were \u003ca href=\"https://www.kqed.org/arts/13879301/5-haunted-bay-area-locations-to-scare-people-into-social-distancing\">terrorized by a ghost baby\u003c/a> in a Berkeley hotel\u003c/li>\n\u003cli>The \u003ca href=\"https://www.kqed.org/arts/13934227/history-kids-weapons-dynamite-30s-40s-50s-tweens-with-bombs\">dumb 1950s teens in Walnut Creek who stole some dynamite\u003c/a> and shattered a square-mile’s worth of windows\u003c/li>\n\u003cli>The seven West Oakland junkyard tweens who built themselves a \u003ca href=\"https://www.kqed.org/arts/13910308/city-of-oakland-hot-air-balloon-idora-park-piedmont-baths-neptune-beach\">functioning rollercoaster in 1915\u003c/a>\u003c/li>\n\u003c/ol>\n\u003cp>Feeling inspired yet?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If you need some extra incentive, outstanding creations will be honored at a special reception on Oct. 4 with prizes provided by Kala Art Institute, Flax Art & Design, Fenton’s Creamery and East Bay Depot for Creative Reuse.\u003c/p>\n\u003cp>The Oakland Library is requesting that all dioramas — which must not exceed 6 inches in height — be delivered between July 21 and Aug. 2, 2025, along with a copy of the newspaper story it’s based on. (This should include important details like name of newspaper and publication date.)\u003c/p>\n\u003cp>Creators are welcome to access the library’s archives and newspapers.com account for inspiration. Finding ghost baby and/or raccoon figurines is entirely up to you.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cspan class=\"OYPEnA font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\">\u003cem>‘All the News That’s Fit to Build: Local News Dioramas’ will be on display at The Oakland Library’s History Center (125 14th Street, 2nd Floor)\u003c/em>\u003c/span>\u003cem>\u003cspan class=\"OYPEnA font-feature-liga-off font-feature-clig-off font-feature-calt-off text-decoration-none text-strikethrough-none\"> between Aug. 9 and Nov. 29, 2025. Potential participants can find \u003ca href=\"https://oaklandlibrary.org/diorama/\">full instructions at the library’s website\u003c/a>.\u003c/span>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13978391\" class=\"wp-caption aligncenter\" style=\"max-width: 1367px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978391\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/summer-storms.png\" alt=\"A book cover featuring an illustration of two women and two men walking along a beach, viewed from behind and above.\" width=\"1367\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/summer-storms.png 1367w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/summer-storms-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/summer-storms-768x1124.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/summer-storms-1050x1536.png 1050w\" sizes=\"auto, (max-width: 1367px) 100vw, 1367px\">\u003cfigcaption class=\"wp-caption-text\">‘These Summer Storms’ by Sarah MacLean. \u003ccite>(Ballantine Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s one thing to look at someone like Jeff Bezos or Elon Musk and envy their wealth and success. It’s a totally different thing to be the child of a tech pioneer, with a reputation to uphold lest stock prices suffer — at least according to Sarah MacLean’s latest novel, \u003cem>These Summer Storms.\u003c/em>\u003c/p>\n\u003cp>Alice Storm’s world is immediately captivating. Her childhood feels completely alien; an upper-class New York City upbringing taking helicopters to Rhode Island to spend summers at Storm Manor under an oppressive father and stifled mother — whom my brain immediately cast as Jessica Walter a la \u003cem>Archer\u003c/em> or \u003cem>Arrested Development\u003c/em> — gin and tonic always in hand, heavy on the gin.\u003c/p>\n\u003cp>[aside postid='arts_13978195']But Alice hasn’t seen her family in five years, since she was excommunicated from the Storm empire. And while she’s enjoying the independence and accomplishment that comes from building a life for herself by herself, the death of tech mogul Franklin Storm, the patriarch, is enough to drive her back to the family’s secluded, stormy island one more time.\u003c/p>\n\u003cp>So if there’s a hookup with a strange, handsome man on the way there, who cares? Alice is grieving. She can have this one thing and move on, right?\u003c/p>\n\u003cp>Wrong! MacLean wouldn’t dare let the romance end there. \u003cem>These Summer Storms\u003c/em> may be a genre shift for the author, but it doesn’t mean she’s leaving romance completely behind. A steamy undercurrent of lust runs through a passionate enemies-to-lovers plot alongside the shifting sands of a shaken family in great need of some therapy, who find themselves thrust into an inheritance game Franklin manufactured before his death.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>If Franklin’s widow and four kids want to see a penny of his enormous wealth, they’ll have to follow his rules, which range from saying nice things about him and not speaking during odd hours to revealing grave truths and upending years-long relationships.\u003c/p>\n\u003cp>[aside postid='arts_13977844']The drama is intoxicating, and it feels great to get swept up in an imaginary rich family’s problems. \u003cem>These Summer Storms\u003c/em> is pitted with little mysteries and interpersonal land mines. While the novel loses some momentum in the final act, it’s a fun beach read, perfectly positioned for summer; on one level, it’s a light read with rich-behaving-badly appeal. But it also goes deeper, into grief and emotional healing. MacLean writes with a strong narrative voice filled with humor and beautiful word-paintings.\u003c/p>\n\u003cp>And, of course, plenty of storm metaphors.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘These Summer Storms’ by Sarah MacLean is out on July 8, 2025, via Ballantine Books.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The drama is intoxicating, and it feels great to get swept up in an imaginary rich family’s problems. \u003cem>These Summer Storms\u003c/em> is pitted with little mysteries and interpersonal land mines. While the novel loses some momentum in the final act, it’s a fun beach read, perfectly positioned for summer; on one level, it’s a light read with rich-behaving-badly appeal. But it also goes deeper, into grief and emotional healing. MacLean writes with a strong narrative voice filled with humor and beautiful word-paintings.\u003c/p>\n\u003cp>And, of course, plenty of storm metaphors.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘These Summer Storms’ by Sarah MacLean is out on July 8, 2025, via Ballantine Books.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When I first got a glimpse of \u003ca href=\"https://www.milomoyer-battick.com/\">Milo Moyer-Battick\u003c/a>’s paintings in person last year, the show was a small one, arranged on the wood-paneled walls of \u003ca href=\"https://laststrawsf.com/exhibitions\">The Last Straw\u003c/a>, an enigmatic artist-run gallery and gift shop in San Francisco’s Outer Sunset neighborhood.\u003c/p>\n\u003cp>At The Last Straw, Moyer-Battick showed dark, muted paintings overlaid with his own brand of pointillism, a diffuse smattering of dots that blur (especially if you take your glasses off) into a cohesive whole. But it was tricky in those close quarters to get the distance necessary to truly take in the effect — or confidently decipher a signal from the noise. \u003c/p>\n\u003cp>Now through July 19 at \u003ca href=\"https://www.pacificsawworks.com/\">Pacific Saw Works\u003c/a>, another artist-run space, this one in a former Oakland hardware store, we get an evolution of that visual scramble. In Moyer-Battick’s solo show \u003ci>\u003ca href=\"https://www.pacificsawworks.com/specific-saw-horse\">Specific Saw Horse\u003c/a>\u003c/i>, clearly identifiable images borrowed from logos, diagrams and bygone recipes rub up against non sequiturs and punny wordplay.\u003c/p>\n\u003cp>“Ringo Starr bound and gagged,” reads the bottom of \u003ci>The Opposite of Snow\u003c/i>, a painting that combines the Bic pen logo, Dance Dance Revolution arrows, Felix the Cat, \u003ci>Goodnight Moon\u003c/i> and a chevron arrangement of ticks. \u003c/p>\n\u003cfigure id=\"attachment_13978341\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/TheOppositeOfRhyming_Hires_2000.jpg\" alt=\"yellow painting with various images and brands in combination\" width=\"2000\" height=\"2540\" class=\"size-full wp-image-13978341\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/TheOppositeOfRhyming_Hires_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/TheOppositeOfRhyming_Hires_2000-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/TheOppositeOfRhyming_Hires_2000-768x975.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/TheOppositeOfRhyming_Hires_2000-1209x1536.jpg 1209w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/TheOppositeOfRhyming_Hires_2000-1613x2048.jpg 1613w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Milo Moyer-Battick, ‘The Opposite of Rhyming,’ 2025. \u003ccite>(Courtesy Pacific Saw Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ci>The Opposite of Rhyming\u003c/i>, illustrations of feet, the Pink Panther, the Raisin Bran logo and clam chowder packaging mingle in a zingy red, pink and yellow composition. This is just a cursory list; prepare for a delightfully zany version of “I spy.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Not all of Moyer-Battick’s work is so eclectic. Several sign paintings punctuate the show with the sans-serif elegance of On Kawara’s \u003ca href=\"https://www.davidzwirner.com/artists/on-kawara\">date paintings\u003c/a>, only to proclaim “Spinach,” “Cumulus cloud” and “OPSTAY” (the last one, fittingly, on a red hexagon of unprimed canvas).\u003c/p>\n\u003cp>But other pieces are so dense they attain a kind of Magic Eye quality. With a confident hand, Moyer-Battick layers thinly painted text and found imagery directly on top of one another. It takes selective, sustained focus to decipher these disparate parts. In \u003ci>Orange Ham and Eggs\u003c/i>, we find a fish in a bowl, an old-timey violinist and cooking instructions (à l’orange, of course). \u003c/p>\n\u003cfigure id=\"attachment_13978345\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LoremIpsum_Hires_cloud_2000.jpg\" alt=\"tie-dye like painting with words painted around edges; and wide white text on dark brown\" width=\"2000\" height=\"860\" class=\"size-full wp-image-13978345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LoremIpsum_Hires_cloud_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LoremIpsum_Hires_cloud_2000-160x69.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LoremIpsum_Hires_cloud_2000-768x330.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LoremIpsum_Hires_cloud_2000-1536x660.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Milo Moyer-Battick, ‘Lorem Ipsum,’ 2025 and ‘Cumulus cloud,’ 2025. \u003ccite>(Courtesy Pacific Saw Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout the show, Moyer-Battick encodes visual information into a personal, free-associative cypher. What are we to make of Elvis + \u003ci>Grease\u003c/i> + “cook in hot, deep fat”? It’s a rebus that doesn’t quite parse, an equation that will never add up. \u003c/p>\n\u003cp>Thankfully, the work is well balanced between perplexing visual puzzles and straightforward — if meat-heavy — messaging. (\u003ci>Liver\u003c/i> is one of the sign paintings, \u003ci>Half a pound of turkey Ninety pounds of pork\u003c/i> is another.) Tucked into one corner, the showstopper \u003ci>Lorem Ipsum\u003c/i> is the equivalent of a contemplative sunset, the word salad running around its edges a comforting babble. \u003c/p>\n\u003cp>\u003ci>Specific Saw Horse\u003c/i> is a reminder that surrealism is just a few juxtapositions away from our seemingly ordered reality. When the real world feels increasingly uncanny, it’s practices like these — that dig deep into commonplace things and render them altogether strange — that really make sense.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Specific Saw Horse’ is on view at Pacific Saw Works through July 19, 2025. Email \u003ca href=\"mailto:pacificsawworks@gmail.com\">pacificsawworks@gmail.com\u003c/a> to make an appointment, or visit the gallery \u003ca href=\"https://www.instagram.com/pacificsawworks/\">Instagram\u003c/a> for weekly open hours.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I first got a glimpse of \u003ca href=\"https://www.milomoyer-battick.com/\">Milo Moyer-Battick\u003c/a>’s paintings in person last year, the show was a small one, arranged on the wood-paneled walls of \u003ca href=\"https://laststrawsf.com/exhibitions\">The Last Straw\u003c/a>, an enigmatic artist-run gallery and gift shop in San Francisco’s Outer Sunset neighborhood.\u003c/p>\n\u003cp>At The Last Straw, Moyer-Battick showed dark, muted paintings overlaid with his own brand of pointillism, a diffuse smattering of dots that blur (especially if you take your glasses off) into a cohesive whole. But it was tricky in those close quarters to get the distance necessary to truly take in the effect — or confidently decipher a signal from the noise. \u003c/p>\n\u003cp>Now through July 19 at \u003ca href=\"https://www.pacificsawworks.com/\">Pacific Saw Works\u003c/a>, another artist-run space, this one in a former Oakland hardware store, we get an evolution of that visual scramble. In Moyer-Battick’s solo show \u003ci>\u003ca href=\"https://www.pacificsawworks.com/specific-saw-horse\">Specific Saw Horse\u003c/a>\u003c/i>, clearly identifiable images borrowed from logos, diagrams and bygone recipes rub up against non sequiturs and punny wordplay.\u003c/p>\n\u003cp>“Ringo Starr bound and gagged,” reads the bottom of \u003ci>The Opposite of Snow\u003c/i>, a painting that combines the Bic pen logo, Dance Dance Revolution arrows, Felix the Cat, \u003ci>Goodnight Moon\u003c/i> and a chevron arrangement of ticks. \u003c/p>\n\u003cfigure id=\"attachment_13978341\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/TheOppositeOfRhyming_Hires_2000.jpg\" alt=\"yellow painting with various images and brands in combination\" width=\"2000\" height=\"2540\" class=\"size-full wp-image-13978341\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/TheOppositeOfRhyming_Hires_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/TheOppositeOfRhyming_Hires_2000-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/TheOppositeOfRhyming_Hires_2000-768x975.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/TheOppositeOfRhyming_Hires_2000-1209x1536.jpg 1209w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/TheOppositeOfRhyming_Hires_2000-1613x2048.jpg 1613w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Milo Moyer-Battick, ‘The Opposite of Rhyming,’ 2025. \u003ccite>(Courtesy Pacific Saw Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003ci>The Opposite of Rhyming\u003c/i>, illustrations of feet, the Pink Panther, the Raisin Bran logo and clam chowder packaging mingle in a zingy red, pink and yellow composition. This is just a cursory list; prepare for a delightfully zany version of “I spy.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Not all of Moyer-Battick’s work is so eclectic. Several sign paintings punctuate the show with the sans-serif elegance of On Kawara’s \u003ca href=\"https://www.davidzwirner.com/artists/on-kawara\">date paintings\u003c/a>, only to proclaim “Spinach,” “Cumulus cloud” and “OPSTAY” (the last one, fittingly, on a red hexagon of unprimed canvas).\u003c/p>\n\u003cp>But other pieces are so dense they attain a kind of Magic Eye quality. With a confident hand, Moyer-Battick layers thinly painted text and found imagery directly on top of one another. It takes selective, sustained focus to decipher these disparate parts. In \u003ci>Orange Ham and Eggs\u003c/i>, we find a fish in a bowl, an old-timey violinist and cooking instructions (à l’orange, of course). \u003c/p>\n\u003cfigure id=\"attachment_13978345\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LoremIpsum_Hires_cloud_2000.jpg\" alt=\"tie-dye like painting with words painted around edges; and wide white text on dark brown\" width=\"2000\" height=\"860\" class=\"size-full wp-image-13978345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LoremIpsum_Hires_cloud_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LoremIpsum_Hires_cloud_2000-160x69.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LoremIpsum_Hires_cloud_2000-768x330.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/LoremIpsum_Hires_cloud_2000-1536x660.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Milo Moyer-Battick, ‘Lorem Ipsum,’ 2025 and ‘Cumulus cloud,’ 2025. \u003ccite>(Courtesy Pacific Saw Works)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Throughout the show, Moyer-Battick encodes visual information into a personal, free-associative cypher. What are we to make of Elvis + \u003ci>Grease\u003c/i> + “cook in hot, deep fat”? It’s a rebus that doesn’t quite parse, an equation that will never add up. \u003c/p>\n\u003cp>Thankfully, the work is well balanced between perplexing visual puzzles and straightforward — if meat-heavy — messaging. (\u003ci>Liver\u003c/i> is one of the sign paintings, \u003ci>Half a pound of turkey Ninety pounds of pork\u003c/i> is another.) Tucked into one corner, the showstopper \u003ci>Lorem Ipsum\u003c/i> is the equivalent of a contemplative sunset, the word salad running around its edges a comforting babble. \u003c/p>\n\u003cp>\u003ci>Specific Saw Horse\u003c/i> is a reminder that surrealism is just a few juxtapositions away from our seemingly ordered reality. When the real world feels increasingly uncanny, it’s practices like these — that dig deep into commonplace things and render them altogether strange — that really make sense.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Specific Saw Horse’ is on view at Pacific Saw Works through July 19, 2025. Email \u003ca href=\"mailto:pacificsawworks@gmail.com\">pacificsawworks@gmail.com\u003c/a> to make an appointment, or visit the gallery \u003ca href=\"https://www.instagram.com/pacificsawworks/\">Instagram\u003c/a> for weekly open hours.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If there is an overarching theme in \u003cem>Sorry, Baby\u003c/em> — the debut feature by San Francisco-raised director, writer and actor \u003ca href=\"https://www.instagram.com/evavictor/?hl=en\">Eva Victor\u003c/a> — it’s about the ordinariness of terrible things.\u003c/p>\n\u003cp>[aside postid='arts_13978179']Traditionally, most movies like to insist on telling audiences that disasters crash into our lives with lightning strikes and people screaming, soundtracked by heart-wrenching music. The truth is that most of the worst things that happen to humans just roll quietly — and randomly — into lives and chip, chip, chip away. \u003cem>Sorry, Baby\u003c/em> is extremely good at capturing the slow, insidious and muted nature of such events.\u003c/p>\n\u003cp>Set in a rural Massachusetts college town, \u003cem>Sorry, Baby\u003c/em> revolves around Agnes (played by Victor), her best friend Lydie (the always delightful \u003ca href=\"https://www.kqed.org/arts/13962666/blink-twice-movie-review-zoe-kravitz-channing-tatum-naomi-ackie-alia-shawkat\">Naomi Ackie\u003c/a>), a socially awkward neighbor named Gavin (\u003ca href=\"https://www.imdb.com/name/nm2348627/\">Lucas Hedges\u003c/a>), and a cast of mostly unpleasant characters from the local university. (Special shoutout to \u003ca href=\"https://www.imdb.com/name/nm3080168/?ref_=ttfc_fcr_cst_4\">Kelly McCormack\u003c/a> here, who uses her extremely expressive face to turn Agnes’ nemesis Natasha into a figure of comedic gold.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Rc0jgWoZo9w\u003c/p>\n\u003cp>\u003cem>Sorry, Baby\u003c/em> is a movie about sexual violence, power imbalances, dealing with trauma, and the emotional relationships and bonds that carry us through. But its tone never shifts from an everyday beat, in part because of Agnes’ pragmatic nature. The routine of daily activities sits alongside the pain of The Very Bad Thing at the center of her story. Friendships and sexual relationships are rendered naturalistically and believably. Interactions with strangers are consistently, humanly awkward and provide dry humor to proceedings.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What is less obvious about \u003cem>Sorry, Baby\u003c/em> is that it’s also a late-stage coming of age story. Rendered through non-linear time jumps, the movie shows Agnes and Lydie limping to the end of grad school and emerging into post-collegiate adulthood in search of their own paths. These women are undoubtedly grown-ups, albeit ones who haven’t quite figured out themselves or the world yet. In the end, their personal road maps emerge simply because they manage to keep putting one foot in front of the other, regardless of the challenges at hand.\u003c/p>\n\u003cp>[aside postid='arts_13978018']For anyone who has already stumbled through and survived their 20s, \u003cem>Sorry, Baby\u003c/em> has few revelations to offer beyond smart writing and a very promising new director. Where the film will resonate most and find its most passionate audience is with young people still figuring out the challenges and injustices of adulthood. \u003cem>Sorry, Baby\u003c/em> is a realistically commonplace depiction of both; delicate and lovely, relatable and terrible.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Sorry, Baby’ is released nationwide on July 18, 2025. It is currently playing in limited theaters.\u003c/em>\u003c/p>\n\n",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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