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"content": "\u003cfigure id=\"attachment_13973179\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_036.jpg\" alt=\"A slender Black man in a yellow suit points to the right while young contestants in colorful clothes stand against a blue wall\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13973179\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_036.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_036-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_036-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_036-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_036-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_036-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_036-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jason Veasey (far right) with Ana Yi Puig, Seth Hanson, Molly Hager, A.J. Holmes and John-Michael Lyles (background, L–R) in ‘Nobody Loves You’ at ACT. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Are there any bigger losers than winners of a dating show?\u003c/p>\n\u003cp>In \u003ca href=\"https://www.kqed.org/arts/tag/american-conservatory-theater\">American Conservatory Theater\u003c/a>’s stupendous production of \u003cem>Nobody Loves You\u003c/em>, the answer is a resounding yes. As in, yes, everyone involved with reality dating shows are gluttons for embarrassment on a national level.\u003c/p>\n\u003cp>The action revolves around Jeff (A.J. Holmes), whose bouncy girlfriend Tanya (Ashley D. Williams, in multiple roles) locks in with the rest of the country to see who will be told “nobody loves you,” the popular sign-off where losers of the same-named reality dating show are reminded just how undesirable they are.\u003c/p>\n\u003cfigure id=\"attachment_13973182\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_186.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13973182\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_186.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_186-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_186-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_186-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_186-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_186-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_186-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Ana Yi Puig, Molly Hager, A.J. Holmes, Seth Hanson, and John-Michael Lyles in ‘Nobody Loves You’ at ACT. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jeff, who is much more consumed with trying to find a philosophy dissertation focus, soon realizes that he can explore the sociological impact of reality dating, where spontaneous meet cutes are impromptu only until a director asks for a re-shoot with a new camera angle. And if he can infiltrate the operation as a covert contestant, he can not only win back Tanya, but expose the rot within the genre, allowing grateful citizens to someday welcome him as their great liberator. \u003c/p>\n\u003cp>But how does one with only a Ph.D mandate and dreams of destruction take down a billion-dollar entertainment juggernaut? What awaits Jeff is a societal microcosm, a merry band of narcissists ready for inane competitions to obtain sweet, sweet lovin’. The capricious nature of what plays well for the millions of fans who hang on every vapidity make this level of “reality” as truthful as a three-dollar bill.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Nobody Loves You\u003c/em> is created by two Berkeley natives and childhood friends – Tony-winning playwright Itamar Moses and composer Gaby Alter, who clearly understand what makes reality shows tick. There are opposites who attract when they really don’t, such as the Jesus-loving, aptly named Christian (Seth Hanson), paired with party girl Megan (Molly Hager), who does what she can to bring sexy back when a sauna is her dance partner.\u003c/p>\n\u003cfigure id=\"attachment_13973180\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_075.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13973180\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_075.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_075-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_075-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_075-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_075-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_075-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_075-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Molly Hager and Seth Hanson in ‘Nobody Loves You’ at ACT. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A third complication comes aboard in the form of Samantha (Ana Yi Puig), a third grade teacher looking for love and validation. But just like smarmy, silky-smooth soul singer and vacuous show host Byron (Jason Veasey) clearly states, triangles and love make for poor bedfellows, a dazzling soul tune accompanying the point.\u003c/p>\n\u003cp>[aside postID='arts_13971920']What makes the show especially delightful is the way it both handles and exploits the minutiae of the reality-TV world under Pam MacKinnon’s assured direction. Whether it’s doing the tango while trying to avoid a truth mine, embarking on an “Intense Crush Ceremony” or watching the grand finale two-hour special the day before the actual grand finale two-hour special, Moses’ script goes wild with wit. \u003c/p>\n\u003cp>Those witticisms spill towards a different kind of tango when the freshly-freed Jeff meets the show’s assistant producer, who feels the same about the reality genre. Jenny (Kuhoo Verma) has big plans to lean into her unapologetic femininity as a documentarian, a dream most definitely deferred. Can both of these curious, pensive souls avoid the pitfalls of this plastic world of Crush Ceremony Mix CDs?\u003c/p>\n\u003cfigure id=\"attachment_13973178\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_126.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13973178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_126.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_126-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_126-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_126-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_126-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_126-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_126-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Molly Hager, John-Michael Lyles, Ana Yi Puig and Seth Hanson in ‘Nobody Loves\u003cbr>You’ at ACT. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The magic of MacKinnon’s succinct pacing alongside Steph Paul’s snazzy choreography make this story tight and compact. It doesn’t hurt that the cast is full of of triple-threat talent that doesn’t let up. Hanson, Hager and Puig are terrific at playing the sacrificial lambs for mass entertainment, hoofing and bleating as the chaos unfolds. Holmes excels at divvying up Jeff’s own inner torture and conflicted feelings, and Williams plays well with the audience, providing a nod and a wink to let them in on inside jokes.\u003c/p>\n\u003cp>As the host, Veasey channels James Ingram, with dashes of Barry White and Luther Vandross; his costumes (designed by Sarita Fellows) seem to indicate that the sequin store is missing most of its stash. The frenetically hilarious John-Michael Lyles, and his turn as Evan, reveals a joyous dance with this genre in the show’s waning moments. \u003c/p>\n\u003cp>Yet the most potent number belongs to Verma, who rattles off “Jenny’s Song” within a moment of personal tragedy, and drills into every ounce of the tune’s pure intentions with assured gravitas. Sure, the job sucked, but when you’re young, and connections that’ve taken years to build go poof, it’s a tough thing to reckon with.\u003c/p>\n\u003cfigure id=\"attachment_13973181\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_157.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13973181\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_157.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_157-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_157-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_157-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_157-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_157-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_157-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">John-Michael Lyles and Kuhoo Verma in ‘Nobody Loves You’ at ACT. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mindless entertainment is a necessary evil. With perceived triumphs and consequences in every episode, reality television appeals to our inner voyeur and allows our own placement atop the societal pyramid. \u003c/p>\n\u003cp>While \u003cem>Nobody Loves You\u003c/em> can offer pure laughs — and reality shows may lead the league in unintentional comedy — there’s a hint of melancholia in watching folks debase themselves in pursuit of love, the thing we all strive to obtain. As Jenny says with potency, “You can perform or you can connect, but you can’t do both at the same time.”\u003c/p>\n\u003cp>Whether or not there’s truth in that sentiment, rest assured that the 15 seniors looking for love in “Golden Nobody Loves You” will be trying to prove Jenny wrong.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Nobody Loves You’ runs through March 30 at the Toni Rembe Theater in San Francisco. \u003ca href=\"https://www.act-sf.org/whats-on/2024-25-season/nobody-loves-you/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13973179\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_036.jpg\" alt=\"A slender Black man in a yellow suit points to the right while young contestants in colorful clothes stand against a blue wall\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13973179\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_036.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_036-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_036-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_036-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_036-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_036-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_036-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Jason Veasey (far right) with Ana Yi Puig, Seth Hanson, Molly Hager, A.J. Holmes and John-Michael Lyles (background, L–R) in ‘Nobody Loves You’ at ACT. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Are there any bigger losers than winners of a dating show?\u003c/p>\n\u003cp>In \u003ca href=\"https://www.kqed.org/arts/tag/american-conservatory-theater\">American Conservatory Theater\u003c/a>’s stupendous production of \u003cem>Nobody Loves You\u003c/em>, the answer is a resounding yes. As in, yes, everyone involved with reality dating shows are gluttons for embarrassment on a national level.\u003c/p>\n\u003cp>The action revolves around Jeff (A.J. Holmes), whose bouncy girlfriend Tanya (Ashley D. Williams, in multiple roles) locks in with the rest of the country to see who will be told “nobody loves you,” the popular sign-off where losers of the same-named reality dating show are reminded just how undesirable they are.\u003c/p>\n\u003cfigure id=\"attachment_13973182\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_186.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13973182\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_186.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_186-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_186-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_186-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_186-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_186-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_186-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Ana Yi Puig, Molly Hager, A.J. Holmes, Seth Hanson, and John-Michael Lyles in ‘Nobody Loves You’ at ACT. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jeff, who is much more consumed with trying to find a philosophy dissertation focus, soon realizes that he can explore the sociological impact of reality dating, where spontaneous meet cutes are impromptu only until a director asks for a re-shoot with a new camera angle. And if he can infiltrate the operation as a covert contestant, he can not only win back Tanya, but expose the rot within the genre, allowing grateful citizens to someday welcome him as their great liberator. \u003c/p>\n\u003cp>But how does one with only a Ph.D mandate and dreams of destruction take down a billion-dollar entertainment juggernaut? What awaits Jeff is a societal microcosm, a merry band of narcissists ready for inane competitions to obtain sweet, sweet lovin’. The capricious nature of what plays well for the millions of fans who hang on every vapidity make this level of “reality” as truthful as a three-dollar bill.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Nobody Loves You\u003c/em> is created by two Berkeley natives and childhood friends – Tony-winning playwright Itamar Moses and composer Gaby Alter, who clearly understand what makes reality shows tick. There are opposites who attract when they really don’t, such as the Jesus-loving, aptly named Christian (Seth Hanson), paired with party girl Megan (Molly Hager), who does what she can to bring sexy back when a sauna is her dance partner.\u003c/p>\n\u003cfigure id=\"attachment_13973180\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_075.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13973180\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_075.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_075-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_075-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_075-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_075-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_075-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_075-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Molly Hager and Seth Hanson in ‘Nobody Loves You’ at ACT. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A third complication comes aboard in the form of Samantha (Ana Yi Puig), a third grade teacher looking for love and validation. But just like smarmy, silky-smooth soul singer and vacuous show host Byron (Jason Veasey) clearly states, triangles and love make for poor bedfellows, a dazzling soul tune accompanying the point.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>What makes the show especially delightful is the way it both handles and exploits the minutiae of the reality-TV world under Pam MacKinnon’s assured direction. Whether it’s doing the tango while trying to avoid a truth mine, embarking on an “Intense Crush Ceremony” or watching the grand finale two-hour special the day before the actual grand finale two-hour special, Moses’ script goes wild with wit. \u003c/p>\n\u003cp>Those witticisms spill towards a different kind of tango when the freshly-freed Jeff meets the show’s assistant producer, who feels the same about the reality genre. Jenny (Kuhoo Verma) has big plans to lean into her unapologetic femininity as a documentarian, a dream most definitely deferred. Can both of these curious, pensive souls avoid the pitfalls of this plastic world of Crush Ceremony Mix CDs?\u003c/p>\n\u003cfigure id=\"attachment_13973178\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_126.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13973178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_126.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_126-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_126-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_126-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_126-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_126-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_126-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Molly Hager, John-Michael Lyles, Ana Yi Puig and Seth Hanson in ‘Nobody Loves\u003cbr>You’ at ACT. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The magic of MacKinnon’s succinct pacing alongside Steph Paul’s snazzy choreography make this story tight and compact. It doesn’t hurt that the cast is full of of triple-threat talent that doesn’t let up. Hanson, Hager and Puig are terrific at playing the sacrificial lambs for mass entertainment, hoofing and bleating as the chaos unfolds. Holmes excels at divvying up Jeff’s own inner torture and conflicted feelings, and Williams plays well with the audience, providing a nod and a wink to let them in on inside jokes.\u003c/p>\n\u003cp>As the host, Veasey channels James Ingram, with dashes of Barry White and Luther Vandross; his costumes (designed by Sarita Fellows) seem to indicate that the sequin store is missing most of its stash. The frenetically hilarious John-Michael Lyles, and his turn as Evan, reveals a joyous dance with this genre in the show’s waning moments. \u003c/p>\n\u003cp>Yet the most potent number belongs to Verma, who rattles off “Jenny’s Song” within a moment of personal tragedy, and drills into every ounce of the tune’s pure intentions with assured gravitas. Sure, the job sucked, but when you’re young, and connections that’ve taken years to build go poof, it’s a tough thing to reckon with.\u003c/p>\n\u003cfigure id=\"attachment_13973181\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_157.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13973181\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_157.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_157-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_157-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_157-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_157-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_157-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/NLY_157-1920x1278.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">John-Michael Lyles and Kuhoo Verma in ‘Nobody Loves You’ at ACT. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mindless entertainment is a necessary evil. With perceived triumphs and consequences in every episode, reality television appeals to our inner voyeur and allows our own placement atop the societal pyramid. \u003c/p>\n\u003cp>While \u003cem>Nobody Loves You\u003c/em> can offer pure laughs — and reality shows may lead the league in unintentional comedy — there’s a hint of melancholia in watching folks debase themselves in pursuit of love, the thing we all strive to obtain. As Jenny says with potency, “You can perform or you can connect, but you can’t do both at the same time.”\u003c/p>\n\u003cp>Whether or not there’s truth in that sentiment, rest assured that the 15 seniors looking for love in “Golden Nobody Loves You” will be trying to prove Jenny wrong.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Nobody Loves You’ runs through March 30 at the Toni Rembe Theater in San Francisco. \u003ca href=\"https://www.act-sf.org/whats-on/2024-25-season/nobody-loves-you/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "eephus-is-the-best-baseball-movie-since-moneyball",
"title": "‘Eephus’ Is the Best Baseball Movie Since ‘Moneyball’",
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"content": "\u003cp>In Carson Lund’s \u003cem>Eephus\u003c/em>, two teams – the Riverdogs and Adler’s Paint – gather on a neighborhood field for a \u003ca href=\"https://www.kqed.org/arts/tag/baseball\">baseball\u003c/a> game. The leaves are already starting to turn — “It’s getting late early,” as Yogi Berra said — and this is to be the final game for their adult rec league. The field is to be demolished.\u003c/p>\n\u003cp>No one would confuse them for all-stars. A suicide squeeze unfolds in creaky slow-motion. The rotund left fielder mutters “Mother McCree” under his breath when the ball is hit in the gap. But, regardless of skill level, they all care sincerely about the game.\u003c/p>\n\u003cp>\u003cem>Eephus\u003c/em>, as leisurely as a late-August double header, simply unfolds along with their game. Except to chase a foul ball or two, the movie stays within the lines of Soldier Field, the nondescript Massachusetts baseball field they’re playing on sometime in the 1990s. It spans nine innings, with dugout chatter and fading light. In this slow-pitch gem of a baseball movie — a middle-aged \u003cem>Sandlot\u003c/em> — time is slipping away, but they’re going down swinging.\u003c/p>\n\u003cfigure id=\"attachment_13973073\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/eephus.outfield.jpg\" alt=\"\" width=\"1600\" height=\"900\" class=\"size-full wp-image-13973073\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/eephus.outfield.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/eephus.outfield-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/eephus.outfield-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/eephus.outfield-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/eephus.outfield-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/eephus.outfield-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Cliff Blake in a scene from ‘Eephus.’ \u003ccite>(Music Box Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Money, analytics and whatever’s on ESPN can sometimes cloud what sports is to most people: A refuge. \u003cem>Eephus\u003c/em>, in that way, is a change-up of a baseball movie, an elegiac ode to the humbler weekend warriors who are driven by nothing but genuine affection for the game. Richly detailed and mordantly deadpan, \u003cem>Eephus\u003c/em> adopts their pace of play, soaking up all the sesame-seed flavor that goes along with it.\u003c/p>\n\u003cp>The title comes from an unnaturally slow pitch not slung but lobbed toward home. When I was a kid pitching, I liked to uncork one from time to time, much to my coach’s dismay. The metaphor isn’t hard to grasp. One player describes it as a pitch you can get bored watching, even making you lose track of time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Much of the same applies to \u003cem>Eephus\u003c/em>, which drifts player to player, play to play, less as an ensemble piece than like a roving spectator. The guys, themselves, have no more than a handful of fans, including the diehard scorekeeper Fanny (Cliff Blake). Frederick Wiseman, the great documentarian whose films chronicle nothing so much as institutions kept alive over time, is the voice of the announcer.\u003c/p>\n\u003cfigure id=\"attachment_13973075\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/eephus.field_.jpg\" alt=\"\" width=\"1440\" height=\"669\" class=\"size-full wp-image-13973075\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/eephus.field_.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/eephus.field_-800x372.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/eephus.field_-1020x474.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/eephus.field_-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/eephus.field_-768x357.jpg 768w\" sizes=\"auto, (max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Patrick Garrigan, Chris Goodwin, Peter Minkarah, Stephen Radochia, Ari Brisbon, Ray Hryb, and David Pridemore in a scene from ‘Eephus.’ \u003ccite>(Music Box Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I earlier called Lund’s film an ode, but it’s not a sentimental movie. Time’s passage, which no ballgame or perfectly thrown eephus can halt, grows increasingly disquieting as the afternoon light gives way to nightfall. That, to finish the game, they play into near-total darkness, with only headlights to see the ball, is a sign of desperation as much as it is commitment. After all, one guy in the dugout is listening to a radio broadcast of a ballgame, from 1972.\u003c/p>\n\u003cp>What’s being lost? It’s not a strip mall the field is to be turned into but something harder to quibble with: a school. They could drive half an hour to another field, but that’s said to be half Little League, half farmer’s market. They aren’t a collection of pals, either. They don’t hang out away from the diamond. Things they don’t talk about: work, families, politics. Things they do: eyecare for the ump.\u003c/p>\n\u003cp>[aside postID='arts_13972636']In the annals of baseball movies, \u003cem>Eephus\u003c/em> doesn’t belong in the Hall of Fame with \u003cem>Bull Durham\u003c/em> or \u003cem>A League of Their Own\u003c/em>. The closest it gets to the big leagues is an appearance by Bill “Spaceman” Lee, the 1970s southpaw and eephus adherent.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But \u003cem>Eephus\u003c/em> is just as deserving of a place in that hardball pantheon, only in some minor ball realm, well below single A. Here, they don’t throw “high cheese” but such meatballs that, as one player riffs, you could call it pasta primavera. To call this a field of dreams would be pushing it. But it’s a lovely way to pass some time.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Carson Lund’s \u003cem>Eephus\u003c/em>, two teams – the Riverdogs and Adler’s Paint – gather on a neighborhood field for a \u003ca href=\"https://www.kqed.org/arts/tag/baseball\">baseball\u003c/a> game. The leaves are already starting to turn — “It’s getting late early,” as Yogi Berra said — and this is to be the final game for their adult rec league. The field is to be demolished.\u003c/p>\n\u003cp>No one would confuse them for all-stars. A suicide squeeze unfolds in creaky slow-motion. The rotund left fielder mutters “Mother McCree” under his breath when the ball is hit in the gap. But, regardless of skill level, they all care sincerely about the game.\u003c/p>\n\u003cp>\u003cem>Eephus\u003c/em>, as leisurely as a late-August double header, simply unfolds along with their game. Except to chase a foul ball or two, the movie stays within the lines of Soldier Field, the nondescript Massachusetts baseball field they’re playing on sometime in the 1990s. It spans nine innings, with dugout chatter and fading light. In this slow-pitch gem of a baseball movie — a middle-aged \u003cem>Sandlot\u003c/em> — time is slipping away, but they’re going down swinging.\u003c/p>\n\u003cfigure id=\"attachment_13973073\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/eephus.outfield.jpg\" alt=\"\" width=\"1600\" height=\"900\" class=\"size-full wp-image-13973073\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/eephus.outfield.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/eephus.outfield-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/eephus.outfield-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/eephus.outfield-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/eephus.outfield-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/eephus.outfield-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Cliff Blake in a scene from ‘Eephus.’ \u003ccite>(Music Box Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Money, analytics and whatever’s on ESPN can sometimes cloud what sports is to most people: A refuge. \u003cem>Eephus\u003c/em>, in that way, is a change-up of a baseball movie, an elegiac ode to the humbler weekend warriors who are driven by nothing but genuine affection for the game. Richly detailed and mordantly deadpan, \u003cem>Eephus\u003c/em> adopts their pace of play, soaking up all the sesame-seed flavor that goes along with it.\u003c/p>\n\u003cp>The title comes from an unnaturally slow pitch not slung but lobbed toward home. When I was a kid pitching, I liked to uncork one from time to time, much to my coach’s dismay. The metaphor isn’t hard to grasp. One player describes it as a pitch you can get bored watching, even making you lose track of time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Much of the same applies to \u003cem>Eephus\u003c/em>, which drifts player to player, play to play, less as an ensemble piece than like a roving spectator. The guys, themselves, have no more than a handful of fans, including the diehard scorekeeper Fanny (Cliff Blake). Frederick Wiseman, the great documentarian whose films chronicle nothing so much as institutions kept alive over time, is the voice of the announcer.\u003c/p>\n\u003cfigure id=\"attachment_13973075\" class=\"wp-caption aligncenter\" style=\"max-width: 1440px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/eephus.field_.jpg\" alt=\"\" width=\"1440\" height=\"669\" class=\"size-full wp-image-13973075\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/eephus.field_.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/eephus.field_-800x372.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/eephus.field_-1020x474.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/eephus.field_-160x74.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/eephus.field_-768x357.jpg 768w\" sizes=\"auto, (max-width: 1440px) 100vw, 1440px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Patrick Garrigan, Chris Goodwin, Peter Minkarah, Stephen Radochia, Ari Brisbon, Ray Hryb, and David Pridemore in a scene from ‘Eephus.’ \u003ccite>(Music Box Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I earlier called Lund’s film an ode, but it’s not a sentimental movie. Time’s passage, which no ballgame or perfectly thrown eephus can halt, grows increasingly disquieting as the afternoon light gives way to nightfall. That, to finish the game, they play into near-total darkness, with only headlights to see the ball, is a sign of desperation as much as it is commitment. After all, one guy in the dugout is listening to a radio broadcast of a ballgame, from 1972.\u003c/p>\n\u003cp>What’s being lost? It’s not a strip mall the field is to be turned into but something harder to quibble with: a school. They could drive half an hour to another field, but that’s said to be half Little League, half farmer’s market. They aren’t a collection of pals, either. They don’t hang out away from the diamond. Things they don’t talk about: work, families, politics. Things they do: eyecare for the ump.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the annals of baseball movies, \u003cem>Eephus\u003c/em> doesn’t belong in the Hall of Fame with \u003cem>Bull Durham\u003c/em> or \u003cem>A League of Their Own\u003c/em>. The closest it gets to the big leagues is an appearance by Bill “Spaceman” Lee, the 1970s southpaw and eephus adherent.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But \u003cem>Eephus\u003c/em> is just as deserving of a place in that hardball pantheon, only in some minor ball realm, well below single A. Here, they don’t throw “high cheese” but such meatballs that, as one player riffs, you could call it pasta primavera. To call this a field of dreams would be pushing it. But it’s a lovely way to pass some time.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Steven Soderbergh’s Sleek Spy Thriller ‘Black Bag’ Crackles",
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"content": "\u003cp>If you’re hosting a dinner for half a dozen British intelligence agents with the aim of ferreting out a mole, \u003ca href=\"https://www.kqed.org/food\">what should you cook\u003c/a>?\u003c/p>\n\u003cp>[aside postID='arts_13972928,arts_13972661']For George Woodhouse (Michael Fassbender), who’s preparing for four colleagues, plus himself and his wife, Kathryn St. Jean (Cate Blanchett), who, like him, is a high-level operative, it’s chana masala with a few drops of truth serum.\u003c/p>\n\u003cp>“Will there be any mess to clean up?” Kathryn asks her husband as they’re getting ready.\u003c/p>\n\u003cp>“With any luck,” he responds.\u003c/p>\n\u003cp>So goes much of the crackling patter of \u003cem>Black Bag\u003c/em>, Steven Soderbergh’s delicious marital drama cloaked as a sleek spy thriller. Lean and taut, the 93-minute \u003cem>Black Bag\u003c/em> is more a sizzling amuse-bouche than full-course meal, but it’s simmered to perfection.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>George and Kathryn, as fellow agents at London’s National Cyber Security Centre, don’t seemingly have what you might call a traditional marriage. Each has their own secret ops, leaving large swaths of their lives off limits to the other. When George asks where Kathryn is flying off to on Wednesday, she shrugs with a smile, “Black bag.”\u003c/p>\n\u003cfigure id=\"attachment_13973053\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag3_2000.jpg\" alt=\"sleekly dressed woman in sunglasses crossed public plaza\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13973053\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag3_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag3_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag3_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag3_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag3_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag3_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag3_2000-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cate Blanchett as Kathryn St. Jean in ‘Black Bag.’ \u003ccite>(Claudette Barius/Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the movie’s opening scene – a slinky tracking shot that trails George into and out of a nightclub – an agent named Meacham (Gustaf Skarsgard) gives him the assignment to track down the mole, with the added wrinkle that Kathryn can’t be dismissed as a possible suspect. A cyber-worm device called Severus that’s capable of hacking into nuclear facilities has gone missing. The fate of the world, as it so often is, is said to be at stake.\u003c/p>\n\u003cp>But, really, the state of George and Kathryn’s marriage is what interests us. Extreme though their situation is, their union is one that, like any couple, is built on trust and devotion, even if their professional lives demand the inverse. When George, lying on top of Kathryn tells her he’d do anything for her, she coos, “Would you kill?” It’s a fair-enough test to the bounds of wedded bliss, sure, but her second question matters even more. “Would you lie?”\u003c/p>\n\u003cp>Over that dinner – a scintillating set piece around a darkened dinner table inside their London town house – we can quickly gather just how much the truth means to George. He’s renown for his powers with a polygraph. As a youngster, he even brought down his own father, uncovering his affair. “I don’t like liars,” George says through clenched teeth.\u003c/p>\n\u003cp>They’re joined by Colonel James Stokes (Regé-Jean Page); the in-house psychologist Dr. Zoe Vaughan (Naomie Harris); the carousing spy Freddie Smalls (Tom Burke); and the newest NCSC recruit, cyber specialist Clarissa (Marisa Abela). Both are paired off in clandestine relationships that quickly emerge, among other secrets. More than state secrets, infidelity dominates the conversation.\u003c/p>\n\u003cfigure id=\"attachment_13973055\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag2_2000.jpg\" alt=\"six well-dressed people sit around candlelit dinner table\" width=\"2000\" height=\"751\" class=\"size-full wp-image-13973055\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag2_2000-800x300.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag2_2000-1020x383.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag2_2000-160x60.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag2_2000-768x288.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag2_2000-1536x577.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag2_2000-1920x721.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Regé-Jean Page as Colonel James Stokes, Naomie Harris as Dr. Zoe Vaughn, Michael Fassbender as George Woodhouse, Cate Blanchett as Kathryn St. Jean, Tom Burke as Freddie Smalls, and Marisa Abela as Clarissa Dubose in a scene from ‘Black Bag.’ \u003ccite>(Claudette Barius/Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fassbender’s spook is an agent of precision. He wears gleaming black-framed glasses. When only a few drops of sauce land on his cuff, he immediately withdraws to change his shirt. Hard as it would seem, Fassbender has found a character almost as dispassionate and monotone as his methodical assassin in David Fincher’s \u003cem>\u003ca href=\"https://www.kqed.org/arts/13937708/the-killer-movie-review-david-fincher-trent-reznor-michael-fassbender\">The Killer\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>This time, though, he’s not a loner. Blanchett’s Kathryn is kept more at a remove from us. She’s mysterious and aloof — a femme fatale, maybe, we’re led to wonder. An “aroma of hostility” accompanies her, Zoe tells her in a psych evaluation. Is she the mole?\u003c/p>\n\u003cp>This is an insular film, taking place mainly in crisply composed interiors, aside from the lake George occasionally fishes for bass in. There, in a fitting encapsulation of a movie full of smooth surfaces with currents twisting underneath, the camera gently rests on the water’s surface.\u003c/p>\n\u003cfigure id=\"attachment_13973057\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag5_2000.jpg\" alt=\"three men in suits sit and stand at table in glass ceilinged room\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13973057\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag5_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag5_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag5_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag5_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag5_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag5_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag5_2000-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Michael Fassbender as George Woodhouse, Tom Burke as Freddie Smalls and Pierce Brosnan as Arthur Steiglitz in ‘Black Bag.’ \u003ccite>(Claudette Barius/Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Black Bag\u003c/em> follows a run of agilely directed thrillers by Soderbergh made with screenwriter David Koepp (\u003cem>\u003ca href=\"https://www.kqed.org/arts/13970635/presence-is-an-innovative-haunted-house-drama-that-packs-a-punch\">Presence\u003c/a>\u003c/em>, \u003cem>\u003ca href=\"https://www.npr.org/2022/02/11/1079849080/kimi-review-steven-soderbergh-zoe-kravitz\">Kimi\u003c/a>\u003c/em>). They are both at the height of their almost-too-easy powers; the script, especially, is peppered with delectable dialogue. Their movie adopts the air of menace and suspicion of a John Le Carré novel, yet hinges on the sturdiness of its married couple, like a super spy version of Nick and Nora from \u003cem>The Thin Man\u003c/em> or a more cerebral \u003cem>Mr. & Mrs. Smith\u003c/em>.\u003c/p>\n\u003cp>All of the supporting players – while they make up a fine ensemble – are ultimately playthings in their game of love. In a casting coup, a former James Bond – Pierce Brosnan – drops in late in the film as Arthur Stheiglitz, the head of NCSC. In his handful of scenes, Brosnan is rageful and ferocious, chomping into both Ikizukuri (prepared live fish) and the scenery.\u003c/p>\n\u003cp>His presence both enlivens a movie already humming with the uber-cool chemistry of Blanchett and Fassbender while transforming \u003cem>Black Bag\u003c/em> into a twisty rejoinder to that notoriously skirt-chasing spy. Here, Mr. Bond, is how sexy monogamy can be.\u003c/p>\n\u003cp>While directing a satellite to peer down upon his wife on some unknown mission in Europe, George explains their mystifying dynamic to Clarissa: “I watch her, and she watches me. If she gets into trouble, I will do everything in my power to extricate her.”\u003c/p>\n\u003cp>In her response, Clarissa speaks for everyone: “That’s so hot.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Black Bag’ is out in theaters March 14, 2025.\u003c/i>\u003c/p>\n\n",
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"excerpt": "The lean and taut film stars Michael Fassbender and Cate Blanchett as married British intelligence agents.",
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"title": "Steven Soderbergh’s Sleek Spy Thriller ‘Black Bag’ Crackles | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re hosting a dinner for half a dozen British intelligence agents with the aim of ferreting out a mole, \u003ca href=\"https://www.kqed.org/food\">what should you cook\u003c/a>?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For George Woodhouse (Michael Fassbender), who’s preparing for four colleagues, plus himself and his wife, Kathryn St. Jean (Cate Blanchett), who, like him, is a high-level operative, it’s chana masala with a few drops of truth serum.\u003c/p>\n\u003cp>“Will there be any mess to clean up?” Kathryn asks her husband as they’re getting ready.\u003c/p>\n\u003cp>“With any luck,” he responds.\u003c/p>\n\u003cp>So goes much of the crackling patter of \u003cem>Black Bag\u003c/em>, Steven Soderbergh’s delicious marital drama cloaked as a sleek spy thriller. Lean and taut, the 93-minute \u003cem>Black Bag\u003c/em> is more a sizzling amuse-bouche than full-course meal, but it’s simmered to perfection.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>George and Kathryn, as fellow agents at London’s National Cyber Security Centre, don’t seemingly have what you might call a traditional marriage. Each has their own secret ops, leaving large swaths of their lives off limits to the other. When George asks where Kathryn is flying off to on Wednesday, she shrugs with a smile, “Black bag.”\u003c/p>\n\u003cfigure id=\"attachment_13973053\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag3_2000.jpg\" alt=\"sleekly dressed woman in sunglasses crossed public plaza\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13973053\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag3_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag3_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag3_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag3_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag3_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag3_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag3_2000-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Cate Blanchett as Kathryn St. Jean in ‘Black Bag.’ \u003ccite>(Claudette Barius/Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the movie’s opening scene – a slinky tracking shot that trails George into and out of a nightclub – an agent named Meacham (Gustaf Skarsgard) gives him the assignment to track down the mole, with the added wrinkle that Kathryn can’t be dismissed as a possible suspect. A cyber-worm device called Severus that’s capable of hacking into nuclear facilities has gone missing. The fate of the world, as it so often is, is said to be at stake.\u003c/p>\n\u003cp>But, really, the state of George and Kathryn’s marriage is what interests us. Extreme though their situation is, their union is one that, like any couple, is built on trust and devotion, even if their professional lives demand the inverse. When George, lying on top of Kathryn tells her he’d do anything for her, she coos, “Would you kill?” It’s a fair-enough test to the bounds of wedded bliss, sure, but her second question matters even more. “Would you lie?”\u003c/p>\n\u003cp>Over that dinner – a scintillating set piece around a darkened dinner table inside their London town house – we can quickly gather just how much the truth means to George. He’s renown for his powers with a polygraph. As a youngster, he even brought down his own father, uncovering his affair. “I don’t like liars,” George says through clenched teeth.\u003c/p>\n\u003cp>They’re joined by Colonel James Stokes (Regé-Jean Page); the in-house psychologist Dr. Zoe Vaughan (Naomie Harris); the carousing spy Freddie Smalls (Tom Burke); and the newest NCSC recruit, cyber specialist Clarissa (Marisa Abela). Both are paired off in clandestine relationships that quickly emerge, among other secrets. More than state secrets, infidelity dominates the conversation.\u003c/p>\n\u003cfigure id=\"attachment_13973055\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag2_2000.jpg\" alt=\"six well-dressed people sit around candlelit dinner table\" width=\"2000\" height=\"751\" class=\"size-full wp-image-13973055\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag2_2000-800x300.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag2_2000-1020x383.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag2_2000-160x60.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag2_2000-768x288.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag2_2000-1536x577.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag2_2000-1920x721.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Regé-Jean Page as Colonel James Stokes, Naomie Harris as Dr. Zoe Vaughn, Michael Fassbender as George Woodhouse, Cate Blanchett as Kathryn St. Jean, Tom Burke as Freddie Smalls, and Marisa Abela as Clarissa Dubose in a scene from ‘Black Bag.’ \u003ccite>(Claudette Barius/Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fassbender’s spook is an agent of precision. He wears gleaming black-framed glasses. When only a few drops of sauce land on his cuff, he immediately withdraws to change his shirt. Hard as it would seem, Fassbender has found a character almost as dispassionate and monotone as his methodical assassin in David Fincher’s \u003cem>\u003ca href=\"https://www.kqed.org/arts/13937708/the-killer-movie-review-david-fincher-trent-reznor-michael-fassbender\">The Killer\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>This time, though, he’s not a loner. Blanchett’s Kathryn is kept more at a remove from us. She’s mysterious and aloof — a femme fatale, maybe, we’re led to wonder. An “aroma of hostility” accompanies her, Zoe tells her in a psych evaluation. Is she the mole?\u003c/p>\n\u003cp>This is an insular film, taking place mainly in crisply composed interiors, aside from the lake George occasionally fishes for bass in. There, in a fitting encapsulation of a movie full of smooth surfaces with currents twisting underneath, the camera gently rests on the water’s surface.\u003c/p>\n\u003cfigure id=\"attachment_13973057\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag5_2000.jpg\" alt=\"three men in suits sit and stand at table in glass ceilinged room\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13973057\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag5_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag5_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag5_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag5_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag5_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag5_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/BlackBag5_2000-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Michael Fassbender as George Woodhouse, Tom Burke as Freddie Smalls and Pierce Brosnan as Arthur Steiglitz in ‘Black Bag.’ \u003ccite>(Claudette Barius/Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Black Bag\u003c/em> follows a run of agilely directed thrillers by Soderbergh made with screenwriter David Koepp (\u003cem>\u003ca href=\"https://www.kqed.org/arts/13970635/presence-is-an-innovative-haunted-house-drama-that-packs-a-punch\">Presence\u003c/a>\u003c/em>, \u003cem>\u003ca href=\"https://www.npr.org/2022/02/11/1079849080/kimi-review-steven-soderbergh-zoe-kravitz\">Kimi\u003c/a>\u003c/em>). They are both at the height of their almost-too-easy powers; the script, especially, is peppered with delectable dialogue. Their movie adopts the air of menace and suspicion of a John Le Carré novel, yet hinges on the sturdiness of its married couple, like a super spy version of Nick and Nora from \u003cem>The Thin Man\u003c/em> or a more cerebral \u003cem>Mr. & Mrs. Smith\u003c/em>.\u003c/p>\n\u003cp>All of the supporting players – while they make up a fine ensemble – are ultimately playthings in their game of love. In a casting coup, a former James Bond – Pierce Brosnan – drops in late in the film as Arthur Stheiglitz, the head of NCSC. In his handful of scenes, Brosnan is rageful and ferocious, chomping into both Ikizukuri (prepared live fish) and the scenery.\u003c/p>\n\u003cp>His presence both enlivens a movie already humming with the uber-cool chemistry of Blanchett and Fassbender while transforming \u003cem>Black Bag\u003c/em> into a twisty rejoinder to that notoriously skirt-chasing spy. Here, Mr. Bond, is how sexy monogamy can be.\u003c/p>\n\u003cp>While directing a satellite to peer down upon his wife on some unknown mission in Europe, George explains their mystifying dynamic to Clarissa: “I watch her, and she watches me. If she gets into trouble, I will do everything in my power to extricate her.”\u003c/p>\n\u003cp>In her response, Clarissa speaks for everyone: “That’s so hot.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Black Bag’ is out in theaters March 14, 2025.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "dee-dot-jones-oakland-roots-soccer-club-anthem-tru-2-my-roots",
"title": "How Rising Rapper Dee Dot Jones Made the Oakland Roots’ New Anthem",
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"headTitle": "How Rising Rapper Dee Dot Jones Made the Oakland Roots’ New Anthem | KQED",
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"content": "\u003cp>\u003ca href=\"https://www.instagram.com/deedotjones/\">Dee Dot Jones\u003c/a> went to the Oakland Coliseum complex for so many A’s, Raiders and Warriors games as a kid, he says he was basically potty trained in the parking lot. Since all three teams left Oakland, the Coliseum is now the site of a huge come-up for another local squad: \u003ca href=\"https://www.kqed.org/news/12023859/oakland-roots-soul-want-to-play-in-the-coliseum-for-years-to-come\">Oakland Roots Soccer Club\u003c/a>, which will play its first home game of the season there on March 22, after years of competing at California State University East Bay. Jones, who performed at the Roots’ halftime show last season, is the voice of the team’s new anthem, “Tru 2 My Roots.”\u003c/p>\n\u003cp>In the new music video for the track, Jones raps on the same Coliseum field he once could only peer at from the bleachers. Turf dancers contort their arms in back-breaking dance moves. Roots players put on their game faces. Old-school cars with gleaming rims swing donuts in a display of Town pride.\u003c/p>\n\u003cp>“Even to have been on the field in that context is a very surreal moment,” Jones says.\u003c/p>\n\u003cp>https://youtu.be/dntXxjV1mv8?si=g96vEdSoRwGtb0-7\u003c/p>\n\u003cp>Coming up with an anthem bold enough to hype up an entire stadium might sound like a challenge. But Jones says the track came together entirely organically. The rapper’s connection to the Roots goes way back. A decade ago, the Oakland-raised Jones met future Roots co-founder Edreece Arghandiwal, who let Jones record music in the office of his tech start-up. They kept in touch and remained close over the years.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In April 2024, the night before the Roots’ last home opener, Jones went to the studio and recorded what would become “Tru 2 My Roots.” He sent it to Arghandiwal. “He just wanted to run it,” Jones says. “It was just all by surprise. It was pretty much all just improvised.”\u003c/p>\n\u003cp>[aside postid='arts_13972889,arts_13972636,arts_13971354']Now, the track will blast through the Coliseum speakers as Roots players jog onto the field. It’s just the latest example of the Bay Area’s cross-pollination between sports and hip-hop. \u003ca href=\"https://www.kqed.org/arts/tag/too-hort\">Too $hort\u003c/a> will perform at halftime during the Roots’ home opener on March 22. Along with Green Day’s Billy Joe Armstrong, the rap legend also recently purchased an ownership stake in another upstart team, \u003ca href=\"https://www.kqed.org/arts/13972636/billie-joe-armstrong-too-short-oakland-ballers-baseball\">the Ballers\u003c/a>, who began competing in the Pioneer baseball league last year.\u003c/p>\n\u003cp>E-40 — whose 2014 song “Choices” is an unofficial Golden State Warriors anthem — has become a high-profile supporter of the Bay Area’s new WNBA team, the Golden State Valkyries, whose debut season begins at Chase Center in May. The Warriors also recently launched a music and film division, Golden State Entertainment, which teamed up with San Francisco label EMPIRE to put out P-Lo’s latest album, \u003ci>\u003ca href=\"https://www.kqed.org/arts/13971354/p-lo-for-the-soil-warriors-golden-state-entertainment-nba-all-star-weekend\">For the Soil\u003c/a>\u003c/i>, the soundtrack of last month’s NBA All-Star Weekend.\u003c/p>\n\u003cfigure id=\"attachment_13973034\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973034\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/240406_OAK_v_MB-402_2000.jpg\" alt=\"man in teal jersey with mic on green soccer field\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/240406_OAK_v_MB-402_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/240406_OAK_v_MB-402_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/240406_OAK_v_MB-402_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/240406_OAK_v_MB-402_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/240406_OAK_v_MB-402_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/240406_OAK_v_MB-402_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/240406_OAK_v_MB-402_2000-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dee Dot Jones performing at an Oakland Roots vs. Monterey Bay match in 2024. \u003ccite>(Oakland Roots SC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While sports teams and local pride go hand in hand, the Roots take repping Oakland a step further. Since their beginnings in 2018, \u003ca href=\"https://oaklandside.org/2022/06/28/oakland-roots-homegrown-soccer-club-community-part-2/\">community service\u003c/a> is baked into what they do. The Roots and their sister team, Oakland Soul, work with a long list of youth sports leagues, after-school arts programs and organizations that champion gender and racial equity.\u003c/p>\n\u003cp>Soccer might not be as popular in the U.S. as it is in other parts of the world, but there are plenty of immigrant diasporas in Oakland from Latin America, the Arab world, Africa and Asia who grew up with a deep love of the sport. And with several other sports leagues now gone from Oakland, the Roots have an opportunity to expand appreciation for soccer and its culture in the Town as the team grows.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jones is here for it. “The story that we’re telling is definitely my favorite part of it,” he says.\u003c/p>\n\n",
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"excerpt": "“Tru 2 My Roots” will be the soundtrack to the soccer club’s inaugural season at the Coliseum. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.instagram.com/deedotjones/\">Dee Dot Jones\u003c/a> went to the Oakland Coliseum complex for so many A’s, Raiders and Warriors games as a kid, he says he was basically potty trained in the parking lot. Since all three teams left Oakland, the Coliseum is now the site of a huge come-up for another local squad: \u003ca href=\"https://www.kqed.org/news/12023859/oakland-roots-soul-want-to-play-in-the-coliseum-for-years-to-come\">Oakland Roots Soccer Club\u003c/a>, which will play its first home game of the season there on March 22, after years of competing at California State University East Bay. Jones, who performed at the Roots’ halftime show last season, is the voice of the team’s new anthem, “Tru 2 My Roots.”\u003c/p>\n\u003cp>In the new music video for the track, Jones raps on the same Coliseum field he once could only peer at from the bleachers. Turf dancers contort their arms in back-breaking dance moves. Roots players put on their game faces. Old-school cars with gleaming rims swing donuts in a display of Town pride.\u003c/p>\n\u003cp>“Even to have been on the field in that context is a very surreal moment,” Jones says.\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/dntXxjV1mv8'\n title='//www.youtube.com/embed/dntXxjV1mv8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Coming up with an anthem bold enough to hype up an entire stadium might sound like a challenge. But Jones says the track came together entirely organically. The rapper’s connection to the Roots goes way back. A decade ago, the Oakland-raised Jones met future Roots co-founder Edreece Arghandiwal, who let Jones record music in the office of his tech start-up. They kept in touch and remained close over the years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In April 2024, the night before the Roots’ last home opener, Jones went to the studio and recorded what would become “Tru 2 My Roots.” He sent it to Arghandiwal. “He just wanted to run it,” Jones says. “It was just all by surprise. It was pretty much all just improvised.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Now, the track will blast through the Coliseum speakers as Roots players jog onto the field. It’s just the latest example of the Bay Area’s cross-pollination between sports and hip-hop. \u003ca href=\"https://www.kqed.org/arts/tag/too-hort\">Too $hort\u003c/a> will perform at halftime during the Roots’ home opener on March 22. Along with Green Day’s Billy Joe Armstrong, the rap legend also recently purchased an ownership stake in another upstart team, \u003ca href=\"https://www.kqed.org/arts/13972636/billie-joe-armstrong-too-short-oakland-ballers-baseball\">the Ballers\u003c/a>, who began competing in the Pioneer baseball league last year.\u003c/p>\n\u003cp>E-40 — whose 2014 song “Choices” is an unofficial Golden State Warriors anthem — has become a high-profile supporter of the Bay Area’s new WNBA team, the Golden State Valkyries, whose debut season begins at Chase Center in May. The Warriors also recently launched a music and film division, Golden State Entertainment, which teamed up with San Francisco label EMPIRE to put out P-Lo’s latest album, \u003ci>\u003ca href=\"https://www.kqed.org/arts/13971354/p-lo-for-the-soil-warriors-golden-state-entertainment-nba-all-star-weekend\">For the Soil\u003c/a>\u003c/i>, the soundtrack of last month’s NBA All-Star Weekend.\u003c/p>\n\u003cfigure id=\"attachment_13973034\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973034\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/240406_OAK_v_MB-402_2000.jpg\" alt=\"man in teal jersey with mic on green soccer field\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/240406_OAK_v_MB-402_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/240406_OAK_v_MB-402_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/240406_OAK_v_MB-402_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/240406_OAK_v_MB-402_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/240406_OAK_v_MB-402_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/240406_OAK_v_MB-402_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/240406_OAK_v_MB-402_2000-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dee Dot Jones performing at an Oakland Roots vs. Monterey Bay match in 2024. \u003ccite>(Oakland Roots SC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While sports teams and local pride go hand in hand, the Roots take repping Oakland a step further. Since their beginnings in 2018, \u003ca href=\"https://oaklandside.org/2022/06/28/oakland-roots-homegrown-soccer-club-community-part-2/\">community service\u003c/a> is baked into what they do. The Roots and their sister team, Oakland Soul, work with a long list of youth sports leagues, after-school arts programs and organizations that champion gender and racial equity.\u003c/p>\n\u003cp>Soccer might not be as popular in the U.S. as it is in other parts of the world, but there are plenty of immigrant diasporas in Oakland from Latin America, the Arab world, Africa and Asia who grew up with a deep love of the sport. And with several other sports leagues now gone from Oakland, the Roots have an opportunity to expand appreciation for soccer and its culture in the Town as the team grows.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jones is here for it. “The story that we’re telling is definitely my favorite part of it,” he says.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "robert-moses-kin-30th-anniversary-the-kennings",
"title": "After 30 Years, Robert Moses Still Believes in San Francisco’s Creative Potential",
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"content": "\u003cp>When \u003ca href=\"https://ww2.kqed.org/spark/robert-moses-kin/\">Robert Moses\u003c/a> founded the dance company KIN in San Francisco in 1995, he sought to create art inspiring social change — with pieces exploring contemporary issues of class, gender and race.\u003c/p>\n\u003cp>Now celebrating its 30th anniversary, Robert Moses’ KIN finds itself looking back for inspiration. Moses’ new work “The Kennings,” which premieres Friday, draws, in part, from “A Woman in Berlin: Eight Weeks in the Conquered City,” a memoir published anonymously that chronicles Berlin’s fall to the Russian army in 1945. Moses, a skilled multi-hyphenate, combines dance with music and theater to poetically bridge the old world – and whatever this new world has in store.\u003c/p>\n\u003cfigure id=\"attachment_13972994\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972994\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-16-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-16-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-16-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-16-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-16-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-16-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-16-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-16-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dancers place their hands on Giovanna Sales’ head during a rehearsal for Robert Moses’ latest work, ‘The Kennings,’ at ODC Dance Commons in San Francisco on Feb. 26, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During a recent rehearsal for “The Kennings,” Moses talked with KQED’s Brian Watt about the show, its message to audiences and San Francisco’s enduring creative spirit.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Brian Watt: Tell us more about “The Kennings.” \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Robert Moses:\u003c/strong> The idea of that work is that a “Kenning” is sort of the bringing together of two unlikely things to create a new meaning. The conceit is that these actions, and the readings that we find in these works, are left over from a time when artists had forgotten who they were or had betrayed their charge of honesty and trust and then were put into camps, for lack of a better term. It’s a journey through what was found and what’s sort of left over after you betray your charge as an artist.\u003c/p>\n\u003cp>\u003cstrong>There was a section where there was a lot of finger-pointing. It looked like accusations, or almost other-ing, and it kept changing who was being pointed at. What are you trying to convey?\u003c/strong>\u003c/p>\n\u003cp>It’s always someone else. It’s not me, it’s always you. “It’s me, it’s me.” That’s a refrain that comes up in the work. That finger that gets pointed is about in some ways wanting that attention, that wanting to be seen in what you will do for it, but then what happens when all of that turns around, and the kind of attention you’re getting is not the kind of attention that you want. Or in the way that you want it.\u003c/p>\n\u003cfigure id=\"attachment_13973001\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973001\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-39-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-39-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-39-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-39-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-39-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-39-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-39-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-39-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Robert Moses watches as Giovanna Sales climbs on other dancers, during a rehearsal for his latest work, ‘The Kennings,’ at ODC Dance Commons in San Francisco on Feb. 26, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Are you creating this work based on the societal and political moment that we’re in?\u003c/strong>\u003c/p>\n\u003cp>Artists are fascist. And again, in this moment, if you’re going to hold me down and tell me that I’d have to give you a dictionary definition of fascism, it’s too slippery to do that.\u003c/p>\n\u003cp>The idea that you can be in control, the idea that your idea is your motivation, your needs, your desires, the end for you is what we should all be moving towards. In my mind, those are fascist things. So, in a weird way, the artists have a lot in common with fascists.\u003c/p>\n\u003cp>There’s a portion of the writing, and not sure everything’s gonna get in, where I’m talking about Picasso, Leni Riefenstahl and P. Diddy, and that those impulses are the same impulses that we’re seeing in our government. Picasso, in a way, was a thief. [Riefenstahl] was a propagandist. [Diddy] is a rapist.\u003c/p>\n\u003cp>[aside postID='arts_13244123'] \u003cstrong>You also write the texts and compose sounds. Have you always worked this way?\u003c/strong>\u003c/p>\n\u003cp>No, it’s only been in the last 25 years or so that I’ve done this. When I was coming up, if you were a dancer, then that’s what you did. And then you let everybody else do everything else. That fell away from me because I felt like I needed the voice to be more personal. I had to reconsider how it is that my life might get onto a page. And after that gets onto a page, where someone’s life as I see their life might get onto a page, and then how I might breathe life into that and get that onto stage and then how I might get what’s in this body onto that body — which is always a challenge because we all translate in different ways.\u003c/p>\n\u003cp>I always say that dance is lyric, but it’s not literary. Not in the same way that words are. And it doesn’t communicate in the same way that music does. So we can’t expect it to communicate in the same way.\u003c/p>\n\u003cfigure id=\"attachment_13972993\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972993\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-2-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-2-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-2-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-2-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-2-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-2-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-2-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-2-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dancers rehearse for Robert Moses’ latest work, ‘The Kennings,’ at ODC Dance Commons in San Francisco on Feb. 26, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Why did you name your company KIN?\u003c/strong>\u003c/p>\n\u003cp>We’ve always sort of been a pluralistic amalgam of so many kinds of people. It was never going to be the Robert Moses Dance Company or something like that. It’s idea of the family of man, of humanity, of all of us. That allows me the breadth and the wherewithal to create from any direction that I might want to, or I might be able to. But there’s also “ken,” which means the understanding that this is how I understand the world in this moment, and it’s not the same understanding always at any one time.\u003c/p>\n\u003cp>\u003cem>• \u003ca href=\"https://ww2.kqed.org/spark/robert-moses-kin/\">Watch an episode of KQED ‘Spark’ featuring Robert Moses here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>What has being based in San Francisco meant to you and your work over the past 30 years?\u003c/strong>\u003c/p>\n\u003cp>I don’t think that I could have had a happier home anywhere than San Francisco. When I got here, I thought, “This is the weirdest fucking city I’ve ever seen in my entire life, and I am completely at home here.”\u003c/p>\n\u003cp>The arts community has been that way all of this time. Now we have gone through different evolutions, and things are changing again. But the important thing is that the spirit of the art world, of creators here, is one of, ideally, of acceptance, even when it gets a little tight around what’s proper to create about.\u003c/p>\n\u003cp>It still fights to make sure that there’s breath left in that weird little guy or gal, who comes into town and wants to do something that they don’t understand themselves, and nobody where they came from has seen. But you get here and people go, “Oh all right. Cool!” It will always be a creative city, because there’s something about the city that loves the earth that grows fruit that doesn’t come up anywhere else.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Robert Moses’ “The Kennings” premieres Friday, March 14, at Z Space in San Francisco. \u003ca href=\"https://www.zspace.org/kennings\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When \u003ca href=\"https://ww2.kqed.org/spark/robert-moses-kin/\">Robert Moses\u003c/a> founded the dance company KIN in San Francisco in 1995, he sought to create art inspiring social change — with pieces exploring contemporary issues of class, gender and race.\u003c/p>\n\u003cp>Now celebrating its 30th anniversary, Robert Moses’ KIN finds itself looking back for inspiration. Moses’ new work “The Kennings,” which premieres Friday, draws, in part, from “A Woman in Berlin: Eight Weeks in the Conquered City,” a memoir published anonymously that chronicles Berlin’s fall to the Russian army in 1945. Moses, a skilled multi-hyphenate, combines dance with music and theater to poetically bridge the old world – and whatever this new world has in store.\u003c/p>\n\u003cfigure id=\"attachment_13972994\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972994\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-16-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-16-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-16-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-16-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-16-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-16-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-16-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-16-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dancers place their hands on Giovanna Sales’ head during a rehearsal for Robert Moses’ latest work, ‘The Kennings,’ at ODC Dance Commons in San Francisco on Feb. 26, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During a recent rehearsal for “The Kennings,” Moses talked with KQED’s Brian Watt about the show, its message to audiences and San Francisco’s enduring creative spirit.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Brian Watt: Tell us more about “The Kennings.” \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Robert Moses:\u003c/strong> The idea of that work is that a “Kenning” is sort of the bringing together of two unlikely things to create a new meaning. The conceit is that these actions, and the readings that we find in these works, are left over from a time when artists had forgotten who they were or had betrayed their charge of honesty and trust and then were put into camps, for lack of a better term. It’s a journey through what was found and what’s sort of left over after you betray your charge as an artist.\u003c/p>\n\u003cp>\u003cstrong>There was a section where there was a lot of finger-pointing. It looked like accusations, or almost other-ing, and it kept changing who was being pointed at. What are you trying to convey?\u003c/strong>\u003c/p>\n\u003cp>It’s always someone else. It’s not me, it’s always you. “It’s me, it’s me.” That’s a refrain that comes up in the work. That finger that gets pointed is about in some ways wanting that attention, that wanting to be seen in what you will do for it, but then what happens when all of that turns around, and the kind of attention you’re getting is not the kind of attention that you want. Or in the way that you want it.\u003c/p>\n\u003cfigure id=\"attachment_13973001\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13973001\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-39-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-39-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-39-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-39-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-39-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-39-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-39-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-39-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Robert Moses watches as Giovanna Sales climbs on other dancers, during a rehearsal for his latest work, ‘The Kennings,’ at ODC Dance Commons in San Francisco on Feb. 26, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Are you creating this work based on the societal and political moment that we’re in?\u003c/strong>\u003c/p>\n\u003cp>Artists are fascist. And again, in this moment, if you’re going to hold me down and tell me that I’d have to give you a dictionary definition of fascism, it’s too slippery to do that.\u003c/p>\n\u003cp>The idea that you can be in control, the idea that your idea is your motivation, your needs, your desires, the end for you is what we should all be moving towards. In my mind, those are fascist things. So, in a weird way, the artists have a lot in common with fascists.\u003c/p>\n\u003cp>There’s a portion of the writing, and not sure everything’s gonna get in, where I’m talking about Picasso, Leni Riefenstahl and P. Diddy, and that those impulses are the same impulses that we’re seeing in our government. Picasso, in a way, was a thief. [Riefenstahl] was a propagandist. [Diddy] is a rapist.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> \u003cstrong>You also write the texts and compose sounds. Have you always worked this way?\u003c/strong>\u003c/p>\n\u003cp>No, it’s only been in the last 25 years or so that I’ve done this. When I was coming up, if you were a dancer, then that’s what you did. And then you let everybody else do everything else. That fell away from me because I felt like I needed the voice to be more personal. I had to reconsider how it is that my life might get onto a page. And after that gets onto a page, where someone’s life as I see their life might get onto a page, and then how I might breathe life into that and get that onto stage and then how I might get what’s in this body onto that body — which is always a challenge because we all translate in different ways.\u003c/p>\n\u003cp>I always say that dance is lyric, but it’s not literary. Not in the same way that words are. And it doesn’t communicate in the same way that music does. So we can’t expect it to communicate in the same way.\u003c/p>\n\u003cfigure id=\"attachment_13972993\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972993\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-2-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-2-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-2-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-2-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-2-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-2-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-2-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/20250226_ROBERTMOSES_GC-2-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Dancers rehearse for Robert Moses’ latest work, ‘The Kennings,’ at ODC Dance Commons in San Francisco on Feb. 26, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Why did you name your company KIN?\u003c/strong>\u003c/p>\n\u003cp>We’ve always sort of been a pluralistic amalgam of so many kinds of people. It was never going to be the Robert Moses Dance Company or something like that. It’s idea of the family of man, of humanity, of all of us. That allows me the breadth and the wherewithal to create from any direction that I might want to, or I might be able to. But there’s also “ken,” which means the understanding that this is how I understand the world in this moment, and it’s not the same understanding always at any one time.\u003c/p>\n\u003cp>\u003cem>• \u003ca href=\"https://ww2.kqed.org/spark/robert-moses-kin/\">Watch an episode of KQED ‘Spark’ featuring Robert Moses here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003cstrong>What has being based in San Francisco meant to you and your work over the past 30 years?\u003c/strong>\u003c/p>\n\u003cp>I don’t think that I could have had a happier home anywhere than San Francisco. When I got here, I thought, “This is the weirdest fucking city I’ve ever seen in my entire life, and I am completely at home here.”\u003c/p>\n\u003cp>The arts community has been that way all of this time. Now we have gone through different evolutions, and things are changing again. But the important thing is that the spirit of the art world, of creators here, is one of, ideally, of acceptance, even when it gets a little tight around what’s proper to create about.\u003c/p>\n\u003cp>It still fights to make sure that there’s breath left in that weird little guy or gal, who comes into town and wants to do something that they don’t understand themselves, and nobody where they came from has seen. But you get here and people go, “Oh all right. Cool!” It will always be a creative city, because there’s something about the city that loves the earth that grows fruit that doesn’t come up anywhere else.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Robert Moses’ “The Kennings” premieres Friday, March 14, at Z Space in San Francisco. \u003ca href=\"https://www.zspace.org/kennings\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "prelinger-archive-staff-picks-screenings-internet-archive",
"title": "Eclectic, Newly Unearthed Films to Be Screened for the First Time in Decades",
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"headTitle": "Eclectic, Newly Unearthed Films to Be Screened for the First Time in Decades | KQED",
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"content": "\u003cp>Three years ago, with a grant from the \u003ca href=\"https://ffdweb.org/blog/ffdw-works-with-prelinger-archives-to-make-rare-historic-films-more-accessible-using-the-decentralized-web/\">Filecoin Foundation for the Decentralized Web\u003c/a>, a small team of archivists sped up their work of digitizing films in the Prelinger Archives, \u003ca href=\"https://www.kqed.org/news/11980380/this-san-francisco-library-collects-print-materials-you-were-never-meant-to-see\">Megan and Rick Prelinger\u003c/a>’s massive collection of home movies and advertising, educational and industrial films.\u003c/p>\n\u003cp>[aside postID='news_11980380,arts_13969527,arts_13958735']So far, Prelinger Archives staff have scanned over 3 million feet of film, equal to approximately 10,000 rare and one-of-a-kind films — still just a percentage of the archives’ total holdings. “We would need like a 10-year project” to scan it all, laughs Project Manager Adrianne Finelli. The collection holds over 40,000 home movies alone. \u003c/p>\n\u003cp>After these years of immersion, Finelli and her coworkers are presenting, in very personal ways, some of their findings. “Staff Picks from the Prelinger Archives” will be shown at two public events: a Zoom screening courtesy of the \u003ca href=\"https://filmpreserve.org/event/staff-picks-from-the-prelinger-archives/\">San Francisco Film Preserve\u003c/a> on Friday, March 21 and a live screening at the \u003ca href=\"https://blog.archive.org/event/film-screening-staff-picks-from-the-prelinger-archives/\">Internet Archive\u003c/a> on Monday, March 24.\u003c/p>\n\u003cp>Founded in 1983, the Prelinger Archives is full of weird and wonderful arcana, like the 1947 social guidance short \u003ci>\u003ca href=\"https://archive.org/details/ShyGuy1947\">Shy Guy\u003c/a>\u003c/i>, in which a high schooler takes cues from the popular kids and finds his way “in.” The Library of Congress purchased over 48,000 items from the archives in 2002; since then, the collection has prioritized home movies and amateur films. Attendees of Rick Prelinger’s \u003ci>\u003ca href=\"https://www.kqed.org/forum/2010101895114/lost-landscapes-spotlights-bay-area-history-with-found-footage\">Lost Landscapes\u003c/a>\u003c/i> screenings know how home movies can provide magical and relatable glimpses into everyday history.\u003c/p>\n\u003cp>Getting these 8mm, 16mm and 35mm reels online involves a very physical process, starting with identifying which films are even sturdy enough to scan. Film preparers take stock of the reels in their various storage sites, making note of any labels or identifying materials that can help pinpoint the more mysterious holdings.\u003c/p>\n\u003cfigure id=\"attachment_13972935\" class=\"wp-caption aligncenter\" style=\"max-width: 1846px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Miko_AMIA_2.png\" alt=\"human silhouette outlined in green, floating in space\" width=\"1846\" height=\"1452\" class=\"size-full wp-image-13972935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Miko_AMIA_2.png 1846w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Miko_AMIA_2-800x629.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Miko_AMIA_2-1020x802.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Miko_AMIA_2-160x126.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Miko_AMIA_2-768x604.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Miko_AMIA_2-1536x1208.png 1536w\" sizes=\"auto, (max-width: 1846px) 100vw, 1846px\">\u003cfigcaption class=\"wp-caption-text\">A still from Jen Miko’s presentation for ‘Staff Picks.’ \u003ccite>(Courtesy of the Prelinger Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Emily Chao’s portion of “Staff Picks” is an homage to the many styles of handwriting encountered in this process. “Sometimes we’ll just try to help each other read something,” Finelli says. Chao will show clips from corresponding home movies while focusing on the poetry of these bits of ephemera.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Digital Asset Manager Kristin Lipska, whose own work on the project is very behind the scenes, presents what Finelli calls “a celebration of invisible labor,” a series of outtakes from industrial and sponsored films. (Lipska is also the person behind the delightful Instagram account \u003ca href=\"https://www.instagram.com/clapperboardcuties/\">@clapperboardcuties\u003c/a>.)\u003c/p>\n\u003cp>The fact that we even get to see a casually dressed young man with a clapperboard on the set of a railroad safety film is rare enough. “Most archives don’t collect outtakes. They don’t prioritize it, they don’t have room for it,” Finelli says. Alongside the awkward staginess of educational and industrial films, outtakes provide precious moments of reality that speak to the time and place of their making (and the people doing that work). \u003c/p>\n\u003cfigure id=\"attachment_13972932\" class=\"wp-caption aligncenter\" style=\"max-width: 816px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Needles_AMIA_1.png\" alt=\"film still of a woman batting in softball game, 50s-era cars behind\" width=\"816\" height=\"591\" class=\"size-full wp-image-13972932\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Needles_AMIA_1.png 816w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Needles_AMIA_1-800x579.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Needles_AMIA_1-160x116.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Needles_AMIA_1-768x556.png 768w\" sizes=\"auto, (max-width: 816px) 100vw, 816px\">\u003cfigcaption class=\"wp-caption-text\">A still from Megan Needels’ presentation at the Prelinger Archives ‘Staff Picks’ program. \u003ccite>(Courtesy of Prelinger Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other presentations touch on the surprising beauty of warped and damaged celluloid (from Jen Miko); landscapes marked by colonialism, climate change and gentrification (from Kate Dollenmayer); and a deep dive into one 1950s Midwestern home movie (from Megan Needels).\u003c/p>\n\u003cp>[aside postID='arts_13970787']Needels uses that home movie of women playing softball, drinking beer and having a slumber party to illustrate the tricky task of categorizing historical material. To a contemporary eye, this footage reads as queer. Is it possible to retroactively flag that reading in an ethical way? Needels and Dollenmayer landed on the tag “possible LGBTQ+ research interest.”\u003c/p>\n\u003cp>“A big part of this project, bigger than we anticipated, is thinking about language — how to describe what we’re scanning and how to do that in a sensitive way,” Finelli says. “We’re even more dedicated to that because of what’s happening in the country.” \u003c/p>\n\u003cp>An Indigenous advisory group, which includes filmmaker and professor \u003ca href=\"https://drownedland.com/\">Colleen Thurston\u003c/a>, consults the Prelinger Archives on how to address issues like cultural appropriation and filming of sacred sites. Certain pieces of footage will likely be held back from public access.\u003c/p>\n\u003cfigure id=\"attachment_13972937\" class=\"wp-caption aligncenter\" style=\"max-width: 962px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Finelli_AMIA_2.png\" alt=\"Asian people walking in front of vibrant tile pattern in 40s or 50s clothing\" width=\"962\" height=\"855\" class=\"size-full wp-image-13972937\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Finelli_AMIA_2.png 962w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Finelli_AMIA_2-800x711.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Finelli_AMIA_2-160x142.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Finelli_AMIA_2-768x683.png 768w\" sizes=\"auto, (max-width: 962px) 100vw, 962px\">\u003cfigcaption class=\"wp-caption-text\">A still from Adrianne Finelli’s presentation for ‘Staff Picks.’ \u003ccite>(Courtesy of the Prelinger Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Finelli’s own contribution to “Staff Picks” draws from the work of Henry Charles Fleischer, an Edison, New Jersey commercial filmmaker with an artist’s eye. “Mine’s really a tribute to his filmmaking, a compilation of his footage and a call for makers to use his films,” Finelli says. “They’re beautiful, and there are thousands of possible new works that live within them.”\u003c/p>\n\u003cp>Ultimately, the goal of the entire project is “mass digitizing for mass access,” Finelli says. The “Staff Picks” presentations are just six avenues into the archives’ vast amount of material. And by the end of summer 2026, researchers, artists and filmmakers will get to make use of all these staffers’ labor, bringing new life to strange, illuminating and forgotten slices of celluloid history.\u003c/p>\n\u003chr>\n\u003cp>\u003ci>‘Staff Picks from the Prelinger Archives’ is hosted by the \u003ca href=\"https://filmpreserve.org/event/staff-picks-from-the-prelinger-archives/\">San Francisco Film Preserve\u003c/a> on March 21, 12–1 p.m. via Zoom. \u003ca href=\"https://us02web.zoom.us/webinar/register/WN_w4ohB6-aRoy6-bp2EZRuIA#/registration\">Registration is here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>An in-person screening will take place at the \u003ca href=\"https://blog.archive.org/event/film-screening-staff-picks-from-the-prelinger-archives/\">Internet Archive\u003c/a> on March 24, 7–9 p.m. featuring additional presentations by Megan Shaw Prelinger and Brian Eggert. \u003ca href=\"https://www.eventbrite.com/e/staff-picks-from-the-prelinger-archives-tickets-1261633011299?aff=oddtdtcreator\">RSVP here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"title": "Newly Unearthed Films Screen For First Time in Decades | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Three years ago, with a grant from the \u003ca href=\"https://ffdweb.org/blog/ffdw-works-with-prelinger-archives-to-make-rare-historic-films-more-accessible-using-the-decentralized-web/\">Filecoin Foundation for the Decentralized Web\u003c/a>, a small team of archivists sped up their work of digitizing films in the Prelinger Archives, \u003ca href=\"https://www.kqed.org/news/11980380/this-san-francisco-library-collects-print-materials-you-were-never-meant-to-see\">Megan and Rick Prelinger\u003c/a>’s massive collection of home movies and advertising, educational and industrial films.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>So far, Prelinger Archives staff have scanned over 3 million feet of film, equal to approximately 10,000 rare and one-of-a-kind films — still just a percentage of the archives’ total holdings. “We would need like a 10-year project” to scan it all, laughs Project Manager Adrianne Finelli. The collection holds over 40,000 home movies alone. \u003c/p>\n\u003cp>After these years of immersion, Finelli and her coworkers are presenting, in very personal ways, some of their findings. “Staff Picks from the Prelinger Archives” will be shown at two public events: a Zoom screening courtesy of the \u003ca href=\"https://filmpreserve.org/event/staff-picks-from-the-prelinger-archives/\">San Francisco Film Preserve\u003c/a> on Friday, March 21 and a live screening at the \u003ca href=\"https://blog.archive.org/event/film-screening-staff-picks-from-the-prelinger-archives/\">Internet Archive\u003c/a> on Monday, March 24.\u003c/p>\n\u003cp>Founded in 1983, the Prelinger Archives is full of weird and wonderful arcana, like the 1947 social guidance short \u003ci>\u003ca href=\"https://archive.org/details/ShyGuy1947\">Shy Guy\u003c/a>\u003c/i>, in which a high schooler takes cues from the popular kids and finds his way “in.” The Library of Congress purchased over 48,000 items from the archives in 2002; since then, the collection has prioritized home movies and amateur films. Attendees of Rick Prelinger’s \u003ci>\u003ca href=\"https://www.kqed.org/forum/2010101895114/lost-landscapes-spotlights-bay-area-history-with-found-footage\">Lost Landscapes\u003c/a>\u003c/i> screenings know how home movies can provide magical and relatable glimpses into everyday history.\u003c/p>\n\u003cp>Getting these 8mm, 16mm and 35mm reels online involves a very physical process, starting with identifying which films are even sturdy enough to scan. Film preparers take stock of the reels in their various storage sites, making note of any labels or identifying materials that can help pinpoint the more mysterious holdings.\u003c/p>\n\u003cfigure id=\"attachment_13972935\" class=\"wp-caption aligncenter\" style=\"max-width: 1846px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Miko_AMIA_2.png\" alt=\"human silhouette outlined in green, floating in space\" width=\"1846\" height=\"1452\" class=\"size-full wp-image-13972935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Miko_AMIA_2.png 1846w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Miko_AMIA_2-800x629.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Miko_AMIA_2-1020x802.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Miko_AMIA_2-160x126.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Miko_AMIA_2-768x604.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Miko_AMIA_2-1536x1208.png 1536w\" sizes=\"auto, (max-width: 1846px) 100vw, 1846px\">\u003cfigcaption class=\"wp-caption-text\">A still from Jen Miko’s presentation for ‘Staff Picks.’ \u003ccite>(Courtesy of the Prelinger Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Emily Chao’s portion of “Staff Picks” is an homage to the many styles of handwriting encountered in this process. “Sometimes we’ll just try to help each other read something,” Finelli says. Chao will show clips from corresponding home movies while focusing on the poetry of these bits of ephemera.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Digital Asset Manager Kristin Lipska, whose own work on the project is very behind the scenes, presents what Finelli calls “a celebration of invisible labor,” a series of outtakes from industrial and sponsored films. (Lipska is also the person behind the delightful Instagram account \u003ca href=\"https://www.instagram.com/clapperboardcuties/\">@clapperboardcuties\u003c/a>.)\u003c/p>\n\u003cp>The fact that we even get to see a casually dressed young man with a clapperboard on the set of a railroad safety film is rare enough. “Most archives don’t collect outtakes. They don’t prioritize it, they don’t have room for it,” Finelli says. Alongside the awkward staginess of educational and industrial films, outtakes provide precious moments of reality that speak to the time and place of their making (and the people doing that work). \u003c/p>\n\u003cfigure id=\"attachment_13972932\" class=\"wp-caption aligncenter\" style=\"max-width: 816px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Needles_AMIA_1.png\" alt=\"film still of a woman batting in softball game, 50s-era cars behind\" width=\"816\" height=\"591\" class=\"size-full wp-image-13972932\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Needles_AMIA_1.png 816w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Needles_AMIA_1-800x579.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Needles_AMIA_1-160x116.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Needles_AMIA_1-768x556.png 768w\" sizes=\"auto, (max-width: 816px) 100vw, 816px\">\u003cfigcaption class=\"wp-caption-text\">A still from Megan Needels’ presentation at the Prelinger Archives ‘Staff Picks’ program. \u003ccite>(Courtesy of Prelinger Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other presentations touch on the surprising beauty of warped and damaged celluloid (from Jen Miko); landscapes marked by colonialism, climate change and gentrification (from Kate Dollenmayer); and a deep dive into one 1950s Midwestern home movie (from Megan Needels).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Needels uses that home movie of women playing softball, drinking beer and having a slumber party to illustrate the tricky task of categorizing historical material. To a contemporary eye, this footage reads as queer. Is it possible to retroactively flag that reading in an ethical way? Needels and Dollenmayer landed on the tag “possible LGBTQ+ research interest.”\u003c/p>\n\u003cp>“A big part of this project, bigger than we anticipated, is thinking about language — how to describe what we’re scanning and how to do that in a sensitive way,” Finelli says. “We’re even more dedicated to that because of what’s happening in the country.” \u003c/p>\n\u003cp>An Indigenous advisory group, which includes filmmaker and professor \u003ca href=\"https://drownedland.com/\">Colleen Thurston\u003c/a>, consults the Prelinger Archives on how to address issues like cultural appropriation and filming of sacred sites. Certain pieces of footage will likely be held back from public access.\u003c/p>\n\u003cfigure id=\"attachment_13972937\" class=\"wp-caption aligncenter\" style=\"max-width: 962px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Finelli_AMIA_2.png\" alt=\"Asian people walking in front of vibrant tile pattern in 40s or 50s clothing\" width=\"962\" height=\"855\" class=\"size-full wp-image-13972937\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Finelli_AMIA_2.png 962w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Finelli_AMIA_2-800x711.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Finelli_AMIA_2-160x142.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Finelli_AMIA_2-768x683.png 768w\" sizes=\"auto, (max-width: 962px) 100vw, 962px\">\u003cfigcaption class=\"wp-caption-text\">A still from Adrianne Finelli’s presentation for ‘Staff Picks.’ \u003ccite>(Courtesy of the Prelinger Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Finelli’s own contribution to “Staff Picks” draws from the work of Henry Charles Fleischer, an Edison, New Jersey commercial filmmaker with an artist’s eye. “Mine’s really a tribute to his filmmaking, a compilation of his footage and a call for makers to use his films,” Finelli says. “They’re beautiful, and there are thousands of possible new works that live within them.”\u003c/p>\n\u003cp>Ultimately, the goal of the entire project is “mass digitizing for mass access,” Finelli says. The “Staff Picks” presentations are just six avenues into the archives’ vast amount of material. And by the end of summer 2026, researchers, artists and filmmakers will get to make use of all these staffers’ labor, bringing new life to strange, illuminating and forgotten slices of celluloid history.\u003c/p>\n\u003chr>\n\u003cp>\u003ci>‘Staff Picks from the Prelinger Archives’ is hosted by the \u003ca href=\"https://filmpreserve.org/event/staff-picks-from-the-prelinger-archives/\">San Francisco Film Preserve\u003c/a> on March 21, 12–1 p.m. via Zoom. \u003ca href=\"https://us02web.zoom.us/webinar/register/WN_w4ohB6-aRoy6-bp2EZRuIA#/registration\">Registration is here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>An in-person screening will take place at the \u003ca href=\"https://blog.archive.org/event/film-screening-staff-picks-from-the-prelinger-archives/\">Internet Archive\u003c/a> on March 24, 7–9 p.m. featuring additional presentations by Megan Shaw Prelinger and Brian Eggert. \u003ca href=\"https://www.eventbrite.com/e/staff-picks-from-the-prelinger-archives-tickets-1261633011299?aff=oddtdtcreator\">RSVP here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "selena-look-alike-contest-pub-crawl-mission-loteria-san-francisco",
"title": "A Selena Look-Alike Contest in the Mission Pays Homage to the Tejano Queen",
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"headTitle": "A Selena Look-Alike Contest in the Mission Pays Homage to the Tejano Queen | KQED",
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"content": "\u003cp>During the Great Depression, 24-hour dance marathons became a craze; in today’s political climate, we go to \u003ca href=\"https://www.kqed.org/arts/13968413/zendaya-look-alike-contest-oakland-winner\">celebrity look-alike contests\u003c/a> for a little bit of levity.\u003c/p>\n\u003cp>The trend has been going strong since Timothée Chalamet famously showed up at the search for his doppelgänger in New York last October. Since then, these sorts of organic meet-ups have brought different fandoms together around the nation. The latest one in San Francisco? A \u003ca href=\"https://www.instagram.com/p/DGUDx8fyk3w/?igsh=NTc4MTIwNjQ2YQ%3D%3D&img_index=1\">Selena look-alike contest\u003c/a> this Saturday, March 15 at 2 p.m. in Dolores Park.\u003c/p>\n\u003cp>[aside postID='arts_13968413,arts_13968233' label='doppelgänger news']The queen of Tejano music has a massive fanbase in the Bay Area. Each year, the San Francisco Lowrider Council honors her with a special cruise down Mission Street, where they bring out their flyest cars and finest fits in memory of the “Como La Flor” songstress.\u003c/p>\n\u003cp>When the Lowrider Council canceled this year’s cruise, Luis Quiroz knew Selena fans still needed a place to get together. Quiroz is the community manager of \u003ca href=\"https://www.instagram.com/missionloteria/\">Mission Lotería\u003c/a>, a local group that organizes events that promote the neighborhood’s Latinx-owned small businesses, like their recent Cafecito Tour of 24th Street.\u003c/p>\n\u003cp>“Selena is such an icon in music, but also in Latino culture in particular,” says Quiroz. “She’s cross-generational. So our mission is really to bring families together, bring different groups of people together. … Everyone has a core memory of Selena.”\u003c/p>\n\u003cfigure id=\"attachment_13972975\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972975\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF1347-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF1347-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF1347-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF1347-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF1347-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF1347-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF1347-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF1347-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF1347-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Mission Lotería, which organized the Selena look-alike contest, puts on social events and tours in the neighborhood. \u003ccite>(Courtesy of Mission Lotería)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Indeed, as journalist Maria Garcia pointed out in her \u003ca href=\"https://www.wbur.org/podcasts/anythingforselena\">Selena podcast\u003c/a>, the singer’s career took off in the early ’90s just as Latinos started to become recognized as a major U.S. demographic with political power. And with her affable stage presence and imperfect Spanish in interviews, Selena validated the experience of first-, second- and third-generation immigrants who grew up between two cultures. When “Bidi Bidi Bom Bom” or “Amor Prohibido” climbed the charts, millions of people felt like they were winning, too. When Selena was murdered in 1995, she became a symbol of unity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I think at the core, Selena fans — the first thing that comes [to mind] is ‘\u003ca href=\"https://www.youtube.com/watch?v=Kkl4-30oHVU\">anything for Selenas\u003c/a>,’” says Quiroz, quoting a popular line from the 1997 biopic about the star. “Like that just shows that you’re just \u003ci>down\u003c/i>. You’re down for the cause, you’re down for the people, you’re down for community.”\u003c/p>\n\u003cp>In addition to her musical talent, Selena was a \u003ca href=\"https://people.com/style/selena-quintanilla-best-fashion-moments/\">fashion icon\u003c/a>. Whether it’s her bedazzled bustiers and matching hats or the plum-colored bell-bottom jumpsuit she wore in her final televised performance, fans entering the lookalike contest will have plenty of material to work with as they practice their cumbia steps and finalize their outfits.\u003c/p>\n\u003cp>The winner of the look-alike contest gets a $100 prize — not a major payday, but that’s not really the point of these events. There’s an opportunity to make new friends (or even find love) while bonding with fellow fans over a favorite star. To foster that sense of connection, after the contest Quiroz will take everyone on a Selena-themed bar crawl through the Mission, which will make stops at Mission Bowling Club, the plant-filled wine bar Arcana, Senegalese restaurant Bissap Baobab and more.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"https://lu.ma/4t17con7\">Selena look-alike contest\u003c/a> takes place March 15, 2 p.m. at Dolores Park, in front of the Miguel Hidalgo statue. The \u003ca href=\"https://lu.ma/4720m94h\">Selena pub crawl\u003c/a> departs from the park at 5 p.m.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>During the Great Depression, 24-hour dance marathons became a craze; in today’s political climate, we go to \u003ca href=\"https://www.kqed.org/arts/13968413/zendaya-look-alike-contest-oakland-winner\">celebrity look-alike contests\u003c/a> for a little bit of levity.\u003c/p>\n\u003cp>The trend has been going strong since Timothée Chalamet famously showed up at the search for his doppelgänger in New York last October. Since then, these sorts of organic meet-ups have brought different fandoms together around the nation. The latest one in San Francisco? A \u003ca href=\"https://www.instagram.com/p/DGUDx8fyk3w/?igsh=NTc4MTIwNjQ2YQ%3D%3D&img_index=1\">Selena look-alike contest\u003c/a> this Saturday, March 15 at 2 p.m. in Dolores Park.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The queen of Tejano music has a massive fanbase in the Bay Area. Each year, the San Francisco Lowrider Council honors her with a special cruise down Mission Street, where they bring out their flyest cars and finest fits in memory of the “Como La Flor” songstress.\u003c/p>\n\u003cp>When the Lowrider Council canceled this year’s cruise, Luis Quiroz knew Selena fans still needed a place to get together. Quiroz is the community manager of \u003ca href=\"https://www.instagram.com/missionloteria/\">Mission Lotería\u003c/a>, a local group that organizes events that promote the neighborhood’s Latinx-owned small businesses, like their recent Cafecito Tour of 24th Street.\u003c/p>\n\u003cp>“Selena is such an icon in music, but also in Latino culture in particular,” says Quiroz. “She’s cross-generational. So our mission is really to bring families together, bring different groups of people together. … Everyone has a core memory of Selena.”\u003c/p>\n\u003cfigure id=\"attachment_13972975\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972975\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF1347-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF1347-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF1347-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF1347-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF1347-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF1347-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF1347-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF1347-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/DSCF1347-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Mission Lotería, which organized the Selena look-alike contest, puts on social events and tours in the neighborhood. \u003ccite>(Courtesy of Mission Lotería)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Indeed, as journalist Maria Garcia pointed out in her \u003ca href=\"https://www.wbur.org/podcasts/anythingforselena\">Selena podcast\u003c/a>, the singer’s career took off in the early ’90s just as Latinos started to become recognized as a major U.S. demographic with political power. And with her affable stage presence and imperfect Spanish in interviews, Selena validated the experience of first-, second- and third-generation immigrants who grew up between two cultures. When “Bidi Bidi Bom Bom” or “Amor Prohibido” climbed the charts, millions of people felt like they were winning, too. When Selena was murdered in 1995, she became a symbol of unity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think at the core, Selena fans — the first thing that comes [to mind] is ‘\u003ca href=\"https://www.youtube.com/watch?v=Kkl4-30oHVU\">anything for Selenas\u003c/a>,’” says Quiroz, quoting a popular line from the 1997 biopic about the star. “Like that just shows that you’re just \u003ci>down\u003c/i>. You’re down for the cause, you’re down for the people, you’re down for community.”\u003c/p>\n\u003cp>In addition to her musical talent, Selena was a \u003ca href=\"https://people.com/style/selena-quintanilla-best-fashion-moments/\">fashion icon\u003c/a>. Whether it’s her bedazzled bustiers and matching hats or the plum-colored bell-bottom jumpsuit she wore in her final televised performance, fans entering the lookalike contest will have plenty of material to work with as they practice their cumbia steps and finalize their outfits.\u003c/p>\n\u003cp>The winner of the look-alike contest gets a $100 prize — not a major payday, but that’s not really the point of these events. There’s an opportunity to make new friends (or even find love) while bonding with fellow fans over a favorite star. To foster that sense of connection, after the contest Quiroz will take everyone on a Selena-themed bar crawl through the Mission, which will make stops at Mission Bowling Club, the plant-filled wine bar Arcana, Senegalese restaurant Bissap Baobab and more.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"https://lu.ma/4t17con7\">Selena look-alike contest\u003c/a> takes place March 15, 2 p.m. at Dolores Park, in front of the Miguel Hidalgo statue. The \u003ca href=\"https://lu.ma/4720m94h\">Selena pub crawl\u003c/a> departs from the park at 5 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>An “evergreen” \u003ca href=\"https://www.kqed.org/arts/tag/documentary\">documentary\u003c/a>, such as Connie Field and Marilyn Mulford’s \u003cem>Freedom On My Mind\u003c/em> (1994), is a film whose information and themes are timeless. The Bay Area filmmakers’ Oscar-nominated oral history of the Civil Rights campaign to register Mississippi voters in the early 1960s (currently available to stream on \u003ca href=\"https://www.tcm.com/watchtcm/titles/75637\">TCM\u003c/a> and \u003ca href=\"https://www.max.com/movies/freedom-on-my-mind/48cb71f2-13f7-4d03-ab67-d13153248859\">Max\u003c/a>) will be relevant forever.\u003c/p>\n\u003cp>[aside postID='arts_13972877']Field’s latest doc, \u003cem>\u003ca href=\"https://roxie.com/film/democracy-noir/\">Democracy Noir\u003c/a>\u003c/em> (screening March 12, 16 and 17 at the Roxie), about Prime Minister Viktor Orbán’s systemic 15-year (and counting) destruction of Hungary’s democracy, derives from the opposite impulse. Although its historical account and snapshot of individual resistance will resonate years down the road, Field’s goal was to have the maximum impact right now, right here.\u003c/p>\n\u003cp>After she premiered \u003cem>Democracy Noir\u003c/em> at the prominent CPH:DOX festival in Copenhagen a year ago, Field intended the film to play U.S. theaters, alerting uninformed, misinformed and apathetic voters of the stakes of the 2024 election. It didn’t work out that way; the doc screened at festivals in the liberal enclaves of Mill Valley and Boston (and throughout Europe), but didn’t get a wider release.\u003c/p>\n\u003cp>If there is a silver lining — I’m trying very hard to accentuate the positive — to the vast damage done to the nation’s institutions by Donald Trump and his inside circle of billionaires since his second inauguration, it is that a whole lot more Americans are presumably interested in the autocratic Hungarian precedent on display in \u003cem>Democracy Noir\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13972960\" class=\"wp-caption aligncenter\" style=\"max-width: 816px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-direct-Connie-Field-nurse-Nikoletta-Niko-Natal-in-Budapest.-Photo-by-Judit-Kalmar.jpg\" alt=\"two women smile in crowd, one holds camera and mic\" width=\"816\" height=\"612\" class=\"size-full wp-image-13972960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-direct-Connie-Field-nurse-Nikoletta-Niko-Natal-in-Budapest.-Photo-by-Judit-Kalmar.jpg 816w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-direct-Connie-Field-nurse-Nikoletta-Niko-Natal-in-Budapest.-Photo-by-Judit-Kalmar-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-direct-Connie-Field-nurse-Nikoletta-Niko-Natal-in-Budapest.-Photo-by-Judit-Kalmar-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-direct-Connie-Field-nurse-Nikoletta-Niko-Natal-in-Budapest.-Photo-by-Judit-Kalmar-768x576.jpg 768w\" sizes=\"auto, (max-width: 816px) 100vw, 816px\">\u003cfigcaption class=\"wp-caption-text\">Nurse Niko Antal and ‘Democracy Noir’ director Connie Field in Budapest. \u003ccite>(Judit Kalmar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blending and finessing the past and the present since Orbán took office for the second time in 2010, Field traces the chronology of events and the opposition to Orbán through a trio of remarkable Hungarian women. Niko Antal, a nurse and the most emotionally vulnerable of the three, is perpetually protesting on the streets while working 18-hour days at minimum wage and paying for patients’ medicine out of her own pocket. You can imagine Antal’s facial expression when her mother, representative of the older generation, says Orbán has made her feel more secure.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Babette Oroszi, a respected and rising television journalist when she was in her 20s, was compelled to keep finding new venues as the right wing acquired roughly 400 media outlets in the years since Orbán came to power. The quiet, lovely home near a scenic waterway that she shares with her wife is a refuge from her stressful job.\u003c/p>\n\u003cp>Oroszi investigates and uncovers the regime’s malfeasance, pushing back against a tsunami of misinformation. “They’ve ruined education, they’ve ruined the health care system, they’ve screwed the . . . pensioners,” she laments.\u003c/p>\n\u003cp>By way of explaining the media environment, \u003cem>Democracy Noir\u003c/em> depicts the shocking morning when the staff of the country’s largest newspaper, \u003ci>Népszabadság\u003c/i>, which reported corruption scandals on a near-daily basis, found the building locked when they arrived for work and were fired almost immediately. Through the concerted flow of propaganda, the government has effectively brainwashed most of the population, mitigating the need for the most palpable sign of repression: calling out the military onto the streets.\u003c/p>\n\u003cp>One of Orbán’s strategies is funneling Hungary’s share of European Union funds to rural areas — new buildings, improvements in infrastructure and even sacks of potatoes — while claiming all the credit for his party, Fidesz. The result, unsurprisingly, solidifies Orbán’s base of support outside of Budapest.\u003c/p>\n\u003cfigure id=\"attachment_13972961\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-Timea-Orban-whistle.jpg\" alt=\"woman blows whistle in face of man in formal setting, everyone in suits\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13972961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-Timea-Orban-whistle.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-Timea-Orban-whistle-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-Timea-Orban-whistle-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-Timea-Orban-whistle-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-Timea-Orban-whistle-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-Timea-Orban-whistle-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tímea Szabó blows a whistle in the face of Viktor Orbán in the Hungarian Parliament in a scene from ‘Democracy Noir.’ \u003ccite>(Roxie Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Appealing opposition politician Tímea Szabó, \u003cem>Democracy Noir\u003c/em>’s third protagonist, recounts recent history to Field’s camera. Her more compelling appearances, though, are on the floor of Parliament delivering impassioned, articulate and clear arguments against Fidesz’s policies. Szabó is a beacon of hope, that is, until one notices how empty the chamber is when she speaks. \u003c/p>\n\u003cp>\u003cem>Democracy Noir\u003c/em> plays to U.S. viewers as a template for what has come to pass in the U.S., and is rolling out before our eyes. Television and radio networks peddling the state’s version of events, of course, but also the leader (whose power is never in doubt) relentlessly presenting himself and his followers as the victims, surrounded by enemies. And, ominously, the selective targeting of minorities — refugees, LGBTQ+ people — as the object of people’s blame, suspicion and hatred.\u003c/p>\n\u003cp>“If the government hates me so openly,” Oroszi asks, “then what am I doing here?” The nurse Antal, exhausted by the struggle, says, “I was raised to always fight for my dreams. I don’t have them anymore. Now I’m really just caught on a hamster wheel that I can’t get out of.”\u003c/p>\n\u003cp>https://youtu.be/5GPGHqABpQ8\u003c/p>\n\u003cp>Their despair runs into hard choices, such as moving abroad. Antal is reluctant to leave because her mother is ill. Ceasing to protest or tuning out aren’t options for people like her, Oroszi and Szabó. It is their country, after all, always and forever.\u003c/p>\n\u003cp>There is never any doubt which side \u003cem>Democracy Noir\u003c/em> is on, but Field is careful not to slip into sloganeering and preaching to the choir. The film is most effective as a foreshadowing of the future we are heading toward in our own country, with shocking parallels between Trump’s statements and actions and Orbán’s.\u003c/p>\n\u003cp>At the same time, \u003cem>Democracy Noir\u003c/em> provides, for our inspiration, three varyingly effective facets of resistance that involve — and transcend — keeping hope alive. As Bob Dylan sang, “It’s not dark yet, but it’s getting there.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://roxie.com/film/democracy-noir/\">Democracy Noir\u003c/a>’ screens March 12 (a benefit for Indivisible SF, with director Connie Field in conversation after the film), March 16 and March 17 at the Roxie.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An “evergreen” \u003ca href=\"https://www.kqed.org/arts/tag/documentary\">documentary\u003c/a>, such as Connie Field and Marilyn Mulford’s \u003cem>Freedom On My Mind\u003c/em> (1994), is a film whose information and themes are timeless. The Bay Area filmmakers’ Oscar-nominated oral history of the Civil Rights campaign to register Mississippi voters in the early 1960s (currently available to stream on \u003ca href=\"https://www.tcm.com/watchtcm/titles/75637\">TCM\u003c/a> and \u003ca href=\"https://www.max.com/movies/freedom-on-my-mind/48cb71f2-13f7-4d03-ab67-d13153248859\">Max\u003c/a>) will be relevant forever.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Field’s latest doc, \u003cem>\u003ca href=\"https://roxie.com/film/democracy-noir/\">Democracy Noir\u003c/a>\u003c/em> (screening March 12, 16 and 17 at the Roxie), about Prime Minister Viktor Orbán’s systemic 15-year (and counting) destruction of Hungary’s democracy, derives from the opposite impulse. Although its historical account and snapshot of individual resistance will resonate years down the road, Field’s goal was to have the maximum impact right now, right here.\u003c/p>\n\u003cp>After she premiered \u003cem>Democracy Noir\u003c/em> at the prominent CPH:DOX festival in Copenhagen a year ago, Field intended the film to play U.S. theaters, alerting uninformed, misinformed and apathetic voters of the stakes of the 2024 election. It didn’t work out that way; the doc screened at festivals in the liberal enclaves of Mill Valley and Boston (and throughout Europe), but didn’t get a wider release.\u003c/p>\n\u003cp>If there is a silver lining — I’m trying very hard to accentuate the positive — to the vast damage done to the nation’s institutions by Donald Trump and his inside circle of billionaires since his second inauguration, it is that a whole lot more Americans are presumably interested in the autocratic Hungarian precedent on display in \u003cem>Democracy Noir\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13972960\" class=\"wp-caption aligncenter\" style=\"max-width: 816px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-direct-Connie-Field-nurse-Nikoletta-Niko-Natal-in-Budapest.-Photo-by-Judit-Kalmar.jpg\" alt=\"two women smile in crowd, one holds camera and mic\" width=\"816\" height=\"612\" class=\"size-full wp-image-13972960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-direct-Connie-Field-nurse-Nikoletta-Niko-Natal-in-Budapest.-Photo-by-Judit-Kalmar.jpg 816w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-direct-Connie-Field-nurse-Nikoletta-Niko-Natal-in-Budapest.-Photo-by-Judit-Kalmar-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-direct-Connie-Field-nurse-Nikoletta-Niko-Natal-in-Budapest.-Photo-by-Judit-Kalmar-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-direct-Connie-Field-nurse-Nikoletta-Niko-Natal-in-Budapest.-Photo-by-Judit-Kalmar-768x576.jpg 768w\" sizes=\"auto, (max-width: 816px) 100vw, 816px\">\u003cfigcaption class=\"wp-caption-text\">Nurse Niko Antal and ‘Democracy Noir’ director Connie Field in Budapest. \u003ccite>(Judit Kalmar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blending and finessing the past and the present since Orbán took office for the second time in 2010, Field traces the chronology of events and the opposition to Orbán through a trio of remarkable Hungarian women. Niko Antal, a nurse and the most emotionally vulnerable of the three, is perpetually protesting on the streets while working 18-hour days at minimum wage and paying for patients’ medicine out of her own pocket. You can imagine Antal’s facial expression when her mother, representative of the older generation, says Orbán has made her feel more secure.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Babette Oroszi, a respected and rising television journalist when she was in her 20s, was compelled to keep finding new venues as the right wing acquired roughly 400 media outlets in the years since Orbán came to power. The quiet, lovely home near a scenic waterway that she shares with her wife is a refuge from her stressful job.\u003c/p>\n\u003cp>Oroszi investigates and uncovers the regime’s malfeasance, pushing back against a tsunami of misinformation. “They’ve ruined education, they’ve ruined the health care system, they’ve screwed the . . . pensioners,” she laments.\u003c/p>\n\u003cp>By way of explaining the media environment, \u003cem>Democracy Noir\u003c/em> depicts the shocking morning when the staff of the country’s largest newspaper, \u003ci>Népszabadság\u003c/i>, which reported corruption scandals on a near-daily basis, found the building locked when they arrived for work and were fired almost immediately. Through the concerted flow of propaganda, the government has effectively brainwashed most of the population, mitigating the need for the most palpable sign of repression: calling out the military onto the streets.\u003c/p>\n\u003cp>One of Orbán’s strategies is funneling Hungary’s share of European Union funds to rural areas — new buildings, improvements in infrastructure and even sacks of potatoes — while claiming all the credit for his party, Fidesz. The result, unsurprisingly, solidifies Orbán’s base of support outside of Budapest.\u003c/p>\n\u003cfigure id=\"attachment_13972961\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-Timea-Orban-whistle.jpg\" alt=\"woman blows whistle in face of man in formal setting, everyone in suits\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13972961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-Timea-Orban-whistle.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-Timea-Orban-whistle-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-Timea-Orban-whistle-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-Timea-Orban-whistle-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-Timea-Orban-whistle-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Democracy-Noir-Timea-Orban-whistle-1536x864.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tímea Szabó blows a whistle in the face of Viktor Orbán in the Hungarian Parliament in a scene from ‘Democracy Noir.’ \u003ccite>(Roxie Theater)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Appealing opposition politician Tímea Szabó, \u003cem>Democracy Noir\u003c/em>’s third protagonist, recounts recent history to Field’s camera. Her more compelling appearances, though, are on the floor of Parliament delivering impassioned, articulate and clear arguments against Fidesz’s policies. Szabó is a beacon of hope, that is, until one notices how empty the chamber is when she speaks. \u003c/p>\n\u003cp>\u003cem>Democracy Noir\u003c/em> plays to U.S. viewers as a template for what has come to pass in the U.S., and is rolling out before our eyes. Television and radio networks peddling the state’s version of events, of course, but also the leader (whose power is never in doubt) relentlessly presenting himself and his followers as the victims, surrounded by enemies. And, ominously, the selective targeting of minorities — refugees, LGBTQ+ people — as the object of people’s blame, suspicion and hatred.\u003c/p>\n\u003cp>“If the government hates me so openly,” Oroszi asks, “then what am I doing here?” The nurse Antal, exhausted by the struggle, says, “I was raised to always fight for my dreams. I don’t have them anymore. Now I’m really just caught on a hamster wheel that I can’t get out of.”\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/5GPGHqABpQ8'\n title='//www.youtube.com/embed/5GPGHqABpQ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Their despair runs into hard choices, such as moving abroad. Antal is reluctant to leave because her mother is ill. Ceasing to protest or tuning out aren’t options for people like her, Oroszi and Szabó. It is their country, after all, always and forever.\u003c/p>\n\u003cp>There is never any doubt which side \u003cem>Democracy Noir\u003c/em> is on, but Field is careful not to slip into sloganeering and preaching to the choir. The film is most effective as a foreshadowing of the future we are heading toward in our own country, with shocking parallels between Trump’s statements and actions and Orbán’s.\u003c/p>\n\u003cp>At the same time, \u003cem>Democracy Noir\u003c/em> provides, for our inspiration, three varyingly effective facets of resistance that involve — and transcend — keeping hope alive. As Bob Dylan sang, “It’s not dark yet, but it’s getting there.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://roxie.com/film/democracy-noir/\">Democracy Noir\u003c/a>’ screens March 12 (a benefit for Indivisible SF, with director Connie Field in conversation after the film), March 16 and March 17 at the Roxie.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Though not every artist is from “the struggle,” anyone who’s ever survived tough times is inherently a creative person.\u003c/p>\n\u003cp>That notion is at the heart of \u003ca href=\"https://www.instagram.com/wulffvnky/\">Esteban Raheem Abdul Raheem Samayoa\u003c/a>’s artwork. A visual artist from Sacramento who lives in Oakland, Samayoa’s pieces depict ethereal images of lowriders on Daytons, dogs barking, tatted homies, smiling kids, Black revolutionaries and Brown pride.\u003c/p>\n\u003cp>On March 22, a solo exhibition of Samayoa’s work, titled \u003ca href=\"https://www.icasanjose.org/uncategorized/bloodbewater/\">\u003cem>Blood Be Water\u003c/em>\u003c/a>, opens at the \u003ca href=\"https://www.icasanjose.org/\">Institute of Contemporary Art San José\u003c/a>.\u003c/p>\n\u003cp>“It’s a lot of storytelling,” Samayoa says about his art. “And the beautiful thing about it is, it’s not just my story.”\u003c/p>\n\u003cp>A quiet kid who didn’t have much family support growing up, Samayoa leaned on neighbors and community members for structure. Those relationships broadened his perspective on life. “So I often tell a lot of these stories within my paintings that seem a little like nostalgic, and even have a spiritual presence,” he tells me during a recent phone conversation. “But it’s very universal, you know, something that a lot of people can relate to.”\u003c/p>\n\u003cfigure id=\"attachment_13972803\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/0.jpg\" alt=\"complex grayscale artwork with airbrushed images of people\" width=\"1500\" height=\"1125\" class=\"size-full wp-image-13972803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/0.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/0-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/0-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/0-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/0-768x576.jpg 768w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Esteban Raheem Abdul Raheem Samayoa’s work started with charcoal and airbrush, and has since expanded to many different mediums. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What’s more relatable than creating out of necessity?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As a kid, Samayoa learned to make do with whatever he had. This resourcefulness, along with the influence of his community, formed his central philosophy. “Life in general is tough,” says Samayoa. “I always say that all people who survive anything… they’re all artists, because you have to think creatively to get to the next day or create something that will help you in the future.”\u003c/p>\n\u003cp>[aside postID='arts_13972152']Lately, Samayoa’s work has grown from a means of survival to a mechanism for exploring his roots.\u003c/p>\n\u003cp>“I ventured off into doing a lot of oil and pastels on different surfaces like burlap, soil and plaster,” he says.\u003c/p>\n\u003cp>As a person of Mexican and Guatemalan ancestry, Samayoa sees using coffee sacks as a canvas — a nod to the robust coffee industry in Guatemala — as a way to further tap into his heritage.\u003c/p>\n\u003cp>The exhibition will feature 55 new original pieces, made of airbrush, charcoal and ceramics. Outside the gallery will be a night market with food trucks and vendors, and a prayer area for people observing the holy month of Ramadan.\u003c/p>\n\u003cp>Inside the building, one side of the gallery will show an assortment of black-and-white works, with a wall of color pieces on the other. A short documentary on Samayoa’s creative process will also be shown.\u003c/p>\n\u003cp>Samayoa’s hope is that folks pull up to the event, enjoy the art, soak up the stories and leave with a little more compassion for each other.\u003c/p>\n\u003cp>“I want people to open themselves up to one another. Because by doing that, you can see the possibilities that we all can do together,” Samayoa says.\u003c/p>\n\u003cp>“It’s not artists against artists,” he adds. “It’s artists against the world.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Esteban Raheem Abdul Raheem Samayoa’s ‘\u003ca href=\"https://www.icasanjose.org/upcoming-events/bloodbewateropeningreception/\">Blood Be Water\u003c/a>’ is on view at the Institute of Contemporary Art San José March 22–Aug. 24, 2025, with an opening reception on March 22.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Though not every artist is from “the struggle,” anyone who’s ever survived tough times is inherently a creative person.\u003c/p>\n\u003cp>That notion is at the heart of \u003ca href=\"https://www.instagram.com/wulffvnky/\">Esteban Raheem Abdul Raheem Samayoa\u003c/a>’s artwork. A visual artist from Sacramento who lives in Oakland, Samayoa’s pieces depict ethereal images of lowriders on Daytons, dogs barking, tatted homies, smiling kids, Black revolutionaries and Brown pride.\u003c/p>\n\u003cp>On March 22, a solo exhibition of Samayoa’s work, titled \u003ca href=\"https://www.icasanjose.org/uncategorized/bloodbewater/\">\u003cem>Blood Be Water\u003c/em>\u003c/a>, opens at the \u003ca href=\"https://www.icasanjose.org/\">Institute of Contemporary Art San José\u003c/a>.\u003c/p>\n\u003cp>“It’s a lot of storytelling,” Samayoa says about his art. “And the beautiful thing about it is, it’s not just my story.”\u003c/p>\n\u003cp>A quiet kid who didn’t have much family support growing up, Samayoa leaned on neighbors and community members for structure. Those relationships broadened his perspective on life. “So I often tell a lot of these stories within my paintings that seem a little like nostalgic, and even have a spiritual presence,” he tells me during a recent phone conversation. “But it’s very universal, you know, something that a lot of people can relate to.”\u003c/p>\n\u003cfigure id=\"attachment_13972803\" class=\"wp-caption aligncenter\" style=\"max-width: 1500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/0.jpg\" alt=\"complex grayscale artwork with airbrushed images of people\" width=\"1500\" height=\"1125\" class=\"size-full wp-image-13972803\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/0.jpg 1500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/0-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/0-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/0-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/0-768x576.jpg 768w\" sizes=\"auto, (max-width: 1500px) 100vw, 1500px\">\u003cfigcaption class=\"wp-caption-text\">Esteban Raheem Abdul Raheem Samayoa’s work started with charcoal and airbrush, and has since expanded to many different mediums. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What’s more relatable than creating out of necessity?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Lately, Samayoa’s work has grown from a means of survival to a mechanism for exploring his roots.\u003c/p>\n\u003cp>“I ventured off into doing a lot of oil and pastels on different surfaces like burlap, soil and plaster,” he says.\u003c/p>\n\u003cp>As a person of Mexican and Guatemalan ancestry, Samayoa sees using coffee sacks as a canvas — a nod to the robust coffee industry in Guatemala — as a way to further tap into his heritage.\u003c/p>\n\u003cp>The exhibition will feature 55 new original pieces, made of airbrush, charcoal and ceramics. Outside the gallery will be a night market with food trucks and vendors, and a prayer area for people observing the holy month of Ramadan.\u003c/p>\n\u003cp>Inside the building, one side of the gallery will show an assortment of black-and-white works, with a wall of color pieces on the other. A short documentary on Samayoa’s creative process will also be shown.\u003c/p>\n\u003cp>Samayoa’s hope is that folks pull up to the event, enjoy the art, soak up the stories and leave with a little more compassion for each other.\u003c/p>\n\u003cp>“I want people to open themselves up to one another. Because by doing that, you can see the possibilities that we all can do together,” Samayoa says.\u003c/p>\n\u003cp>“It’s not artists against artists,” he adds. “It’s artists against the world.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Esteban Raheem Abdul Raheem Samayoa’s ‘\u003ca href=\"https://www.icasanjose.org/upcoming-events/bloodbewateropeningreception/\">Blood Be Water\u003c/a>’ is on view at the Institute of Contemporary Art San José March 22–Aug. 24, 2025, with an opening reception on March 22.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Shula is driving home from a fancy dress party one night when she encounters an unusual sight in the middle of a country road: her Uncle Fred’s dead body.\u003c/p>\n\u003cp>But Shula, portrayed by Susan Chardy, does not behave in a way that we would expect. She doesn’t cry out in horror or appear the least bit upset or shocked by the sight. Instead, we sit there with her in silence, her in sunglasses and a silver helmeted mask adorned with sparkling rhinestones. Shula looks straight out of a music video as she stares off into the distance. This, we realize quickly, is going to be a thing. At the very least, it’s an inconvenience, ripping her out of her independent life and back into the throes of her traditional family, their patriarchal ways and all their crippling secrets.\u003c/p>\n\u003cp>This is the opening scene of \u003ci>\u003ca href=\"https://roxie.com/film/on-becoming-a-guinea-fowl/\">On Becoming a Guinea Fowl\u003c/a>\u003c/i>, Rungano Nyoni’s darkly comedic, stylish and hauntingly bizarre portrait of a Zambian family funeral. It is perhaps the first great film of 2025 — though it’s technically been awaiting its moment in the United States since 2024. It premiered last year at the Cannes Film Festival and has already had a run in the U.K.\u003c/p>\n\u003cp>And it’s a post-Oscars treat to have something this great in the cinemas to shake audiences out of their end-of-the-road awards contender boredom. What better way to do it than with something so different, so vibrant and so unforgettable as \u003ci>On Becoming a Guinea Fowl\u003c/i>, only \u003ca href=\"https://www.kqed.org/arts/13847814/now-playing-oscars-foreign-language-submissions-at-the-rafael\">the second feature\u003c/a> from the self-taught filmmaker.\u003c/p>\n\u003cfigure id=\"attachment_13972764\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_01.jpg\" alt=\"Black woman in sunglasses and bejeweled helmet behind car steering wheel\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13972764\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_01.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_01-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_01-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_01-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Susan Chardy in ‘On Becoming a Guinea Fowl.’ \u003ccite>(Chibesa Mulumba; Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nyoni centers this story around a dayslong funeral for this predominately Bemba family. Shula is in the middle of the generations involved, a reluctant but obedient participant in the rituals of the elders. The women organize all the things, make all the food, and then serve all the men who are sitting around doing nothing. Eventually, they’ll all gather for a climactic, distressing scene in which they divide up Fred’s assets and place blame for his death. It is, like everything else, deeply unfair and misogynistic, coming down to whomever shouts loudest.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The elder women cry and wail and are cruel to Uncle Fred’s widow for not taking care of him. But there is an open secret that’s bubbling up to the surface now that Fred is dead: He was a predator and a pedophile whose abuse of the young women in his family stretches back decades. This is, most of the elders agree, something that should just be forgotten and buried along with Fred.\u003c/p>\n\u003cp>“Do you want me to dig up the corpse and ask it what happened?” Shula’s dad asks when she confronts him with the truth.\u003c/p>\n\u003cp>This is a society that remains bound to protecting the reputation and memory of a man whose actions continue to affect the women he violated: His wife; his young niece; Shula’s grown, often drunk cousin (Elizabeth Chisela). The women are just supposed to compartmentalize and move on — something the matriarchs seem largely on board with.\u003c/p>\n\u003cfigure id=\"attachment_13972765\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_02_2000.jpg\" alt=\"two women stand looking out window, tense\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13972765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_02_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_02_2000-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_02_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_02_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_02_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_02_2000-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_02_2000-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Susan Chardy and Elizabeth Chisela as cousins in ‘On Becoming a Guinea Fowl.’ \u003ccite>(Chibesa Mulumba; Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shula reads one of her auntie’s words, presumably for an obituary: “You were not just a brother, but also a father figure. … Ever jovial and joyous. A person who was fair.” Done in quick succession with her young cousin Bupe’s confession that she too was a victim of the deceased, words like “father figure” and “jovial” echo with malice.\u003c/p>\n\u003cp>\u003ci>On Becoming a Guinea Fowl\u003c/i> shares some spiritual DNA with \u003ci>\u003ca href=\"https://www.kqed.org/arts/13923296/women-talking-sarah-polley-review-mennonite-miriam-toews\">Women Talking\u003c/a>\u003c/i>, in which mothers pass on traumas and secrets and the cycle goes on, despite even the best of intentions. Nyoni and her cinematographer David Gallego make this a transportive, stylish and unforgettable experience that powerfully transcends the specifics of its setting, while also taking audiences into an culture that’s likely unfamiliar.\u003c/p>\n\u003cp>The ending is not what one might call conclusive, but perhaps a litmus test for the individual viewer as to whether or not they’ll exit with hope or dread for what’s to come. And regardless, when you take a step back, “Guinea Fowl” cements the exciting arrival of a true filmmaker.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://roxie.com/film/on-becoming-a-guinea-fowl/\">On Becoming a Guinea Fowl\u003c/a>’ plays at San Francisco’s Roxie Theater March 28 and 29, 2025.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Shula is driving home from a fancy dress party one night when she encounters an unusual sight in the middle of a country road: her Uncle Fred’s dead body.\u003c/p>\n\u003cp>But Shula, portrayed by Susan Chardy, does not behave in a way that we would expect. She doesn’t cry out in horror or appear the least bit upset or shocked by the sight. Instead, we sit there with her in silence, her in sunglasses and a silver helmeted mask adorned with sparkling rhinestones. Shula looks straight out of a music video as she stares off into the distance. This, we realize quickly, is going to be a thing. At the very least, it’s an inconvenience, ripping her out of her independent life and back into the throes of her traditional family, their patriarchal ways and all their crippling secrets.\u003c/p>\n\u003cp>This is the opening scene of \u003ci>\u003ca href=\"https://roxie.com/film/on-becoming-a-guinea-fowl/\">On Becoming a Guinea Fowl\u003c/a>\u003c/i>, Rungano Nyoni’s darkly comedic, stylish and hauntingly bizarre portrait of a Zambian family funeral. It is perhaps the first great film of 2025 — though it’s technically been awaiting its moment in the United States since 2024. It premiered last year at the Cannes Film Festival and has already had a run in the U.K.\u003c/p>\n\u003cp>And it’s a post-Oscars treat to have something this great in the cinemas to shake audiences out of their end-of-the-road awards contender boredom. What better way to do it than with something so different, so vibrant and so unforgettable as \u003ci>On Becoming a Guinea Fowl\u003c/i>, only \u003ca href=\"https://www.kqed.org/arts/13847814/now-playing-oscars-foreign-language-submissions-at-the-rafael\">the second feature\u003c/a> from the self-taught filmmaker.\u003c/p>\n\u003cfigure id=\"attachment_13972764\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_01.jpg\" alt=\"Black woman in sunglasses and bejeweled helmet behind car steering wheel\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13972764\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_01.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_01-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_01-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_01-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Susan Chardy in ‘On Becoming a Guinea Fowl.’ \u003ccite>(Chibesa Mulumba; Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nyoni centers this story around a dayslong funeral for this predominately Bemba family. Shula is in the middle of the generations involved, a reluctant but obedient participant in the rituals of the elders. The women organize all the things, make all the food, and then serve all the men who are sitting around doing nothing. Eventually, they’ll all gather for a climactic, distressing scene in which they divide up Fred’s assets and place blame for his death. It is, like everything else, deeply unfair and misogynistic, coming down to whomever shouts loudest.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The elder women cry and wail and are cruel to Uncle Fred’s widow for not taking care of him. But there is an open secret that’s bubbling up to the surface now that Fred is dead: He was a predator and a pedophile whose abuse of the young women in his family stretches back decades. This is, most of the elders agree, something that should just be forgotten and buried along with Fred.\u003c/p>\n\u003cp>“Do you want me to dig up the corpse and ask it what happened?” Shula’s dad asks when she confronts him with the truth.\u003c/p>\n\u003cp>This is a society that remains bound to protecting the reputation and memory of a man whose actions continue to affect the women he violated: His wife; his young niece; Shula’s grown, often drunk cousin (Elizabeth Chisela). The women are just supposed to compartmentalize and move on — something the matriarchs seem largely on board with.\u003c/p>\n\u003cfigure id=\"attachment_13972765\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_02_2000.jpg\" alt=\"two women stand looking out window, tense\" width=\"2000\" height=\"1334\" class=\"size-full wp-image-13972765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_02_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_02_2000-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_02_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_02_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_02_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_02_2000-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/OBAGF_02_2000-1920x1281.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Susan Chardy and Elizabeth Chisela as cousins in ‘On Becoming a Guinea Fowl.’ \u003ccite>(Chibesa Mulumba; Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Shula reads one of her auntie’s words, presumably for an obituary: “You were not just a brother, but also a father figure. … Ever jovial and joyous. A person who was fair.” Done in quick succession with her young cousin Bupe’s confession that she too was a victim of the deceased, words like “father figure” and “jovial” echo with malice.\u003c/p>\n\u003cp>\u003ci>On Becoming a Guinea Fowl\u003c/i> shares some spiritual DNA with \u003ci>\u003ca href=\"https://www.kqed.org/arts/13923296/women-talking-sarah-polley-review-mennonite-miriam-toews\">Women Talking\u003c/a>\u003c/i>, in which mothers pass on traumas and secrets and the cycle goes on, despite even the best of intentions. Nyoni and her cinematographer David Gallego make this a transportive, stylish and unforgettable experience that powerfully transcends the specifics of its setting, while also taking audiences into an culture that’s likely unfamiliar.\u003c/p>\n\u003cp>The ending is not what one might call conclusive, but perhaps a litmus test for the individual viewer as to whether or not they’ll exit with hope or dread for what’s to come. And regardless, when you take a step back, “Guinea Fowl” cements the exciting arrival of a true filmmaker.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://roxie.com/film/on-becoming-a-guinea-fowl/\">On Becoming a Guinea Fowl\u003c/a>’ plays at San Francisco’s Roxie Theater March 28 and 29, 2025.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "mickey-17-movie-review-bong-joon-ho",
"title": "Bong Joon Ho Slips Us a ‘Mickey 17’",
"publishDate": 1741290410,
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"content": "\u003cp>Through no fault of his own, Bong Joon Ho is a man out of time. What claim can even the most unrestrained cinema satirist have on our attention when the world’s foremost provocateur, stream-of-consciousness back-flipper and fomenter of chaos occupies the White House?\u003c/p>\n\u003cp>[aside postID='arts_13972512']\u003cem>Mickey 17\u003c/em> (opening Friday, March 7), Bong’s drolly amusing social critique wrapped, burrito-style, in the genre accoutrements of a science-fiction movie, is far from the South Korean writer-director’s peak of outrageousness. That would be \u003cem>\u003ca href=\"https://www.kqed.org/arts/13869623/the-hit-movie-parasite-puts-basement-structures-in-structural-inequality\">Parasite\u003c/a>\u003c/em>, his out-of-nowhere Oscar-winning 2019 hit that probed the gap between the have-nots and the haves with savage and shocking fury.\u003c/p>\n\u003cp>Five years on, Bong isn’t as focused on the working (under)class plunging knives into the superrich. (Timing is everything — Luigi Mangione single-handedly moved that conversation from the entertainment section to the front page last December.) The proletariat’s goal in the English-language \u003cem>Mickey 17\u003c/em> is simply surviving the unceasing exploitation of labor, a mission impossible paradoxically embodied by a character whose job description is to die, and die, and die another day.\u003c/p>\n\u003cp>To escape the homicidal intentions of a loan shark, sad sack Mickey Barnes (Robert Pattinson) and devious business partner Timo (Steven Yeun) get hired onto a spaceship that bigwig Kenneth Marshall (Mark Ruffalo) and his wife Yifa (Toni Collette) are steering to a faraway planet. On the four-and-a-half-year journey, Mickey and cop Nasha (a righteously angry and expansively cursing Naomi Ackie) fall in love.\u003c/p>\n\u003cfigure id=\"attachment_13972866\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL2-004r_High_Res_JPEG_200-.jpg\" alt=\"\" width=\"2000\" height=\"1081\" class=\"size-full wp-image-13972866\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL2-004r_High_Res_JPEG_200-.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL2-004r_High_Res_JPEG_200--800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL2-004r_High_Res_JPEG_200--1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL2-004r_High_Res_JPEG_200--160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL2-004r_High_Res_JPEG_200--768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL2-004r_High_Res_JPEG_200--1536x830.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL2-004r_High_Res_JPEG_200--1920x1038.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Naomi Ackie as Nasha in ‘Mickey 17.’ \u003ccite>(Courtesy of Warner Bros. Pictures )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We learn all this via flashback; \u003cem>Mickey 17\u003c/em> opens with the titular character dazed and injured on the snow-covered planet Nilfheim. The year is 2054 and the poor guy is an “expendable” who, because he can be “reprinted” and regenerated endlessly (ain’t digital technology grand?), is given potentially fatal tasks like breathing and testing Nilfheim’s atmosphere for viruses that could wipe out the human passengers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In what amounts to a running existential gag, Mickey is repeatedly asked by fellow travelers, “What’s it feel like to die?” I was less engaged by the philosophical implications than by the cinematic ones: How do Bong and Pattinson make us emotionally invested in the journey of a character (in his 17th iteration as the movie begins) who is not a human but a copy, a duplicate, a facsimile?\u003c/p>\n\u003cp>Bong’s canny plot device of Nasha and Mickey’s love affair is instrumental in getting the audience to identify with him. Pattinson’s endearing performance does the rest; the actor doesn’t carry the film so much as humanize it with his self-deprecating affect and sacrificial pratfalls that borrow ever so slightly from silent screen comedian Harold Lloyd.\u003c/p>\n\u003cp>The expedition’s devious-but-dumb leaders, Marshall and Yifa, are revealed not as civic-minded entrepreneurs but as eugenics-huffing supremacists with autocratic aspirations. When one of Marshall’s TV studio rallies culminates with the audience copying his raised-arm gesture — index finger pointed at the sky — I marveled at Boon’s prescience. Elon Musk’s Mars ambitions are known, but how could Boon foresee his Nazi salute?\u003c/p>\n\u003cfigure id=\"attachment_13972867\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-11572_High_Res_JPEG_2000.jpg\" alt=\"group of people clap adoringly at man in center with hands out\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13972867\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-11572_High_Res_JPEG_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-11572_High_Res_JPEG_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-11572_High_Res_JPEG_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-11572_High_Res_JPEG_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-11572_High_Res_JPEG_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-11572_High_Res_JPEG_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-11572_High_Res_JPEG_2000-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mark Ruffalo as Kenneth Marshall and Toni Collette as Ylfa in ‘Mickey 17.’ \u003ccite>(Jonathan Olley; Courtesy of Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Mickey 17\u003c/em>’s cartoon power couple aren’t particularly menacing, however; imagine Jim and Tammy Faye Bakker playing the leads in \u003cem>Macbeth\u003c/em>. The good news is that Boon doesn’t take his political metaphor all that seriously, but that brings us to the bad news: The satire has no bite.\u003c/p>\n\u003cp>We’ve all seen too many futuristic epics about idealistic ventures brought to ruin by ego and greed. We’ve fully assimilated the lesson: Scientific and technological advances can never overcome the flaws in human nature.\u003c/p>\n\u003cp>At the same time, as I alluded earlier, over-the-top fictional villains can’t compare with today’s real-world megalomaniacs. Auric Goldfinger planned a caper at Fort Knox that James Bond foiled; Trump and Musk are planning a field trip to the Kentucky bouillon depository. How do you deflate that delusion? Yes, \u003cem>The Great Dictator\u003c/em> brilliantly mocked Hitler, but there’s only one Charlie Chaplin.\u003c/p>\n\u003cfigure id=\"attachment_13972868\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL1-008_High_Res_JPEG_2000.jpg\" alt=\"large futuristic vehicles on a snowy landscape with alien species around them\" width=\"2000\" height=\"1081\" class=\"size-full wp-image-13972868\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL1-008_High_Res_JPEG_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL1-008_High_Res_JPEG_2000-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL1-008_High_Res_JPEG_2000-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL1-008_High_Res_JPEG_2000-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL1-008_High_Res_JPEG_2000-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL1-008_High_Res_JPEG_2000-1536x830.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL1-008_High_Res_JPEG_2000-1920x1038.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Mickey 17.’ \u003ccite>(Courtesy of Warner Bros. Pictures )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What sticks with the viewer more than the direct and indirect allusions to our current leaders are \u003cem>Mickey 17\u003c/em>’s ecological and environmental themes. Much of Boon’s work (\u003cem>The Host\u003c/em>, notably) questions human beings’ alleged higher intelligence (compared to other life forms) along with our propensity for wanton destruction. His approach is uniquely surreal in that he literally gives voice to other species.\u003c/p>\n\u003cp>The indigenous natives of Nilfheim, whom \u003cem>Mickey 17\u003c/em> encounters just a few minutes after we are introduced to him, are headless mammals that the people christen “creepers.” They serve numerous functions in the movie — at one point resembling a vast herd of buffalo that briefly turns \u003cem>Mickey 17\u003c/em> into a Western, and then a war movie — that the director skillfully exploits (in a good way!) for emotional and visceral effect. \u003c/p>\n\u003cp>By the time Nasha emerges as the heroine of the story and Pattinson as its soul, \u003cem>Mickey 17\u003c/em> has delivered ample entertainment for the buck. While I was disappointed by the lack of eye-popping compositions, a hallmark of Boon’s work, I learned one thing from this romantic comedy of the future: Whatever happens with tariffs, the United States will always enjoy a trade surplus in F-words.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Mickey 17’ opens in Bay Area theaters on Friday, March 7, 2025.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Robert Pattinson is the humanizing soul of the South Korean director’s sci-fi about labor exploitation.",
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"title": "Review: Bong Joon Ho Slips Us a ‘Mickey 17’ | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Through no fault of his own, Bong Joon Ho is a man out of time. What claim can even the most unrestrained cinema satirist have on our attention when the world’s foremost provocateur, stream-of-consciousness back-flipper and fomenter of chaos occupies the White House?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Mickey 17\u003c/em> (opening Friday, March 7), Bong’s drolly amusing social critique wrapped, burrito-style, in the genre accoutrements of a science-fiction movie, is far from the South Korean writer-director’s peak of outrageousness. That would be \u003cem>\u003ca href=\"https://www.kqed.org/arts/13869623/the-hit-movie-parasite-puts-basement-structures-in-structural-inequality\">Parasite\u003c/a>\u003c/em>, his out-of-nowhere Oscar-winning 2019 hit that probed the gap between the have-nots and the haves with savage and shocking fury.\u003c/p>\n\u003cp>Five years on, Bong isn’t as focused on the working (under)class plunging knives into the superrich. (Timing is everything — Luigi Mangione single-handedly moved that conversation from the entertainment section to the front page last December.) The proletariat’s goal in the English-language \u003cem>Mickey 17\u003c/em> is simply surviving the unceasing exploitation of labor, a mission impossible paradoxically embodied by a character whose job description is to die, and die, and die another day.\u003c/p>\n\u003cp>To escape the homicidal intentions of a loan shark, sad sack Mickey Barnes (Robert Pattinson) and devious business partner Timo (Steven Yeun) get hired onto a spaceship that bigwig Kenneth Marshall (Mark Ruffalo) and his wife Yifa (Toni Collette) are steering to a faraway planet. On the four-and-a-half-year journey, Mickey and cop Nasha (a righteously angry and expansively cursing Naomi Ackie) fall in love.\u003c/p>\n\u003cfigure id=\"attachment_13972866\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL2-004r_High_Res_JPEG_200-.jpg\" alt=\"\" width=\"2000\" height=\"1081\" class=\"size-full wp-image-13972866\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL2-004r_High_Res_JPEG_200-.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL2-004r_High_Res_JPEG_200--800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL2-004r_High_Res_JPEG_200--1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL2-004r_High_Res_JPEG_200--160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL2-004r_High_Res_JPEG_200--768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL2-004r_High_Res_JPEG_200--1536x830.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL2-004r_High_Res_JPEG_200--1920x1038.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Naomi Ackie as Nasha in ‘Mickey 17.’ \u003ccite>(Courtesy of Warner Bros. Pictures )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We learn all this via flashback; \u003cem>Mickey 17\u003c/em> opens with the titular character dazed and injured on the snow-covered planet Nilfheim. The year is 2054 and the poor guy is an “expendable” who, because he can be “reprinted” and regenerated endlessly (ain’t digital technology grand?), is given potentially fatal tasks like breathing and testing Nilfheim’s atmosphere for viruses that could wipe out the human passengers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In what amounts to a running existential gag, Mickey is repeatedly asked by fellow travelers, “What’s it feel like to die?” I was less engaged by the philosophical implications than by the cinematic ones: How do Bong and Pattinson make us emotionally invested in the journey of a character (in his 17th iteration as the movie begins) who is not a human but a copy, a duplicate, a facsimile?\u003c/p>\n\u003cp>Bong’s canny plot device of Nasha and Mickey’s love affair is instrumental in getting the audience to identify with him. Pattinson’s endearing performance does the rest; the actor doesn’t carry the film so much as humanize it with his self-deprecating affect and sacrificial pratfalls that borrow ever so slightly from silent screen comedian Harold Lloyd.\u003c/p>\n\u003cp>The expedition’s devious-but-dumb leaders, Marshall and Yifa, are revealed not as civic-minded entrepreneurs but as eugenics-huffing supremacists with autocratic aspirations. When one of Marshall’s TV studio rallies culminates with the audience copying his raised-arm gesture — index finger pointed at the sky — I marveled at Boon’s prescience. Elon Musk’s Mars ambitions are known, but how could Boon foresee his Nazi salute?\u003c/p>\n\u003cfigure id=\"attachment_13972867\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-11572_High_Res_JPEG_2000.jpg\" alt=\"group of people clap adoringly at man in center with hands out\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13972867\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-11572_High_Res_JPEG_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-11572_High_Res_JPEG_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-11572_High_Res_JPEG_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-11572_High_Res_JPEG_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-11572_High_Res_JPEG_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-11572_High_Res_JPEG_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-11572_High_Res_JPEG_2000-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Mark Ruffalo as Kenneth Marshall and Toni Collette as Ylfa in ‘Mickey 17.’ \u003ccite>(Jonathan Olley; Courtesy of Warner Bros. Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Mickey 17\u003c/em>’s cartoon power couple aren’t particularly menacing, however; imagine Jim and Tammy Faye Bakker playing the leads in \u003cem>Macbeth\u003c/em>. The good news is that Boon doesn’t take his political metaphor all that seriously, but that brings us to the bad news: The satire has no bite.\u003c/p>\n\u003cp>We’ve all seen too many futuristic epics about idealistic ventures brought to ruin by ego and greed. We’ve fully assimilated the lesson: Scientific and technological advances can never overcome the flaws in human nature.\u003c/p>\n\u003cp>At the same time, as I alluded earlier, over-the-top fictional villains can’t compare with today’s real-world megalomaniacs. Auric Goldfinger planned a caper at Fort Knox that James Bond foiled; Trump and Musk are planning a field trip to the Kentucky bouillon depository. How do you deflate that delusion? Yes, \u003cem>The Great Dictator\u003c/em> brilliantly mocked Hitler, but there’s only one Charlie Chaplin.\u003c/p>\n\u003cfigure id=\"attachment_13972868\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL1-008_High_Res_JPEG_2000.jpg\" alt=\"large futuristic vehicles on a snowy landscape with alien species around them\" width=\"2000\" height=\"1081\" class=\"size-full wp-image-13972868\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL1-008_High_Res_JPEG_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL1-008_High_Res_JPEG_2000-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL1-008_High_Res_JPEG_2000-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL1-008_High_Res_JPEG_2000-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL1-008_High_Res_JPEG_2000-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL1-008_High_Res_JPEG_2000-1536x830.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/rev-1-C8D-TRL1-008_High_Res_JPEG_2000-1920x1038.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A scene from ‘Mickey 17.’ \u003ccite>(Courtesy of Warner Bros. Pictures )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What sticks with the viewer more than the direct and indirect allusions to our current leaders are \u003cem>Mickey 17\u003c/em>’s ecological and environmental themes. Much of Boon’s work (\u003cem>The Host\u003c/em>, notably) questions human beings’ alleged higher intelligence (compared to other life forms) along with our propensity for wanton destruction. His approach is uniquely surreal in that he literally gives voice to other species.\u003c/p>\n\u003cp>The indigenous natives of Nilfheim, whom \u003cem>Mickey 17\u003c/em> encounters just a few minutes after we are introduced to him, are headless mammals that the people christen “creepers.” They serve numerous functions in the movie — at one point resembling a vast herd of buffalo that briefly turns \u003cem>Mickey 17\u003c/em> into a Western, and then a war movie — that the director skillfully exploits (in a good way!) for emotional and visceral effect. \u003c/p>\n\u003cp>By the time Nasha emerges as the heroine of the story and Pattinson as its soul, \u003cem>Mickey 17\u003c/em> has delivered ample entertainment for the buck. While I was disappointed by the lack of eye-popping compositions, a hallmark of Boon’s work, I learned one thing from this romantic comedy of the future: Whatever happens with tariffs, the United States will always enjoy a trade surplus in F-words.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Mickey 17’ opens in Bay Area theaters on Friday, March 7, 2025.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "suhoor-fest-ramadan-san-jose-halal-food-festival-2025",
"title": "Suhoor Fest Is the Bay Area’s Biggest Halal Food Festival ",
"publishDate": 1741276826,
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"headTitle": "Suhoor Fest Is the Bay Area’s Biggest Halal Food Festival | KQED",
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"content": "\u003cp>During \u003ca href=\"https://www.kqed.org/news/12029204/ramadan-2025-where-to-find-iftar-and-suhoor-in-the-bay-area\">Ramadan\u003c/a>, billions of Muslims around the world observe suhoor, the nightly pre-dawn meal taken in preparation for a day of fasting, which one can eat quietly at home — say, taking down a couple of Medjool dates while still groggy with sleep. For thousands of Bay Area Muslims, it also serves as the occasion for the year’s biggest halal food festival: \u003ca href=\"https://www.instagram.com/p/DGXWjk6xQSW/?hl=en\">Suhoor Fest\u003c/a>, a mammoth convocation of food stalls, art and clothing vendors, and lively Arabic music, all crammed together in a football field–sized parking lot in San Jose.\u003c/p>\n\u003cp>Now in its fourth year, Suhoor Fest is one of the largest events of its kind in the U.S. — so big, says \u003ca href=\"https://www.instagram.com/elhalalamigos/?hl=en\">El Halal Amigos\u003c/a> owner Hisham Abdelfattah, “It feels like every Muslim in California is there.” This year’s edition will take place on Sat., March 15, from 11 p.m. to 5 a.m., at the \u003ca href=\"https://www.saba-igc.org/\">SABA Center\u003c/a> in North San Jose.\u003c/p>\n\u003cp>Organized by \u003ca href=\"https://www.halalfest.com/\">Halal Fest\u003c/a>, which has hosted halal food events in the Bay Area since 2013, Suhoor Fest is one of the many community gatherings that were born as a response to pandemic isolation. Founder Irfan Rydhan explains that he wanted to recreate the “back-home” feeling that Bay Area Muslims might have experienced in the Arab world and other Muslim-majority countries like Malaysia or Pakistan, where his father is from.\u003c/p>\n\u003cp>“Everything is usually shut down during the daytime, and then after sunset, that’s when everybody breaks their fast, and then they start to go out to participate in the street food,” Rydhan says.\u003c/p>\n\u003cp>Suhoor Fest is the Halal Fest team’s attempt to bring that lively atmosphere to the Bay — the streets lit up, everyone outside mingling until late into the night.\u003c/p>\n\u003cfigure id=\"attachment_13972709\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972709\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/halal-tacos-scaled.jpg\" alt=\"A plate with three al pastor tacos topped with diced pineapple.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/halal-tacos-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/halal-tacos-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/halal-tacos-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/halal-tacos-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/halal-tacos-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/halal-tacos-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/halal-tacos-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A plate of halal tacos — one of the many cuisines represented at Suhoor Fest. \u003ccite>(Courtesy of Halal Fest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 2025 edition of Suhoor Fest looks to be the largest one yet, with a lineup 21 halal food and beverage vendors, including a handful of prominent first-timers. \u003ca href=\"https://www.kqed.org/arts/13961613/zareens-pakistani-indian-palo-alto-late-night\">Zareen’s\u003c/a>, maybe the Peninsula’s most beloved Pakistani-Indian restaurant, will have a stall set up for the first time. \u003ca href=\"https://www.instagram.com/p/DGwzUeDxEic/\">Manakish Oven\u003c/a>, a new Palestinian spot in San Jose, will sling its array of popular flatbreads. And, for visitors who like their shawarma with a side of lumpia, the \u003ca href=\"https://www.instagram.com/cabalensweetandsavory/\">Cabalen Sweet & Savory\u003c/a> truck will be on hand to sell its unique hybrid of Filipino and Middle Eastern cuisines.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Of course, \u003ca href=\"https://www.kqed.org/arts/13954374/suhoor-fest-san-jose-ramadan-el-halal-amigos\">returning Suhoor Fest anchors\u003c/a> like El Halal Amigos will once again draw some of the event’s longest lines. This year, Abdelfattah says he’ll be trying something new for his street tacos, melting cheese on the tortilla, quesataco-style, while it crisps on the griddle.\u003c/p>\n\u003cp>Other new features this year include an exotic car show and a \u003ca href=\"https://www.instagram.com/mocktailswithmoose/\">mocktail pop-up\u003c/a>. There’s also the option to buy $50 VIP tickets (admission is otherwise free) that come with a grab bag of coupons and other assorted treats — a T-shirt, a can of Palestinian American–owned \u003ca href=\"https://www.northjersey.com/story/news/2024/11/29/coca-cola-boycott-drink-palestina-nj/76435834007/?fbclid=PAZXh0bgNhZW0CMTEAAabo5MfVL2MAlEuq_7s1WaCk-uPV7DHdRGZop33XBhq1ZauqwvFYkFz3B9Y_aem_3aujgUTONpA9dxr3MdICXA\">Drink Palestina\u003c/a> soda (which donates 10% of its profits to Palestinian relief), a raffle ticket for a chance to attend the Warriors’ \u003ca href=\"https://www.instagram.com/muslimhoop/reel/DF8i7FYP16V/\">Muslim Heritage Night\u003c/a> game at Chase Center, and more.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='news_12029204,arts_13961613,arts_13950577']\u003c/span>\u003c/span>In many ways, Suhoor Fest is the biggest, most joyous party of the year for the Bay Area’s Muslim communities. But this year’s event is also tinged with pain and worry, with \u003ca href=\"https://www.reuters.com/graphics/ISRAEL-PALESTINIANS/FATALITIES/byvrxlqeqve/\">more than 48,000 Palestinians\u003c/a> reported to have been killed since the start of Israel’s war on Gaza and attacks on the occupied West Bank, and a tenuous ceasefire many fear is on the \u003ca href=\"https://www.bbc.com/news/articles/ckgz7p85mdgo\">brink of collapse\u003c/a>.\u003c/p>\n\u003cp>“Yes, it is Ramadan. It’s the most beautiful time of the year,” Abdelfattah says. “But it’s also very, very hard to enjoy all of the beautiful things that come with Ramadan because of what’s happening in Gaza, specifically.”\u003c/p>\n\u003cp>Both Rydhan and Abdelfattah cite the sense of responsibility they feel toward to the broader Bay Area Muslim community to practice Sadaqah, or charity, during Ramadan — to, as Rydhan puts it, always be thinking about “our brothers and sisters around the world, especially in Palestine and Gaza.” Toward that end, Suhoor Fest will be partnering with the nonprofit \u003ca href=\"https://irusa.org/\">Islamic Relief USA\u003c/a>, which will have a booth set up to collect donations for Gaza.\u003c/p>\n\u003cfigure id=\"attachment_13972710\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972710\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/el-halal-amigos-suhoor.jpg\" alt=\"A crowded dining room inside a restaurant.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/el-halal-amigos-suhoor.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/el-halal-amigos-suhoor-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/el-halal-amigos-suhoor-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/el-halal-amigos-suhoor-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/el-halal-amigos-suhoor-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/el-halal-amigos-suhoor-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/el-halal-amigos-suhoor-1920x1920.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hisham Abdelfattah, chef-owner of San Jose’s El Halal Amigos, works the crowd during last year’s suhoor event at his restaurant. \u003ccite>(Courtesy of El Halal Amigos)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Abdelfattah will also host a separate Suhoor Night event at El Halal Amigos (with a \u003ca href=\"https://www.instagram.com/p/DG08ZLTyoUk/\">special guest appearance by Zareen’s\u003c/a>) on Fri., March 21, where he’ll serve beef bacon breakfast burritos and donate 20% of the proceeds to Islamic Relief.\u003c/p>\n\u003cp>Of course, one of the most unique aspects of Suhoor Fest is that it runs all the way until 5 o’clock in the morning — and every year, there’s always a healthy crowd that stays to the end to share a quieter, more contemplative moment with their community. After all, Abdelfattah says, “The reason why it runs until 5 a.m. is because we’re all still together to pray right at sunrise after we’ve filled our bellies.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://www.instagram.com/p/DFwla4Ex3Xy/?hl=en\">Suhoor Fest\u003c/a> will take place on Saturday, March 15, from 11 p.m.–5 a.m., in the parking lot of the SABA Islamic Center (4415 Fortran Ct., San Jose). El Halal Amigos’ separate Suhoor Night event will take place 10 p.m.–3 a.m. on Friday, March 21 at 1100 Lincoln Avenue in San Jose. Zareen’s will also host a Suhoor Night at its Palo Alto location on Saturday, March 22.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>During \u003ca href=\"https://www.kqed.org/news/12029204/ramadan-2025-where-to-find-iftar-and-suhoor-in-the-bay-area\">Ramadan\u003c/a>, billions of Muslims around the world observe suhoor, the nightly pre-dawn meal taken in preparation for a day of fasting, which one can eat quietly at home — say, taking down a couple of Medjool dates while still groggy with sleep. For thousands of Bay Area Muslims, it also serves as the occasion for the year’s biggest halal food festival: \u003ca href=\"https://www.instagram.com/p/DGXWjk6xQSW/?hl=en\">Suhoor Fest\u003c/a>, a mammoth convocation of food stalls, art and clothing vendors, and lively Arabic music, all crammed together in a football field–sized parking lot in San Jose.\u003c/p>\n\u003cp>Now in its fourth year, Suhoor Fest is one of the largest events of its kind in the U.S. — so big, says \u003ca href=\"https://www.instagram.com/elhalalamigos/?hl=en\">El Halal Amigos\u003c/a> owner Hisham Abdelfattah, “It feels like every Muslim in California is there.” This year’s edition will take place on Sat., March 15, from 11 p.m. to 5 a.m., at the \u003ca href=\"https://www.saba-igc.org/\">SABA Center\u003c/a> in North San Jose.\u003c/p>\n\u003cp>Organized by \u003ca href=\"https://www.halalfest.com/\">Halal Fest\u003c/a>, which has hosted halal food events in the Bay Area since 2013, Suhoor Fest is one of the many community gatherings that were born as a response to pandemic isolation. Founder Irfan Rydhan explains that he wanted to recreate the “back-home” feeling that Bay Area Muslims might have experienced in the Arab world and other Muslim-majority countries like Malaysia or Pakistan, where his father is from.\u003c/p>\n\u003cp>“Everything is usually shut down during the daytime, and then after sunset, that’s when everybody breaks their fast, and then they start to go out to participate in the street food,” Rydhan says.\u003c/p>\n\u003cp>Suhoor Fest is the Halal Fest team’s attempt to bring that lively atmosphere to the Bay — the streets lit up, everyone outside mingling until late into the night.\u003c/p>\n\u003cfigure id=\"attachment_13972709\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972709\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/halal-tacos-scaled.jpg\" alt=\"A plate with three al pastor tacos topped with diced pineapple.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/halal-tacos-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/halal-tacos-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/halal-tacos-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/halal-tacos-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/halal-tacos-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/halal-tacos-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/halal-tacos-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A plate of halal tacos — one of the many cuisines represented at Suhoor Fest. \u003ccite>(Courtesy of Halal Fest)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 2025 edition of Suhoor Fest looks to be the largest one yet, with a lineup 21 halal food and beverage vendors, including a handful of prominent first-timers. \u003ca href=\"https://www.kqed.org/arts/13961613/zareens-pakistani-indian-palo-alto-late-night\">Zareen’s\u003c/a>, maybe the Peninsula’s most beloved Pakistani-Indian restaurant, will have a stall set up for the first time. \u003ca href=\"https://www.instagram.com/p/DGwzUeDxEic/\">Manakish Oven\u003c/a>, a new Palestinian spot in San Jose, will sling its array of popular flatbreads. And, for visitors who like their shawarma with a side of lumpia, the \u003ca href=\"https://www.instagram.com/cabalensweetandsavory/\">Cabalen Sweet & Savory\u003c/a> truck will be on hand to sell its unique hybrid of Filipino and Middle Eastern cuisines.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Of course, \u003ca href=\"https://www.kqed.org/arts/13954374/suhoor-fest-san-jose-ramadan-el-halal-amigos\">returning Suhoor Fest anchors\u003c/a> like El Halal Amigos will once again draw some of the event’s longest lines. This year, Abdelfattah says he’ll be trying something new for his street tacos, melting cheese on the tortilla, quesataco-style, while it crisps on the griddle.\u003c/p>\n\u003cp>Other new features this year include an exotic car show and a \u003ca href=\"https://www.instagram.com/mocktailswithmoose/\">mocktail pop-up\u003c/a>. There’s also the option to buy $50 VIP tickets (admission is otherwise free) that come with a grab bag of coupons and other assorted treats — a T-shirt, a can of Palestinian American–owned \u003ca href=\"https://www.northjersey.com/story/news/2024/11/29/coca-cola-boycott-drink-palestina-nj/76435834007/?fbclid=PAZXh0bgNhZW0CMTEAAabo5MfVL2MAlEuq_7s1WaCk-uPV7DHdRGZop33XBhq1ZauqwvFYkFz3B9Y_aem_3aujgUTONpA9dxr3MdICXA\">Drink Palestina\u003c/a> soda (which donates 10% of its profits to Palestinian relief), a raffle ticket for a chance to attend the Warriors’ \u003ca href=\"https://www.instagram.com/muslimhoop/reel/DF8i7FYP16V/\">Muslim Heritage Night\u003c/a> game at Chase Center, and more.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>In many ways, Suhoor Fest is the biggest, most joyous party of the year for the Bay Area’s Muslim communities. But this year’s event is also tinged with pain and worry, with \u003ca href=\"https://www.reuters.com/graphics/ISRAEL-PALESTINIANS/FATALITIES/byvrxlqeqve/\">more than 48,000 Palestinians\u003c/a> reported to have been killed since the start of Israel’s war on Gaza and attacks on the occupied West Bank, and a tenuous ceasefire many fear is on the \u003ca href=\"https://www.bbc.com/news/articles/ckgz7p85mdgo\">brink of collapse\u003c/a>.\u003c/p>\n\u003cp>“Yes, it is Ramadan. It’s the most beautiful time of the year,” Abdelfattah says. “But it’s also very, very hard to enjoy all of the beautiful things that come with Ramadan because of what’s happening in Gaza, specifically.”\u003c/p>\n\u003cp>Both Rydhan and Abdelfattah cite the sense of responsibility they feel toward to the broader Bay Area Muslim community to practice Sadaqah, or charity, during Ramadan — to, as Rydhan puts it, always be thinking about “our brothers and sisters around the world, especially in Palestine and Gaza.” Toward that end, Suhoor Fest will be partnering with the nonprofit \u003ca href=\"https://irusa.org/\">Islamic Relief USA\u003c/a>, which will have a booth set up to collect donations for Gaza.\u003c/p>\n\u003cfigure id=\"attachment_13972710\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972710\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/el-halal-amigos-suhoor.jpg\" alt=\"A crowded dining room inside a restaurant.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/el-halal-amigos-suhoor.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/el-halal-amigos-suhoor-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/el-halal-amigos-suhoor-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/el-halal-amigos-suhoor-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/el-halal-amigos-suhoor-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/el-halal-amigos-suhoor-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/el-halal-amigos-suhoor-1920x1920.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hisham Abdelfattah, chef-owner of San Jose’s El Halal Amigos, works the crowd during last year’s suhoor event at his restaurant. \u003ccite>(Courtesy of El Halal Amigos)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Abdelfattah will also host a separate Suhoor Night event at El Halal Amigos (with a \u003ca href=\"https://www.instagram.com/p/DG08ZLTyoUk/\">special guest appearance by Zareen’s\u003c/a>) on Fri., March 21, where he’ll serve beef bacon breakfast burritos and donate 20% of the proceeds to Islamic Relief.\u003c/p>\n\u003cp>Of course, one of the most unique aspects of Suhoor Fest is that it runs all the way until 5 o’clock in the morning — and every year, there’s always a healthy crowd that stays to the end to share a quieter, more contemplative moment with their community. After all, Abdelfattah says, “The reason why it runs until 5 a.m. is because we’re all still together to pray right at sunrise after we’ve filled our bellies.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://www.instagram.com/p/DFwla4Ex3Xy/?hl=en\">Suhoor Fest\u003c/a> will take place on Saturday, March 15, from 11 p.m.–5 a.m., in the parking lot of the SABA Islamic Center (4415 Fortran Ct., San Jose). El Halal Amigos’ separate Suhoor Night event will take place 10 p.m.–3 a.m. on Friday, March 21 at 1100 Lincoln Avenue in San Jose. Zareen’s will also host a Suhoor Night at its Palo Alto location on Saturday, March 22.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"title": "Code Switch / Life Kit",
"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 />",
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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",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"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",
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"order": 9
},
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"meta": {
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"source": "WNYC"
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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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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"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.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"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. ",
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"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. ",
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"order": 18
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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/",
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},
"link": "/radio/program/latino-usa",
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"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": {
"site": "news",
"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)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"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
},
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