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"content": "\u003cp>Patrick Radden Keefe’s book \u003cem>Say Nothing\u003c/em>, a history of The Troubles in Northern Ireland, is heavy in a few ways. On top of its subject matter, it’s more than 500 pages long — though a quarter of that is notes, a proportion that reflects both the depth of Keefe’s research and the sprawl of the story.\u003c/p>\n\u003cp>The 2018 book begins with the abduction and murder of Jean McConville, a widowed mother of ten who was taken from her home in 1972 by operatives of the Irish Republican Army and never seen alive again. It follows several historical figures through decades of The Troubles: Gerry Adams, a radical who became a politician (who insists to this day that he was never part of the IRA); Brendan Hughes, an IRA member nicknamed The Dark; and many participants in IRA operations, some of whom spent long periods in jail. Some died on hunger strikes.\u003c/p>\n\u003cp>[aside postid='arts_13940076']But Keefe’s most compelling character is the woman who appears with her face half-hidden on the book cover: Dolours Price, who began working with the IRA as a teenager, and who eventually spent years in jail for a series of car bombings in London. And it is Dolours who centers the new FX series that tries to wrestle this perhaps unadaptable book into a nine-episode scripted series.\u003c/p>\n\u003cp>Played as a young woman by Lola Petticrew and as an older one by Maxine Peake, Dolours is raised to be a radical alongside her sister, Marian (Hazel Doupe). Their aunt has already given her hands and eyes to the cause as a bomb-maker, and while the girls start out in nonviolent protest, they soon join the ranks of those whose commitment to the cause of removing the British from Northern Ireland includes using bombs and guns. And that doesn’t extend only to the use of violence against British soldiers and police; it includes attacks on Belfast Catholics who are believed to be traitors or informants. And eventually, as the series tells it, Dolours comes up with the idea to set off the bombs in London that sent the sisters to prison. (According to the book, it was more complicated than that.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FhxvEJV9xos\u003c/p>\n\u003ch3>The challenge of distilling history in a scripted series\u003c/h3>\n\u003cp>As a show, \u003cem>Say Nothing\u003c/em> is well-executed and features excellent performances (Peake’s is perhaps the strongest). Yet the series can’t be expected to do the same work as the book — a scripted show is not a history lesson. There is a patience and thoroughness to Keefe’s explanation of the underlying dynamics that led to the Troubles that the series cannot match. Decades (and more) of history can’t be easily condensed into a scene or an image. So what comes through more clearly are the things that \u003cem>do \u003c/em>translate well to dramatization.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Indeed, in early episodes, \u003cem>Say Nothing\u003c/em> often feels like a caper movie, following Dolours and Marian and their compatriots on missions where they prove they are up to the same jobs that young men they know can do. Those missions turn grim when Dolours begins to drive initially unsuspecting men — some of them people she knows well — to the places where they will be killed by their allies for their believed transgressions. Creator Josh Zetumer has said that one of the things he wanted the series to capture is that radicalism can be romantic and exciting for young people, and \u003cem>Say Nothing\u003c/em> certainly does that.\u003c/p>\n\u003cp>The difficulty is that Dolours’ time as an operative, when she still sees the conflict and her work for the IRA as quite simple, are the least emotionally rich part of the story. But they occupy a great deal of the on-screen real estate across these nine episodes.. For instance: Dolours and Marian’s harrowing hunger strike is one episode out of nine in the show. But it’s one chapter out of 30 in the book.\u003c/p>\n\u003cfigure id=\"attachment_13968086\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968086\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry.png\" alt=\"A white man with dark hair and beard stands with arms folded in front of 1970s-era wallpaper.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry-1536x1024.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry-1920x1280.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Josh Finan as Gerry Adams. \u003ccite>(Rob Youngston/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Necessarily, when some things take up more space, others will take up less. There is limited attention until late in the series to the McConvilles, who spent the decades after their mother’s death dealing with her absence. Other than Brendan Hughes and Gerry Adams, there’s little about other IRA members (or alleged members), particularly Bobby Sands, an important figure in the book who died while on a hunger strike in prison.\u003c/p>\n\u003ch3>Reckoning with the past\u003c/h3>\n\u003cp>[aside postid='arts_13891175']The book is less about recounting actions than it is about contextualizing choices and consequences, and so perhaps it’s unsurprising that the series is at its best when it does the same. The last two episodes, the most successful ones, are focused on two stories. One is Dolours’ struggle, as an older woman, with her past actions (though she remains a staunch believer in her cause itself). It is only when she’s older, and when she feels that the revolution she hoped to be part of has largely failed, that Dolours can reckon with her own actions — including her role in the murder of Jean McConville. The show is not meant to be a condemnation of Dolours’ radical youth, but only a presentation of it as a choice made out of desperation with outcomes she could not fully anticipate.\u003c/p>\n\u003cp>The other story is about the agony of the McConville children, who are now adults, who long for the barest peace they hope to find in properly burying their mother’s body. This is where the thesis of the book comes through best: This conflict was devastating and intolerable, and for many people, it never ended. People do awful things in war, they take orders, they commit and do not look back. But that doesn’t mean that, many years later, they are not haunted. And the twin hauntings of Dolours Price and Helen McConville, who was 15 when her mother died, are the most tragic and piercing chapters of this story.\u003c/p>\n\u003cfigure id=\"attachment_13968085\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968085\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours.png\" alt=\"A red headed woman rests her head on her left hand while reclining on a couch. She looks concerned.\" width=\"2000\" height=\"1324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours-1536x1017.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours-1920x1271.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Maxine Peake as older Dolours Price. \u003ccite>(Rob Youngston/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the primary reasons this series exists — and one of the reasons Keefe’s book exists — is that Dolours chose to participate in a Boston College oral history project that interviewed people about The Troubles with the promise that nothing they said would be revealed until after they were dead. As both book and series tell it, she did this to face her demons. She did it to share the truth.\u003c/p>\n\u003cp>[aside postid='arts_13967594']But she also did it because she was bitterly angry at Gerry Adams — for claiming never to have been part of the IRA, for enriching himself through politics, for refusing to accept his part of the responsibility for anything, and for, as she saw it, for capitulating to the British during the peace process that made him famous in a new and “respectable” way.\u003c/p>\n\u003cp>It is in telling the story of this older Dolours, who is proud, stubborn and defiant as well as conflicted about her legacy, where \u003cem>Say Nothing\u003c/em> is most effective. While it may fall short as a history of the conflict, as a biography of one woman, it leaves a powerful impression.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>All episodes of ‘Say Nothing’ are available to stream on Hulu, starting Nov. 14, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Indeed, in early episodes, \u003cem>Say Nothing\u003c/em> often feels like a caper movie, following Dolours and Marian and their compatriots on missions where they prove they are up to the same jobs that young men they know can do. Those missions turn grim when Dolours begins to drive initially unsuspecting men — some of them people she knows well — to the places where they will be killed by their allies for their believed transgressions. Creator Josh Zetumer has said that one of the things he wanted the series to capture is that radicalism can be romantic and exciting for young people, and \u003cem>Say Nothing\u003c/em> certainly does that.\u003c/p>\n\u003cp>The difficulty is that Dolours’ time as an operative, when she still sees the conflict and her work for the IRA as quite simple, are the least emotionally rich part of the story. But they occupy a great deal of the on-screen real estate across these nine episodes.. For instance: Dolours and Marian’s harrowing hunger strike is one episode out of nine in the show. But it’s one chapter out of 30 in the book.\u003c/p>\n\u003cfigure id=\"attachment_13968086\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968086\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry.png\" alt=\"A white man with dark hair and beard stands with arms folded in front of 1970s-era wallpaper.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry-800x533.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry-1020x680.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry-768x512.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry-1536x1024.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/gerry-1920x1280.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Josh Finan as Gerry Adams. \u003ccite>(Rob Youngston/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Necessarily, when some things take up more space, others will take up less. There is limited attention until late in the series to the McConvilles, who spent the decades after their mother’s death dealing with her absence. Other than Brendan Hughes and Gerry Adams, there’s little about other IRA members (or alleged members), particularly Bobby Sands, an important figure in the book who died while on a hunger strike in prison.\u003c/p>\n\u003ch3>Reckoning with the past\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The book is less about recounting actions than it is about contextualizing choices and consequences, and so perhaps it’s unsurprising that the series is at its best when it does the same. The last two episodes, the most successful ones, are focused on two stories. One is Dolours’ struggle, as an older woman, with her past actions (though she remains a staunch believer in her cause itself). It is only when she’s older, and when she feels that the revolution she hoped to be part of has largely failed, that Dolours can reckon with her own actions — including her role in the murder of Jean McConville. The show is not meant to be a condemnation of Dolours’ radical youth, but only a presentation of it as a choice made out of desperation with outcomes she could not fully anticipate.\u003c/p>\n\u003cp>The other story is about the agony of the McConville children, who are now adults, who long for the barest peace they hope to find in properly burying their mother’s body. This is where the thesis of the book comes through best: This conflict was devastating and intolerable, and for many people, it never ended. People do awful things in war, they take orders, they commit and do not look back. But that doesn’t mean that, many years later, they are not haunted. And the twin hauntings of Dolours Price and Helen McConville, who was 15 when her mother died, are the most tragic and piercing chapters of this story.\u003c/p>\n\u003cfigure id=\"attachment_13968085\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13968085\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours.png\" alt=\"A red headed woman rests her head on her left hand while reclining on a couch. She looks concerned.\" width=\"2000\" height=\"1324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours-800x530.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours-1536x1017.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/delours-1920x1271.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Maxine Peake as older Dolours Price. \u003ccite>(Rob Youngston/FX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the primary reasons this series exists — and one of the reasons Keefe’s book exists — is that Dolours chose to participate in a Boston College oral history project that interviewed people about The Troubles with the promise that nothing they said would be revealed until after they were dead. As both book and series tell it, she did this to face her demons. She did it to share the truth.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But she also did it because she was bitterly angry at Gerry Adams — for claiming never to have been part of the IRA, for enriching himself through politics, for refusing to accept his part of the responsibility for anything, and for, as she saw it, for capitulating to the British during the peace process that made him famous in a new and “respectable” way.\u003c/p>\n\u003cp>It is in telling the story of this older Dolours, who is proud, stubborn and defiant as well as conflicted about her legacy, where \u003cem>Say Nothing\u003c/em> is most effective. While it may fall short as a history of the conflict, as a biography of one woman, it leaves a powerful impression.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>All episodes of ‘Say Nothing’ are available to stream on Hulu, starting Nov. 14, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When the art community bid adieu to the \u003ca href=\"https://wattis.org/\">Wattis Institute\u003c/a>’s decade-long home on Kansas Street earlier this year, I was heartbroken. It had been a good run of shows at the California College of the Arts’ exhibition space and research institute, as quiet and reflective as a selection of gelatin silver prints by \u003ca href=\"https://wattis.org/our-program/on-view/herve-guibert-this-more\">Hervé Guibert\u003c/a> and as boisterous and experimental as \u003ca href=\"https://wattis.org/our-program/on-view/drum-listens-to-heart\">a three-part deep-dive\u003c/a> into the relationship between music and visual art. \u003c/p>\n\u003cp>[aside postID='arts_13953171']I loved the Wattis for bringing ambitious programming to a location a bit off the beaten path. It was a hidden gem in the no-man’s land between the Mission and the Dogpatch.\u003c/p>\n\u003cp>Now, the Wattis has reopened, smack in the middle of CCA’s newly unified campus in San Francisco’s Design District. (The school closed its storied Oakland campus in 2022.) Though the campus opening coincides with the recent announcement of a \u003ca href=\"https://www.sfexaminer.com/culture/visual-arts/california-college-of-the-arts-faces-uncertain-future/article_54806a0a-9288-11ef-aec0-770b146e5db9.html\">$20 million deficit\u003c/a>, the new buildings are an impressive network of studios and classrooms, with the Wattis overlooking rooftop gardens and an amphitheater.\u003c/p>\n\u003cp>The Wattis is also under new leadership, with longtime director Anthony Huberman passing the torch to \u003ca href=\"https://www.kqed.org/arts/13953171/daisy-nam-wattis-institute-cca\">Daisy Nam\u003c/a>, who comes to San Francisco by way of Ballroom Marfa and Harvard’s Carpenter Center.\u003c/p>\n\u003cfigure id=\"attachment_13968082\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9.-All-This-Soft-Wild-Buzzing-installation-view-2024_2000.jpg\" alt=\"gallery with wall installation, framed photographs and a floor piece\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9.-All-This-Soft-Wild-Buzzing-installation-view-2024_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9.-All-This-Soft-Wild-Buzzing-installation-view-2024_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9.-All-This-Soft-Wild-Buzzing-installation-view-2024_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9.-All-This-Soft-Wild-Buzzing-installation-view-2024_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9.-All-This-Soft-Wild-Buzzing-installation-view-2024_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9.-All-This-Soft-Wild-Buzzing-installation-view-2024_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9.-All-This-Soft-Wild-Buzzing-installation-view-2024_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘All This Soft Wild Buzzing,’ 2024. \u003ccite>(Photo by Nicholas Lea Bruno; Courtesy of CCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So what better way is there to inaugurate the Wattis Institute’s new home than with an exhibition tapping artists with Bay Area ties whose work examines the concept of place?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://wattis.org/our-program/on-view/all-this-soft-wild-buzzing\">All This Soft Wild Buzzing\u003c/a>\u003c/i>, curated by Deputy Director and Director of Programs Jeanne Gerrity, features artists re-evaluating and re-mixing the legacy of landscape art. With particular attention to the American West, the show confronts and counters historical associations with Manifest Destiny that once undergirded the colonial framework of the landscape genre. \u003c/p>\n\u003cp>The group show features nine artists, including CCA alumni Saif Azzuz, Teresa Baker, Christopher Robin Duncan, Bessma Khalaf and \u003ca href=\"https://www.kqed.org/arts/13960861/dionne-lee-currents-cushion-works-review\">Dionne Lee\u003c/a>, alongside \u003ca href=\"https://www.kqed.org/arts/13963960/nicki-green-firmament-contemporary-jewish-museum-review\">Nicki Green\u003c/a>, Young Suh, Stephanie Syjuco and \u003ca href=\"https://www.kqed.org/arts/13961907/moad-zekarias-musele-thomspson-the-meeting-place-review\">Zekarias Musele Thompson\u003c/a>, working across disciplines that include sculpture, painting, installation and video.\u003c/p>\n\u003cfigure id=\"attachment_13968080\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1.-Bessma-Khalaf-2000.jpg\" alt=\"two framed black-and-white photographs of landscapes with burned elements\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1.-Bessma-Khalaf-2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1.-Bessma-Khalaf-2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1.-Bessma-Khalaf-2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1.-Bessma-Khalaf-2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1.-Bessma-Khalaf-2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1.-Bessma-Khalaf-2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1.-Bessma-Khalaf-2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bessma Khalaf, ‘Burnout (Mt Shasta),’ 2023 and ‘Burnout (Redwoods),’ 2022. \u003ccite>(Photo by Nicholas Lea Bruno; Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>True to Gerrity’s vision, each artist takes a different, unorthodox approach to landscape art. You won’t see pastoral paintings or panoramic photographs here. Instead, it all feels more hands-on: not exalting the sublime from a reverent, if safe, distance but instead wading in up to the neck and getting hands dirty. These artists are exploring nature with a sensibility that foregrounds collaboration and reciprocity.\u003c/p>\n\u003cp>Khalaf’s are some of the most traditional landscapes in the show — at least at a glance, they appear to be. The black-and-white photographs are actually pictures of pictures sourced from magazines and books, which Khalaf photographs after partially burning them. Similarly, Suh’s color photos of the mechanizations of environmental disaster might qualify as agrarian landscapes — if it weren’t for the figures of firefighters trawling like ants across the scorched earth. Both artists play in the space between beauty and destruction, between nature’s course and the human intervention that both interrupts and accelerates it.\u003c/p>\n\u003cp>Lee, who recently exhibited in the Whitney Biennial, contributes a multichannel video installation of footage shot in and about the American Southwest. Grayscale landscapes are spliced with fragments of Bureau of Land Management signage at the entrance to national parks admonishing viewers to “Notice: You are on federal lands,” while Lee reads excerpts from “\u003ca href=\"https://granta.com/observations-on-the-ground/\">Observations on the Ground\u003c/a>” by Mary Ruefle. Here, nature is all cerebral experience: a navigation not of the land itself but the human impositions that govern it.\u003c/p>\n\u003cfigure id=\"attachment_13968081\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/7.-Stephanie-Syjuco_2000.jpg\" alt=\"printed curtains with landscape images hung outside low-slung builidng\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968081\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/7.-Stephanie-Syjuco_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/7.-Stephanie-Syjuco_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/7.-Stephanie-Syjuco_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/7.-Stephanie-Syjuco_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/7.-Stephanie-Syjuco_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/7.-Stephanie-Syjuco_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/7.-Stephanie-Syjuco_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Stephanie Syjuco, ‘Double Vision (Projection),’ 2022–24. \u003ccite>(Photo by Nicholas Lea Bruno; Courtesy of the artist and Catherine Clark Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a more direct engagement with nature, Duncan employed a photogram process to treat fabric he then exposed to sunlight on the rooftop of the old Wattis location. The finished piece acts as both a collaboration with nature and a relic of the venue’s history of place. Syjuco, in turn, has used fabric to activate the new gallery, draping curtains across the exterior that feature reinterpretations of American landscape painter Albert Bierstadt’s 19th-nineteenth century lithograph prints.\u003c/p>\n\u003cp>Similar outdoor activations will be a mainstay of future exhibitions, as well as special commissions that take advantage of the Wattis’ proximity to CCA’s fabrication studios. And while the new location certainly opens the doors for certain possibilities, it also closes doors to others. Because while \u003ci>All This Soft Wild Buzzing\u003c/i> explores the expanse of nature, spilling into the school’s outdoor spaces, that sprawl feels out of necessity rather than curatorial panache.\u003c/p>\n\u003cp>The old Wattis boasted a larger square footage, much higher ceilings and an open floor plan that could accommodate a variety of curatorial visions. It was expansive, pregnant with possibility. There’s something about the Wattis’ new home that feels limiting. \u003c/p>\n\u003cfigure id=\"attachment_13968087\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/All-This-Soft-Wild-Buzzing-installation-view-2024_2000.jpg\" alt=\"dark gallery with large projection across hanging screen, mushroom-like ceramics on pedestals\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968087\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/All-This-Soft-Wild-Buzzing-installation-view-2024_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/All-This-Soft-Wild-Buzzing-installation-view-2024_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/All-This-Soft-Wild-Buzzing-installation-view-2024_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/All-This-Soft-Wild-Buzzing-installation-view-2024_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/All-This-Soft-Wild-Buzzing-installation-view-2024_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/All-This-Soft-Wild-Buzzing-installation-view-2024_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/All-This-Soft-Wild-Buzzing-installation-view-2024_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘All This Soft Wild Buzzing’ with work by Dionne Lee and Nicki Green. \u003ccite>(Photo by Nicholas Lea Bruno; Courtesy of CCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Maybe it’s the separation of the space’s two discrete galleries by the narrow hallway accommodating an elevator shaft. Maybe it’s the fact that three of the gallery’s walls are made of glass, restricting the ability to display wall-hanging artworks. Maybe it’s the on-campus nature itself that feels claustrophobic (though there is potential for commingling between the student body and the larger Bay Area art scene).\u003c/p>\n\u003cp>While the Wattis’ inaugural show feels like a celebration of Bay Area art and landscape, unified by a strong curatorial vision, I keep thinking how it could have been better served in the old space, with more room to unfold both in situ and within the community. The old Wattis had a decade to explore the space it occupied. It remains to be seen how the Wattis team plays within, and expands beyond, its current confines.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://wattis.org/our-program/on-view/all-this-soft-wild-buzzing\">All This Soft Wild Buzzing\u003c/a>’ is on view at the Wattis Institute (145 Hooper St., San Francisco), through Dec. 14, 2024.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the art community bid adieu to the \u003ca href=\"https://wattis.org/\">Wattis Institute\u003c/a>’s decade-long home on Kansas Street earlier this year, I was heartbroken. It had been a good run of shows at the California College of the Arts’ exhibition space and research institute, as quiet and reflective as a selection of gelatin silver prints by \u003ca href=\"https://wattis.org/our-program/on-view/herve-guibert-this-more\">Hervé Guibert\u003c/a> and as boisterous and experimental as \u003ca href=\"https://wattis.org/our-program/on-view/drum-listens-to-heart\">a three-part deep-dive\u003c/a> into the relationship between music and visual art. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I loved the Wattis for bringing ambitious programming to a location a bit off the beaten path. It was a hidden gem in the no-man’s land between the Mission and the Dogpatch.\u003c/p>\n\u003cp>Now, the Wattis has reopened, smack in the middle of CCA’s newly unified campus in San Francisco’s Design District. (The school closed its storied Oakland campus in 2022.) Though the campus opening coincides with the recent announcement of a \u003ca href=\"https://www.sfexaminer.com/culture/visual-arts/california-college-of-the-arts-faces-uncertain-future/article_54806a0a-9288-11ef-aec0-770b146e5db9.html\">$20 million deficit\u003c/a>, the new buildings are an impressive network of studios and classrooms, with the Wattis overlooking rooftop gardens and an amphitheater.\u003c/p>\n\u003cp>The Wattis is also under new leadership, with longtime director Anthony Huberman passing the torch to \u003ca href=\"https://www.kqed.org/arts/13953171/daisy-nam-wattis-institute-cca\">Daisy Nam\u003c/a>, who comes to San Francisco by way of Ballroom Marfa and Harvard’s Carpenter Center.\u003c/p>\n\u003cfigure id=\"attachment_13968082\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9.-All-This-Soft-Wild-Buzzing-installation-view-2024_2000.jpg\" alt=\"gallery with wall installation, framed photographs and a floor piece\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968082\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9.-All-This-Soft-Wild-Buzzing-installation-view-2024_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9.-All-This-Soft-Wild-Buzzing-installation-view-2024_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9.-All-This-Soft-Wild-Buzzing-installation-view-2024_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9.-All-This-Soft-Wild-Buzzing-installation-view-2024_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9.-All-This-Soft-Wild-Buzzing-installation-view-2024_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9.-All-This-Soft-Wild-Buzzing-installation-view-2024_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9.-All-This-Soft-Wild-Buzzing-installation-view-2024_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘All This Soft Wild Buzzing,’ 2024. \u003ccite>(Photo by Nicholas Lea Bruno; Courtesy of CCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So what better way is there to inaugurate the Wattis Institute’s new home than with an exhibition tapping artists with Bay Area ties whose work examines the concept of place?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>\u003ca href=\"https://wattis.org/our-program/on-view/all-this-soft-wild-buzzing\">All This Soft Wild Buzzing\u003c/a>\u003c/i>, curated by Deputy Director and Director of Programs Jeanne Gerrity, features artists re-evaluating and re-mixing the legacy of landscape art. With particular attention to the American West, the show confronts and counters historical associations with Manifest Destiny that once undergirded the colonial framework of the landscape genre. \u003c/p>\n\u003cp>The group show features nine artists, including CCA alumni Saif Azzuz, Teresa Baker, Christopher Robin Duncan, Bessma Khalaf and \u003ca href=\"https://www.kqed.org/arts/13960861/dionne-lee-currents-cushion-works-review\">Dionne Lee\u003c/a>, alongside \u003ca href=\"https://www.kqed.org/arts/13963960/nicki-green-firmament-contemporary-jewish-museum-review\">Nicki Green\u003c/a>, Young Suh, Stephanie Syjuco and \u003ca href=\"https://www.kqed.org/arts/13961907/moad-zekarias-musele-thomspson-the-meeting-place-review\">Zekarias Musele Thompson\u003c/a>, working across disciplines that include sculpture, painting, installation and video.\u003c/p>\n\u003cfigure id=\"attachment_13968080\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1.-Bessma-Khalaf-2000.jpg\" alt=\"two framed black-and-white photographs of landscapes with burned elements\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1.-Bessma-Khalaf-2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1.-Bessma-Khalaf-2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1.-Bessma-Khalaf-2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1.-Bessma-Khalaf-2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1.-Bessma-Khalaf-2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1.-Bessma-Khalaf-2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/1.-Bessma-Khalaf-2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Bessma Khalaf, ‘Burnout (Mt Shasta),’ 2023 and ‘Burnout (Redwoods),’ 2022. \u003ccite>(Photo by Nicholas Lea Bruno; Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>True to Gerrity’s vision, each artist takes a different, unorthodox approach to landscape art. You won’t see pastoral paintings or panoramic photographs here. Instead, it all feels more hands-on: not exalting the sublime from a reverent, if safe, distance but instead wading in up to the neck and getting hands dirty. These artists are exploring nature with a sensibility that foregrounds collaboration and reciprocity.\u003c/p>\n\u003cp>Khalaf’s are some of the most traditional landscapes in the show — at least at a glance, they appear to be. The black-and-white photographs are actually pictures of pictures sourced from magazines and books, which Khalaf photographs after partially burning them. Similarly, Suh’s color photos of the mechanizations of environmental disaster might qualify as agrarian landscapes — if it weren’t for the figures of firefighters trawling like ants across the scorched earth. Both artists play in the space between beauty and destruction, between nature’s course and the human intervention that both interrupts and accelerates it.\u003c/p>\n\u003cp>Lee, who recently exhibited in the Whitney Biennial, contributes a multichannel video installation of footage shot in and about the American Southwest. Grayscale landscapes are spliced with fragments of Bureau of Land Management signage at the entrance to national parks admonishing viewers to “Notice: You are on federal lands,” while Lee reads excerpts from “\u003ca href=\"https://granta.com/observations-on-the-ground/\">Observations on the Ground\u003c/a>” by Mary Ruefle. Here, nature is all cerebral experience: a navigation not of the land itself but the human impositions that govern it.\u003c/p>\n\u003cfigure id=\"attachment_13968081\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/7.-Stephanie-Syjuco_2000.jpg\" alt=\"printed curtains with landscape images hung outside low-slung builidng\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968081\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/7.-Stephanie-Syjuco_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/7.-Stephanie-Syjuco_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/7.-Stephanie-Syjuco_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/7.-Stephanie-Syjuco_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/7.-Stephanie-Syjuco_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/7.-Stephanie-Syjuco_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/7.-Stephanie-Syjuco_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Stephanie Syjuco, ‘Double Vision (Projection),’ 2022–24. \u003ccite>(Photo by Nicholas Lea Bruno; Courtesy of the artist and Catherine Clark Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a more direct engagement with nature, Duncan employed a photogram process to treat fabric he then exposed to sunlight on the rooftop of the old Wattis location. The finished piece acts as both a collaboration with nature and a relic of the venue’s history of place. Syjuco, in turn, has used fabric to activate the new gallery, draping curtains across the exterior that feature reinterpretations of American landscape painter Albert Bierstadt’s 19th-nineteenth century lithograph prints.\u003c/p>\n\u003cp>Similar outdoor activations will be a mainstay of future exhibitions, as well as special commissions that take advantage of the Wattis’ proximity to CCA’s fabrication studios. And while the new location certainly opens the doors for certain possibilities, it also closes doors to others. Because while \u003ci>All This Soft Wild Buzzing\u003c/i> explores the expanse of nature, spilling into the school’s outdoor spaces, that sprawl feels out of necessity rather than curatorial panache.\u003c/p>\n\u003cp>The old Wattis boasted a larger square footage, much higher ceilings and an open floor plan that could accommodate a variety of curatorial visions. It was expansive, pregnant with possibility. There’s something about the Wattis’ new home that feels limiting. \u003c/p>\n\u003cfigure id=\"attachment_13968087\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/All-This-Soft-Wild-Buzzing-installation-view-2024_2000.jpg\" alt=\"dark gallery with large projection across hanging screen, mushroom-like ceramics on pedestals\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13968087\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/All-This-Soft-Wild-Buzzing-installation-view-2024_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/All-This-Soft-Wild-Buzzing-installation-view-2024_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/All-This-Soft-Wild-Buzzing-installation-view-2024_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/All-This-Soft-Wild-Buzzing-installation-view-2024_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/All-This-Soft-Wild-Buzzing-installation-view-2024_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/All-This-Soft-Wild-Buzzing-installation-view-2024_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/All-This-Soft-Wild-Buzzing-installation-view-2024_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘All This Soft Wild Buzzing’ with work by Dionne Lee and Nicki Green. \u003ccite>(Photo by Nicholas Lea Bruno; Courtesy of CCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Maybe it’s the separation of the space’s two discrete galleries by the narrow hallway accommodating an elevator shaft. Maybe it’s the fact that three of the gallery’s walls are made of glass, restricting the ability to display wall-hanging artworks. Maybe it’s the on-campus nature itself that feels claustrophobic (though there is potential for commingling between the student body and the larger Bay Area art scene).\u003c/p>\n\u003cp>While the Wattis’ inaugural show feels like a celebration of Bay Area art and landscape, unified by a strong curatorial vision, I keep thinking how it could have been better served in the old space, with more room to unfold both in situ and within the community. The old Wattis had a decade to explore the space it occupied. It remains to be seen how the Wattis team plays within, and expands beyond, its current confines.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://wattis.org/our-program/on-view/all-this-soft-wild-buzzing\">All This Soft Wild Buzzing\u003c/a>’ is on view at the Wattis Institute (145 Hooper St., San Francisco), through Dec. 14, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>New wave icons Devo will headline \u003ca href=\"https://mosswoodmeltdown.com/\">Mosswood Meltdown\u003c/a> when the festival returns to Oakland’s Mosswood Park July 19–20, 2025. The off-kilter hitmakers have enjoyed a strong 2024: Earlier this year, they released \u003ci>Art Devo\u003c/i>, a compilation of early, out-there tracks from 1973-1977, years before “Whip It” catapulted them into international fame. Hot off a \u003ca href=\"https://www.youtube.com/watch?v=VKvYRDhPt_0\">Tiny Desk concert\u003c/a> that showed the group in top form and playful as ever, Devo will make their Mosswood appearance between tour stops with My Chemical Romance.\u003c/p>\n\u003cp>Also announced on the Mosswood Meltdown lineup is “\u003ca href=\"https://youtu.be/6WJFjXtHcy4?si=RCxrzDm19FlOl0O9\">Gucci Gucci\u003c/a>” rapper Kreayshawn, who will perform live in her hometown for the first time in 10 years. Joining her are Osees, the ever-shifting indie rock band that got their start in San Francisco in the late ’90s and recently released the sci-fi punk album \u003ca href=\"https://ohsees.bandcamp.com/album/sorcs-80\">\u003ci>Sorcs 80\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>Belgian punk band The Kids, who came onto the scene in the ’70s, and 2000s punk band The Exploding Hearts are also on the bill. Mosswood Meltdown will once again be hosted by filmmaker-provocateur John Waters. More acts will soon be announced, and \u003ca href=\"https://wl.seetickets.us/event/Mosswood-Meltdown-2025-Early-Bird-Tickets/608893?afflky=MosswoodMeltdown&utm_source=hive&utm_medium=email&utm_campaign=hive_email_id_318862_mosswood-meltdown-early-birds&h_sid=f92278aaac-863d2e3a2d3d345cc113439d&h_slt=eyJoYXNoIjoiZjgxYzk0YTlhZWE0NTMyIiwiaGl2ZV91c2VyX2lkIjoyMzY5MDQ4Nn0%3D'\">early bird tickets\u003c/a> are on sale starting at $119.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>New wave icons Devo will headline \u003ca href=\"https://mosswoodmeltdown.com/\">Mosswood Meltdown\u003c/a> when the festival returns to Oakland’s Mosswood Park July 19–20, 2025. The off-kilter hitmakers have enjoyed a strong 2024: Earlier this year, they released \u003ci>Art Devo\u003c/i>, a compilation of early, out-there tracks from 1973-1977, years before “Whip It” catapulted them into international fame. Hot off a \u003ca href=\"https://www.youtube.com/watch?v=VKvYRDhPt_0\">Tiny Desk concert\u003c/a> that showed the group in top form and playful as ever, Devo will make their Mosswood appearance between tour stops with My Chemical Romance.\u003c/p>\n\u003cp>Also announced on the Mosswood Meltdown lineup is “\u003ca href=\"https://youtu.be/6WJFjXtHcy4?si=RCxrzDm19FlOl0O9\">Gucci Gucci\u003c/a>” rapper Kreayshawn, who will perform live in her hometown for the first time in 10 years. Joining her are Osees, the ever-shifting indie rock band that got their start in San Francisco in the late ’90s and recently released the sci-fi punk album \u003ca href=\"https://ohsees.bandcamp.com/album/sorcs-80\">\u003ci>Sorcs 80\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>Belgian punk band The Kids, who came onto the scene in the ’70s, and 2000s punk band The Exploding Hearts are also on the bill. Mosswood Meltdown will once again be hosted by filmmaker-provocateur John Waters. More acts will soon be announced, and \u003ca href=\"https://wl.seetickets.us/event/Mosswood-Meltdown-2025-Early-Bird-Tickets/608893?afflky=MosswoodMeltdown&utm_source=hive&utm_medium=email&utm_campaign=hive_email_id_318862_mosswood-meltdown-early-birds&h_sid=f92278aaac-863d2e3a2d3d345cc113439d&h_slt=eyJoYXNoIjoiZjgxYzk0YTlhZWE0NTMyIiwiaGl2ZV91c2VyX2lkIjoyMzY5MDQ4Nn0%3D'\">early bird tickets\u003c/a> are on sale starting at $119.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The lineup for the 2025 \u003ca href=\"https://www.kqed.org/arts/tag/festival-la-onda\">Festival La Onda\u003c/a> in Napa has been announced. Headliners at the festival will be \u003cstrong>Marco Antonio Solis, Banda MS\u003c/strong> and \u003cstrong>Pepe Aguilar\u003c/strong> on Saturday, May 31, and \u003cstrong>Carin León\u003c/strong> and \u003cstrong>Grupo Firme\u003c/strong> on Sunday, June 1.\u003c/p>\n\u003cp>Saturday’s lineup at the second annual Latin music festival includes \u003cstrong>Xavi, Tito Double P, Yuridia, Chino Pacas, La Receta, Camila Fernández, Los Aptos, Sonora Tropicana, MAR, Edgar Alejandro\u003c/strong> and \u003cstrong>Christian Nava\u003c/strong>.\u003c/p>\n\u003cp>On Sunday, performers include \u003cstrong>Eden Muñoz, Codiciado, Oscar Maydon, Ángela Aguilar, Clave Especial, Alicia Villarreal, Michelle Maciel, Reyna Tropical, Miguel Cornejo, Erre, Los De La 4, Adriana Ríos\u003c/strong> and \u003cstrong>Ysrael Barajas\u003c/strong>.\u003c/p>\n\u003cp>Both two-day passes and single-day tickets will go on sale Friday, Nov. 15, at noon Pacific Time. General admission tickets begin at $218, with VIP options starting at $448 and up.\u003c/p>\n\u003cfigure id=\"attachment_13959021\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959021\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival-goers cheer exuberantly at the Verizon Stage as Alejandro Fernández delivers a captivating performance at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Held the week after the BottleRock Napa Valley music festival on the same festival grounds at the Napa Valley Expo, Festival La Onda specializes in Latin music artists from various genres, including Regional Mexican, Latin Rock and Latin Pop. The festival is produced by BottleRock.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Reviewing \u003ca href=\"https://www.kqed.org/arts/13959079/photos-la-onda-festival-recap-napa\">the inaugural festival in 2024\u003c/a>, KQED’s Carlos Cabrera-Lomeleí wrote, “Perhaps only at Carnaval San Francisco do you see so many young Latinos and families together in one place. Rancheros, rockeros, bichotas, bellacos, homegirls, chavorrucos and more were all in the house.”\u003c/p>\n\u003cp>[aside postID='arts_13959079']With an estimated attendance of 65,000, the two-day festival in June 2024 was hailed as a success in Napa, where the region’s wine industry is dependent on the labor of tens of thousands of Latino and Indigenous workers. \u003c/p>\n\u003cp>The festival also features food, wine, a silent disco, Lucha Libre wrestling, a lowrider showcase and more. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For more, see the \u003ca href=\"https://www.laondafest.com/\">official La Onda festival site\u003c/a>. \u003c/p>\n\n",
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"excerpt": "The Latin music festival returns with Xavi, Tito Double P, Eden Muñoz, Codiciado, Yuridia and many others. ",
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"title": "Festival La Onda 2025 Lineup: Marco Antonio Solis, Carin León, Grupo Firme, Banda MS, More | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The lineup for the 2025 \u003ca href=\"https://www.kqed.org/arts/tag/festival-la-onda\">Festival La Onda\u003c/a> in Napa has been announced. Headliners at the festival will be \u003cstrong>Marco Antonio Solis, Banda MS\u003c/strong> and \u003cstrong>Pepe Aguilar\u003c/strong> on Saturday, May 31, and \u003cstrong>Carin León\u003c/strong> and \u003cstrong>Grupo Firme\u003c/strong> on Sunday, June 1.\u003c/p>\n\u003cp>Saturday’s lineup at the second annual Latin music festival includes \u003cstrong>Xavi, Tito Double P, Yuridia, Chino Pacas, La Receta, Camila Fernández, Los Aptos, Sonora Tropicana, MAR, Edgar Alejandro\u003c/strong> and \u003cstrong>Christian Nava\u003c/strong>.\u003c/p>\n\u003cp>On Sunday, performers include \u003cstrong>Eden Muñoz, Codiciado, Oscar Maydon, Ángela Aguilar, Clave Especial, Alicia Villarreal, Michelle Maciel, Reyna Tropical, Miguel Cornejo, Erre, Los De La 4, Adriana Ríos\u003c/strong> and \u003cstrong>Ysrael Barajas\u003c/strong>.\u003c/p>\n\u003cp>Both two-day passes and single-day tickets will go on sale Friday, Nov. 15, at noon Pacific Time. General admission tickets begin at $218, with VIP options starting at $448 and up.\u003c/p>\n\u003cfigure id=\"attachment_13959021\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32.jpg\" alt=\"\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13959021\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/240501_LaOnda_32-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Festival-goers cheer exuberantly at the Verizon Stage as Alejandro Fernández delivers a captivating performance at La Onda festival on Saturday, June 1, 2024. \u003ccite>(Estefany Gonzalez for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Held the week after the BottleRock Napa Valley music festival on the same festival grounds at the Napa Valley Expo, Festival La Onda specializes in Latin music artists from various genres, including Regional Mexican, Latin Rock and Latin Pop. The festival is produced by BottleRock.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>With an estimated attendance of 65,000, the two-day festival in June 2024 was hailed as a success in Napa, where the region’s wine industry is dependent on the labor of tens of thousands of Latino and Indigenous workers. \u003c/p>\n\u003cp>The festival also features food, wine, a silent disco, Lucha Libre wrestling, a lowrider showcase and more. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For more, see the \u003ca href=\"https://www.laondafest.com/\">official La Onda festival site\u003c/a>. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13967868\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967868\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/579111_316065341800008_155798527826691_764175_524412414_n.jpg\" alt=\"Oaktown Jazz Workshops’ late Founding Director Khalil Shaheed poses next to a handful of students, as they all hold an assortment of instruments, circa 2008.\" width=\"700\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/579111_316065341800008_155798527826691_764175_524412414_n.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/579111_316065341800008_155798527826691_764175_524412414_n-160x114.jpg 160w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Oaktown Jazz Workshops’ late Founding Director Khalil Shaheed poses with students, circa 2008. \u003ccite>(Courtesy of Oaktown Jazz Workshops)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Ravi Abcarian, the executive director of \u003ca href=\"https://www.oaktownjazz.org/main/\" target=\"_blank\" rel=\"noopener\">Oaktown Jazz Workshops\u003c/a>, names artists who’ve honed their craft by participating in the program over the years, he unleashes an all-star roster of musicians.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“\u003ca href=\"https://www.ambroseakinmusire.com/\" target=\"_blank\" rel=\"noopener\">Ambrose Akinmusire\u003c/a> was really the first generation, \u003ca href=\"https://www.daynastephens.net/\">Dayna Stephens\u003c/a> along with him,” Abcarian says, on a recent Zoom call. \u003c/span>\u003cspan style=\"font-weight: 400\">He adds acclaimed trumpeter \u003c/span>\u003ca href=\"http://jonathanfinlayson.com/\" target=\"_blank\" rel=\"noopener\">Jonathan Finlayson\u003c/a> and renowned drummer \u003ca href=\"https://www.instagram.com/savvyknows/?hl=en\" target=\"_blank\" rel=\"noopener\">Savannah Harris.\u003c/a> He mentions educator and sound effects specialist for\u003cem> Saturday Night Live, \u003c/em>\u003ca href=\"https://www.geoffcountryman.com/bio\" target=\"_blank\" rel=\"noopener\">Geoffrey Countryman.\u003c/a> There’s \u003ca href=\"https://www.instagram.com/josiahwoodson/\" target=\"_blank\" rel=\"noopener\">Josiah Woodson,\u003c/a> who played trumpet on the song “Love on Top” by Beyoncé.\u003c/p>\n\u003cp>[aside postID='arts_13931138']“And of course, \u003ca href=\"https://www.instagram.com/aneesastrings/\" target=\"_blank\" rel=\"noopener\">Aneesa Strings\u003c/a>,” says Abcarian, adding the superstar upright bassist to the mix.\u003c/p>\n\u003cp>On Saturday, Nov. 16, \u003ca href=\"https://www.etix.com/ticket/p/56930736/oaktown-jazz-30th-anniversary-celebration-oakland-yoshis\" target=\"_blank\" rel=\"noopener\">Oaktown Jazz Workshops will celebrate its 30th anniversary\u003c/a> with a show at Yoshi’s in Oakland. In true Oaktown Jazz Workshops fashion, Abcarian says, the event will have a deep community presence, conversations about ensuring access to jazz music for future generations and guest appearances from artists who’ve come through the program over the past three decades.\u003c/p>\n\u003cfigure id=\"attachment_13967940\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13967940 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Bandcamp-LIve-3549-800x464.jpg\" alt=\"Oaktown Jazz Workshops' Performance Ensemble at Bandcamp Record Store and Performance Space in Oakland (left to right: Jayla Hernandez, Ayo Brame, Geachi Taylor and Ben Eichel).\" width=\"800\" height=\"464\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Bandcamp-LIve-3549-800x464.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Bandcamp-LIve-3549-1020x591.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Bandcamp-LIve-3549-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Bandcamp-LIve-3549-768x445.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Bandcamp-LIve-3549.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oaktown Jazz Workshops’ Performance Ensemble at Bandcamp in Oakland. Left to right: Jayla Hernandez, Ayo Brame, Geachi Taylor and Ben Eichel. \u003ccite>(David De Hart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Founded by the late trumpeter and educator Khalil Shaheed, Oaktown Jazz Workshops is a nonprofit originally created in response to the lack of music classes in public schools. An added layer to the organization’s mission: bringing jazz directly to the community.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In fact, they were so committed to that idea that at one point they booked artists like \u003ca href=\"https://www.kqed.org/arts/13924370/at-90-bay-area-sax-great-john-handy-is-still-composing-his-legacy\">saxophone legend John Handy\u003c/a> on a flatbed truck to hold live performances at neighborhood parks.\u003c/p>\n\u003cp>“That was the Groovemobile,” says Abcarian of the truck. He explains how artists like a young, soon-to-be Grammy award-winning singer \u003ca href=\"https://www.ledisi.com/\" target=\"_blank\" rel=\"noopener\">Ledisi\u003c/a> or renowned percussionist \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://johnsantosofficial.com/\" target=\"_blank\" rel=\"noopener\">John Santos\u003c/a> (performing at the Yoshi’s show), were conduits, bringing jazz to the community by playing on Saturday mornings at public parks and recreation centers.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It brings a tear to my eyes as I think about the infancy of what Khalil was doing,” says tenor saxophonist and educator \u003ca href=\"https://www.richardhowellandsuddenchanges.com/\" target=\"_blank\" rel=\"noopener\">Richard Howell\u003c/a>, also on the Zoom call. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He\u003c/span>\u003cspan style=\"font-weight: 400\"> and Shaheed were close friends who played in many horn sections together. Shaheed died in 2012 at age 63. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13967949\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13967949 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Jazz-Benefit-3-800x536.jpg\" alt=\"Oaktown Jazz Workshops' Lead Instructor, Richard Howell and students.\" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Jazz-Benefit-3-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Jazz-Benefit-3-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Jazz-Benefit-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Jazz-Benefit-3-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Jazz-Benefit-3.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oaktown Jazz Workshops’ Lead Instructor Richard Howell and students. \u003ccite>(David De Hart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Shaheed first told Howell about the original idea for Oaktown Jazz Workshops, Howell says, “\u003cspan style=\"font-weight: 400\">I told him ‘I don’t want to teach any kids.’” \u003c/span>\u003cspan style=\"font-weight: 400\">But Howell soon folded, and when he’d step in to teach a class, Shaheed would find a way to step out.\u003c/span>\u003c/p>\n\u003cp>“He would disappear after he asked me to join him,” says Howell with a laugh, noting that it gave him a chance to share with the students the importance of improvisation. Now the program’s lead instructor, Howell says, “I love it with all my heart… This is one of the most rewarding things I’ve been doing for the last 15, 16 years.”\u003c/p>\n\u003cp>[aside postID='arts_13925710']Abcarian says the learning goes both ways in Oaktown Jazz, between students and teachers. Howell adds that being able to bring legendary artists into classes is a bonus.\u003c/p>\n\u003cp>“The great bassist Reggie Workman invited us, and we had the entire class in this one particular room,” says Howell, recalling one lecture where the students were left in disbelief. “The surprise of the day was that Sonny Rollins was on the Zoom call.”\u003c/p>\n\u003cfigure id=\"attachment_13967950\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13967950 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Hecules-5-23-9217-800x749.jpg\" alt=\"Oaktown Jazz Workshops' Performance Ensemble at the Hercules Public Library (left to right: Jordon Dabney, Teo Quale and Jayla Hernandez).\" width=\"800\" height=\"749\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Hecules-5-23-9217-800x749.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Hecules-5-23-9217-1020x954.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Hecules-5-23-9217-160x150.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Hecules-5-23-9217-768x719.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Hecules-5-23-9217.jpg 1026w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oaktown Jazz Workshops’ Performance Ensemble at the Hercules Public Library. Left to right: Jordon Dabney, Teo Quale and Jayla Hernandez. \u003ccite>(David De Hart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The program offers a variety of jazz lessons to students between the ages of 10 and 18, with new classes for young adults as well. Performances are held periodically, including some Sunday shows near their headquarters in Oakland’s Jack London Square.\u003c/p>\n\u003cp>“We get a lot of tourists coming through the area, and they see the kids playing, and the kids sound good,” exclaims Abcarian, “These people that are visiting the Bay Area, they hear it and they start tearing up, and they say ‘This reminds me of my neighborhood when I was growing up.’”\u003c/p>\n\u003cp>With jazz, community and education at the forefront, Oaktown Jazz Workshops looks to continue their work for years to come.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Oaktown Jazz Workshops’ 30th anniversary event is Saturday, Nov. 16, at Yoshi’s in Oakland. Hosted by KCSM’s Jesse “Chuy” Varela, the evening features live performances by Erika Oba, Jesse Levit, the John Santos Sextet, Richard Howell and more. \u003ca href=\"https://www.instagram.com/oaktownjazz/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13967868\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967868\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/579111_316065341800008_155798527826691_764175_524412414_n.jpg\" alt=\"Oaktown Jazz Workshops’ late Founding Director Khalil Shaheed poses next to a handful of students, as they all hold an assortment of instruments, circa 2008.\" width=\"700\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/579111_316065341800008_155798527826691_764175_524412414_n.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/579111_316065341800008_155798527826691_764175_524412414_n-160x114.jpg 160w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Oaktown Jazz Workshops’ late Founding Director Khalil Shaheed poses with students, circa 2008. \u003ccite>(Courtesy of Oaktown Jazz Workshops)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Ravi Abcarian, the executive director of \u003ca href=\"https://www.oaktownjazz.org/main/\" target=\"_blank\" rel=\"noopener\">Oaktown Jazz Workshops\u003c/a>, names artists who’ve honed their craft by participating in the program over the years, he unleashes an all-star roster of musicians.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“\u003ca href=\"https://www.ambroseakinmusire.com/\" target=\"_blank\" rel=\"noopener\">Ambrose Akinmusire\u003c/a> was really the first generation, \u003ca href=\"https://www.daynastephens.net/\">Dayna Stephens\u003c/a> along with him,” Abcarian says, on a recent Zoom call. \u003c/span>\u003cspan style=\"font-weight: 400\">He adds acclaimed trumpeter \u003c/span>\u003ca href=\"http://jonathanfinlayson.com/\" target=\"_blank\" rel=\"noopener\">Jonathan Finlayson\u003c/a> and renowned drummer \u003ca href=\"https://www.instagram.com/savvyknows/?hl=en\" target=\"_blank\" rel=\"noopener\">Savannah Harris.\u003c/a> He mentions educator and sound effects specialist for\u003cem> Saturday Night Live, \u003c/em>\u003ca href=\"https://www.geoffcountryman.com/bio\" target=\"_blank\" rel=\"noopener\">Geoffrey Countryman.\u003c/a> There’s \u003ca href=\"https://www.instagram.com/josiahwoodson/\" target=\"_blank\" rel=\"noopener\">Josiah Woodson,\u003c/a> who played trumpet on the song “Love on Top” by Beyoncé.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“And of course, \u003ca href=\"https://www.instagram.com/aneesastrings/\" target=\"_blank\" rel=\"noopener\">Aneesa Strings\u003c/a>,” says Abcarian, adding the superstar upright bassist to the mix.\u003c/p>\n\u003cp>On Saturday, Nov. 16, \u003ca href=\"https://www.etix.com/ticket/p/56930736/oaktown-jazz-30th-anniversary-celebration-oakland-yoshis\" target=\"_blank\" rel=\"noopener\">Oaktown Jazz Workshops will celebrate its 30th anniversary\u003c/a> with a show at Yoshi’s in Oakland. In true Oaktown Jazz Workshops fashion, Abcarian says, the event will have a deep community presence, conversations about ensuring access to jazz music for future generations and guest appearances from artists who’ve come through the program over the past three decades.\u003c/p>\n\u003cfigure id=\"attachment_13967940\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13967940 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Bandcamp-LIve-3549-800x464.jpg\" alt=\"Oaktown Jazz Workshops' Performance Ensemble at Bandcamp Record Store and Performance Space in Oakland (left to right: Jayla Hernandez, Ayo Brame, Geachi Taylor and Ben Eichel).\" width=\"800\" height=\"464\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Bandcamp-LIve-3549-800x464.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Bandcamp-LIve-3549-1020x591.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Bandcamp-LIve-3549-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Bandcamp-LIve-3549-768x445.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Bandcamp-LIve-3549.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oaktown Jazz Workshops’ Performance Ensemble at Bandcamp in Oakland. Left to right: Jayla Hernandez, Ayo Brame, Geachi Taylor and Ben Eichel. \u003ccite>(David De Hart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Founded by the late trumpeter and educator Khalil Shaheed, Oaktown Jazz Workshops is a nonprofit originally created in response to the lack of music classes in public schools. An added layer to the organization’s mission: bringing jazz directly to the community.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In fact, they were so committed to that idea that at one point they booked artists like \u003ca href=\"https://www.kqed.org/arts/13924370/at-90-bay-area-sax-great-john-handy-is-still-composing-his-legacy\">saxophone legend John Handy\u003c/a> on a flatbed truck to hold live performances at neighborhood parks.\u003c/p>\n\u003cp>“That was the Groovemobile,” says Abcarian of the truck. He explains how artists like a young, soon-to-be Grammy award-winning singer \u003ca href=\"https://www.ledisi.com/\" target=\"_blank\" rel=\"noopener\">Ledisi\u003c/a> or renowned percussionist \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://johnsantosofficial.com/\" target=\"_blank\" rel=\"noopener\">John Santos\u003c/a> (performing at the Yoshi’s show), were conduits, bringing jazz to the community by playing on Saturday mornings at public parks and recreation centers.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It brings a tear to my eyes as I think about the infancy of what Khalil was doing,” says tenor saxophonist and educator \u003ca href=\"https://www.richardhowellandsuddenchanges.com/\" target=\"_blank\" rel=\"noopener\">Richard Howell\u003c/a>, also on the Zoom call. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He\u003c/span>\u003cspan style=\"font-weight: 400\"> and Shaheed were close friends who played in many horn sections together. Shaheed died in 2012 at age 63. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13967949\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13967949 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Jazz-Benefit-3-800x536.jpg\" alt=\"Oaktown Jazz Workshops' Lead Instructor, Richard Howell and students.\" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Jazz-Benefit-3-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Jazz-Benefit-3-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Jazz-Benefit-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Jazz-Benefit-3-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Jazz-Benefit-3.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oaktown Jazz Workshops’ Lead Instructor Richard Howell and students. \u003ccite>(David De Hart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When Shaheed first told Howell about the original idea for Oaktown Jazz Workshops, Howell says, “\u003cspan style=\"font-weight: 400\">I told him ‘I don’t want to teach any kids.’” \u003c/span>\u003cspan style=\"font-weight: 400\">But Howell soon folded, and when he’d step in to teach a class, Shaheed would find a way to step out.\u003c/span>\u003c/p>\n\u003cp>“He would disappear after he asked me to join him,” says Howell with a laugh, noting that it gave him a chance to share with the students the importance of improvisation. Now the program’s lead instructor, Howell says, “I love it with all my heart… This is one of the most rewarding things I’ve been doing for the last 15, 16 years.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Abcarian says the learning goes both ways in Oaktown Jazz, between students and teachers. Howell adds that being able to bring legendary artists into classes is a bonus.\u003c/p>\n\u003cp>“The great bassist Reggie Workman invited us, and we had the entire class in this one particular room,” says Howell, recalling one lecture where the students were left in disbelief. “The surprise of the day was that Sonny Rollins was on the Zoom call.”\u003c/p>\n\u003cfigure id=\"attachment_13967950\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13967950 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Hecules-5-23-9217-800x749.jpg\" alt=\"Oaktown Jazz Workshops' Performance Ensemble at the Hercules Public Library (left to right: Jordon Dabney, Teo Quale and Jayla Hernandez).\" width=\"800\" height=\"749\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Hecules-5-23-9217-800x749.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Hecules-5-23-9217-1020x954.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Hecules-5-23-9217-160x150.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Hecules-5-23-9217-768x719.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Oaktown-Hecules-5-23-9217.jpg 1026w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oaktown Jazz Workshops’ Performance Ensemble at the Hercules Public Library. Left to right: Jordon Dabney, Teo Quale and Jayla Hernandez. \u003ccite>(David De Hart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The program offers a variety of jazz lessons to students between the ages of 10 and 18, with new classes for young adults as well. Performances are held periodically, including some Sunday shows near their headquarters in Oakland’s Jack London Square.\u003c/p>\n\u003cp>“We get a lot of tourists coming through the area, and they see the kids playing, and the kids sound good,” exclaims Abcarian, “These people that are visiting the Bay Area, they hear it and they start tearing up, and they say ‘This reminds me of my neighborhood when I was growing up.’”\u003c/p>\n\u003cp>With jazz, community and education at the forefront, Oaktown Jazz Workshops looks to continue their work for years to come.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Oaktown Jazz Workshops’ 30th anniversary event is Saturday, Nov. 16, at Yoshi’s in Oakland. Hosted by KCSM’s Jesse “Chuy” Varela, the evening features live performances by Erika Oba, Jesse Levit, the John Santos Sextet, Richard Howell and more. \u003ca href=\"https://www.instagram.com/oaktownjazz/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13967963\" class=\"wp-caption aligncenter\" style=\"max-width: 1322px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967963\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe.png\" alt=\"A book cover featuring aviator sunglasses colored like the British Union Jack flag.\" width=\"1322\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe.png 1322w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe-800x1210.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe-1020x1543.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe-160x242.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe-768x1162.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe-1015x1536.png 1015w\" sizes=\"(max-width: 1322px) 100vw, 1322px\">\u003cfigcaption class=\"wp-caption-text\">‘Believe: The Untold Story Behind Ted Lasso, the Show that Kicked Its Way Into Our Hearts,’ by Jeremy Egner. \u003ccite>(Dutton via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard to believe that a TV show based on a series of commercials with the same punchline — an American football coach confused by the rules of soccer — could have lasted beyond an episode or two. It’s even harder to believe that it became an Emmy-winning hit with a cast invited to the White House to talk about mental health.\u003c/p>\n\u003cp>[aside postid='arts_13967856']There’s a lot to learn from the unlikely success of \u003cem>Ted Lasso\u003c/em>, the hit Apple TV+ show featuring Jason Sudekis as its mustachioed, wholesome namesake. Jeremy Egner’s \u003cem>Believe: The Untold Story Behind Ted Lasso, the Show that Kicked Its Way Into Our Hearts\u003c/em> is the best place to learn it.\u003c/p>\n\u003cp>As television editor for \u003cem>The New York Times\u003c/em>, Egner had a front-row seat to the show and the cultural phenomenon it became. That background offers readers an enlightening and entertaining guide, though it’s definitely geared toward fans of the show.\u003c/p>\n\u003cp>Written half as an oral history and half as a guide to key episodes, \u003cem>Believe\u003c/em> offers plenty of interesting tidbits about the making of the show and provides inspiration for fans to give \u003cem>Ted Lasso\u003c/em> another viewing.\u003c/p>\n\u003cp>Egner leaves no detail uncovered, including the taste of Ted’s famous biscuits (dry, at least in the first season) and arguments over what the \u003cem>Believe\u003c/em> sign hanging in the locker room should look like.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The book avoids becoming too laudatory of the show and notes the criticism it faced, especially during the third — and final? — season.\u003c/p>\n\u003cp>[aside postid='arts_13967831']Egner adeptly explains how all the right factors, including an audience overwhelmed by negative news and divisive times, worked together to ensure the show’s success. It’s an audience that was hungry for a show that, as he puts it, is about personal transformation.\u003c/p>\n\u003cp>The book may not necessarily transform anyone into a new fan of \u003cem>Ted Lasso\u003c/em>, but it may at least give those who like the show a reason to give it another watch.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Believe: The Untold Story Behind Ted Lasso, the Show that Kicked Its Way Into Our Hearts’ by Jeremy Egner is out on Nov. 12, 2024, via Dutton. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The book avoids becoming too laudatory of the show and notes the criticism it faced, especially during the third — and final? — season.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Egner adeptly explains how all the right factors, including an audience overwhelmed by negative news and divisive times, worked together to ensure the show’s success. It’s an audience that was hungry for a show that, as he puts it, is about personal transformation.\u003c/p>\n\u003cp>The book may not necessarily transform anyone into a new fan of \u003cem>Ted Lasso\u003c/em>, but it may at least give those who like the show a reason to give it another watch.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Believe: The Untold Story Behind Ted Lasso, the Show that Kicked Its Way Into Our Hearts’ by Jeremy Egner is out on Nov. 12, 2024, via Dutton. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Gladiator II,’ With Denzel Washington, Goes Back Into the Arena",
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"content": "\u003cp>Rome teeters on the brink in Ridley Scott’s \u003cem>Gladiator II\u003c/em>. Its fall is said to be imminent. The dream it once symbolized is dead. The once high-minded ideals of the Roman Empire have deteriorated across a venal land now ruled by a pale-faced emperor.\u003c/p>\n\u003cp>[aside postid='arts_13967891']On the throne is Geta (Joseph Quinn), who sits alongside his sniveling brother, Caracalla (Fred Hechinger). The heart of this Rome, of course, is the Coliseum, where throngs cheer for the gladiators who fight and die. There, the ageless Scott remains remarkably at home. The arena, with its eruptions of spectacle and violence, is a stand in for the director’s own vision of the big screen: Go big or go home.\u003c/p>\n\u003cp>This dichotomy — a fallen society and its insatiable need for entertainment — is the clever and not altogether flattering backdrop of the \u003cem>Gladiator\u003c/em> films. Part two, set 20 years after the events of the first movie, brings a new combatant to the Coliseum — a mysterious outsider named Lucius Verus, played by Paul Mescal. And to answer the inevitable question, yes. Yes, I was quite entertained.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ts0N8swyWFI\u003c/p>\n\u003cp>\u003cem>Gladiator II\u003c/em> isn’t quite the prestige film the first one, a best-picture winner, was in 2001. It’s more a swaggering, sword-and-sandal epic that prizes the need to entertain above all else. No one in \u003cem>Gladiator II\u003c/em> understands that more than Denzel Washington. His performance as the Machiavellian power broker Macrinus is a delicious blur of robes and grins — so compellingly over-the-top that he nearly reaches 1990s Al Pacino standards.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Inside this Rome are scattered interests in toppling it, including Marcus Acacius, a decorated general who has just returned from a successful campaign taking Numidia in northwest Africa. (That siege makes the movie’s blistering opening, with an armada racing at almost NASCAR speed toward the walled city, with towers on the bows of the boats to scale the parapets.)\u003c/p>\n\u003cp>[aside postid='arts_13967848']Acacius is a loyal Roman but, when he learns that the emperors have only more bloodlust for further territory and more war, he and his wife, Lucilla (Connie Nielsen) begin plotting to overthrow the brothers.\u003c/p>\n\u003cp>In a movie where everyone nurtures some secret, few stay hidden long. Foremost among them is Lucius Verus, a warrior in Numidia who’s taken prisoner and forced to fight as a gladiator. He’s the son of Lucilla and Maximus (Crowe in \u003cem>Gladiator\u003c/em>). Following the events of that film, Lucilla sent him, an heir to the empire, to Numidia to grow up outside of the empire’s power struggles.\u003c/p>\n\u003cp>Mescal, the terrific Irish actor of \u003cem>Aftersun\u003c/em> and \u003cem>All of Us Strangers\u003c/em>, smoothly steps into a blockbuster arena for the first time. “This one is interesting,” says Macrinus, eyeing him for the first time. Mescal’s Lucius is vengeful — the Roman army kills his warrior wife in the Numidia battle. “Rage pours out of you like milk,” Macrinus says, admiringly. The glint of mischief in Mescal’s eyes gives Lucius a little more character than your average revenge-seeking gladiator.\u003c/p>\n\u003cp>We watch as Lucius cunningly survives arena after arena. Meanwhile, Macrinus manipulates him to steer the public’s routing interest away from the emperor. It’s a rich if slightly cartoonish tapestry of palace intrigue, with Macrinus deftly pulling all the strings.\u003c/p>\n\u003cfigure id=\"attachment_13967957\" class=\"wp-caption aligncenter\" style=\"max-width: 1529px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967957\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz.png\" alt=\"A Black man, regally dressed in old Roman attire sits within an elaborate gold balcony.\" width=\"1529\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz.png 1529w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-800x1046.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-1020x1334.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-160x209.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-768x1005.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-1174x1536.png 1174w\" sizes=\"(max-width: 1529px) 100vw, 1529px\">\u003cfigcaption class=\"wp-caption-text\">Denzel Washington steals scenes in ‘Gladiator II.’ \u003ccite>(Aidan Monaghan/Paramount Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But, really, none of the power machinations are as compelling as the increasingly carnivalesque scenes of the Coliseum. In the gladiators’ first trip there, they’re greeted by man-eating monkeys. Next, it’s a rider atop a giant, charging rhinoceros. Then, the piece de resistance: a flooded Coliseum festering with sharks. There are even little mock islands with palm trees spread about.\u003c/p>\n\u003cp>Now, \u003cem>Gladiator II\u003c/em> may not stand up to much inquiry from historians. (Some issues were also taken with Scott’s last historical epic, \u003cem>Napoleon\u003c/em>, which likewise was scripted by David Scarpa). But this is not a movie built for accuracy. It’s made for taking a few bits of history and inflating them into a feast and the charms of watching Washington’s Macrinus brandish a head recently relieved of its body.\u003c/p>\n\u003cp>[aside postid='arts_13967805']Yes, heads do roll in Scott’s \u003cem>Gladiator\u003c/em> sequel. Macrinus succeeds in whipping Rome into a frenzy. In fact, he does it so easily and guilefully that, once things begin unraveling for him, the air leaves \u003cem>Gladiator II\u003c/em>. You don’t quite believe his recklessness after he so patiently and artfully turned the screws.\u003c/p>\n\u003cp>Nevertheless, two possible successors emerge — Lucius, who has a birthright to the throne, and Macrinus, who comes to within its grasp purely by his own wit. Is it any wonder that I was rooting for Macrinus, all the way? How could you not, with Washington chewing scenery like this and making zestful (and rather apt) pronouncements like: “That, my friend, is politics!”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Gladiator II’ is released nationwide on Nov. 22, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On the throne is Geta (Joseph Quinn), who sits alongside his sniveling brother, Caracalla (Fred Hechinger). The heart of this Rome, of course, is the Coliseum, where throngs cheer for the gladiators who fight and die. There, the ageless Scott remains remarkably at home. The arena, with its eruptions of spectacle and violence, is a stand in for the director’s own vision of the big screen: Go big or go home.\u003c/p>\n\u003cp>This dichotomy — a fallen society and its insatiable need for entertainment — is the clever and not altogether flattering backdrop of the \u003cem>Gladiator\u003c/em> films. Part two, set 20 years after the events of the first movie, brings a new combatant to the Coliseum — a mysterious outsider named Lucius Verus, played by Paul Mescal. And to answer the inevitable question, yes. Yes, I was quite entertained.\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/Ts0N8swyWFI'\n title='//www.youtube.com/embed/Ts0N8swyWFI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Gladiator II\u003c/em> isn’t quite the prestige film the first one, a best-picture winner, was in 2001. It’s more a swaggering, sword-and-sandal epic that prizes the need to entertain above all else. No one in \u003cem>Gladiator II\u003c/em> understands that more than Denzel Washington. His performance as the Machiavellian power broker Macrinus is a delicious blur of robes and grins — so compellingly over-the-top that he nearly reaches 1990s Al Pacino standards.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Acacius is a loyal Roman but, when he learns that the emperors have only more bloodlust for further territory and more war, he and his wife, Lucilla (Connie Nielsen) begin plotting to overthrow the brothers.\u003c/p>\n\u003cp>In a movie where everyone nurtures some secret, few stay hidden long. Foremost among them is Lucius Verus, a warrior in Numidia who’s taken prisoner and forced to fight as a gladiator. He’s the son of Lucilla and Maximus (Crowe in \u003cem>Gladiator\u003c/em>). Following the events of that film, Lucilla sent him, an heir to the empire, to Numidia to grow up outside of the empire’s power struggles.\u003c/p>\n\u003cp>Mescal, the terrific Irish actor of \u003cem>Aftersun\u003c/em> and \u003cem>All of Us Strangers\u003c/em>, smoothly steps into a blockbuster arena for the first time. “This one is interesting,” says Macrinus, eyeing him for the first time. Mescal’s Lucius is vengeful — the Roman army kills his warrior wife in the Numidia battle. “Rage pours out of you like milk,” Macrinus says, admiringly. The glint of mischief in Mescal’s eyes gives Lucius a little more character than your average revenge-seeking gladiator.\u003c/p>\n\u003cp>We watch as Lucius cunningly survives arena after arena. Meanwhile, Macrinus manipulates him to steer the public’s routing interest away from the emperor. It’s a rich if slightly cartoonish tapestry of palace intrigue, with Macrinus deftly pulling all the strings.\u003c/p>\n\u003cfigure id=\"attachment_13967957\" class=\"wp-caption aligncenter\" style=\"max-width: 1529px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967957\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz.png\" alt=\"A Black man, regally dressed in old Roman attire sits within an elaborate gold balcony.\" width=\"1529\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz.png 1529w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-800x1046.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-1020x1334.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-160x209.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-768x1005.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-1174x1536.png 1174w\" sizes=\"(max-width: 1529px) 100vw, 1529px\">\u003cfigcaption class=\"wp-caption-text\">Denzel Washington steals scenes in ‘Gladiator II.’ \u003ccite>(Aidan Monaghan/Paramount Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But, really, none of the power machinations are as compelling as the increasingly carnivalesque scenes of the Coliseum. In the gladiators’ first trip there, they’re greeted by man-eating monkeys. Next, it’s a rider atop a giant, charging rhinoceros. Then, the piece de resistance: a flooded Coliseum festering with sharks. There are even little mock islands with palm trees spread about.\u003c/p>\n\u003cp>Now, \u003cem>Gladiator II\u003c/em> may not stand up to much inquiry from historians. (Some issues were also taken with Scott’s last historical epic, \u003cem>Napoleon\u003c/em>, which likewise was scripted by David Scarpa). But this is not a movie built for accuracy. It’s made for taking a few bits of history and inflating them into a feast and the charms of watching Washington’s Macrinus brandish a head recently relieved of its body.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Yes, heads do roll in Scott’s \u003cem>Gladiator\u003c/em> sequel. Macrinus succeeds in whipping Rome into a frenzy. In fact, he does it so easily and guilefully that, once things begin unraveling for him, the air leaves \u003cem>Gladiator II\u003c/em>. You don’t quite believe his recklessness after he so patiently and artfully turned the screws.\u003c/p>\n\u003cp>Nevertheless, two possible successors emerge — Lucius, who has a birthright to the throne, and Macrinus, who comes to within its grasp purely by his own wit. Is it any wonder that I was rooting for Macrinus, all the way? How could you not, with Washington chewing scenery like this and making zestful (and rather apt) pronouncements like: “That, my friend, is politics!”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Gladiator II’ is released nationwide on Nov. 22, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Juror #2’ Is a Thorny Legal Thriller — and Possibly Clint Eastwood’s Last Film",
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"content": "\u003cp>Last week, Warner Bros. opened \u003cem>Juror #2 \u003c/em>in limited release, with minimal fanfare, and no plans to report the film’s domestic box office. It’s not the typical treatment for a Clint Eastwood movie, especially one that some think might be the \u003cem>last \u003c/em>Clint Eastwood movie. I hope they’re wrong.\u003c/p>\n\u003cp>Either way, the fact that Eastwood’s longtime studio would bury his latest speaks to the various crises that have befallen the industry in general and Warner Bros. in particular. At 94, Eastwood seems ever more like an anomaly in American filmmaking: a Hollywood legend with nothing left to prove, still cranking out his unfussy, mid-budget dramas for a grown-up audience that the major studios have all but abandoned.\u003c/p>\n\u003cp>[aside postid='arts_13967805']\u003cem>Juror #2\u003c/em> is actually one of his better-directed efforts of late, certainly compared with recent disappointments like \u003cem>Cry Macho\u003c/em> and \u003ca href=\"https://video.kqed.org/video/clint-eastwood-for-the-mule-ejnwjt/\">\u003cem>The Mule\u003c/em>\u003c/a>. There’s a little old-school \u003ca href=\"https://www.kqed.org/arts/13966911/john-grisham-dan-slepian-books-wrongfully-convicted-us-prison-injustice-sing-sing\">John Grisham\u003c/a> in this movie’s legal-thriller DNA, even though it features an original screenplay, by Jonathan Abrams.\u003c/p>\n\u003cp>Nicholas Hoult stars as Justin Kemp, a Georgia-based magazine writer who’s expecting a baby with his wife, played by Zoey Deutch. It’s a high-risk pregnancy, and so the timing isn’t ideal when Justin gets selected as a juror in a major murder trial.\u003c/p>\n\u003cp>The defendant, James Sythe, stands accused of killing his girlfriend, Kendall Carter, after the two had a heated argument in a bar one night. As the facts of the case emerge, Justin, who is recovering from alcoholism, realizes that he was at that same bar on the very night in question — and that he hit something he had assumed was a deer while driving home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Suddenly alarmed that he could be more involved in Kendall’s death than he thought, Justin seeks advice from his AA sponsor, Larry, who also happens to be a lawyer. Larry, played by Kiefer Sutherland, advises Justin to keep quiet, lest he face serious prison time. But Justin, worried that his silence could send an innocent man to prison, tries to plead Sythe’s case during deliberations, which quickly turn contentious.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=viA35xH5KO8\u003c/p>\n\u003cp>There’s a creakiness to the writing here; the bickering sounds forced, and some of the jurors veer toward cultural stereotypes. But others are more sharply drawn: \u003ca href=\"https://www.kqed.org/arts/10144000/bang-the-drum-ever-faster-in-the-different-sports-arena-of-whiplash\">J.K. Simmons\u003c/a> brings his hard-nosed intelligence to the role of one of Justin’s few allies, while Cedric Yarbrough finds the simmering tension in every line as a juror convinced of the defendant’s guilt.\u003c/p>\n\u003cp>It all plays like a barbed riff on \u003cem>12 Angry Men\u003c/em>, where one man seeks to sway his fellow jurors, not to bring about justice so much as assuage his own conscience. But Justin isn’t the only character held up for moral scrutiny. The courtroom’s most compelling figure is the prosecutor, Faith, played with terrific nuance by \u003ca href=\"https://www.kqed.org/arts/13834624/with-cunning-casting-hereditary-dials-up-the-horror\">Toni Collette\u003c/a>. Faith does her job with skill, integrity and a great deal of ambition; she’s running for district attorney, and she knows that securing a conviction could help her chances.\u003c/p>\n\u003cp>[aside postid='arts_13967869']Collette and Hoult played a mother and son in the 2002 comedy \u003cem>About a Boy\u003c/em>. And while the actors don’t share too much screen time in \u003cem>Juror #2\u003c/em>, beyond one doozy of a late scene, it’s still a pleasure to see them reunited more than 20 years later. Hoult is especially strong as a man wrestling quietly with past demons and present dilemmas, and whose response is to rationalize like crazy. After all, maybe Sythe, a man known for his rough past, really did kill his girlfriend. And even if he didn’t, how can Justin turn himself in, just as he and his wife are about to start a family?\u003c/p>\n\u003cp>Eastwood may take his characters to task, but he also sees the bigger picture. He’s long had a skeptical view of institutions and their failings, whether it’s a corrupt police force in \u003ca href=\"https://www.kqed.org/arts/23586/changeling\">\u003cem>Changeling\u003c/em>\u003c/a> or the manipulations of the media in movies like \u003cem>Sully\u003c/em> and \u003cem>Richard Jewell\u003c/em>\u003cem>.\u003c/em> In \u003cem>Juror #2\u003c/em>, he takes measured aim at the American justice system, from the dogged attorneys muddling their way through the evidence to the exhausted jurors who just want to deliver a quick verdict to the procedural fault lines and blind spots that can make the truth seem so elusive.\u003c/p>\n\u003cp>It’s a thorny, thoughtful film, and I wish its own studio had more confidence in it. If Eastwood does make another one, I wouldn’t mind seeing him take on another broken American system rife with cynicism, self-interest and compromise — and that, of course, is Hollywood itself.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Juror #2’ is out, nationwide, now.\u003c/em>\u003c/p>\n\n",
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"headline": "‘Juror #2’ Is a Thorny Legal Thriller — and Possibly Clint Eastwood’s Last Film",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week, Warner Bros. opened \u003cem>Juror #2 \u003c/em>in limited release, with minimal fanfare, and no plans to report the film’s domestic box office. It’s not the typical treatment for a Clint Eastwood movie, especially one that some think might be the \u003cem>last \u003c/em>Clint Eastwood movie. I hope they’re wrong.\u003c/p>\n\u003cp>Either way, the fact that Eastwood’s longtime studio would bury his latest speaks to the various crises that have befallen the industry in general and Warner Bros. in particular. At 94, Eastwood seems ever more like an anomaly in American filmmaking: a Hollywood legend with nothing left to prove, still cranking out his unfussy, mid-budget dramas for a grown-up audience that the major studios have all but abandoned.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Juror #2\u003c/em> is actually one of his better-directed efforts of late, certainly compared with recent disappointments like \u003cem>Cry Macho\u003c/em> and \u003ca href=\"https://video.kqed.org/video/clint-eastwood-for-the-mule-ejnwjt/\">\u003cem>The Mule\u003c/em>\u003c/a>. There’s a little old-school \u003ca href=\"https://www.kqed.org/arts/13966911/john-grisham-dan-slepian-books-wrongfully-convicted-us-prison-injustice-sing-sing\">John Grisham\u003c/a> in this movie’s legal-thriller DNA, even though it features an original screenplay, by Jonathan Abrams.\u003c/p>\n\u003cp>Nicholas Hoult stars as Justin Kemp, a Georgia-based magazine writer who’s expecting a baby with his wife, played by Zoey Deutch. It’s a high-risk pregnancy, and so the timing isn’t ideal when Justin gets selected as a juror in a major murder trial.\u003c/p>\n\u003cp>The defendant, James Sythe, stands accused of killing his girlfriend, Kendall Carter, after the two had a heated argument in a bar one night. As the facts of the case emerge, Justin, who is recovering from alcoholism, realizes that he was at that same bar on the very night in question — and that he hit something he had assumed was a deer while driving home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Suddenly alarmed that he could be more involved in Kendall’s death than he thought, Justin seeks advice from his AA sponsor, Larry, who also happens to be a lawyer. Larry, played by Kiefer Sutherland, advises Justin to keep quiet, lest he face serious prison time. But Justin, worried that his silence could send an innocent man to prison, tries to plead Sythe’s case during deliberations, which quickly turn contentious.\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/viA35xH5KO8'\n title='//www.youtube.com/embed/viA35xH5KO8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There’s a creakiness to the writing here; the bickering sounds forced, and some of the jurors veer toward cultural stereotypes. But others are more sharply drawn: \u003ca href=\"https://www.kqed.org/arts/10144000/bang-the-drum-ever-faster-in-the-different-sports-arena-of-whiplash\">J.K. Simmons\u003c/a> brings his hard-nosed intelligence to the role of one of Justin’s few allies, while Cedric Yarbrough finds the simmering tension in every line as a juror convinced of the defendant’s guilt.\u003c/p>\n\u003cp>It all plays like a barbed riff on \u003cem>12 Angry Men\u003c/em>, where one man seeks to sway his fellow jurors, not to bring about justice so much as assuage his own conscience. But Justin isn’t the only character held up for moral scrutiny. The courtroom’s most compelling figure is the prosecutor, Faith, played with terrific nuance by \u003ca href=\"https://www.kqed.org/arts/13834624/with-cunning-casting-hereditary-dials-up-the-horror\">Toni Collette\u003c/a>. Faith does her job with skill, integrity and a great deal of ambition; she’s running for district attorney, and she knows that securing a conviction could help her chances.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Collette and Hoult played a mother and son in the 2002 comedy \u003cem>About a Boy\u003c/em>. And while the actors don’t share too much screen time in \u003cem>Juror #2\u003c/em>, beyond one doozy of a late scene, it’s still a pleasure to see them reunited more than 20 years later. Hoult is especially strong as a man wrestling quietly with past demons and present dilemmas, and whose response is to rationalize like crazy. After all, maybe Sythe, a man known for his rough past, really did kill his girlfriend. And even if he didn’t, how can Justin turn himself in, just as he and his wife are about to start a family?\u003c/p>\n\u003cp>Eastwood may take his characters to task, but he also sees the bigger picture. He’s long had a skeptical view of institutions and their failings, whether it’s a corrupt police force in \u003ca href=\"https://www.kqed.org/arts/23586/changeling\">\u003cem>Changeling\u003c/em>\u003c/a> or the manipulations of the media in movies like \u003cem>Sully\u003c/em> and \u003cem>Richard Jewell\u003c/em>\u003cem>.\u003c/em> In \u003cem>Juror #2\u003c/em>, he takes measured aim at the American justice system, from the dogged attorneys muddling their way through the evidence to the exhausted jurors who just want to deliver a quick verdict to the procedural fault lines and blind spots that can make the truth seem so elusive.\u003c/p>\n\u003cp>It’s a thorny, thoughtful film, and I wish its own studio had more confidence in it. If Eastwood does make another one, I wouldn’t mind seeing him take on another broken American system rife with cynicism, self-interest and compromise — and that, of course, is Hollywood itself.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Juror #2’ is out, nationwide, now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "things-to-do-bay-area-election-weekend-leave-the-house",
"title": "Close Your Phone, Leave the House: Things to Do This Post-Election Weekend",
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"content": "\u003cp>There’s no way to sugar-coat it: here in the Bay Area this week, a lot of people are holed up, feeling despair at another Trump presidency and doomscrolling on their phones.\u003c/p>\n\u003cp>Some of the more introverted among us prefer to stay home, and \u003ca href=\"https://introvertdear.com/news/id-rather-be-home-and-i-dont-feel-bad-about-it/\">that’s fine\u003c/a>. But man, there is no feeling so refreshing as getting outside and being among others, many of whom are probably feeling just the same as you.\u003c/p>\n\u003cp>Here’s a quick list of 25 outdoor events, concerts, exhibitions and more, all offering company or community, and all happening this weekend.\u003c/p>\n\u003cfigure id=\"attachment_13967872\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967872\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1.jpg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The View from Mission Peak trail. \u003ccite>(Sarah Mohamad/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/science/1995033/12-bay-area-hikes-for-escaping-the-election-even-for-a-few-hours\">\u003cstrong>Take a Hike\u003c/strong>\u003c/a>\u003cbr>\nNot to be all “touch grass,” but c’mon, you already know that going on a hike is helpful for anxiety. Call up that friend you haven’t seen in a while and consult our guide \u003ca href=\"https://www.kqed.org/science/1995033/12-bay-area-hikes-for-escaping-the-election-even-for-a-few-hours\">12 Bay Area Hikes and Nature Spots for Escaping the Election This Week\u003c/a>.\u003c/p>\n\u003cp>Opening Nov. 7, 6–8 p.m.: \u003ca href=\"https://altmansiegel.com/exhibitions/troy-lamarr-chew-ii/\">\u003cstrong>Troy Lamarr Chew II at Altman Siegel\u003c/strong>\u003c/a>\u003cbr>\nThe former Bay Area artist returns with a solo show of portraits that depict people as glassy, translucent outlines (à la \u003ci>The Secret World of Alex Mack\u003c/i>), underscoring their “invisibility” in contemporary society.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13959808/golden-boy-pizza-north-beach-sf-late-night\">\u003cstrong>Grab a slice at the new Golden Boy Pizza\u003c/strong>\u003c/a>\u003cbr>\nEveryone’s favorite San Francisco square slice shop just opened a brand new location. Golden Boy’s long-awaited Sunset location is slinging the same crunchy-bottomed, idiosyncratic pizzas that have been locally beloved since 1978, for takeout only. (Or you can, of course, always opt to head back to the North Beach original.)\u003c/p>\n\u003cfigure id=\"attachment_13967810\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967810\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj.png\" alt=\"An older Black man sits in an armchair, glancing over his shoulder disapprovingly.\" width=\"2000\" height=\"1295\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-800x518.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-1020x660.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-768x497.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-1536x995.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-1920x1243.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Samuel L. Jackson stars in ‘The Piano Lesson.’ \u003ccite>(Netflix via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Opening Nov. 8: \u003ca href=\"https://www.kqed.org/arts/13967805/the-piano-lesson-august-wilson-malcolm-washington-samuel-jackson-streaming-netflix\">\u003cstrong>‘The Piano Lesson’\u003c/strong>\u003c/a>\u003cbr>\nBased on the recent Broadway production, this film version of August Wilson’s award-winning play should be excellent. With a cast including Samuel L. Jackson and John David Washington, it’s been getting good reviews.\u003c/p>\n\u003cp>Opening Nov. 8: \u003ca href=\"https://www.kqed.org/arts/13967549/heretic-movie-review-hugh-grant-horror-mormon-missionaries-monopoly\">\u003cstrong>‘Heretic’\u003c/strong>\u003c/a>\u003cbr>\nThere are those of us who can turn our brains off by watching Hugh Grant being dashing in rom-coms like \u003cem>Notting Hill\u003c/em>, and there are those of us who would rather see him cardigan-clad, chilling and chattering about religion in this new horror from A24. \u003cem>Heretic\u003c/em> will keep your nerves and brain in high gear for its unnerving entirety.\u003c/p>\n\u003cp>Nov. 8–10: \u003ca href=\"https://www.kqed.org/arts/13967748/klay-thompson-art-show\">\u003cstrong>Klay Thompson Art Show at SoleSpace in Oakland\u003c/strong>\u003c/a>\u003cbr>\nThe great Splash Brother makes his return to the Bay Area this weekend in — sigh — a Mavericks uniform. Before he plays against his former team, this sneaker shop and creative space hosts an art show dedicated to the beloved ex-Warriors player.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13967161/crass-logo-david-king-center-for-the-book-san-francisco-zines-flyers\">\u003cstrong>‘David King Publications 1977–2019’ at San Francisco Center for the Book \u003c/strong>\u003c/a>\u003cbr>\nBest known for designing the logo for punk band Crass, artist David King also illustrated zines and flyers, many of which make up this exhibit. In her review, Rae Alexandra said it “can only act as a sort of tasting menu — but oh, what a delicious introduction it is.”\u003c/p>\n\u003cfigure id=\"attachment_13966669\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966669\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king.jpg\" alt='A giant, plastic \"durian king\" mascot with a spiky shell and a crown on his head.' width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The shop’s “durian king” mascot. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13966665/durian-east-bay-richmond-99-ranch-malaysian\">\u003cstrong>Buy a whole Malaysian durian at Liu Shang Pin\u003c/strong>\u003c/a>\u003cbr>\nBecause surely there’s someone in your life who would feel comforted by some ripe, pungent tropical fruit. And if so, this new durian shop in Richmond is the swankiest spot to get your stink on.\u003c/p>\n\u003cp>Opening Nov. 8: \u003ca href=\"https://museumca.org/on-view/born-of-the-bear-dance-dugan-aguilars-photographs-of-native-california/\">\u003cstrong>‘Born of the Bear Dance: Dugan Aguilar’s Photographs of Native California’ at the Oakland Museum of California\u003c/strong>\u003c/a>\u003cbr>\nThis show of photographs by Dugan Aguilar (just a fraction of the museum’s recently acquired collection of the late artist’s personal archive) documents the vibrancy of Native life in the state between 1982 to 2018.\u003c/p>\n\u003cfigure id=\"attachment_13955628\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955628\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg\" alt=\"A conductor waves his baton as orchestra musicians look on,\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kedrick Armstrong conducts the Oakland Symphony in February 2024. \u003ccite>(Scott Chernis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nov. 8: \u003ca href=\"https://www.oaklandsymphony.org/event/two-black-churches-carmina-burana/\">\u003cstrong>Oakland Symphony’s ‘Two Black Churches + Carmina Burana’ at the Paramount Theatre\u003c/strong>\u003c/a>\u003cbr>\nNew music director Kedrick Armstrong leads the Oakland Symphony in his second program, featuring two pieces from living composer Shawn Okpebholo. (A post-election note, presented without comment: one of the first sections of Orff’s Carmina Burana is titled “I lament the wounds that fortune deals.”)\u003c/p>\n\u003cp>Nov. 8: \u003ca href=\"https://www.chinatownvolunteercoalition.org/\">\u003cstrong>Chinatown Night Market\u003c/strong>\u003c/a>\u003cbr>\nFriday nights in San Francisco Chinatown are never as packed and lively as they are during this monthly \u003ca href=\"https://www.kqed.org/arts/13963258/bay-area-night-markets-food-fall-guide-2024\">night market\u003c/a> — and this edition will be the \u003ca href=\"https://www.chinatownvolunteercoalition.org/\">last market of the year\u003c/a>. Come early to avoid the longest lines, and enjoy the dim sum and boba stands, cultural performances and fun, family-friendly atmosphere. (5:30–9 p.m. on Grant Avenue, b/w Sacramento and Jackson)\u003c/p>\n\u003cp>Nov. 9: \u003ca href=\"https://www.thenewparkway.com/?action=tribe_event_day&tribe_event_display=day&tribe-bar-date=2024-11-09\">\u003cstrong>Cereal Cinema at Oakland’s New Parkway\u003c/strong>\u003c/a>\u003cbr>\nNostalgia is comforting, so mentally travel back to your childhood (and take your own kids with you, if you have them) to Cereal Cinema. The New Parkway Theater’s Saturday morning screening of classic cartoons is accompanied by — what else? — all-you-can-eat cereal. The retro fun starts at 10:30 a.m.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13967093/marinmoca-san-rafael-opening-the-mountain-review\">\u003cstrong>Visit a brand new museum: MarinMOCA San Rafael\u003c/strong>\u003c/a>\u003cbr>\nIn this expansion beyond their Novato home base, MarinMOCA has curated an inaugural, intergenerational show that celebrates the exceptional art made in the shadow of Mount Tamalpais.\u003c/p>\n\u003cp>Nov. 9: \u003ca href=\"https://www.kqed.org/arts/13967848/dahomey-review-mati-diop-benin-documentary\">\u003cstrong>‘Dahomey’ opens at the Roxie, San Francisco\u003c/strong>\u003c/a>\u003cbr>\nMati Diop’s followup to her narrative film \u003ci>Atlantics\u003c/i> follows 26 statues and cultural objects on their repatriation journey from France to Benin. Our film critic calls it an “unexpectedly inspiring documentary” that “movingly captures the immediacy of art in contemporary life.”\u003c/p>\n\u003cfigure id=\"attachment_13967858\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967858\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000.jpg\" alt=\"woman looks at rows of yellow printed paper\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A visitor to 41 Ross views Ho Tam’s work during his artist residency. \u003ccite>(Robert Borsdorf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nov. 9, 12–4 p.m.: \u003ca href=\"https://www.kqed.org/arts/13967856/chinatown-ross-alley-zine-festival-hotam-press\">\u003cstrong>Chinatown Ross Alley Zine Festival, San Francisco\u003c/strong>\u003c/a>\u003cbr>\nCheck out work by 10 local publishers and 41 Ross Artist-in-Residence Hotam Press (all the way from Vancouver) in this afternoon-long event filled with art, zines, books and other cultural goodies.\u003c/p>\n\u003cp>Nov. 9: \u003ca href=\"https://sflivefest.com/afrolicious-ggp-nov9\">\u003cstrong>Afrolicious at the Golden Gate Park Bandshell, San Francisco\u003c/strong>\u003c/a>\u003cbr>\nAfrolicious always brings a dance party, and Saturday should be no exception in this, the final concert in the SF Live series. The Golden Gate Park bandshell sits right between the de Young and the California Academy of Sciences — two places to consider visiting to make a day of it. Los Calderones open.\u003c/p>\n\u003cp>Nov. 9: \u003ca href=\"https://www.eventbrite.com/e/white-crate-4-year-anniversary-party-tickets-1048372108197\">\u003cstrong>White Crate Anniversary Party at El Rio, San Francisco\u003c/strong>\u003c/a>\u003cbr>\nPicking up where the Bay Bridged left off, \u003ca href=\"https://www.kqed.org/arts/13960718/white-crate-bay-area-live-music\">White Crate\u003c/a> is a music site covering Bay Area indie music and beyond. Their fourth anniversary party at El Rio features bands Sour Widows, Tony Jay, Pocket Full of Crumbs and Margot James.\u003c/p>\n\u003cp>Nov. 9: \u003ca href=\"https://rootdivision.org/exhibition/huq-i-seek-no-favor/\">\u003cstrong>‘HUQ: I Seek No Favor’ at San Francisco’s Root Division\u003c/strong>\u003c/a>\u003cbr>\nIf solidarity is what you seek this weekend, consider joining Root Division on Saturday for the opening reception of this exhibit that brings together more than 100 artists and writers to collectively respond to the impact of 2022’s Dobbs decision on reproductive rights. ‘Huq’ is an Urdu/Arabic word that means both ‘rights’ and ‘truth.’\u003c/p>\n\u003cp>Nov. 9–10: \u003ca href=\"https://www.sfhiphopdancefest.com/dancefest\">\u003cstrong>San Francisco International Hip-Hop Dance Fest\u003c/strong>\u003c/a>\u003cbr>\nForget breakdancing in the Olympics. As part of \u003ca href=\"https://www.kqed.org/arts/13967488/san-francisco-hip-hop-month-november-2024\">San Francisco Hip-Hop Month\u003c/a>, this three-day fest brings dance troupes from all over the world together to battle for cash prizes.\u003c/p>\n\u003cp>Nov. 9–10: \u003ca href=\"https://wl.seetickets.us/event/a-special-spoken-word-matinee-lydia-lunch-eugene-robinson/623722?afflky=GreatAmericanMusicHall\">\u003cstrong>Lydia Lunch’s ‘Verbal Burlesque’ at the Great American Music Hall in SF\u003c/strong>\u003c/a> \u003cstrong>and the\u003c/strong> \u003ca href=\"https://www.ivyroom.com/#/events/117948\">\u003cstrong>Ivy Room in Albany\u003c/strong>\u003c/a>\u003cbr>\nOn any given day, Lydia Lunch’s provocative observations about herself, her life and the world around her are primed to provide solid distractions. This weekend she’s upping the ante with two spoken word sets of exclusively raunchy material. Lunch will perform a matinee show in San Francisco on Saturday and another in Albany on Sunday.\u003c/p>\n\u003cfigure id=\"attachment_13899160\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13899160\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.MAIN_.jpg\" alt=\"Josef Alfonso, singer of Sunami, at the Real Bay Shit show in San Jose on June 19, 2021.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.MAIN_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.MAIN_-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josef Alfonso, singer of Sunami, at the Real Bay Shit show in San Jose on June 19, 2021. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nov. 10–11: \u003ca href=\"https://sanjosetheaters.org/event/sunami-ingrown-torena-monster-energy-outbreak-tour/\">\u003cstrong>Sunami at the San Jose Civic Auditorium\u003c/strong>\u003c/a> \u003cstrong>and\u003c/strong> \u003ca href=\"https://www.instagram.com/924gilmanstreet/p/C-Vi2S0u0kE/\">\u003cstrong>Berkeley’s 924 Gilman\u003c/strong>\u003c/a>\u003cbr>\nSometimes you just gotta get mad. Enter Sunami, one of the Bay Area’s best and most aggressive hardcore bands, known for their crowd’s insane pits. If \u003ca href=\"https://www.kqed.org/arts/13899154/sunami-review-san-jose-drain-gulch-show\">slamming your body against hundreds of others\u003c/a> is your preferred method of catharsis, this is the show for you.\u003c/p>\n\u003cp>Nov. 10, 11 a.m.–3 p.m.: \u003ca href=\"https://www.kqed.org/arts/13967722/personal-space-slipper-vallejo-review\">\u003cstrong>‘Slipper’ at Personal Space, Vallejo\u003c/strong>\u003c/a>\u003cbr>\nThe artist-run space packs plenty of art viewing into its small footprint, bringing together a group of artists who make objects that slip between registers: flesh and machine, digital and handmade, 2D and 3D. Also: a giant “fur” coat made, in part, from human hair!\u003c/p>\n\u003cp>Nov. 11: \u003ca href=\"https://gracecathedral.org/calendar-events/sound-meditation-11-11/\">\u003cstrong>The Sound Healing Symphony at Grace Cathedral, San Francisco\u003c/strong>\u003c/a>\u003cbr>\nIf you need to simply chill out this weekend — but among others — the Sound Healing Symphony uses gongs, crystal bowls, vibraphone and didgeridoo to help attendees at scenic Grace Cathedral “go beyond the veil in a celebration of unity.”\u003c/p>\n\u003cp>Nov. 11: \u003ca href=\"https://www.axs.com/uk/events/670853/blood-incantation-tickets\">\u003cstrong>Blood Incantation at Cornerstone, Berkeley\u003c/strong>\u003c/a>\u003cbr>\nHow did this proggy metal band behind the landmark album \u003cem>Hidden History of the Human Race\u003c/em> kick things up a notch this year? With an even more complex, dizzying outing, \u003cem>Absolute Elsewhere\u003c/em>: a collision of death metal and krautrock.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Through Nov. 24: \u003ca href=\"https://haightstreetart.org/pages/home-show-a-chuck-sperry-retrospective\">\u003cstrong>A Chuck Sperry Retrospective at the Haight Street Art Center, SF\u003c/strong>\u003c/a>\u003cbr>\nSperry’s flower-power-infused visions of beauty are always a colorful shot of much-needed dopamine. The Haight Street Art Center is currently displaying a collection of the San Francisco artist’s silkscreen prints, rock posters and tapestries stretching across his 40-year career.\u003c/p>\n\n",
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"title": "Close Your Phone, Leave the House: Things to Do This Post-Election Weekend | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s no way to sugar-coat it: here in the Bay Area this week, a lot of people are holed up, feeling despair at another Trump presidency and doomscrolling on their phones.\u003c/p>\n\u003cp>Some of the more introverted among us prefer to stay home, and \u003ca href=\"https://introvertdear.com/news/id-rather-be-home-and-i-dont-feel-bad-about-it/\">that’s fine\u003c/a>. But man, there is no feeling so refreshing as getting outside and being among others, many of whom are probably feeling just the same as you.\u003c/p>\n\u003cp>Here’s a quick list of 25 outdoor events, concerts, exhibitions and more, all offering company or community, and all happening this weekend.\u003c/p>\n\u003cfigure id=\"attachment_13967872\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967872\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1.jpg\" alt=\"\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_7908-scaled-1-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The View from Mission Peak trail. \u003ccite>(Sarah Mohamad/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/science/1995033/12-bay-area-hikes-for-escaping-the-election-even-for-a-few-hours\">\u003cstrong>Take a Hike\u003c/strong>\u003c/a>\u003cbr>\nNot to be all “touch grass,” but c’mon, you already know that going on a hike is helpful for anxiety. Call up that friend you haven’t seen in a while and consult our guide \u003ca href=\"https://www.kqed.org/science/1995033/12-bay-area-hikes-for-escaping-the-election-even-for-a-few-hours\">12 Bay Area Hikes and Nature Spots for Escaping the Election This Week\u003c/a>.\u003c/p>\n\u003cp>Opening Nov. 7, 6–8 p.m.: \u003ca href=\"https://altmansiegel.com/exhibitions/troy-lamarr-chew-ii/\">\u003cstrong>Troy Lamarr Chew II at Altman Siegel\u003c/strong>\u003c/a>\u003cbr>\nThe former Bay Area artist returns with a solo show of portraits that depict people as glassy, translucent outlines (à la \u003ci>The Secret World of Alex Mack\u003c/i>), underscoring their “invisibility” in contemporary society.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13959808/golden-boy-pizza-north-beach-sf-late-night\">\u003cstrong>Grab a slice at the new Golden Boy Pizza\u003c/strong>\u003c/a>\u003cbr>\nEveryone’s favorite San Francisco square slice shop just opened a brand new location. Golden Boy’s long-awaited Sunset location is slinging the same crunchy-bottomed, idiosyncratic pizzas that have been locally beloved since 1978, for takeout only. (Or you can, of course, always opt to head back to the North Beach original.)\u003c/p>\n\u003cfigure id=\"attachment_13967810\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967810\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj.png\" alt=\"An older Black man sits in an armchair, glancing over his shoulder disapprovingly.\" width=\"2000\" height=\"1295\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-800x518.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-1020x660.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-768x497.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-1536x995.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/slj-1920x1243.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Samuel L. Jackson stars in ‘The Piano Lesson.’ \u003ccite>(Netflix via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Opening Nov. 8: \u003ca href=\"https://www.kqed.org/arts/13967805/the-piano-lesson-august-wilson-malcolm-washington-samuel-jackson-streaming-netflix\">\u003cstrong>‘The Piano Lesson’\u003c/strong>\u003c/a>\u003cbr>\nBased on the recent Broadway production, this film version of August Wilson’s award-winning play should be excellent. With a cast including Samuel L. Jackson and John David Washington, it’s been getting good reviews.\u003c/p>\n\u003cp>Opening Nov. 8: \u003ca href=\"https://www.kqed.org/arts/13967549/heretic-movie-review-hugh-grant-horror-mormon-missionaries-monopoly\">\u003cstrong>‘Heretic’\u003c/strong>\u003c/a>\u003cbr>\nThere are those of us who can turn our brains off by watching Hugh Grant being dashing in rom-coms like \u003cem>Notting Hill\u003c/em>, and there are those of us who would rather see him cardigan-clad, chilling and chattering about religion in this new horror from A24. \u003cem>Heretic\u003c/em> will keep your nerves and brain in high gear for its unnerving entirety.\u003c/p>\n\u003cp>Nov. 8–10: \u003ca href=\"https://www.kqed.org/arts/13967748/klay-thompson-art-show\">\u003cstrong>Klay Thompson Art Show at SoleSpace in Oakland\u003c/strong>\u003c/a>\u003cbr>\nThe great Splash Brother makes his return to the Bay Area this weekend in — sigh — a Mavericks uniform. Before he plays against his former team, this sneaker shop and creative space hosts an art show dedicated to the beloved ex-Warriors player.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13967161/crass-logo-david-king-center-for-the-book-san-francisco-zines-flyers\">\u003cstrong>‘David King Publications 1977–2019’ at San Francisco Center for the Book \u003c/strong>\u003c/a>\u003cbr>\nBest known for designing the logo for punk band Crass, artist David King also illustrated zines and flyers, many of which make up this exhibit. In her review, Rae Alexandra said it “can only act as a sort of tasting menu — but oh, what a delicious introduction it is.”\u003c/p>\n\u003cfigure id=\"attachment_13966669\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966669\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king.jpg\" alt='A giant, plastic \"durian king\" mascot with a spiky shell and a crown on his head.' width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/durian-king-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The shop’s “durian king” mascot. \u003ccite>(Luke Tsai/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13966665/durian-east-bay-richmond-99-ranch-malaysian\">\u003cstrong>Buy a whole Malaysian durian at Liu Shang Pin\u003c/strong>\u003c/a>\u003cbr>\nBecause surely there’s someone in your life who would feel comforted by some ripe, pungent tropical fruit. And if so, this new durian shop in Richmond is the swankiest spot to get your stink on.\u003c/p>\n\u003cp>Opening Nov. 8: \u003ca href=\"https://museumca.org/on-view/born-of-the-bear-dance-dugan-aguilars-photographs-of-native-california/\">\u003cstrong>‘Born of the Bear Dance: Dugan Aguilar’s Photographs of Native California’ at the Oakland Museum of California\u003c/strong>\u003c/a>\u003cbr>\nThis show of photographs by Dugan Aguilar (just a fraction of the museum’s recently acquired collection of the late artist’s personal archive) documents the vibrancy of Native life in the state between 1982 to 2018.\u003c/p>\n\u003cfigure id=\"attachment_13955628\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955628\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg\" alt=\"A conductor waves his baton as orchestra musicians look on,\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Kedrick-Armstrong-conducts-Oakland-Symphony-credit-Scott-Chernis-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Kedrick Armstrong conducts the Oakland Symphony in February 2024. \u003ccite>(Scott Chernis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nov. 8: \u003ca href=\"https://www.oaklandsymphony.org/event/two-black-churches-carmina-burana/\">\u003cstrong>Oakland Symphony’s ‘Two Black Churches + Carmina Burana’ at the Paramount Theatre\u003c/strong>\u003c/a>\u003cbr>\nNew music director Kedrick Armstrong leads the Oakland Symphony in his second program, featuring two pieces from living composer Shawn Okpebholo. (A post-election note, presented without comment: one of the first sections of Orff’s Carmina Burana is titled “I lament the wounds that fortune deals.”)\u003c/p>\n\u003cp>Nov. 8: \u003ca href=\"https://www.chinatownvolunteercoalition.org/\">\u003cstrong>Chinatown Night Market\u003c/strong>\u003c/a>\u003cbr>\nFriday nights in San Francisco Chinatown are never as packed and lively as they are during this monthly \u003ca href=\"https://www.kqed.org/arts/13963258/bay-area-night-markets-food-fall-guide-2024\">night market\u003c/a> — and this edition will be the \u003ca href=\"https://www.chinatownvolunteercoalition.org/\">last market of the year\u003c/a>. Come early to avoid the longest lines, and enjoy the dim sum and boba stands, cultural performances and fun, family-friendly atmosphere. (5:30–9 p.m. on Grant Avenue, b/w Sacramento and Jackson)\u003c/p>\n\u003cp>Nov. 9: \u003ca href=\"https://www.thenewparkway.com/?action=tribe_event_day&tribe_event_display=day&tribe-bar-date=2024-11-09\">\u003cstrong>Cereal Cinema at Oakland’s New Parkway\u003c/strong>\u003c/a>\u003cbr>\nNostalgia is comforting, so mentally travel back to your childhood (and take your own kids with you, if you have them) to Cereal Cinema. The New Parkway Theater’s Saturday morning screening of classic cartoons is accompanied by — what else? — all-you-can-eat cereal. The retro fun starts at 10:30 a.m.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13967093/marinmoca-san-rafael-opening-the-mountain-review\">\u003cstrong>Visit a brand new museum: MarinMOCA San Rafael\u003c/strong>\u003c/a>\u003cbr>\nIn this expansion beyond their Novato home base, MarinMOCA has curated an inaugural, intergenerational show that celebrates the exceptional art made in the shadow of Mount Tamalpais.\u003c/p>\n\u003cp>Nov. 9: \u003ca href=\"https://www.kqed.org/arts/13967848/dahomey-review-mati-diop-benin-documentary\">\u003cstrong>‘Dahomey’ opens at the Roxie, San Francisco\u003c/strong>\u003c/a>\u003cbr>\nMati Diop’s followup to her narrative film \u003ci>Atlantics\u003c/i> follows 26 statues and cultural objects on their repatriation journey from France to Benin. Our film critic calls it an “unexpectedly inspiring documentary” that “movingly captures the immediacy of art in contemporary life.”\u003c/p>\n\u003cfigure id=\"attachment_13967858\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967858\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000.jpg\" alt=\"woman looks at rows of yellow printed paper\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/A-visitor-views-Ho-Tams-work-at-41-Ross-credit-Robert-Borsdorf_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A visitor to 41 Ross views Ho Tam’s work during his artist residency. \u003ccite>(Robert Borsdorf)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nov. 9, 12–4 p.m.: \u003ca href=\"https://www.kqed.org/arts/13967856/chinatown-ross-alley-zine-festival-hotam-press\">\u003cstrong>Chinatown Ross Alley Zine Festival, San Francisco\u003c/strong>\u003c/a>\u003cbr>\nCheck out work by 10 local publishers and 41 Ross Artist-in-Residence Hotam Press (all the way from Vancouver) in this afternoon-long event filled with art, zines, books and other cultural goodies.\u003c/p>\n\u003cp>Nov. 9: \u003ca href=\"https://sflivefest.com/afrolicious-ggp-nov9\">\u003cstrong>Afrolicious at the Golden Gate Park Bandshell, San Francisco\u003c/strong>\u003c/a>\u003cbr>\nAfrolicious always brings a dance party, and Saturday should be no exception in this, the final concert in the SF Live series. The Golden Gate Park bandshell sits right between the de Young and the California Academy of Sciences — two places to consider visiting to make a day of it. Los Calderones open.\u003c/p>\n\u003cp>Nov. 9: \u003ca href=\"https://www.eventbrite.com/e/white-crate-4-year-anniversary-party-tickets-1048372108197\">\u003cstrong>White Crate Anniversary Party at El Rio, San Francisco\u003c/strong>\u003c/a>\u003cbr>\nPicking up where the Bay Bridged left off, \u003ca href=\"https://www.kqed.org/arts/13960718/white-crate-bay-area-live-music\">White Crate\u003c/a> is a music site covering Bay Area indie music and beyond. Their fourth anniversary party at El Rio features bands Sour Widows, Tony Jay, Pocket Full of Crumbs and Margot James.\u003c/p>\n\u003cp>Nov. 9: \u003ca href=\"https://rootdivision.org/exhibition/huq-i-seek-no-favor/\">\u003cstrong>‘HUQ: I Seek No Favor’ at San Francisco’s Root Division\u003c/strong>\u003c/a>\u003cbr>\nIf solidarity is what you seek this weekend, consider joining Root Division on Saturday for the opening reception of this exhibit that brings together more than 100 artists and writers to collectively respond to the impact of 2022’s Dobbs decision on reproductive rights. ‘Huq’ is an Urdu/Arabic word that means both ‘rights’ and ‘truth.’\u003c/p>\n\u003cp>Nov. 9–10: \u003ca href=\"https://www.sfhiphopdancefest.com/dancefest\">\u003cstrong>San Francisco International Hip-Hop Dance Fest\u003c/strong>\u003c/a>\u003cbr>\nForget breakdancing in the Olympics. As part of \u003ca href=\"https://www.kqed.org/arts/13967488/san-francisco-hip-hop-month-november-2024\">San Francisco Hip-Hop Month\u003c/a>, this three-day fest brings dance troupes from all over the world together to battle for cash prizes.\u003c/p>\n\u003cp>Nov. 9–10: \u003ca href=\"https://wl.seetickets.us/event/a-special-spoken-word-matinee-lydia-lunch-eugene-robinson/623722?afflky=GreatAmericanMusicHall\">\u003cstrong>Lydia Lunch’s ‘Verbal Burlesque’ at the Great American Music Hall in SF\u003c/strong>\u003c/a> \u003cstrong>and the\u003c/strong> \u003ca href=\"https://www.ivyroom.com/#/events/117948\">\u003cstrong>Ivy Room in Albany\u003c/strong>\u003c/a>\u003cbr>\nOn any given day, Lydia Lunch’s provocative observations about herself, her life and the world around her are primed to provide solid distractions. This weekend she’s upping the ante with two spoken word sets of exclusively raunchy material. Lunch will perform a matinee show in San Francisco on Saturday and another in Albany on Sunday.\u003c/p>\n\u003cfigure id=\"attachment_13899160\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13899160\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.MAIN_.jpg\" alt=\"Josef Alfonso, singer of Sunami, at the Real Bay Shit show in San Jose on June 19, 2021.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.MAIN_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/Sunami.MAIN_-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josef Alfonso, singer of Sunami, at the Real Bay Shit show in San Jose on June 19, 2021. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nov. 10–11: \u003ca href=\"https://sanjosetheaters.org/event/sunami-ingrown-torena-monster-energy-outbreak-tour/\">\u003cstrong>Sunami at the San Jose Civic Auditorium\u003c/strong>\u003c/a> \u003cstrong>and\u003c/strong> \u003ca href=\"https://www.instagram.com/924gilmanstreet/p/C-Vi2S0u0kE/\">\u003cstrong>Berkeley’s 924 Gilman\u003c/strong>\u003c/a>\u003cbr>\nSometimes you just gotta get mad. Enter Sunami, one of the Bay Area’s best and most aggressive hardcore bands, known for their crowd’s insane pits. If \u003ca href=\"https://www.kqed.org/arts/13899154/sunami-review-san-jose-drain-gulch-show\">slamming your body against hundreds of others\u003c/a> is your preferred method of catharsis, this is the show for you.\u003c/p>\n\u003cp>Nov. 10, 11 a.m.–3 p.m.: \u003ca href=\"https://www.kqed.org/arts/13967722/personal-space-slipper-vallejo-review\">\u003cstrong>‘Slipper’ at Personal Space, Vallejo\u003c/strong>\u003c/a>\u003cbr>\nThe artist-run space packs plenty of art viewing into its small footprint, bringing together a group of artists who make objects that slip between registers: flesh and machine, digital and handmade, 2D and 3D. Also: a giant “fur” coat made, in part, from human hair!\u003c/p>\n\u003cp>Nov. 11: \u003ca href=\"https://gracecathedral.org/calendar-events/sound-meditation-11-11/\">\u003cstrong>The Sound Healing Symphony at Grace Cathedral, San Francisco\u003c/strong>\u003c/a>\u003cbr>\nIf you need to simply chill out this weekend — but among others — the Sound Healing Symphony uses gongs, crystal bowls, vibraphone and didgeridoo to help attendees at scenic Grace Cathedral “go beyond the veil in a celebration of unity.”\u003c/p>\n\u003cp>Nov. 11: \u003ca href=\"https://www.axs.com/uk/events/670853/blood-incantation-tickets\">\u003cstrong>Blood Incantation at Cornerstone, Berkeley\u003c/strong>\u003c/a>\u003cbr>\nHow did this proggy metal band behind the landmark album \u003cem>Hidden History of the Human Race\u003c/em> kick things up a notch this year? With an even more complex, dizzying outing, \u003cem>Absolute Elsewhere\u003c/em>: a collision of death metal and krautrock.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Through Nov. 24: \u003ca href=\"https://haightstreetart.org/pages/home-show-a-chuck-sperry-retrospective\">\u003cstrong>A Chuck Sperry Retrospective at the Haight Street Art Center, SF\u003c/strong>\u003c/a>\u003cbr>\nSperry’s flower-power-infused visions of beauty are always a colorful shot of much-needed dopamine. The Haight Street Art Center is currently displaying a collection of the San Francisco artist’s silkscreen prints, rock posters and tapestries stretching across his 40-year career.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "dahomey-review-mati-diop-benin-documentary",
"title": "‘Dahomey’ Follows Relics’ Return to Benin in a Moving Documentary",
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"headTitle": "‘Dahomey’ Follows Relics’ Return to Benin in a Moving Documentary | KQED",
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"content": "\u003cp>French filmmaker Mati Diop’s evocative \u003cem>Dahomey\u003c/em> centers on 26 statues and cultural objects — a handful of the estimated 5,000 pieces stolen at the end of the 19th century — that France returned to Benin in 2021. Opening Friday, Nov. 8 at the \u003ca href=\"https://roxie.com/film/dahomey/\">Roxie\u003c/a> after its recent local premiere at the Mill Valley Film Festival, the unexpectedly inspiring documentary transports us along with the crates to West Africa, movingly capturing the immediacy of art in contemporary life.\u003c/p>\n\u003cp>Before the pieces deplane in Benin, however, and go on view at the Palais de la Marina (the presidential residence) in a historical and artistic celebration of national importance, Diop invites us to contemplate their painful exile in the recesses of Paris’ Musée du quai Branly – Jacques Chirac. She and Haitian novelist and poet Makenzy Orcel give the treasures an internal monologue that evokes the anguish of colonialism and the denial of self-determination.\u003c/p>\n\u003cp>Diop imbues the pieces with a mournful anger that contrasts with the detached attitude of museum conservators and manual laborers who treat them as physical objects to be measured, packed and forklifted. This opening section effectively makes us question the significance of relics, the relevance of history and the latent power of art.\u003c/p>\n\u003cfigure id=\"attachment_13967854\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000.jpg\" alt=\"girl looks through glass in school uniform\" width=\"2000\" height=\"1055\" class=\"size-full wp-image-13967854\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000-1536x810.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000-1920x1013.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Still from Mati Diop’s ‘Dahomey.’ \u003ccite>(Courtesy of MUBI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This has been a topic of conversation forever, of course, in museums and art galleries (and beyond). It may seem more au courant in our digital world where people and events “trend” and vanish in hours. \u003cem>Dahomey\u003c/em> gains another resonance in the wake of an election that indicates, among other things, that Americans are largely uninterested in the past and cannot even recall events that took place four years ago.\u003c/p>\n\u003cp>But let us consider instead the Kingdom of Dahomey, which flourished, in part on enslaved labor and the transatlantic slave trade, for some 300 years. After a decade of wars with France and the overthrow of its King Béhanzin, Dahomey became part of French West Africa in 1904. The Republic of Dahomey won its independence in 1960, and the country renamed itself Benin in 1975.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mati Diop was born in Paris; she is an actor, writer and director whose acclaimed 2019 narrative feature debut, \u003cem>\u003ca href=\"https://www.netflix.com/title/81082007\">Atlantics\u003c/a>\u003c/em>, is streaming on Netflix. Diop’s Sengalese father, Wasis, is a musician and her late uncle, Djibril Diop Mambéty, was a filmmaker. She spent her formative years in France and Senegal, which accounts for her interest in the repatriation of (some of) Benin’s looted artworks.\u003c/p>\n\u003cfigure id=\"attachment_13967853\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000.jpg\" alt=\"man raises hand in seated group\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13967853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Still from Mati Diop’s ‘Dahomey.’ \u003ccite>(Courtesy of MUBI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once the artworks have landed in Benin, Diop exhibits both generosity and good judgment by devoting a chunk of the film (which clocks in at a succinct 68 minutes) to the opinions of the Beninese. Not through person-on-the-street interviews, mind you, but via an eloquent discussion among informed and impassioned University of Abomey-Calavi students.\u003c/p>\n\u003cp>[aside tag='film' label='More to watch']This sequence is the best part of \u003cem>Dahomey\u003c/em> for all sorts of reasons. The students speak beautifully about the pieces as relics from the reign of kings and symbols of Western colonialism, and also as works of art. They know their history as well as its limits; that is, they see the past primarily as instrumental in their responsibility for creating Benin’s future.\u003c/p>\n\u003cp>One student, in fact, downplaying the importance of the pieces still held in France, argues persuasively, “Our immaterial heritage — our dances, traditions and knowhow — are still in our country!” \u003c/p>\n\u003cp>\u003cem>Dahomey\u003c/em>, which won the Golden Bear at the Berlin International Film Festival, is unquestionably a dark-room theatrical experience. But it also deserves a permanent venue, such as a long-term installation at the Museum of the African Diaspora (MoAD) or the San Francisco Museum of Modern Art. Its themes of cultural identity and ownership, and independence and self-determination, are relevant to all former colonies.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://roxie.com/film/dahomey/\">Dahomey\u003c/a>’ opens Nov. 8, 2024 at the Roxie.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>French filmmaker Mati Diop’s evocative \u003cem>Dahomey\u003c/em> centers on 26 statues and cultural objects — a handful of the estimated 5,000 pieces stolen at the end of the 19th century — that France returned to Benin in 2021. Opening Friday, Nov. 8 at the \u003ca href=\"https://roxie.com/film/dahomey/\">Roxie\u003c/a> after its recent local premiere at the Mill Valley Film Festival, the unexpectedly inspiring documentary transports us along with the crates to West Africa, movingly capturing the immediacy of art in contemporary life.\u003c/p>\n\u003cp>Before the pieces deplane in Benin, however, and go on view at the Palais de la Marina (the presidential residence) in a historical and artistic celebration of national importance, Diop invites us to contemplate their painful exile in the recesses of Paris’ Musée du quai Branly – Jacques Chirac. She and Haitian novelist and poet Makenzy Orcel give the treasures an internal monologue that evokes the anguish of colonialism and the denial of self-determination.\u003c/p>\n\u003cp>Diop imbues the pieces with a mournful anger that contrasts with the detached attitude of museum conservators and manual laborers who treat them as physical objects to be measured, packed and forklifted. This opening section effectively makes us question the significance of relics, the relevance of history and the latent power of art.\u003c/p>\n\u003cfigure id=\"attachment_13967854\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000.jpg\" alt=\"girl looks through glass in school uniform\" width=\"2000\" height=\"1055\" class=\"size-full wp-image-13967854\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000-800x422.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000-1020x538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000-1536x810.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_4_2000-1920x1013.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Still from Mati Diop’s ‘Dahomey.’ \u003ccite>(Courtesy of MUBI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This has been a topic of conversation forever, of course, in museums and art galleries (and beyond). It may seem more au courant in our digital world where people and events “trend” and vanish in hours. \u003cem>Dahomey\u003c/em> gains another resonance in the wake of an election that indicates, among other things, that Americans are largely uninterested in the past and cannot even recall events that took place four years ago.\u003c/p>\n\u003cp>But let us consider instead the Kingdom of Dahomey, which flourished, in part on enslaved labor and the transatlantic slave trade, for some 300 years. After a decade of wars with France and the overthrow of its King Béhanzin, Dahomey became part of French West Africa in 1904. The Republic of Dahomey won its independence in 1960, and the country renamed itself Benin in 1975.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mati Diop was born in Paris; she is an actor, writer and director whose acclaimed 2019 narrative feature debut, \u003cem>\u003ca href=\"https://www.netflix.com/title/81082007\">Atlantics\u003c/a>\u003c/em>, is streaming on Netflix. Diop’s Sengalese father, Wasis, is a musician and her late uncle, Djibril Diop Mambéty, was a filmmaker. She spent her formative years in France and Senegal, which accounts for her interest in the repatriation of (some of) Benin’s looted artworks.\u003c/p>\n\u003cfigure id=\"attachment_13967853\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000.jpg\" alt=\"man raises hand in seated group\" width=\"2000\" height=\"1125\" class=\"size-full wp-image-13967853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Dahomey_Still_2_2000-1920x1080.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Still from Mati Diop’s ‘Dahomey.’ \u003ccite>(Courtesy of MUBI)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once the artworks have landed in Benin, Diop exhibits both generosity and good judgment by devoting a chunk of the film (which clocks in at a succinct 68 minutes) to the opinions of the Beninese. Not through person-on-the-street interviews, mind you, but via an eloquent discussion among informed and impassioned University of Abomey-Calavi students.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This sequence is the best part of \u003cem>Dahomey\u003c/em> for all sorts of reasons. The students speak beautifully about the pieces as relics from the reign of kings and symbols of Western colonialism, and also as works of art. They know their history as well as its limits; that is, they see the past primarily as instrumental in their responsibility for creating Benin’s future.\u003c/p>\n\u003cp>One student, in fact, downplaying the importance of the pieces still held in France, argues persuasively, “Our immaterial heritage — our dances, traditions and knowhow — are still in our country!” \u003c/p>\n\u003cp>\u003cem>Dahomey\u003c/em>, which won the Golden Bear at the Berlin International Film Festival, is unquestionably a dark-room theatrical experience. But it also deserves a permanent venue, such as a long-term installation at the Museum of the African Diaspora (MoAD) or the San Francisco Museum of Modern Art. Its themes of cultural identity and ownership, and independence and self-determination, are relevant to all former colonies.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://roxie.com/film/dahomey/\">Dahomey\u003c/a>’ opens Nov. 8, 2024 at the Roxie.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When Vancouver-based visual artist and independent publisher Ho Tam left San Francisco after the 2023 \u003ca href=\"https://www.kqed.org/arts/13961341/sf-art-book-fair-zines-underground-small-press-review\">SF Art Book Fair\u003c/a>, he knew he wanted to come back. This year, thanks to the Chinese Culture Center’s \u003ca href=\"https://www.41ross.org/residency\">41 Ross Artist-in-Residence program\u003c/a>, his wish was granted. \u003c/p>\n\u003cp>Tam, the founder of \u003ca href=\"https://hotampress.com/\">Hotam Press\u003c/a>, has been living and working in San Francisco since September, turning 41 Ross into a temporary bookshop, gallery and studio. And this Saturday, along with 10 local publishers, he’ll have the chance to showcase his work at the first-ever \u003ca href=\"https://www.cccsf.us/event-details/chinatown-ross-alley-zine-festival-hua-bu-xiao-xiang-shou-zuo-shu-zhi-jie\">Chinatown Ross Alley Zine Festival\u003c/a>. Participants include \u003ca href=\"https://www.kqed.org/arts/13876332/the-hustle-floss-editions-art-book-publishers\">Floss Editions\u003c/a>, \u003ca href=\"https://www.smingsming.com/\">Sming Sming Books\u003c/a> and \u003ca href=\"https://www.instagram.com/unitypress/\">Unity Press\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13967860\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Lisa-Hsia-.-courtesy-of-the-artist_2000.jpg\" alt=\"spread of book with illustrations of a woman doing many different activities\" width=\"2000\" height=\"1597\" class=\"size-full wp-image-13967860\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Lisa-Hsia-.-courtesy-of-the-artist_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Lisa-Hsia-.-courtesy-of-the-artist_2000-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Lisa-Hsia-.-courtesy-of-the-artist_2000-1020x814.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Lisa-Hsia-.-courtesy-of-the-artist_2000-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Lisa-Hsia-.-courtesy-of-the-artist_2000-768x613.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Lisa-Hsia-.-courtesy-of-the-artist_2000-1536x1226.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Lisa-Hsia-.-courtesy-of-the-artist_2000-1920x1533.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Work by Lisa Hsia, one of the artists participating in the Chinatown Ross Alley Zine Festival. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tam’s own interest in zine and bookmaking spans decades. “As a kid, I was interested in making my own magazines,” says Tam, who was born in Hong Kong. “I didn’t even know it was [called] zines at the time, I just made my own little books.” \u003c/p>\n\u003cp>He published his first art book in the early ’90s, but life took him elsewhere, away from book and zine making. It wasn’t until the early 2010s, after leaving a teaching position, that Tam found himself back in the world of zines, helping other artists learn to make and distribute their own works. He realized he still had plenty of his own ideas, and established Hotam Press to continue his work in the medium. For Tam, creating art through books and zines just made sense. \u003c/p>\n\u003cp>“I like using text and images in my work,” says Tam. “I think it’s … a logical direction to make them into books, because the book itself can contain some sort of narrative, and could also be complete in itself as an object.” \u003c/p>\n\u003cfigure id=\"attachment_13967859\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Ho-Tam-.-courtesy-of-the-artist_comp_1800.jpg\" alt=\"Asian man and display of magazines and books\" width=\"1800\" height=\"901\" class=\"size-full wp-image-13967859\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Ho-Tam-.-courtesy-of-the-artist_comp_1800.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Ho-Tam-.-courtesy-of-the-artist_comp_1800-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Ho-Tam-.-courtesy-of-the-artist_comp_1800-1020x511.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Ho-Tam-.-courtesy-of-the-artist_comp_1800-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Ho-Tam-.-courtesy-of-the-artist_comp_1800-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Ho-Tam-.-courtesy-of-the-artist_comp_1800-1536x769.jpg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Ho Tam and examples of work put out by Hotam Press. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tam says he finds inspiration for his zines and books from all sorts of subject matter, including his own personal stories and interests, social justice issues and political topics. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Right now, Tam’s biggest source of inspiration is his family tree, which reaches into Northern California. His father always told Tam if he traveled a little further toward Sacramento, he might be able to find details about his great-grandfather, who once lived there. He found a few long-lost cousins and, with their help, was able to trace some of their shared lineage back to Marysville, California, in Yuba County\u003c/p>\n\u003cp>“I only wish when my father was around, I had asked him more questions,” Tam says. “But now I’m finding out about my family through others, through this research, through these towns … so it’s very rewarding too.” \u003c/p>\n\u003cp>Before his artist residency ends on Nov. 30, Tam hopes to create a piece related to his time in San Francisco and the experience of connecting with newly found relatives. Just like old times: “I’m hoping to make a zine out of it,” he says. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.cccsf.us/event-details/chinatown-ross-alley-zine-festival-hua-bu-xiao-xiang-shou-zuo-shu-zhi-jie\">Chinatown Ross Alley Zine Festival\u003c/a> takes place 12–4 p.m. on Saturday, Nov. 9. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Vancouver-based visual artist and independent publisher Ho Tam left San Francisco after the 2023 \u003ca href=\"https://www.kqed.org/arts/13961341/sf-art-book-fair-zines-underground-small-press-review\">SF Art Book Fair\u003c/a>, he knew he wanted to come back. This year, thanks to the Chinese Culture Center’s \u003ca href=\"https://www.41ross.org/residency\">41 Ross Artist-in-Residence program\u003c/a>, his wish was granted. \u003c/p>\n\u003cp>Tam, the founder of \u003ca href=\"https://hotampress.com/\">Hotam Press\u003c/a>, has been living and working in San Francisco since September, turning 41 Ross into a temporary bookshop, gallery and studio. And this Saturday, along with 10 local publishers, he’ll have the chance to showcase his work at the first-ever \u003ca href=\"https://www.cccsf.us/event-details/chinatown-ross-alley-zine-festival-hua-bu-xiao-xiang-shou-zuo-shu-zhi-jie\">Chinatown Ross Alley Zine Festival\u003c/a>. Participants include \u003ca href=\"https://www.kqed.org/arts/13876332/the-hustle-floss-editions-art-book-publishers\">Floss Editions\u003c/a>, \u003ca href=\"https://www.smingsming.com/\">Sming Sming Books\u003c/a> and \u003ca href=\"https://www.instagram.com/unitypress/\">Unity Press\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13967860\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Lisa-Hsia-.-courtesy-of-the-artist_2000.jpg\" alt=\"spread of book with illustrations of a woman doing many different activities\" width=\"2000\" height=\"1597\" class=\"size-full wp-image-13967860\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Lisa-Hsia-.-courtesy-of-the-artist_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Lisa-Hsia-.-courtesy-of-the-artist_2000-800x639.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Lisa-Hsia-.-courtesy-of-the-artist_2000-1020x814.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Lisa-Hsia-.-courtesy-of-the-artist_2000-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Lisa-Hsia-.-courtesy-of-the-artist_2000-768x613.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Lisa-Hsia-.-courtesy-of-the-artist_2000-1536x1226.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Lisa-Hsia-.-courtesy-of-the-artist_2000-1920x1533.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Work by Lisa Hsia, one of the artists participating in the Chinatown Ross Alley Zine Festival. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tam’s own interest in zine and bookmaking spans decades. “As a kid, I was interested in making my own magazines,” says Tam, who was born in Hong Kong. “I didn’t even know it was [called] zines at the time, I just made my own little books.” \u003c/p>\n\u003cp>He published his first art book in the early ’90s, but life took him elsewhere, away from book and zine making. It wasn’t until the early 2010s, after leaving a teaching position, that Tam found himself back in the world of zines, helping other artists learn to make and distribute their own works. He realized he still had plenty of his own ideas, and established Hotam Press to continue his work in the medium. For Tam, creating art through books and zines just made sense. \u003c/p>\n\u003cp>“I like using text and images in my work,” says Tam. “I think it’s … a logical direction to make them into books, because the book itself can contain some sort of narrative, and could also be complete in itself as an object.” \u003c/p>\n\u003cfigure id=\"attachment_13967859\" class=\"wp-caption aligncenter\" style=\"max-width: 1800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Ho-Tam-.-courtesy-of-the-artist_comp_1800.jpg\" alt=\"Asian man and display of magazines and books\" width=\"1800\" height=\"901\" class=\"size-full wp-image-13967859\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Ho-Tam-.-courtesy-of-the-artist_comp_1800.jpg 1800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Ho-Tam-.-courtesy-of-the-artist_comp_1800-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Ho-Tam-.-courtesy-of-the-artist_comp_1800-1020x511.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Ho-Tam-.-courtesy-of-the-artist_comp_1800-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Ho-Tam-.-courtesy-of-the-artist_comp_1800-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/Ho-Tam-.-courtesy-of-the-artist_comp_1800-1536x769.jpg 1536w\" sizes=\"(max-width: 1800px) 100vw, 1800px\">\u003cfigcaption class=\"wp-caption-text\">Ho Tam and examples of work put out by Hotam Press. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tam says he finds inspiration for his zines and books from all sorts of subject matter, including his own personal stories and interests, social justice issues and political topics. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Right now, Tam’s biggest source of inspiration is his family tree, which reaches into Northern California. His father always told Tam if he traveled a little further toward Sacramento, he might be able to find details about his great-grandfather, who once lived there. He found a few long-lost cousins and, with their help, was able to trace some of their shared lineage back to Marysville, California, in Yuba County\u003c/p>\n\u003cp>“I only wish when my father was around, I had asked him more questions,” Tam says. “But now I’m finding out about my family through others, through this research, through these towns … so it’s very rewarding too.” \u003c/p>\n\u003cp>Before his artist residency ends on Nov. 30, Tam hopes to create a piece related to his time in San Francisco and the experience of connecting with newly found relatives. Just like old times: “I’m hoping to make a zine out of it,” he says. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"https://www.cccsf.us/event-details/chinatown-ross-alley-zine-festival-hua-bu-xiao-xiang-shou-zuo-shu-zhi-jie\">Chinatown Ross Alley Zine Festival\u003c/a> takes place 12–4 p.m. on Saturday, Nov. 9. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Need a Break? Marvel at the ‘Vanishing Treasures’ of the Natural World",
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"content": "\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967832\" style=\"font-weight: bold;background-color: transparent;color: #767676\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9780385550826.jpeg\" alt=\"A teal book cover featuring an image of a wombat.\" width=\"1650\" height=\"2475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9780385550826.jpeg 1650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9780385550826-800x1200.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9780385550826-1020x1530.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9780385550826-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9780385550826-768x1152.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9780385550826-1024x1536.jpeg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9780385550826-1365x2048.jpeg 1365w\" sizes=\"auto, (max-width: 1650px) 100vw, 1650px\">\u003c/p>\n\u003cp>‘Vanishing Treasures: A Bestiary of Extraordinary Endangered Creatures’ by Katherine Rundell.If, you, too, have been intensely concentrating on the presidential election, you may be ready for a shift of focus. \u003cem>Vanishing Treasures\u003c/em>, an extraordinary book by Katherine Rundell (originally published under the title \u003cem>The Golden Mole\u003c/em> in the UK) lifts readers out of the here and now and invites us to train our eyes on wider horizons.\u003c/p>\n\u003cp>Rundell is a publishing phenom. Her 2013 middle-grade children’s book \u003cem>Rooftoppers \u003c/em>drew inspiration from her own adventures as an undergraduate at Oxford, where she climbed brick walls and scaled drainpipes to take in the views of that “city of dreaming spires” from on high. More recently, Rundell has written \u003cem>Super-Infinite\u003c/em>, an acclaimed biography of the metaphysical poet John Donne, as well as a bestselling fantasy novel, called \u003cem>Impossible Creatures\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13967439']In short, Rundell is something of a Renaissance woman who writes with the elegance and erudition that distinguished that era. \u003cem>Vanishing Treasures\u003c/em> is a bestiary, a collection of creatures, both odd and mundane — all of whom are more astonishing than you might expect; all of whom, as Rundell tells us are “endangered or [contain] a subspecies that is endangered — because there is almost no creature on the planet, now, for which that is not the case.”\u003c/p>\n\u003cp>Rundell begins her book with an epigraph from an author whose reputation is itself approaching extinction: the British essayist and mystery writer, G.K. Chesterton: “The world will never starve for want of wonders; but only for want of wonder.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What follows are 23 very short essays on creatures ranging from the wombat to the spider; the raccoon to the tuna. For anyone whose capacity for wonder could use a jumpstart, Rundell’s essays are essential reading. Listen, for instance, to these sentences from the opening paragraph of her essay on the swift — a common creature so named because it’s the fastest bird in flight:\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>The swift is sky-suited like no other bird. Weighing less than a hen’s egg, with wings like a scythe and a tail like a fork, it eats and sleeps on the wing. … [Swifts] mate in brief mid-sky collisions, the only birds to do so, and to wash they hunt down clouds and fly through gentle rain, slowly, wings outstretched.\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>As you can hear, Rundell’s essays are no mere Wikipedia entries about the natural world; rather, they’re deeply-felt, lyrical, often witty, and occasionally grisly evocations of the living marvels she’s surveying. Her essay on “The Hermit Crab,” for instance, begins with a jolt: “It was, perhaps, a hermit crab that ate Amelia Earhart.”\u003c/p>\n\u003cp>Rundell goes on to explain: It seems that the uninhabited island in the Western Pacific where \u003ca href=\"https://www.npr.org/2024/01/29/1227574179/amelia-earharts-lost-plane-howland-island\">Earhart’s plane\u003c/a> may have gone down and where 13 (but, only 13) human bones were discovered that matched Earhart’s size is to this day also “home to a colony of coconut hermit crabs: the world’s largest land crab. … The oldest [crabs] live to more than a hundred, and grow to be up to 40 inches across: too large to fit in a bathtub, exactly the right size for a nightmare.”\u003c/p>\n\u003cp>[aside postid='arts_13967643']The interconnectedness, both savage and beautiful, of the animal and human world is the message thrumming through these essays. Earhart’s possible fate notwithstanding, it’s, of course, nonhuman creatures who suffer most from their contact with us. “The greatest lie that humans ever told is that the Earth is ours, and at our disposal. … We must cease from telling that lie because the world is so rare, and so wildly fine.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Vanishing Treasures\u003c/em> makes readers see, \u003cem>really see\u003c/em>, some of the miraculous creatures we still share this fragile world with. Like any wise environmentalist, Rundell also leavens terror with possibility. I leave you, then, with Rundell’s tribute to the Greenland shark, “the planet’s oldest vertebrate”; an animal who can live over 500 years. Rundell says:\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>… I find the very idea of them hopeful. They will see us pass through whichever spinning chaos we may currently be living through, … and they will live through the currently unimagined things that will come after that: the transformations, revelations, the possible liberations. That is their beauty and it’s breathtaking: they go on. These slow, odorous, half-blind creatures are perhaps the closest thing to eternal this planet has to offer.\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cdiv>\n\u003chr>\n\u003cp>\u003cem>‘Vanishing Treasures: A Bestiary of Extraordinary Endangered Creatures’ by Katherine Rundell is out on Nov. 12, via Doubleday.\u003c/em>\u003c/p>\n\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967832\" style=\"font-weight: bold;background-color: transparent;color: #767676\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9780385550826.jpeg\" alt=\"A teal book cover featuring an image of a wombat.\" width=\"1650\" height=\"2475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9780385550826.jpeg 1650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9780385550826-800x1200.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9780385550826-1020x1530.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9780385550826-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9780385550826-768x1152.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9780385550826-1024x1536.jpeg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/9780385550826-1365x2048.jpeg 1365w\" sizes=\"auto, (max-width: 1650px) 100vw, 1650px\">\u003c/p>\n\u003cp>‘Vanishing Treasures: A Bestiary of Extraordinary Endangered Creatures’ by Katherine Rundell.If, you, too, have been intensely concentrating on the presidential election, you may be ready for a shift of focus. \u003cem>Vanishing Treasures\u003c/em>, an extraordinary book by Katherine Rundell (originally published under the title \u003cem>The Golden Mole\u003c/em> in the UK) lifts readers out of the here and now and invites us to train our eyes on wider horizons.\u003c/p>\n\u003cp>Rundell is a publishing phenom. Her 2013 middle-grade children’s book \u003cem>Rooftoppers \u003c/em>drew inspiration from her own adventures as an undergraduate at Oxford, where she climbed brick walls and scaled drainpipes to take in the views of that “city of dreaming spires” from on high. More recently, Rundell has written \u003cem>Super-Infinite\u003c/em>, an acclaimed biography of the metaphysical poet John Donne, as well as a bestselling fantasy novel, called \u003cem>Impossible Creatures\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What follows are 23 very short essays on creatures ranging from the wombat to the spider; the raccoon to the tuna. For anyone whose capacity for wonder could use a jumpstart, Rundell’s essays are essential reading. Listen, for instance, to these sentences from the opening paragraph of her essay on the swift — a common creature so named because it’s the fastest bird in flight:\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>The swift is sky-suited like no other bird. Weighing less than a hen’s egg, with wings like a scythe and a tail like a fork, it eats and sleeps on the wing. … [Swifts] mate in brief mid-sky collisions, the only birds to do so, and to wash they hunt down clouds and fly through gentle rain, slowly, wings outstretched.\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cp>As you can hear, Rundell’s essays are no mere Wikipedia entries about the natural world; rather, they’re deeply-felt, lyrical, often witty, and occasionally grisly evocations of the living marvels she’s surveying. Her essay on “The Hermit Crab,” for instance, begins with a jolt: “It was, perhaps, a hermit crab that ate Amelia Earhart.”\u003c/p>\n\u003cp>Rundell goes on to explain: It seems that the uninhabited island in the Western Pacific where \u003ca href=\"https://www.npr.org/2024/01/29/1227574179/amelia-earharts-lost-plane-howland-island\">Earhart’s plane\u003c/a> may have gone down and where 13 (but, only 13) human bones were discovered that matched Earhart’s size is to this day also “home to a colony of coconut hermit crabs: the world’s largest land crab. … The oldest [crabs] live to more than a hundred, and grow to be up to 40 inches across: too large to fit in a bathtub, exactly the right size for a nightmare.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The interconnectedness, both savage and beautiful, of the animal and human world is the message thrumming through these essays. Earhart’s possible fate notwithstanding, it’s, of course, nonhuman creatures who suffer most from their contact with us. “The greatest lie that humans ever told is that the Earth is ours, and at our disposal. … We must cease from telling that lie because the world is so rare, and so wildly fine.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Vanishing Treasures\u003c/em> makes readers see, \u003cem>really see\u003c/em>, some of the miraculous creatures we still share this fragile world with. Like any wise environmentalist, Rundell also leavens terror with possibility. I leave you, then, with Rundell’s tribute to the Greenland shark, “the planet’s oldest vertebrate”; an animal who can live over 500 years. Rundell says:\u003c/p>\n\u003cblockquote>\n\u003cdiv>\n\u003cp>… I find the very idea of them hopeful. They will see us pass through whichever spinning chaos we may currently be living through, … and they will live through the currently unimagined things that will come after that: the transformations, revelations, the possible liberations. That is their beauty and it’s breathtaking: they go on. These slow, odorous, half-blind creatures are perhaps the closest thing to eternal this planet has to offer.\u003c/p>\n\u003c/div>\n\u003c/blockquote>\n\u003cdiv>\n\u003chr>\n\u003cp>\u003cem>‘Vanishing Treasures: A Bestiary of Extraordinary Endangered Creatures’ by Katherine Rundell is out on Nov. 12, via Doubleday.\u003c/em>\u003c/p>\n\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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