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"content": "\u003cp>If your idea of a perfect Halloween is turning off all the lights, tucking yourself under a blanket, and snuggling up next to a bag of fun-size candy for a horror movie marathon, you’re not alone. It’s a strategy that effectively removes the pressure of coming up with a costume idea and picking a party to attend. But it does present one pretty major quandary: what the hell to watch?\u003c/p>\n\u003cp>To aid you in this decision, we’ve come up with a list of classic horror movies—all filmed in the Bay Area, all available to stream or rent, and all liable to make your Halloween better.\u003c/p>\n\u003ch4>\u003cem>Cujo\u003c/em> (1983)\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=vFUD8b-BZCc\u003c/p>\n\u003cp>An entire generation of ’80s kids is still walking around with a lifelong phobia of St. Bernards because of the sheer terror wrought by \u003cem>Cujo. \u003c/em>It’s a simple but disarmingly realistic concept: a large dog gets rabies from a bat bite and descends into madness, ambushing humans as he goes. One mother and son get caught in his proverbial crosshairs, trapped in their broken-down car with no escape.\u003c/p>\n\u003cp>Filmed in locations around the North Bay (Petaluma, Santa Rosa, Glenn Ellen and Mendocino), the movie was given a different (less bleak) ending than Stephen King’s original text. Despite this—and the fact that in some “attack” scenes the dog is transparently trying to cuddle screaming actors—\u003cem>Cujo\u003c/em> remains one of the better Stephen King movie adaptations. Dee Wallace’s performance will stay with you long after the credits roll.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>‘Cujo’ is streaming now on Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cstrong>\u003cem>It Came From Beneath the Sea\u003c/em> (1955)\u003c/strong>\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=oEm1c-sBRfY\u003c/p>\n\u003cp>If you’ve ever wanted to see a giant radioactive octopus throwing its tentacles around downtown San Francisco, this is the film for you. Having had its habitat in the Philippines destroyed by thermonuclear tests, and after authorities repeatedly attempt to electrocute it, the poor, unfeasibly massive octopus arrives in the city and promptly goes berserk. It wrecks buildings! It squishes men! It squeezes the Ferry Building’s clock tower to death! It even wraps itself around the Golden Gate Bridge like it wants to make babies with it. Yes, it’s completely preposterous, but if you can’t watch a giant furious octopus suction-cupping bystanders to death on Halloween, when can you?\u003c/p>\n\u003cp>\u003cem>‘It Came From Beneath the Sea’ is streaming now on Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cstrong>\u003cem>Burnt Offerings\u003c/em> (1976)\u003c/strong>\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=Oo_6Fb5k2lo\u003c/p>\n\u003cp>In its earliest stages, it’s tempting to view \u003cem>Burnt Offerings\u003c/em> as just another bog-standard haunted house movie. Don’t be fooled. By the time the story has spiraled to its (absolutely bananas) climax, you’ll realize the filmmakers have lulled you into a false sense of security on purpose, only to pull the antique rug out from under you.\u003c/p>\n\u003cp>[aside postid='pop_106535']Filmed in Oakland’s Dunsmuir House (a location with \u003ca href=\"https://en.wikipedia.org/wiki/Dunsmuir_House\" target=\"_blank\" rel=\"noopener noreferrer\">a tragic real-life history\u003c/a>), the home here—like the one in Netflix’s \u003cem>Haunting of Hill House\u003c/em>—has a character and motivation all of its own. All of which is compounded by some spectacular over-acting by Oliver Reed, Karen Black and Bette Davis. The moral of the story? Don’t take on a summer rental if it comes with an old lady in the attic that you’re obliged to feed.\u003c/p>\n\u003cp>\u003cem>‘Burnt Offerings’ is streaming now on Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>Phantasm\u003c/em> (1979)\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=RIRVOepV9Ik\u003c/p>\n\u003cp>Reanimated corpses. Hell portals. Severed fingers that turn into insects. Flying silver spheres with spikes. Horny teens getting stabbed in cemeteries. Evil minions that may or may not have been inspired by \u003cem>Star Wars\u003c/em> Jawas. Absolutely nothing about \u003cem>Phantasm\u003c/em> makes any sense at all. (\u003cem>At all\u003c/em>!) But if you want to see Dunsmuir House again, while also feeling like you’ve taken strong hallucinogens, this is a good one to watch back-to-back with \u003cem>Burnt Offerings\u003c/em>.\u003c/p>\n\u003cp>\u003cem>‘Phantasm’ is streaming now on Pluto TV, the Roku Channel and Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>The Birds\u003c/em> (1963)\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=ydLJtKlVVZw\u003c/p>\n\u003cp>Let’s be real. If seagulls and their tiny evil faces decided tomorrow that humans needed to be eradicated, they could probably pull it off. Throw every other bird on Earth into the mix and, as one Bodega Bay bystander states in the middle of this Alfred Hitchcock classic, “Why, if that happened, we wouldn’t have a chance.” (It’s worth also keeping in mind that \u003ca href=\"https://www.mercurynews.com/2015/12/07/this-hitchcock-movie-was-inspired-by-crab-toxin-frenzy-in-capitola/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Birds\u003c/em> was inspired by a real-life event\u003c/a> in which a Northern California town was attacked en masse by seabirds, in 1961.)\u003c/p>\n\u003cp>[aside postid=’arts_[aside postid='arts_13936524']‘]Witnessing San Francisco’s Melanie Daniels (charmingly played by Tippi Hedren) slowly devolve from a self-assured, independent practical joker to a traumatized shell is genuinely perturbing here. And not a little harrowing now that we know about \u003ca href=\"https://variety.com/2017/film/news/tippi-hedren-alfred-hitchcock-the-birds-sexual-harassment-1202637959/\" target=\"_blank\" rel=\"noopener noreferrer\">Hitchcock’s appalling treatment of Hedren\u003c/a> in real life. But the lure of \u003cem>The Birds\u003c/em> remains (Bodega Bay continues to be a hotspot for Hitchcock tourists), as does the lore. Unsubstantiated rumors persist that the Bay Area’s crow population increased enormously after Hitchcock released the birds into the wild at the end of filming. Just pray they don’t turn on us one day…\u003c/p>\n\u003cp>\u003cem>‘The Birds’ is streaming now on Netflix.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>The Fog\u003c/em> (1980)\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=fUyunS1hGyQ\u003c/p>\n\u003cp>\u003cem>The Fog\u003c/em> is the kind of unintentionally hilarious horror movie that is best watched in groups, with some sort of drinking game fashioned after it. Drink every time someone says “Mrs Kobritz”! Drink every time a dead body lands on Jamie Lee Curtis! Drink every time some idiot doesn’t notice there’s a rotting, hook-handed pirate ghost directly next to them?\u003c/p>\n\u003cp>Primarily filmed in Point Reyes (with some Bodega Bay and L.A. thrown in), \u003cem>The Fog\u003c/em> is a movie that came really close to making some salient points about the sins of our forefathers, only to sacrifice it all for plumes of dry ice and a hearty amount of face-stabbing.\u003c/p>\n\u003cp>\u003cem>‘The Fog’ is streaming now on Amazon Prime.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>Invasion of the Body Snatchers\u003c/em> (1978)\u003c/h4>\n\u003cp>https://www.youtube.com/watch?v=vc_0dlmSq7I\u003c/p>\n\u003cp>Did the disturbing \u003ca href=\"https://www.imdb.com/title/tt0049366/?ref_=fn_al_tt_3\" target=\"_blank\" rel=\"noopener noreferrer\">1956 classic\u003c/a> \u003cem>need\u003c/em> a more high-tech do-over? Not really. But boy oh boy, did it get a good one. The casting for the 1978 remake was damn near perfect (hello, young Jeff Goldblum!), and paranoia and panic is so thoroughly seeped into every scene, you can’t help but feel completely immersed in the characters’ nightmare, as one-by-one they’re replaced with alien replicas.\u003c/p>\n\u003cp>\u003cem>Invasion\u003c/em> is also that rare San Francisco movie that includes Things That Locals Like, including Sutro Tower, Bimbo’s, the Broadway tunnel, and even (\u003cem>gasp!\u003c/em>) the Tenderloin. Plus! It contains the Donald Sutherland scene—\u003ca href=\"https://tenor.com/view/donald-sutherland-pod-people-podpeople-body-gif-10811761\" target=\"_blank\" rel=\"noopener noreferrer\">you already know the one\u003c/a>—that launched a thousand gifs. A true horror classic and a scary little love letter to San Francisco.\u003c/p>\n\u003cp>\u003cem>‘Invasion of the Body Snatchers’ is streaming now on Amazon Prime. (The 1956 original is also free on the Roku Channel, should you fancy a double feature.)\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Happy Halloween, horror fans!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Filmed in Oakland’s Dunsmuir House (a location with \u003ca href=\"https://en.wikipedia.org/wiki/Dunsmuir_House\" target=\"_blank\" rel=\"noopener noreferrer\">a tragic real-life history\u003c/a>), the home here—like the one in Netflix’s \u003cem>Haunting of Hill House\u003c/em>—has a character and motivation all of its own. All of which is compounded by some spectacular over-acting by Oliver Reed, Karen Black and Bette Davis. The moral of the story? Don’t take on a summer rental if it comes with an old lady in the attic that you’re obliged to feed.\u003c/p>\n\u003cp>\u003cem>‘Burnt Offerings’ is streaming now on Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>Phantasm\u003c/em> (1979)\u003c/h4>\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/RIRVOepV9Ik'\n title='//www.youtube.com/embed/RIRVOepV9Ik'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Reanimated corpses. Hell portals. Severed fingers that turn into insects. Flying silver spheres with spikes. Horny teens getting stabbed in cemeteries. Evil minions that may or may not have been inspired by \u003cem>Star Wars\u003c/em> Jawas. Absolutely nothing about \u003cem>Phantasm\u003c/em> makes any sense at all. (\u003cem>At all\u003c/em>!) But if you want to see Dunsmuir House again, while also feeling like you’ve taken strong hallucinogens, this is a good one to watch back-to-back with \u003cem>Burnt Offerings\u003c/em>.\u003c/p>\n\u003cp>\u003cem>‘Phantasm’ is streaming now on Pluto TV, the Roku Channel and Tubi.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>The Birds\u003c/em> (1963)\u003c/h4>\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/ydLJtKlVVZw'\n title='//www.youtube.com/embed/ydLJtKlVVZw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Let’s be real. If seagulls and their tiny evil faces decided tomorrow that humans needed to be eradicated, they could probably pull it off. Throw every other bird on Earth into the mix and, as one Bodega Bay bystander states in the middle of this Alfred Hitchcock classic, “Why, if that happened, we wouldn’t have a chance.” (It’s worth also keeping in mind that \u003ca href=\"https://www.mercurynews.com/2015/12/07/this-hitchcock-movie-was-inspired-by-crab-toxin-frenzy-in-capitola/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Birds\u003c/em> was inspired by a real-life event\u003c/a> in which a Northern California town was attacked en masse by seabirds, in 1961.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>‘]Witnessing San Francisco’s Melanie Daniels (charmingly played by Tippi Hedren) slowly devolve from a self-assured, independent practical joker to a traumatized shell is genuinely perturbing here. And not a little harrowing now that we know about \u003ca href=\"https://variety.com/2017/film/news/tippi-hedren-alfred-hitchcock-the-birds-sexual-harassment-1202637959/\" target=\"_blank\" rel=\"noopener noreferrer\">Hitchcock’s appalling treatment of Hedren\u003c/a> in real life. But the lure of \u003cem>The Birds\u003c/em> remains (Bodega Bay continues to be a hotspot for Hitchcock tourists), as does the lore. Unsubstantiated rumors persist that the Bay Area’s crow population increased enormously after Hitchcock released the birds into the wild at the end of filming. Just pray they don’t turn on us one day…\u003c/p>\n\u003cp>\u003cem>‘The Birds’ is streaming now on Netflix.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>The Fog\u003c/em> (1980)\u003c/h4>\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/fUyunS1hGyQ'\n title='//www.youtube.com/embed/fUyunS1hGyQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>The Fog\u003c/em> is the kind of unintentionally hilarious horror movie that is best watched in groups, with some sort of drinking game fashioned after it. Drink every time someone says “Mrs Kobritz”! Drink every time a dead body lands on Jamie Lee Curtis! Drink every time some idiot doesn’t notice there’s a rotting, hook-handed pirate ghost directly next to them?\u003c/p>\n\u003cp>Primarily filmed in Point Reyes (with some Bodega Bay and L.A. thrown in), \u003cem>The Fog\u003c/em> is a movie that came really close to making some salient points about the sins of our forefathers, only to sacrifice it all for plumes of dry ice and a hearty amount of face-stabbing.\u003c/p>\n\u003cp>\u003cem>‘The Fog’ is streaming now on Amazon Prime.\u003c/em>\u003c/p>\n\u003ch4>\u003cem>Invasion of the Body Snatchers\u003c/em> (1978)\u003c/h4>\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/vc_0dlmSq7I'\n title='//www.youtube.com/embed/vc_0dlmSq7I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Did the disturbing \u003ca href=\"https://www.imdb.com/title/tt0049366/?ref_=fn_al_tt_3\" target=\"_blank\" rel=\"noopener noreferrer\">1956 classic\u003c/a> \u003cem>need\u003c/em> a more high-tech do-over? Not really. But boy oh boy, did it get a good one. The casting for the 1978 remake was damn near perfect (hello, young Jeff Goldblum!), and paranoia and panic is so thoroughly seeped into every scene, you can’t help but feel completely immersed in the characters’ nightmare, as one-by-one they’re replaced with alien replicas.\u003c/p>\n\u003cp>\u003cem>Invasion\u003c/em> is also that rare San Francisco movie that includes Things That Locals Like, including Sutro Tower, Bimbo’s, the Broadway tunnel, and even (\u003cem>gasp!\u003c/em>) the Tenderloin. Plus! It contains the Donald Sutherland scene—\u003ca href=\"https://tenor.com/view/donald-sutherland-pod-people-podpeople-body-gif-10811761\" target=\"_blank\" rel=\"noopener noreferrer\">you already know the one\u003c/a>—that launched a thousand gifs. A true horror classic and a scary little love letter to San Francisco.\u003c/p>\n\u003cp>\u003cem>‘Invasion of the Body Snatchers’ is streaming now on Amazon Prime. (The 1956 original is also free on the Roku Channel, should you fancy a double feature.)\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Ever since streaming became a thing, I’ve wondered why more people who make TV don’t take advantage of its freedoms.\u003c/p>\n\u003cp>Sure, creatives talk often about how they’re making 10-hour movies. But that’s frequently just empty bluster to cover for projects which feel like skeletal ideas stretched over too many hours, or a jumble of plotpoints shoehorned uneasily into episodes aimed mostly at boosting engagement.\u003c/p>\n\u003cp>[aside postid='arts_13965841']And then a project comes along like Apple TV+’s \u003cem>Disclaimer\u003c/em>. This seven-episode series uses the breadth and sophistication of streaming to tell a tale which evolves steadily, appearing to be one thing before morphing into something else.\u003c/p>\n\u003cp>In the process, it subverts expectations to ask pointed questions of both the characters and its audience.\u003c/p>\n\u003ch3>A woman who has it all faces her deepest secret\u003c/h3>\n\u003cp>It all begins with Cate Blanchett’s character Catherine Ravenscroft. She’s a journalist and documentary filmmaker successful enough to earn a high-profile award presented by CNN star Christiane Amanpour one moment, and credibly fool a co-worker into thinking Jodie Foster will star in a movie adaptation the next.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She is the sort of high-achieving, work-focused alpha female that Blanchett plays so magnificently — see 2022’s Oscar-nominated \u003ca href=\"https://video.kqed.org/video/tar-hd4vxb/\">\u003cem>Tar\u003c/em>\u003c/a> — flanked by a well-meaning but feckless husband and an emotionally floundering son.\u003c/p>\n\u003cfigure id=\"attachment_13966484\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966484\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis.png\" alt=\"A man and woman stand in a kitchen with large windows talking to their adolescent son.\" width=\"2000\" height=\"1201\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-800x480.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-1020x613.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-768x461.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-1536x922.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-1920x1153.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kodi Smit-McPhee plays Nicholas, Catherine’s son, while Sacha Baron Cohen plays her husband, Robert Ravenscroft. \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Living a glamorously upper middle class life, Catherine is a character easy to envy and suspect — so when a novel shows up in her mail which presents a lightly fictionalized story of her extra-marital encounter with a young man decades ago, it’s tough to find sympathy for a woman who seems to have betrayed everyone in her life.\u003c/p>\n\u003cp>[aside postid='arts_13966239']The book, titled \u003cem>The Perfect Stranger\u003c/em>, comes prefaced with an ominous, um, disclaimer: “Any resemblance to persons living or dead is not a coincidence.”\u003c/p>\n\u003cp>The novel paints a picture of horrific self-absorption Catherine is desperate to keep hidden. It details how a woman had an affair with a young man who later drowned trying to save her son, leading the woman to tell police she didn’t know him to cover up their connection.\u003c/p>\n\u003cp>A journalist renowned for exposing others’ secrets seems to have a terrible one of her own.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=so6XoqZgbVM\u003c/p>\n\u003ch3>A story that moves carefully\u003c/h3>\n\u003cp>It is difficult to explain the many twists this narrative takes without dropping spoilers that will ruin the experience. And some may feel the plot — crafted with an auteur’s flair by writer/director Alfonso Cuarón, based on a 2015 novel by Renee Knight — is too predictable and outlandish to land with the power he so obviously intends.\u003c/p>\n\u003cp>[aside postid='arts_13965835']But I found myself swept away by Cuarón’s patient, attentive style. (You’ll spend way too much time wondering about the inner life of a cat which constantly pops up in Catherine’s home at the oddest moments, framed artfully by the director’s lens.) This is a story that moves carefully in revealing its secrets, but never completes an episode without delivering forward momentum, leaving you with new clues, bigger questions and a desire to learn more.\u003c/p>\n\u003cp>Cuarón, a Mexican filmmaker whose name is associated with ambitious movies like \u003cem>Gravity \u003c/em>and \u003cem>Roma\u003c/em>, assembles an ace cast here. Sacha Baron Cohen is convincingly emasculated as Catherine’s entitled husband Robert and Oscar nominee Kodi Smit-McPhee brings maximum emo energy as their drug-addled son, Nicholas.\u003c/p>\n\u003cp>But it is Kevin Kline who is the revelation, even though he’s turned in Oscar, Emmy and Tony-winning work for decades. An American often cast as the prototypical yank, here Kline expertly plays a quietly caustic British widower — retired private school teacher Stephen Brigstocke, devastated after the loss of his wife.\u003c/p>\n\u003cfigure id=\"attachment_13966485\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966485\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk.png\" alt=\"A man with white hair leans across a table in a dark bar or restaurant.\" width=\"2000\" height=\"1298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-800x519.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-1020x662.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-768x498.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-1536x997.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-1920x1246.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kevin Kline as Stephen Brigstocke. \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With an immaculate accent and disheveled style, Kline plays Brigstocke as a man grieving over a family life atomized by loss, stumbling on an ambitious, merciless plan for revenge.\u003c/p>\n\u003cp>He blames Catherine for the death of his son, which happened after the two met years ago. Brigstocke vows to make her pay, in part, by circulating the book.\u003c/p>\n\u003ch3>Shifting narrators bring different perspectives\u003c/h3>\n\u003cp>Even the narration is complicated here. While Kline’s character often reveals his thoughts by speaking directly to the viewer, Catherine’s ideas are rendered by an omniscient female narrator speaking \u003cem>about\u003c/em> her, sometimes sounding like the voice of the book itself. (And yes, it can be confusing, possibly on purpose). There are also flashbacks featuring Kline playing Brigstocke as a younger man and a different actress, Leila George, playing the younger version of Catherine.\u003c/p>\n\u003cp>[aside postid='arts_13966394']It all services a tale exploring the power of storytelling and the danger of assumptions leveraged to make us believe.\u003c/p>\n\u003cp>Yes, the ending is dramatic while spotlighting those ideas in stark terms — some may even find it overly manipulative and a little too pat.\u003c/p>\n\u003cp>But I reveled in a well-told tale that truly earned every second of its seven-episode length, allowing a master filmmaker the time, talent and resources to weave a story perfectly suited for the streaming space.\u003c/p>\n\u003cp>Here’s hoping a few other folks working in this industry are paying close attention.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Disclaimer’ is streaming now on Apple TV+.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She is the sort of high-achieving, work-focused alpha female that Blanchett plays so magnificently — see 2022’s Oscar-nominated \u003ca href=\"https://video.kqed.org/video/tar-hd4vxb/\">\u003cem>Tar\u003c/em>\u003c/a> — flanked by a well-meaning but feckless husband and an emotionally floundering son.\u003c/p>\n\u003cfigure id=\"attachment_13966484\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966484\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis.png\" alt=\"A man and woman stand in a kitchen with large windows talking to their adolescent son.\" width=\"2000\" height=\"1201\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-800x480.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-1020x613.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-768x461.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-1536x922.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/dis-1920x1153.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kodi Smit-McPhee plays Nicholas, Catherine’s son, while Sacha Baron Cohen plays her husband, Robert Ravenscroft. \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Living a glamorously upper middle class life, Catherine is a character easy to envy and suspect — so when a novel shows up in her mail which presents a lightly fictionalized story of her extra-marital encounter with a young man decades ago, it’s tough to find sympathy for a woman who seems to have betrayed everyone in her life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The book, titled \u003cem>The Perfect Stranger\u003c/em>, comes prefaced with an ominous, um, disclaimer: “Any resemblance to persons living or dead is not a coincidence.”\u003c/p>\n\u003cp>The novel paints a picture of horrific self-absorption Catherine is desperate to keep hidden. It details how a woman had an affair with a young man who later drowned trying to save her son, leading the woman to tell police she didn’t know him to cover up their connection.\u003c/p>\n\u003cp>A journalist renowned for exposing others’ secrets seems to have a terrible one of her own.\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/so6XoqZgbVM'\n title='//www.youtube.com/embed/so6XoqZgbVM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>A story that moves carefully\u003c/h3>\n\u003cp>It is difficult to explain the many twists this narrative takes without dropping spoilers that will ruin the experience. And some may feel the plot — crafted with an auteur’s flair by writer/director Alfonso Cuarón, based on a 2015 novel by Renee Knight — is too predictable and outlandish to land with the power he so obviously intends.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But I found myself swept away by Cuarón’s patient, attentive style. (You’ll spend way too much time wondering about the inner life of a cat which constantly pops up in Catherine’s home at the oddest moments, framed artfully by the director’s lens.) This is a story that moves carefully in revealing its secrets, but never completes an episode without delivering forward momentum, leaving you with new clues, bigger questions and a desire to learn more.\u003c/p>\n\u003cp>Cuarón, a Mexican filmmaker whose name is associated with ambitious movies like \u003cem>Gravity \u003c/em>and \u003cem>Roma\u003c/em>, assembles an ace cast here. Sacha Baron Cohen is convincingly emasculated as Catherine’s entitled husband Robert and Oscar nominee Kodi Smit-McPhee brings maximum emo energy as their drug-addled son, Nicholas.\u003c/p>\n\u003cp>But it is Kevin Kline who is the revelation, even though he’s turned in Oscar, Emmy and Tony-winning work for decades. An American often cast as the prototypical yank, here Kline expertly plays a quietly caustic British widower — retired private school teacher Stephen Brigstocke, devastated after the loss of his wife.\u003c/p>\n\u003cfigure id=\"attachment_13966485\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966485\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk.png\" alt=\"A man with white hair leans across a table in a dark bar or restaurant.\" width=\"2000\" height=\"1298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-800x519.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-1020x662.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-768x498.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-1536x997.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/kk-1920x1246.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kevin Kline as Stephen Brigstocke. \u003ccite>(Apple TV+)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With an immaculate accent and disheveled style, Kline plays Brigstocke as a man grieving over a family life atomized by loss, stumbling on an ambitious, merciless plan for revenge.\u003c/p>\n\u003cp>He blames Catherine for the death of his son, which happened after the two met years ago. Brigstocke vows to make her pay, in part, by circulating the book.\u003c/p>\n\u003ch3>Shifting narrators bring different perspectives\u003c/h3>\n\u003cp>Even the narration is complicated here. While Kline’s character often reveals his thoughts by speaking directly to the viewer, Catherine’s ideas are rendered by an omniscient female narrator speaking \u003cem>about\u003c/em> her, sometimes sounding like the voice of the book itself. (And yes, it can be confusing, possibly on purpose). There are also flashbacks featuring Kline playing Brigstocke as a younger man and a different actress, Leila George, playing the younger version of Catherine.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It all services a tale exploring the power of storytelling and the danger of assumptions leveraged to make us believe.\u003c/p>\n\u003cp>Yes, the ending is dramatic while spotlighting those ideas in stark terms — some may even find it overly manipulative and a little too pat.\u003c/p>\n\u003cp>But I reveled in a well-told tale that truly earned every second of its seven-episode length, allowing a master filmmaker the time, talent and resources to weave a story perfectly suited for the streaming space.\u003c/p>\n\u003cp>Here’s hoping a few other folks working in this industry are paying close attention.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Disclaimer’ is streaming now on Apple TV+.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "barry-mcgee-new-era-berggruen-interview",
"title": "Barry McGee Enters a New Era: ‘It’s a Rebirth, of Some Sort’",
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"headTitle": "Barry McGee Enters a New Era: ‘It’s a Rebirth, of Some Sort’ | KQED",
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"content": "\u003cp>Inside Berggruen Gallery, at the opening of his first solo show in San Francisco since 2015, Barry McGee stood against the front wall, surrounded by a crush of 20 people. The gallery’s lights dimmed for closing time, but its large crowd stayed put: art renegades with skateboards, backpacks, sketchbooks and denim jackets, drinking Modelo and smoking blunts outside, and then another, far smaller contingent of obviously wealthy art-world people.\u003c/p>\n\u003cp>This is not a new dichotomy for Barry McGee. A globally known artist shown in major museums and biennials all over the world, McGee has retained the artistic approach that made him a key figure in the Mission School. His style has immediacy, and constancy; as a holdover from his graffiti days, he still prefers to work under pressure.\u003c/p>\n\u003cfigure id=\"attachment_13966457\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966457\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_8391.jpg\" alt=\"\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_8391.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_8391-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_8391-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_8391-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_8391-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_8391-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_8391-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Barry McGee, at left, signs books for fans at the opening reception for ‘Barry McGee: Old Mystified’ on Sept. 27, 2024, at Berggruen Gallery in San Francisco. \u003ccite>(Courtesy Berggruen Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a pivotal time for McGee. Having left the gallery Ratio 3 — now \u003ca href=\"https://www.kqed.org/arts/13925929/ratio-3-san-francisco-gallery-closing-after-20-years\">closed\u003c/a> — and separated from his wife, he’s immersed himself in working, often until 4 a.m. “It’s one of my favorite places to go, and just get lost and in the work somehow,” he told me. “With this new independence, I have to ground myself every now and then, and know when to stop, or to go outside and breathe.”\u003c/p>\n\u003cp>At this moment, which, at age 58, he calls “a rebirth,” it was the right time to get McGee’s thoughts on the San Francisco underground, his unease at success in the art world, the current graffiti landscape and what his art practice looks like these days.\u003c/p>\n\u003cp>\u003cem>Interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13966065\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966065\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241003-BARRY-MCGEE-MD-01-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241003-BARRY-MCGEE-MD-01-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241003-BARRY-MCGEE-MD-01-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241003-BARRY-MCGEE-MD-01-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241003-BARRY-MCGEE-MD-01-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241003-BARRY-MCGEE-MD-01-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241003-BARRY-MCGEE-MD-01-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241003-BARRY-MCGEE-MD-01-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Barry McGee on KQED’s rooftop in San Francisco on Oct. 3, 2024, with the Mission District in the background. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>It’s been almost 10 years since your \u003ca href=\"https://www.sfgate.com/art/article/Barry-McGee-s-latest-exhibit-looks-at-his-Bay-6670485.php\">last big gallery show\u003c/a> here in San Francisco. Why has it been so long?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I’m not sure exactly why. I’ve done things in other places, like Los Angeles. The San Francisco gallery scene has done the shift where young galleries are artist-run spaces now, and there’s John Berggruen and maybe two or three others that are true San Francisco galleries, that are still kind of putting along.\u003c/p>\n\u003cp>Someone had dropped out of a slot at John Berggruen, and I could tell they were anxious to have it filled. And somehow, in the art circuit, people know I can do something within two weeks. I’m like the go-to when someone drops out. So it was about two and a half weeks, a quick turnaround.\u003c/p>\n\u003cp>Over 20 years ago, John and I had done a project. So it seemed like the right fit, and a nice time to do it.\u003c/p>\n\u003cp>\u003cstrong>I was really impressed by just how much work is in this show. What made this show so robust? Have you felt more productive lately?\u003c/strong>\u003c/p>\n\u003cp>I like making artwork. It’s what I do. And it comes pretty easy to me. I like the pressure, obviously. If someone needs something done within a week, or better yet, like three days, I can usually get something assembled pretty quickly.\u003c/p>\n\u003cfigure id=\"attachment_13966456\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966456\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000636.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000636.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000636-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000636-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000636-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000636-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000636-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000636-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The opening reception for ‘Barry McGee: Old Mystified’ on Sept. 27, 2024, at Berggruen Gallery in San Francisco. \u003ccite>(Courtesy Berggruen Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I want to get your thoughts on the current state of the art scene here in San Francisco. Rents are insanely unaffordable. \u003ca href=\"https://www.kqed.org/arts/tag/sfai\">SFAI\u003c/a> has closed, and the only other art school here \u003ca href=\"https://www.sfchronicle.com/entertainment/article/sf-cca-art-college-19717095.php\">is struggling\u003c/a>. And the underground, from which you sprung, is still alive, but, I think, nowhere near as strong. Are you worried about the future for artists in San Francisco? \u003c/strong>\u003c/p>\n\u003cp>I used to be worried more, but I feel like the underground art scene is maybe the strongest I’ve ever seen it, right now. It feels diverse, and completely detached from the system that’s in place for artists. Even the nonprofits that I grew up on, like New Langton Arts, Southern Exposure, the Luggage Store — from art school, you’d get handed fairly softly to these nonprofits to show your work, or to help you develop your work, or write grants. But now it feels like that’s completely eliminated.\u003c/p>\n\u003cp>So from what I’ve seen, it’s just kids just having shows in garages, or in any space they can find. It feels good in the best way possible, like it’s not for the commerce. I mean, it’s always good to sell something, or for someone to love something enough to buy it. But it feels like it’s coming from a really honest place that I haven’t seen for a long time.\u003c/p>\n\u003cfigure id=\"attachment_13966460\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966460\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/roseskateboards.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/roseskateboards.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/roseskateboards-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/roseskateboards-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/roseskateboards-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/roseskateboards-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/roseskateboards-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/roseskateboards-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Skateboards were a common sight at the opening reception for ‘Barry McGee: Old Mystified’ on Sept. 27, 2024, at Berggruen Gallery in San Francisco. \u003ccite>(Courtesy Berggruen Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>It sounds like what you’re saying is, even in what was considered underground circles in the ’90s, there was an apparatus through smaller nonprofits to be in the system. And now people are saying, “We’re going to do our own thing, we don’t need you.”\u003c/strong>\u003c/p>\n\u003cp>Yeah, I come from the generation where there were still NEA grants. Like, you could write grants, and a lot of times you could get them. And now that’s not there anymore.\u003c/p>\n\u003cp>I see shows that are as good as any gallery at, like, Adobe Books, or garages in Daly City. I think artists always know how to get the work out there. When the system’s not in place, or if they never grew up with the system, the kids will just do it naturally. They’ll find the place for it. They’ll do it outdoors if they have to. Some of the best shows I’ve seen were in outdoor abandoned spaces, where they just do it for one night and bands play.\u003c/p>\n\u003cp>I think it’s going to be a great couple of years coming up. And in my honest opinion, it feels like nothing I’ve seen before. Which is always a good thing in the arts.\u003c/p>\n\u003cfigure id=\"attachment_13966455\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966455\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000657.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000657.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000657-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000657-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000657-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000657-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000657-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000657-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A crowd spills out onto Hawthorne Street at the opening reception for ‘Barry McGee: Old Mystified’ on Sept. 27, 2024, at Berggruen Gallery in San Francisco. \u003ccite>(Courtesy Berggruen Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I walked to your opening past YBCA and SFMOMA, these giant institutions that have been criticized for being more about money than about presenting Bay Area art. And it was great to walk down the block and turn the corner, and see so many people spilling out on the sidewalk, and be like, “Yes! Look at this happening, in such close proximity!”\u003c/strong>\u003c/p>\n\u003cp>Yeah, that was nice. I mean, I think I understand the dilemma they’re in. They can’t be as spontaneous. Their decisions are like five years out that they’re making. So the art can be completely stale by the time it’s on the wall, or it’s not what kids are into. That’s how it was when I used to go to the museum, even when it was on Van Ness, in the old building. There was nothing that ever spoke to me, or connected. There’s fantastic museums in this country, but I feel like San Francisco’s a little bit still in New York or whatever the latest fashion is with artists.\u003c/p>\n\u003cp>\u003cstrong>You mean adhering to national trends rather than having a finger on the pulse of the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>I feel like the Oakland Museum does a much better job being in touch and in tune with the community. I think SFMOMA’s gotten a lot better. But I don’t know. I’m not running that place. I know they’re trying.\u003c/p>\n\u003cfigure id=\"attachment_13966458\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/cc7c58ff98749cc2cb61bd96b0bc984c.jpg\" alt=\"\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13966458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/cc7c58ff98749cc2cb61bd96b0bc984c.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/cc7c58ff98749cc2cb61bd96b0bc984c-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/cc7c58ff98749cc2cb61bd96b0bc984c-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/cc7c58ff98749cc2cb61bd96b0bc984c-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/cc7c58ff98749cc2cb61bd96b0bc984c-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/cc7c58ff98749cc2cb61bd96b0bc984c-1024x1536.jpg 1024w\" sizes=\"(max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Barry McGee, ‘Untitled,’ 2023; acrylic and vinyl on panel. \u003ccite>(Courtesy the artist and Perrotin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>At your opening, you were surrounded, filling sketchbooks and drawing on skateboards for fans and friends. And just 10 feet away was a price list that ranges from $6,000 to $250,000. I wondered: Do any of your old friends or people from the early Mission scene give you a hard time for essentially being too successful?\u003c/strong>\u003c/p>\n\u003cp>They should, for sure. I mean, I’ve had mild success. I’m aware of it. I know John Berggruen is a blue chip gallery. I know that they sell work that’s much more expensive, and historically sits in art history in a much cleaner way than my work would. So that’s part of the fun of it.\u003c/p>\n\u003cp>\u003cstrong>You mean people talking shit about your success is part of the fun of it? \u003c/strong>\u003c/p>\n\u003cp>No, there’s truth to that! I mean, the idea of success in America is a very, very peculiar thing. I’m super uncomfortable with it. I know what I need to get by, and to make everything happen to keep my studio afloat. I wish I had a little more success — it would make things easier at this age — but it is what it is.\u003c/p>\n\u003cp>Obviously you have to sell stuff to keep afloat, but success to me is not being a pig about it, and not screwing people over to get ahead. All the principles that were instilled in me at a younger age.\u003c/p>\n\u003cfigure id=\"attachment_13966454\" class=\"wp-caption aligncenter\" style=\"max-width: 1766px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/8186eeb5005d1c9744a75922c12618ef-scaled.jpg\" alt=\"\" width=\"1766\" height=\"2560\" class=\"size-full wp-image-13966454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/8186eeb5005d1c9744a75922c12618ef-scaled.jpg 1766w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/8186eeb5005d1c9744a75922c12618ef-800x1160.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/8186eeb5005d1c9744a75922c12618ef-1020x1479.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/8186eeb5005d1c9744a75922c12618ef-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/8186eeb5005d1c9744a75922c12618ef-768x1114.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/8186eeb5005d1c9744a75922c12618ef-1059x1536.jpg 1059w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/8186eeb5005d1c9744a75922c12618ef-1412x2048.jpg 1412w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/8186eeb5005d1c9744a75922c12618ef-1920x2784.jpg 1920w\" sizes=\"(max-width: 1766px) 100vw, 1766px\">\u003cfigcaption class=\"wp-caption-text\">Barry McGee, ‘Untitled,’ 2023; gouache on paper in artist frame. \u003ccite>(Courtesy the artist and Perrotin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You’re one of the few visual artists I’ve talked to who seems conflicted about it. It’s refreshing that you acknowledge that tension. \u003c/strong>\u003c/p>\n\u003cp>The idea of success in America is just insane. It’s like a successful war somewhere, you know, “a successful operation.” That idea is disgusting to me. I’m into the whole community rising up, ideally, in a perfect world. That’s what happened with graffiti. It started with a few thousand kids, and now it feels like 100,000 kids, worldwide, that are interested in having something to say, and doing it on their terms, for better or for worse. I’m not a big advocate for everything that’s out there, but it’s grown in this way that’s both beautiful and scary at the same time.\u003c/p>\n\u003cp>\u003cstrong>Why do you say it’s scary?\u003c/strong>\u003c/p>\n\u003cp>Sometimes I look at it and I’m just like, “This is insane, how kids are hanging off of buildings and rappelling off of upper decks of bridges just to get their name out there.” It’s daunting. That’s what you have to do today to get recognized. I mean, this is coming from someone that doesn’t even do graffiti anymore, but I still look at it all the time, and I’m still enamored by it. But you have to be rappelling off a building or hanging off a ledge, and making your final piece look like you’re not twitching or shaking.\u003c/p>\n\u003cfigure id=\"attachment_13966463\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966463\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000608.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000608.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000608-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000608-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000608-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000608-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000608-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000608-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The downstairs of Berggruen Gallery, showcasing the work of others, during the opening of ‘Barry McGee: Old Mystified’ on Sept. 27. 2024. \u003ccite>(Courtesy Berggruen Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You mentioned lifting up the community, and it made me think of the act of giving over space in your exhibition to others, in the downstairs room, which seems to be a tradition for you. Why do you do that? Why do you say, “I’m going to cram this with hundreds of small framed works and photos by my friends?” \u003c/strong>\u003c/p>\n\u003cp>As I get older, a solo show is the epitome of the things that I don’t like in art. It doesn’t feel right to command that much space, or to have your name on that much square footage. My favorite shows are always group shows, or shows in a community center or bookstore, where it just looks good. And that’s one of the few things you can control in art, while you’re alive, is how you want your art to look. I like the way it looks when you have all that different visual energy in one room, sitting next to each other. I hate to say it in this way, but it feels healing to have that much visual information in a room. It feels warm, and inclusive. It feels the opposite of how the upstairs feels, with all the white walls and space, and the formula of selling artwork.\u003c/p>\n\u003cp>\u003cstrong>Is there a particular piece down there that you were especially happy to include? \u003c/strong>\u003c/p>\n\u003cp>John was kind enough to let us pull any of the artwork that he had in his inventory, which included these amazing Philip Gustons from the ’60s. There’s a Kiki Smith, who, when I was in art school, she was the blue chip artist at the time. And then there’s some Robert Crumbs in there that are two-sided, which I probably took out of a sketchbook, that are sitting next to some of my degenerate art friends. When I have the opportunity, it’s amazing to be able to put the work together like that, when it doesn’t belong, and when physically, it can’t happen in any other situation.\u003c/p>\n\u003cp>\u003cstrong>I like it as a sort of egalitarian equalizer. You have R. Crumb right next to Bozo Texino, you know? And, like, what really is the difference?\u003c/strong>\u003c/p>\n\u003cp>There’s no difference. They all hang equally in my world. I’ve studied line my entire life, and I like the Bozo Texino line just as much as Philip Guston’s. It’s just that one’s on a freight train, and one’s sitting in the vault of a museum for years and years, without people being able to see it.\u003c/p>\n\u003cfigure id=\"attachment_13966461\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966461\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1152c3e1588d327899c433cd3b18e640.jpg\" alt=\"\" width=\"2000\" height=\"1346\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1152c3e1588d327899c433cd3b18e640.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1152c3e1588d327899c433cd3b18e640-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1152c3e1588d327899c433cd3b18e640-1020x686.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1152c3e1588d327899c433cd3b18e640-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1152c3e1588d327899c433cd3b18e640-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1152c3e1588d327899c433cd3b18e640-1536x1034.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1152c3e1588d327899c433cd3b18e640-1920x1292.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Barry McGee, ‘Untitled,’ 2024; acrylic and gouache on panel. \u003ccite>(Courtesy Berggruen Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>There’s a story a lot of people have heard about you, about quietly slipping your art into the piles of amateur art at thrift stores around the Mission, so people who stumble upon it can buy it for, like, 50¢. Do you still do that at all?\u003c/strong>\u003c/p>\n\u003cp>I don’t do that anymore. But I do work under aliases, which is fun, to do something similar, under aliases. Where you just leave stuff, or have a cafe show — that style, where it feels more detached from myself.\u003c/p>\n\u003cp>\u003cstrong>Detached from Barry McGee, the personal brand that you probably never wanted to be a personal brand?\u003c/strong>\u003c/p>\n\u003cp>I definitely don’t want to be a personal brand, but yeah, it feels detached from that, which I like. That’s what graffiti is still good for. I like that you can still write a political statement about something, or about a shitty situation, along a wall, and nobody really knows who did it. Which I feel is one of the last great things. It’s amazing what a 99¢ can of spray paint can achieve still.\u003c/p>\n\u003cp>There’s someone close in my neighborhood in the Mission, an old anarchist type, that spray paints on bedsheets, ties shoes on the bottom and throws it over the freeway overpass. They get the message out there for the traffic coming into the city. And it looks good, it gets their point across, it gets you to think, and it sits there for a couple days before the city workers take it down. I like that crude, old-fashioned approach. It’s built into the DNA of San Francisco, a little bit. People in the Bay Area know how to get their point across, to get their dissatisfaction across in efficient ways. It’s better and faster than the internet, I feel like.\u003c/p>\n\u003cfigure id=\"attachment_13966464\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966464\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/3b0a3d750ff8476889489fb0097ed3fd.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/3b0a3d750ff8476889489fb0097ed3fd.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/3b0a3d750ff8476889489fb0097ed3fd-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/3b0a3d750ff8476889489fb0097ed3fd-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/3b0a3d750ff8476889489fb0097ed3fd-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/3b0a3d750ff8476889489fb0097ed3fd-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/3b0a3d750ff8476889489fb0097ed3fd-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/3b0a3d750ff8476889489fb0097ed3fd-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Barry McGee, ‘Untitled,’ 2024; acrylic, gouache, ink and aerosol on paper. In the background, at left, is a piece made on a circular tabletop, found discarded on the street in the Mission District. ‘Everyone knows San Francisco has the best trash,’ says McGee.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>It seems like you’re in a prolific stage — what’s next for you?\u003c/strong>\u003c/p>\n\u003cp>Probably some things that you wouldn’t know that I did, for sure. I feel like I’m an activist in that way. And I’m mad that I still am, at 58. Because from 17 ’til now, it’s been nonstop protests with very little change. I understand change takes a long time, but there’s nothing that I could gauge in my lifetime that was just like, “Wow, that worked. That changed something.” Which makes me think that history just completely repeats itself, and so you have to do it constantly.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Barry McGee: Old Mystified’ is on view through Nov. 7, 2024, at Berggruen Gallery in San Francisco. Details here.\u003c/em>\u003c/p>\n\n",
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"title": "Barry McGee Enters a New Era: ‘It’s a Rebirth, of Some Sort’ | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Inside Berggruen Gallery, at the opening of his first solo show in San Francisco since 2015, Barry McGee stood against the front wall, surrounded by a crush of 20 people. The gallery’s lights dimmed for closing time, but its large crowd stayed put: art renegades with skateboards, backpacks, sketchbooks and denim jackets, drinking Modelo and smoking blunts outside, and then another, far smaller contingent of obviously wealthy art-world people.\u003c/p>\n\u003cp>This is not a new dichotomy for Barry McGee. A globally known artist shown in major museums and biennials all over the world, McGee has retained the artistic approach that made him a key figure in the Mission School. His style has immediacy, and constancy; as a holdover from his graffiti days, he still prefers to work under pressure.\u003c/p>\n\u003cfigure id=\"attachment_13966457\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966457\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_8391.jpg\" alt=\"\" width=\"2000\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_8391.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_8391-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_8391-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_8391-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_8391-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_8391-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/IMG_8391-1920x1440.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Barry McGee, at left, signs books for fans at the opening reception for ‘Barry McGee: Old Mystified’ on Sept. 27, 2024, at Berggruen Gallery in San Francisco. \u003ccite>(Courtesy Berggruen Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a pivotal time for McGee. Having left the gallery Ratio 3 — now \u003ca href=\"https://www.kqed.org/arts/13925929/ratio-3-san-francisco-gallery-closing-after-20-years\">closed\u003c/a> — and separated from his wife, he’s immersed himself in working, often until 4 a.m. “It’s one of my favorite places to go, and just get lost and in the work somehow,” he told me. “With this new independence, I have to ground myself every now and then, and know when to stop, or to go outside and breathe.”\u003c/p>\n\u003cp>At this moment, which, at age 58, he calls “a rebirth,” it was the right time to get McGee’s thoughts on the San Francisco underground, his unease at success in the art world, the current graffiti landscape and what his art practice looks like these days.\u003c/p>\n\u003cp>\u003cem>Interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13966065\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966065\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241003-BARRY-MCGEE-MD-01-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241003-BARRY-MCGEE-MD-01-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241003-BARRY-MCGEE-MD-01-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241003-BARRY-MCGEE-MD-01-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241003-BARRY-MCGEE-MD-01-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241003-BARRY-MCGEE-MD-01-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241003-BARRY-MCGEE-MD-01-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/241003-BARRY-MCGEE-MD-01-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Barry McGee on KQED’s rooftop in San Francisco on Oct. 3, 2024, with the Mission District in the background. \u003ccite>(Martin do Nascimento/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>It’s been almost 10 years since your \u003ca href=\"https://www.sfgate.com/art/article/Barry-McGee-s-latest-exhibit-looks-at-his-Bay-6670485.php\">last big gallery show\u003c/a> here in San Francisco. Why has it been so long?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’m not sure exactly why. I’ve done things in other places, like Los Angeles. The San Francisco gallery scene has done the shift where young galleries are artist-run spaces now, and there’s John Berggruen and maybe two or three others that are true San Francisco galleries, that are still kind of putting along.\u003c/p>\n\u003cp>Someone had dropped out of a slot at John Berggruen, and I could tell they were anxious to have it filled. And somehow, in the art circuit, people know I can do something within two weeks. I’m like the go-to when someone drops out. So it was about two and a half weeks, a quick turnaround.\u003c/p>\n\u003cp>Over 20 years ago, John and I had done a project. So it seemed like the right fit, and a nice time to do it.\u003c/p>\n\u003cp>\u003cstrong>I was really impressed by just how much work is in this show. What made this show so robust? Have you felt more productive lately?\u003c/strong>\u003c/p>\n\u003cp>I like making artwork. It’s what I do. And it comes pretty easy to me. I like the pressure, obviously. If someone needs something done within a week, or better yet, like three days, I can usually get something assembled pretty quickly.\u003c/p>\n\u003cfigure id=\"attachment_13966456\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966456\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000636.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000636.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000636-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000636-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000636-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000636-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000636-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000636-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The opening reception for ‘Barry McGee: Old Mystified’ on Sept. 27, 2024, at Berggruen Gallery in San Francisco. \u003ccite>(Courtesy Berggruen Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I want to get your thoughts on the current state of the art scene here in San Francisco. Rents are insanely unaffordable. \u003ca href=\"https://www.kqed.org/arts/tag/sfai\">SFAI\u003c/a> has closed, and the only other art school here \u003ca href=\"https://www.sfchronicle.com/entertainment/article/sf-cca-art-college-19717095.php\">is struggling\u003c/a>. And the underground, from which you sprung, is still alive, but, I think, nowhere near as strong. Are you worried about the future for artists in San Francisco? \u003c/strong>\u003c/p>\n\u003cp>I used to be worried more, but I feel like the underground art scene is maybe the strongest I’ve ever seen it, right now. It feels diverse, and completely detached from the system that’s in place for artists. Even the nonprofits that I grew up on, like New Langton Arts, Southern Exposure, the Luggage Store — from art school, you’d get handed fairly softly to these nonprofits to show your work, or to help you develop your work, or write grants. But now it feels like that’s completely eliminated.\u003c/p>\n\u003cp>So from what I’ve seen, it’s just kids just having shows in garages, or in any space they can find. It feels good in the best way possible, like it’s not for the commerce. I mean, it’s always good to sell something, or for someone to love something enough to buy it. But it feels like it’s coming from a really honest place that I haven’t seen for a long time.\u003c/p>\n\u003cfigure id=\"attachment_13966460\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966460\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/roseskateboards.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/roseskateboards.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/roseskateboards-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/roseskateboards-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/roseskateboards-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/roseskateboards-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/roseskateboards-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/roseskateboards-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Skateboards were a common sight at the opening reception for ‘Barry McGee: Old Mystified’ on Sept. 27, 2024, at Berggruen Gallery in San Francisco. \u003ccite>(Courtesy Berggruen Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>It sounds like what you’re saying is, even in what was considered underground circles in the ’90s, there was an apparatus through smaller nonprofits to be in the system. And now people are saying, “We’re going to do our own thing, we don’t need you.”\u003c/strong>\u003c/p>\n\u003cp>Yeah, I come from the generation where there were still NEA grants. Like, you could write grants, and a lot of times you could get them. And now that’s not there anymore.\u003c/p>\n\u003cp>I see shows that are as good as any gallery at, like, Adobe Books, or garages in Daly City. I think artists always know how to get the work out there. When the system’s not in place, or if they never grew up with the system, the kids will just do it naturally. They’ll find the place for it. They’ll do it outdoors if they have to. Some of the best shows I’ve seen were in outdoor abandoned spaces, where they just do it for one night and bands play.\u003c/p>\n\u003cp>I think it’s going to be a great couple of years coming up. And in my honest opinion, it feels like nothing I’ve seen before. Which is always a good thing in the arts.\u003c/p>\n\u003cfigure id=\"attachment_13966455\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966455\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000657.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000657.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000657-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000657-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000657-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000657-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000657-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000657-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A crowd spills out onto Hawthorne Street at the opening reception for ‘Barry McGee: Old Mystified’ on Sept. 27, 2024, at Berggruen Gallery in San Francisco. \u003ccite>(Courtesy Berggruen Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>I walked to your opening past YBCA and SFMOMA, these giant institutions that have been criticized for being more about money than about presenting Bay Area art. And it was great to walk down the block and turn the corner, and see so many people spilling out on the sidewalk, and be like, “Yes! Look at this happening, in such close proximity!”\u003c/strong>\u003c/p>\n\u003cp>Yeah, that was nice. I mean, I think I understand the dilemma they’re in. They can’t be as spontaneous. Their decisions are like five years out that they’re making. So the art can be completely stale by the time it’s on the wall, or it’s not what kids are into. That’s how it was when I used to go to the museum, even when it was on Van Ness, in the old building. There was nothing that ever spoke to me, or connected. There’s fantastic museums in this country, but I feel like San Francisco’s a little bit still in New York or whatever the latest fashion is with artists.\u003c/p>\n\u003cp>\u003cstrong>You mean adhering to national trends rather than having a finger on the pulse of the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>I feel like the Oakland Museum does a much better job being in touch and in tune with the community. I think SFMOMA’s gotten a lot better. But I don’t know. I’m not running that place. I know they’re trying.\u003c/p>\n\u003cfigure id=\"attachment_13966458\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/cc7c58ff98749cc2cb61bd96b0bc984c.jpg\" alt=\"\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13966458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/cc7c58ff98749cc2cb61bd96b0bc984c.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/cc7c58ff98749cc2cb61bd96b0bc984c-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/cc7c58ff98749cc2cb61bd96b0bc984c-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/cc7c58ff98749cc2cb61bd96b0bc984c-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/cc7c58ff98749cc2cb61bd96b0bc984c-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/cc7c58ff98749cc2cb61bd96b0bc984c-1024x1536.jpg 1024w\" sizes=\"(max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Barry McGee, ‘Untitled,’ 2023; acrylic and vinyl on panel. \u003ccite>(Courtesy the artist and Perrotin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>At your opening, you were surrounded, filling sketchbooks and drawing on skateboards for fans and friends. And just 10 feet away was a price list that ranges from $6,000 to $250,000. I wondered: Do any of your old friends or people from the early Mission scene give you a hard time for essentially being too successful?\u003c/strong>\u003c/p>\n\u003cp>They should, for sure. I mean, I’ve had mild success. I’m aware of it. I know John Berggruen is a blue chip gallery. I know that they sell work that’s much more expensive, and historically sits in art history in a much cleaner way than my work would. So that’s part of the fun of it.\u003c/p>\n\u003cp>\u003cstrong>You mean people talking shit about your success is part of the fun of it? \u003c/strong>\u003c/p>\n\u003cp>No, there’s truth to that! I mean, the idea of success in America is a very, very peculiar thing. I’m super uncomfortable with it. I know what I need to get by, and to make everything happen to keep my studio afloat. I wish I had a little more success — it would make things easier at this age — but it is what it is.\u003c/p>\n\u003cp>Obviously you have to sell stuff to keep afloat, but success to me is not being a pig about it, and not screwing people over to get ahead. All the principles that were instilled in me at a younger age.\u003c/p>\n\u003cfigure id=\"attachment_13966454\" class=\"wp-caption aligncenter\" style=\"max-width: 1766px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/8186eeb5005d1c9744a75922c12618ef-scaled.jpg\" alt=\"\" width=\"1766\" height=\"2560\" class=\"size-full wp-image-13966454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/8186eeb5005d1c9744a75922c12618ef-scaled.jpg 1766w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/8186eeb5005d1c9744a75922c12618ef-800x1160.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/8186eeb5005d1c9744a75922c12618ef-1020x1479.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/8186eeb5005d1c9744a75922c12618ef-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/8186eeb5005d1c9744a75922c12618ef-768x1114.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/8186eeb5005d1c9744a75922c12618ef-1059x1536.jpg 1059w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/8186eeb5005d1c9744a75922c12618ef-1412x2048.jpg 1412w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/8186eeb5005d1c9744a75922c12618ef-1920x2784.jpg 1920w\" sizes=\"(max-width: 1766px) 100vw, 1766px\">\u003cfigcaption class=\"wp-caption-text\">Barry McGee, ‘Untitled,’ 2023; gouache on paper in artist frame. \u003ccite>(Courtesy the artist and Perrotin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You’re one of the few visual artists I’ve talked to who seems conflicted about it. It’s refreshing that you acknowledge that tension. \u003c/strong>\u003c/p>\n\u003cp>The idea of success in America is just insane. It’s like a successful war somewhere, you know, “a successful operation.” That idea is disgusting to me. I’m into the whole community rising up, ideally, in a perfect world. That’s what happened with graffiti. It started with a few thousand kids, and now it feels like 100,000 kids, worldwide, that are interested in having something to say, and doing it on their terms, for better or for worse. I’m not a big advocate for everything that’s out there, but it’s grown in this way that’s both beautiful and scary at the same time.\u003c/p>\n\u003cp>\u003cstrong>Why do you say it’s scary?\u003c/strong>\u003c/p>\n\u003cp>Sometimes I look at it and I’m just like, “This is insane, how kids are hanging off of buildings and rappelling off of upper decks of bridges just to get their name out there.” It’s daunting. That’s what you have to do today to get recognized. I mean, this is coming from someone that doesn’t even do graffiti anymore, but I still look at it all the time, and I’m still enamored by it. But you have to be rappelling off a building or hanging off a ledge, and making your final piece look like you’re not twitching or shaking.\u003c/p>\n\u003cfigure id=\"attachment_13966463\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966463\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000608.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000608.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000608-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000608-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000608-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000608-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000608-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/P1000608-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The downstairs of Berggruen Gallery, showcasing the work of others, during the opening of ‘Barry McGee: Old Mystified’ on Sept. 27. 2024. \u003ccite>(Courtesy Berggruen Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You mentioned lifting up the community, and it made me think of the act of giving over space in your exhibition to others, in the downstairs room, which seems to be a tradition for you. Why do you do that? Why do you say, “I’m going to cram this with hundreds of small framed works and photos by my friends?” \u003c/strong>\u003c/p>\n\u003cp>As I get older, a solo show is the epitome of the things that I don’t like in art. It doesn’t feel right to command that much space, or to have your name on that much square footage. My favorite shows are always group shows, or shows in a community center or bookstore, where it just looks good. And that’s one of the few things you can control in art, while you’re alive, is how you want your art to look. I like the way it looks when you have all that different visual energy in one room, sitting next to each other. I hate to say it in this way, but it feels healing to have that much visual information in a room. It feels warm, and inclusive. It feels the opposite of how the upstairs feels, with all the white walls and space, and the formula of selling artwork.\u003c/p>\n\u003cp>\u003cstrong>Is there a particular piece down there that you were especially happy to include? \u003c/strong>\u003c/p>\n\u003cp>John was kind enough to let us pull any of the artwork that he had in his inventory, which included these amazing Philip Gustons from the ’60s. There’s a Kiki Smith, who, when I was in art school, she was the blue chip artist at the time. And then there’s some Robert Crumbs in there that are two-sided, which I probably took out of a sketchbook, that are sitting next to some of my degenerate art friends. When I have the opportunity, it’s amazing to be able to put the work together like that, when it doesn’t belong, and when physically, it can’t happen in any other situation.\u003c/p>\n\u003cp>\u003cstrong>I like it as a sort of egalitarian equalizer. You have R. Crumb right next to Bozo Texino, you know? And, like, what really is the difference?\u003c/strong>\u003c/p>\n\u003cp>There’s no difference. They all hang equally in my world. I’ve studied line my entire life, and I like the Bozo Texino line just as much as Philip Guston’s. It’s just that one’s on a freight train, and one’s sitting in the vault of a museum for years and years, without people being able to see it.\u003c/p>\n\u003cfigure id=\"attachment_13966461\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966461\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1152c3e1588d327899c433cd3b18e640.jpg\" alt=\"\" width=\"2000\" height=\"1346\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1152c3e1588d327899c433cd3b18e640.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1152c3e1588d327899c433cd3b18e640-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1152c3e1588d327899c433cd3b18e640-1020x686.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1152c3e1588d327899c433cd3b18e640-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1152c3e1588d327899c433cd3b18e640-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1152c3e1588d327899c433cd3b18e640-1536x1034.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/1152c3e1588d327899c433cd3b18e640-1920x1292.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Barry McGee, ‘Untitled,’ 2024; acrylic and gouache on panel. \u003ccite>(Courtesy Berggruen Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>There’s a story a lot of people have heard about you, about quietly slipping your art into the piles of amateur art at thrift stores around the Mission, so people who stumble upon it can buy it for, like, 50¢. Do you still do that at all?\u003c/strong>\u003c/p>\n\u003cp>I don’t do that anymore. But I do work under aliases, which is fun, to do something similar, under aliases. Where you just leave stuff, or have a cafe show — that style, where it feels more detached from myself.\u003c/p>\n\u003cp>\u003cstrong>Detached from Barry McGee, the personal brand that you probably never wanted to be a personal brand?\u003c/strong>\u003c/p>\n\u003cp>I definitely don’t want to be a personal brand, but yeah, it feels detached from that, which I like. That’s what graffiti is still good for. I like that you can still write a political statement about something, or about a shitty situation, along a wall, and nobody really knows who did it. Which I feel is one of the last great things. It’s amazing what a 99¢ can of spray paint can achieve still.\u003c/p>\n\u003cp>There’s someone close in my neighborhood in the Mission, an old anarchist type, that spray paints on bedsheets, ties shoes on the bottom and throws it over the freeway overpass. They get the message out there for the traffic coming into the city. And it looks good, it gets their point across, it gets you to think, and it sits there for a couple days before the city workers take it down. I like that crude, old-fashioned approach. It’s built into the DNA of San Francisco, a little bit. People in the Bay Area know how to get their point across, to get their dissatisfaction across in efficient ways. It’s better and faster than the internet, I feel like.\u003c/p>\n\u003cfigure id=\"attachment_13966464\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966464\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/3b0a3d750ff8476889489fb0097ed3fd.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/3b0a3d750ff8476889489fb0097ed3fd.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/3b0a3d750ff8476889489fb0097ed3fd-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/3b0a3d750ff8476889489fb0097ed3fd-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/3b0a3d750ff8476889489fb0097ed3fd-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/3b0a3d750ff8476889489fb0097ed3fd-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/3b0a3d750ff8476889489fb0097ed3fd-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/3b0a3d750ff8476889489fb0097ed3fd-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Barry McGee, ‘Untitled,’ 2024; acrylic, gouache, ink and aerosol on paper. In the background, at left, is a piece made on a circular tabletop, found discarded on the street in the Mission District. ‘Everyone knows San Francisco has the best trash,’ says McGee.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>It seems like you’re in a prolific stage — what’s next for you?\u003c/strong>\u003c/p>\n\u003cp>Probably some things that you wouldn’t know that I did, for sure. I feel like I’m an activist in that way. And I’m mad that I still am, at 58. Because from 17 ’til now, it’s been nonstop protests with very little change. I understand change takes a long time, but there’s nothing that I could gauge in my lifetime that was just like, “Wow, that worked. That changed something.” Which makes me think that history just completely repeats itself, and so you have to do it constantly.\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>‘Barry McGee: Old Mystified’ is on view through Nov. 7, 2024, at Berggruen Gallery in San Francisco. Details here.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "This Night Market Puts Pacific Island Cuisine Front and Center",
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"content": "\u003cfigure id=\"attachment_13966376\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966376\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tomemoanas-poly-plate2.jpg\" alt=\"A platter of assorted Tongan stews and other Polynesian dishes.\" width=\"2000\" height=\"1608\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tomemoanas-poly-plate2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tomemoanas-poly-plate2-800x643.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tomemoanas-poly-plate2-1020x820.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tomemoanas-poly-plate2-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tomemoanas-poly-plate2-768x617.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tomemoanas-poly-plate2-1536x1235.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tomemoanas-poly-plate2-1920x1544.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A mixed platter from Tokemoana. The Tongan food business is one of several Pacific Island eateries that will be featured at the South Pacific Food Fest night market in East Palo Alto. \u003ccite>(Courtesy of Tokemoana Foods)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These days the Bay Area is awash with so many \u003ca href=\"https://www.kqed.org/arts/13963258/bay-area-night-markets-food-fall-guide-2024\">night markets\u003c/a>, it’s possible for a hardcore street food lover to hit one up almost every single weekend. But the latest market to touch down on the Peninsula is almost certainly the only one where hungry visitors can feast on Fijian meat pies, Tongan teriyaki-braised turkey tails and \u003ca href=\"https://www.instagram.com/p/DAwQyYUyxYK/?hl=en\">watermelon ’otai\u003c/a>, \u003ci>and \u003c/i>Hawaiian barbecue plate lunches.\u003c/p>\n\u003cp>In fact, \u003ca href=\"https://www.instagram.com/southpacificfoodfest/?hl=en\">South Pacific Food Fest\u003c/a> is the Bay Area’s only night market dedicated exclusively to Pacific Island culture and cuisine. The annual event’s second edition takes place this Saturday, Oct. 12, at \u003ca href=\"https://www.university-circle.com/\">University Circle\u003c/a> in East Palo Alto.\u003c/p>\n\u003cp>[aside postID='arts_13963258,arts_13911062']The night market is the brainchild of Fusi Taaga (of \u003ca href=\"https://www.instagram.com/tokemoanafoods/?hl=en\">Tokemoana Foods\u003c/a>) and Angelina Hurrell, both of whom have spent years selling their island dishes at food events all over Northern California.\u003c/p>\n\u003cp>As Taaga tells it, many Pacific Island food vendors are no stranger to the Bay Area festival circuit, but they’re often relegated to supporting actor status at big events (like, say, \u003ca href=\"https://sfoutsidelands.com/food-and-drink/taste-of-the-bay-area/\">Outside Lands\u003c/a>) where food isn’t the main focus. And while the Bay is home to plenty of large-scale AAPI food festivals, the reality is that these tend to be heavy on the “AA” and relatively light on the “PI,” with maybe only one or two vendors at the most representing all of the different islands in the South Pacific.\u003c/p>\n\u003cfigure id=\"attachment_13966381\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966381\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/south-pacific-food-fest-vendor.jpg\" alt=\"A vendor selling traditional woven crafts at a Pacific Islander festival.\" width=\"2000\" height=\"1377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/south-pacific-food-fest-vendor.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/south-pacific-food-fest-vendor-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/south-pacific-food-fest-vendor-1020x702.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/south-pacific-food-fest-vendor-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/south-pacific-food-fest-vendor-768x529.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/south-pacific-food-fest-vendor-1536x1058.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/south-pacific-food-fest-vendor-1920x1322.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A crafts vendor at last year’s inaugural South Pacific Food Fest. \u003ccite>(Courtesy of Tokemoana Foods)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In a lot of those spaces, the actual representation from Pacific Islanders is very minimal,” Taaga says. “It’s not really anyone’s fault.” So, she and Hurrell decided to create a space of their own — a festival where Polynesian/Pacific Islander cuisine would be front and center.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In short, Taaga says, “We wanted to create an event where Pacific Islanders do feel like it’s about them and this community.”\u003c/p>\n\u003cp>The night market aspect was mostly just to accommodate working people’s schedules and help create an atmosphere — with art, music and other cultural performances — where folks would want to stay and hang out for a while, instead of just grabbing a meal on the run.\u003c/p>\n\u003cp>This year’s South Pacific Food Fest will feature 16 food vendors, culled from over 60 applications—an outpouring of interest that speaks to the abundance of island food here in the Bay Area. In fact, the local Pacific Islander food scene’s robustness may come as a surprise to those outside of the community: Apart from the ubiquity of \u003ca href=\"https://www.kqed.org/arts/13911062/hawaiian-barbecue-bay-area-multicultural-oakland-ilava\">Hawaiian barbecue restaurants\u003c/a> across the region, many of these businesses are food trucks, pop-ups and catering operations. Often, they don’t have a brick-and-mortar presence and haven’t gotten a ton of press coverage.\u003c/p>\n\u003cfigure id=\"attachment_13966377\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966377\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Bula-mince-n-cheese-pie.jpg\" alt=\"Fijian meat pie cut open so that the meaty cross section is visible.\" width=\"2000\" height=\"2500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Bula-mince-n-cheese-pie.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Bula-mince-n-cheese-pie-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Bula-mince-n-cheese-pie-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Bula-mince-n-cheese-pie-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Bula-mince-n-cheese-pie-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Bula-mince-n-cheese-pie-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Bula-mince-n-cheese-pie-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Bula-mince-n-cheese-pie-1920x2400.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A Fijian mince and cheese pie from Bula Pies Fiji. \u003ccite>(Courtesy of Bula Pies Fiji)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What Taaga and Hurrell hope, then, is that the night market will help showcase the tremendous diversity of Pacific Island cuisine. Saturday’s food lineup will include flaky-crusted Fijian-style minced beef pies and smoked brisket pies from \u003ca href=\"https://www.instagram.com/bula.pies.fiji/?hl=en\">Bula Pies Fiji\u003c/a> and lamb curry from \u003ca href=\"https://www.instagram.com/fijianbbq/\">Fijian BBQ\u003c/a>. Tokemoana, whose brick-and-mortar restaurant in San Mateo closed last year, will sell Tongan braised turkey tails and feke (octopus in cream sauce). And the chef for \u003ca href=\"https://www.instagram.com/p/DA2RsuwPIfn/\">Saia’s Spot in East Palo Alto\u003c/a> — perhaps the Bay Area’s first Tongan restaurant whose heyday was during the early 2000s — is coming out of retirement to serve lu kapapulu, a Polynesian staple made with taro leaves and corned beef.\u003c/p>\n\u003cp>Meanwhile, other Pacific Islander–owned businesses will serve dishes not typically associated with the South Pacific — like \u003ca href=\"https://www.instagram.com/p/DAokxVUyJ2c/\">hibachi\u003c/a> plates and \u003ca href=\"https://www.instagram.com/p/DAhqJo7vZ6E/\">Cajun seafood boil\u003c/a>, prepared with an island twist. Dessert options will include \u003ca href=\"https://www.instagram.com/p/DAzWk1OSmO0/?hl=en\">Dole whip\u003c/a> and the Samoan cinnamon cake known as puligi. And yes, there will be plenty of \u003ca href=\"https://www.instagram.com/its_poly_bbq_/\">Hawaiian barbecue\u003c/a> too.\u003c/p>\n\u003cfigure id=\"attachment_13966379\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966379\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tokemoanas-turkey-tail-bowl.jpg\" alt=\"Braised turkey tails over rice in a small pot.\" width=\"2000\" height=\"1126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tokemoanas-turkey-tail-bowl.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tokemoanas-turkey-tail-bowl-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tokemoanas-turkey-tail-bowl-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tokemoanas-turkey-tail-bowl-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tokemoanas-turkey-tail-bowl-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tokemoanas-turkey-tail-bowl-1536x865.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tokemoanas-turkey-tail-bowl-1920x1081.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Braised turkey tails over rice — a Tongan specialty courtesy of Tokemoana. \u003ccite>(Courtesy of Tokemoana Foods)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Taaga recalls that when she first opened her diner-like San Mateo restaurant, so many American customers came and ordered things like teriyaki cheeseburgers and banana macadamia nut pancakes — in other words, dishes that aren’t really Tongan foods at all. But then they would see, and become curious about, the more traditional dishes on the menu.\u003c/p>\n\u003cp>She hopes the South Pacific Food Fest can function in a similar way. The event will, first and foremost, be an opportunity for the local Pacific Island community to come together. But she also hopes those outside of the community will come, perhaps drawn in by the promise of poke bowls and Hawaiian barbecue. And once they’re there? Hopefully, Taaga says, they’ll also try some of the lesser-known foods on offer.\u003c/p>\n\u003cp>“It’s an opportunity for these businesses to showcase their food and their culture to the outside world,” Taaga says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.eventbrite.com/e/south-pacific-food-fest-tickets-1039309180737?aff=oddtdtcreator\">\u003ci>South Pacific Food Fest\u003c/i>\u003c/a>\u003ci> will take place on Saturday, Oct. 12, from 4–10 p.m. at University Circle in East Palo Alto. Admission is free.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13966376\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966376\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tomemoanas-poly-plate2.jpg\" alt=\"A platter of assorted Tongan stews and other Polynesian dishes.\" width=\"2000\" height=\"1608\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tomemoanas-poly-plate2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tomemoanas-poly-plate2-800x643.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tomemoanas-poly-plate2-1020x820.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tomemoanas-poly-plate2-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tomemoanas-poly-plate2-768x617.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tomemoanas-poly-plate2-1536x1235.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tomemoanas-poly-plate2-1920x1544.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A mixed platter from Tokemoana. The Tongan food business is one of several Pacific Island eateries that will be featured at the South Pacific Food Fest night market in East Palo Alto. \u003ccite>(Courtesy of Tokemoana Foods)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These days the Bay Area is awash with so many \u003ca href=\"https://www.kqed.org/arts/13963258/bay-area-night-markets-food-fall-guide-2024\">night markets\u003c/a>, it’s possible for a hardcore street food lover to hit one up almost every single weekend. But the latest market to touch down on the Peninsula is almost certainly the only one where hungry visitors can feast on Fijian meat pies, Tongan teriyaki-braised turkey tails and \u003ca href=\"https://www.instagram.com/p/DAwQyYUyxYK/?hl=en\">watermelon ’otai\u003c/a>, \u003ci>and \u003c/i>Hawaiian barbecue plate lunches.\u003c/p>\n\u003cp>In fact, \u003ca href=\"https://www.instagram.com/southpacificfoodfest/?hl=en\">South Pacific Food Fest\u003c/a> is the Bay Area’s only night market dedicated exclusively to Pacific Island culture and cuisine. The annual event’s second edition takes place this Saturday, Oct. 12, at \u003ca href=\"https://www.university-circle.com/\">University Circle\u003c/a> in East Palo Alto.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The night market is the brainchild of Fusi Taaga (of \u003ca href=\"https://www.instagram.com/tokemoanafoods/?hl=en\">Tokemoana Foods\u003c/a>) and Angelina Hurrell, both of whom have spent years selling their island dishes at food events all over Northern California.\u003c/p>\n\u003cp>As Taaga tells it, many Pacific Island food vendors are no stranger to the Bay Area festival circuit, but they’re often relegated to supporting actor status at big events (like, say, \u003ca href=\"https://sfoutsidelands.com/food-and-drink/taste-of-the-bay-area/\">Outside Lands\u003c/a>) where food isn’t the main focus. And while the Bay is home to plenty of large-scale AAPI food festivals, the reality is that these tend to be heavy on the “AA” and relatively light on the “PI,” with maybe only one or two vendors at the most representing all of the different islands in the South Pacific.\u003c/p>\n\u003cfigure id=\"attachment_13966381\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966381\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/south-pacific-food-fest-vendor.jpg\" alt=\"A vendor selling traditional woven crafts at a Pacific Islander festival.\" width=\"2000\" height=\"1377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/south-pacific-food-fest-vendor.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/south-pacific-food-fest-vendor-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/south-pacific-food-fest-vendor-1020x702.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/south-pacific-food-fest-vendor-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/south-pacific-food-fest-vendor-768x529.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/south-pacific-food-fest-vendor-1536x1058.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/south-pacific-food-fest-vendor-1920x1322.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A crafts vendor at last year’s inaugural South Pacific Food Fest. \u003ccite>(Courtesy of Tokemoana Foods)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In a lot of those spaces, the actual representation from Pacific Islanders is very minimal,” Taaga says. “It’s not really anyone’s fault.” So, she and Hurrell decided to create a space of their own — a festival where Polynesian/Pacific Islander cuisine would be front and center.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In short, Taaga says, “We wanted to create an event where Pacific Islanders do feel like it’s about them and this community.”\u003c/p>\n\u003cp>The night market aspect was mostly just to accommodate working people’s schedules and help create an atmosphere — with art, music and other cultural performances — where folks would want to stay and hang out for a while, instead of just grabbing a meal on the run.\u003c/p>\n\u003cp>This year’s South Pacific Food Fest will feature 16 food vendors, culled from over 60 applications—an outpouring of interest that speaks to the abundance of island food here in the Bay Area. In fact, the local Pacific Islander food scene’s robustness may come as a surprise to those outside of the community: Apart from the ubiquity of \u003ca href=\"https://www.kqed.org/arts/13911062/hawaiian-barbecue-bay-area-multicultural-oakland-ilava\">Hawaiian barbecue restaurants\u003c/a> across the region, many of these businesses are food trucks, pop-ups and catering operations. Often, they don’t have a brick-and-mortar presence and haven’t gotten a ton of press coverage.\u003c/p>\n\u003cfigure id=\"attachment_13966377\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966377\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Bula-mince-n-cheese-pie.jpg\" alt=\"Fijian meat pie cut open so that the meaty cross section is visible.\" width=\"2000\" height=\"2500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Bula-mince-n-cheese-pie.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Bula-mince-n-cheese-pie-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Bula-mince-n-cheese-pie-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Bula-mince-n-cheese-pie-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Bula-mince-n-cheese-pie-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Bula-mince-n-cheese-pie-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Bula-mince-n-cheese-pie-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Bula-mince-n-cheese-pie-1920x2400.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">A Fijian mince and cheese pie from Bula Pies Fiji. \u003ccite>(Courtesy of Bula Pies Fiji)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What Taaga and Hurrell hope, then, is that the night market will help showcase the tremendous diversity of Pacific Island cuisine. Saturday’s food lineup will include flaky-crusted Fijian-style minced beef pies and smoked brisket pies from \u003ca href=\"https://www.instagram.com/bula.pies.fiji/?hl=en\">Bula Pies Fiji\u003c/a> and lamb curry from \u003ca href=\"https://www.instagram.com/fijianbbq/\">Fijian BBQ\u003c/a>. Tokemoana, whose brick-and-mortar restaurant in San Mateo closed last year, will sell Tongan braised turkey tails and feke (octopus in cream sauce). And the chef for \u003ca href=\"https://www.instagram.com/p/DA2RsuwPIfn/\">Saia’s Spot in East Palo Alto\u003c/a> — perhaps the Bay Area’s first Tongan restaurant whose heyday was during the early 2000s — is coming out of retirement to serve lu kapapulu, a Polynesian staple made with taro leaves and corned beef.\u003c/p>\n\u003cp>Meanwhile, other Pacific Islander–owned businesses will serve dishes not typically associated with the South Pacific — like \u003ca href=\"https://www.instagram.com/p/DAokxVUyJ2c/\">hibachi\u003c/a> plates and \u003ca href=\"https://www.instagram.com/p/DAhqJo7vZ6E/\">Cajun seafood boil\u003c/a>, prepared with an island twist. Dessert options will include \u003ca href=\"https://www.instagram.com/p/DAzWk1OSmO0/?hl=en\">Dole whip\u003c/a> and the Samoan cinnamon cake known as puligi. And yes, there will be plenty of \u003ca href=\"https://www.instagram.com/its_poly_bbq_/\">Hawaiian barbecue\u003c/a> too.\u003c/p>\n\u003cfigure id=\"attachment_13966379\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966379\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tokemoanas-turkey-tail-bowl.jpg\" alt=\"Braised turkey tails over rice in a small pot.\" width=\"2000\" height=\"1126\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tokemoanas-turkey-tail-bowl.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tokemoanas-turkey-tail-bowl-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tokemoanas-turkey-tail-bowl-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tokemoanas-turkey-tail-bowl-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tokemoanas-turkey-tail-bowl-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tokemoanas-turkey-tail-bowl-1536x865.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/Tokemoanas-turkey-tail-bowl-1920x1081.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Braised turkey tails over rice — a Tongan specialty courtesy of Tokemoana. \u003ccite>(Courtesy of Tokemoana Foods)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Taaga recalls that when she first opened her diner-like San Mateo restaurant, so many American customers came and ordered things like teriyaki cheeseburgers and banana macadamia nut pancakes — in other words, dishes that aren’t really Tongan foods at all. But then they would see, and become curious about, the more traditional dishes on the menu.\u003c/p>\n\u003cp>She hopes the South Pacific Food Fest can function in a similar way. The event will, first and foremost, be an opportunity for the local Pacific Island community to come together. But she also hopes those outside of the community will come, perhaps drawn in by the promise of poke bowls and Hawaiian barbecue. And once they’re there? Hopefully, Taaga says, they’ll also try some of the lesser-known foods on offer.\u003c/p>\n\u003cp>“It’s an opportunity for these businesses to showcase their food and their culture to the outside world,” Taaga says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.eventbrite.com/e/south-pacific-food-fest-tickets-1039309180737?aff=oddtdtcreator\">\u003ci>South Pacific Food Fest\u003c/i>\u003c/a>\u003ci> will take place on Saturday, Oct. 12, from 4–10 p.m. at University Circle in East Palo Alto. Admission is free.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This just in: Cher will be appearing at the Golden Gate Theatre in San Francisco, and tickets go on sale Thursday, Oct. 10, at 9 a.m.\u003c/p>\n\u003cp>The global superstar won’t be singing at the Dec. 4 appearance, but rather talking about her life in a casual one-hour conversation with former \u003cem>San Francisco Chronicle\u003c/em> music critic Joel Selvin. Attendees will each receive a copy of her new memoir. \u003c/p>\n\u003cp>And what a life it is: Sonny Bono! Variety TV! \u003ca href=\"https://www.youtube.com/watch?v=iIJFfFzorhg\">Those dresses\u003c/a>! \u003cem>Mask\u003c/em>! Autotune! Dating a \u003ca href=\"https://people.com/music/alexander-edwards-facts/\">music producer from Oakland 40 years her junior\u003c/a>! It’s a life that could fill multiple books. (Maybe that’s why her memoir is titled \u003cem>Cher: The Memoir, Part One\u003c/em>.)\u003c/p>\n\u003cp>Here in San Francisco, Cher has a huge fanbase, so expect tickets to sell quickly. \u003ca href=\"https://www.broadwaysf.com/events/cher-unscripted/\">Find them here at the BroadwaySF.com site\u003c/a> at 9 a.m. Thursday. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cfigure id=\"attachment_13966291\" class=\"wp-caption aligncenter\" style=\"max-width: 1375px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966291\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/countdown.png\" alt=\"A book cover featuring a photograph of a 1960-era TV studio, getting set up.\" width=\"1375\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/countdown.png 1375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/countdown-800x1164.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/countdown-1020x1484.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/countdown-160x233.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/countdown-768x1117.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/countdown-1056x1536.png 1056w\" sizes=\"auto, (max-width: 1375px) 100vw, 1375px\">\u003cfigcaption class=\"wp-caption-text\">‘Countdown 1960: The Behind-the-Scenes Story of the 312 Days that Changed America’s Politics Forever’ by Chris Wallace. \u003ccite>(Random House Large Print)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Countdown 1960: The Behind-the-Scenes Story of the 312 Days that Changed America’s Politics Forever\u003c/em> is a look at a critical period in U.S. history that holds lessons for today.\u003c/p>\n\u003cp>CNN news anchor Chris Wallace starts the book in January 1960, when U.S. Sen. John F. Kennedy of Massachusetts declared his candidacy for the presidency during a divided time in United States politics. We are introduced to mobsters, Hollywood movie stars, labor bosses and Cuba’s revolutionary leader Fidel Castro.\u003c/p>\n\u003cp>[aside postid='arts_13966099']It was the year that U.S. presidential campaigns entered the modern era, with televised debates and slick advertising. The achingly close contest was not unlike the current lead-up to the 2024 election pitting Democratic Vice President Kamala Harris against Republican Donald Trump.\u003c/p>\n\u003cp>Like now, there were charges of voter fraud and a stolen election. The results were so tight that Americans stayed up well past midnight to hear the final count.\u003c/p>\n\u003cp>The book is the latest in Wallace’s \u003cem>Countdown\u003c/em> series of popular histories, following his best-selling \u003cem>Countdown 1945: The Extraordinary Story of the Atomic Bomb and the 116 Days that Changed the World\u003c/em>, and \u003cem>Countdown bin Laden: The Untold Story of the 247-Day Hunt to Bring the Mastermind of 9/11 to Justice.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This time, Wallace, the son of CBS broadcaster Mike Wallace, takes us behind the scenes to view the machinations of the 1960 Democratic National Convention that led to Kennedy’s nomination over Lyndon B. Johnson, later chosen as his running mate. Kennedy went on to become the first Catholic and youngest person elected U.S. president.\u003c/p>\n\u003cp>[aside postid='arts_13966153']Kennedy narrowly defeated Republican Richard M. Nixon, who ultimately decided not to contest the results despite reports of voting irregularities in Illinois and Texas. He said he could not think of a worse example for young nations trying to adopt free elections.\u003c/p>\n\u003cp>As we approach another consequential election this year, the book is a reminder of how 1960 was also a deeply perilous time for America. It also was a moment the nation survived because of patriotism and courage.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Countdown 1960: The Behind-the-Scenes Story of the 312 Days that Changed America’s Politics Forever’\u003c/em> \u003cem>by Chris Wallace is released on Oct. 22, 2024, via Random House Large Print.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Kennedy narrowly defeated Republican Richard M. Nixon, who ultimately decided not to contest the results despite reports of voting irregularities in Illinois and Texas. He said he could not think of a worse example for young nations trying to adopt free elections.\u003c/p>\n\u003cp>As we approach another consequential election this year, the book is a reminder of how 1960 was also a deeply perilous time for America. It also was a moment the nation survived because of patriotism and courage.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Countdown 1960: The Behind-the-Scenes Story of the 312 Days that Changed America’s Politics Forever’\u003c/em> \u003cem>by Chris Wallace is released on Oct. 22, 2024, via Random House Large Print.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13966246\" class=\"wp-caption aligncenter\" style=\"max-width: 1377px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13966246\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ph-blue.png\" alt=\"A book cover featuring an open window looking out onto the sea.\" width=\"1377\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ph-blue.png 1377w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ph-blue-800x1162.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ph-blue-1020x1481.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ph-blue-160x232.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ph-blue-768x1115.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/ph-blue-1058x1536.png 1058w\" sizes=\"(max-width: 1377px) 100vw, 1377px\">\u003cfigcaption class=\"wp-caption-text\">‘The Blue Hour’ by Paula Hawkins. \u003ccite>(Mariner Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since bursting on the scene in 2015 with \u003cem>The Girl on a Train\u003c/em>, Paula Hawkins has established herself as a reliable writer of psychological thrillers set in the U.K. \u003cem>The Blue Hour\u003c/em> doesn’t plow any new ground on that front, but it’s a tight story with interesting characters that keeps you engaged until the end.\u003c/p>\n\u003cp>Set mostly on an isolated Scottish island named Eris, where a famous painter and ceramicist named Vanessa Chapman once lived and worked, the story begins with a discovery. A bone in one of Chapman’s sculptures, now owned by an estate, may be human. That revelation links together the three main characters — Chapman’s longtime companion Grace Winters, a Chapman scholar who works for Fairburn Estate named James Becker, and Julian, Chapman’s ex-husband who went missing 20 years ago.\u003c/p>\n\u003cp>[aside postid='arts_13966153']Told in the present, in flashbacks from two decades ago, and via excerpts from Chapman’s diary, the plot moves along steadily. It’s not really a keep-the-reader-guessing type of thriller, but more of a slow build that culminates in a shocking ending.\u003c/p>\n\u003cp>Hawkins weaves artistic themes and the creative process through the novel. Chapman’s diary entries are filled with references to the landscape that inspires her — the “terrible chaos” of waves, the sky “miraculous azure or threatening gunmetal.” The title refers to a time at dusk before the stars come out when the color leaches from the day but it’s not yet full dark. Hawkins’ prose often mirrors Chapman’s artistic eye. Here’s Becker’s first glimpse of Grace: “Her face is soft, cheeks relaxing gently into jowls, and her colors are muddied: from her bowl of hair to her slightly protuberant eyes … she is painted in varying shades of brown.”\u003c/p>\n\u003cp>The novel’s setting is a character unto itself. Eris is reachable from the mainland only when the tide is out, in two six-hour chunks each day, and so it’s a fine place to bury secrets — physical and psychological. Learning those secrets is the fun of the novel, and there are few authors writing today who drip them out, page by excruciating page, like Hawkins.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>’The Blue Hour’ by Paula Hawkins is released on Oct. 29, 2024, via Mariner Books.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Told in the present, in flashbacks from two decades ago, and via excerpts from Chapman’s diary, the plot moves along steadily. It’s not really a keep-the-reader-guessing type of thriller, but more of a slow build that culminates in a shocking ending.\u003c/p>\n\u003cp>Hawkins weaves artistic themes and the creative process through the novel. Chapman’s diary entries are filled with references to the landscape that inspires her — the “terrible chaos” of waves, the sky “miraculous azure or threatening gunmetal.” The title refers to a time at dusk before the stars come out when the color leaches from the day but it’s not yet full dark. Hawkins’ prose often mirrors Chapman’s artistic eye. Here’s Becker’s first glimpse of Grace: “Her face is soft, cheeks relaxing gently into jowls, and her colors are muddied: from her bowl of hair to her slightly protuberant eyes … she is painted in varying shades of brown.”\u003c/p>\n\u003cp>The novel’s setting is a character unto itself. Eris is reachable from the mainland only when the tide is out, in two six-hour chunks each day, and so it’s a fine place to bury secrets — physical and psychological. Learning those secrets is the fun of the novel, and there are few authors writing today who drip them out, page by excruciating page, like Hawkins.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>’The Blue Hour’ by Paula Hawkins is released on Oct. 29, 2024, via Mariner Books.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Pharus Jonathan Young is gifted beyond measure, and affirms that fact every time he opens his mouth to sing. \u003c/p>\n\u003cp>You see, there’s a sheen on his pipes, informed by his ancestry, the self-assured values of his theology and the knowledge that he, and no one else, needs to be the centerpiece of the choir at Charles R. Drew Preparatory School for Boys.\u003c/p>\n\u003cp>But young men who aren’t terribly masculine-presenting don’t get the privilege of being themselves. While Pharus’ quick and sly tongue matches his perfect pitch, every note he sings with persuasion is a threat to the other young Black men at the school.\u003c/p>\n\u003cfigure id=\"attachment_13966179\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13966179\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Miles Meckling as Bobby in Shotgun Players’ production of Tarell Alvin McCraney’s ‘Choir Boy.’ \u003ccite>(Ben Krantz/Courtesy Shotgun Players)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Shotgun Players’ tension-rich production of Tarell Alvin McCraney’s \u003cem>Choir Boy\u003c/em>, a young, effeminate teen faces self-imposed pressure. But the weight he creates for himself can’t compare to the heaviness placed on him by others. \u003c/p>\n\u003cp>With a voice built and blessed by the Lord, Pharus (William Schmidt) is a high school junior who is chosen to lead the choir at commencement exercises. Yet after Pharus decides to react onstage to a homophobic slur quietly delivered mid-song by Bobby (Miles Meckling), Headmaster Marrow (Fred Pitts) must take punitive action. After all, the audience had been loaded with well-connected Drew men, and words like “honor” and “integrity” are bandied about constantly at Drew, issued to students as a way of life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While the headmaster demands answers, Pharus’ commitment to being all-Drew through and through means that outing the homophobe isn’t an option. \u003c/p>\n\u003cp>It is too simplistic to suggest Choir Boy is a coming-of-age tale, but the nuances of similar plays about teens navigating very specific challenges are present in McCraney’s story. Director Darryl V. Jones implements an insightful staging that allows the flow of information and ideas to move smoothly through 110 consecutive minutes, even with a fair share of different locations. And while at times the acting can be uneven, even a little hokey, the devices that tell the story are implemented with a keen, sharp eye. \u003c/p>\n\u003cfigure id=\"attachment_13966178\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing.jpg\" alt=\"\" width=\"2000\" height=\"1185\" class=\"size-full wp-image-13966178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing-800x474.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing-1020x604.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing-768x455.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing-1536x910.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing-1920x1138.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) William Schmidt as Pharus, Omar Stewart as David, Wesley Barker as AJ, Brandon DiPaola – Ensemble, Miles Meckling as Bobby and Chachi Delgado as Junior in Shotgun Players’ production of Tarell Alvin McCraney’s ‘Choir Boy.’ \u003ccite>(Ben Krantz/Courtesy Shotgun Players)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A highlight is how music and dance is built to express the richness of the story, and its intersection of religion and sexuality. Luscious harmonies are carefully crafted by music director Daniel Alley, and recordings of multiple numbers, brilliantly engineered by Michael Kelly, create a smoking-hot fusion of sound that houses many surprises expressed through Ashby Stage’s speakers. The stepping in the show, driven home with a thunderous, authoritative boom, is masterful in the hands of choreographer AeJay Anotonis Marquis.\u003c/p>\n\u003cp>The strength of McCraney’s script, as well as Jones implementing his specific vision, is found in the fact that stock characteristics of teenage students do not dominate the storytelling. The students have piercing conversations about a variety of topics: how honor and trust applies in real time, gospel’s true role during chattel slavery, how to live an authentic life while not asking and not telling. Their brittle hearts break with each new discovery that shapes their future worldview, but those same hearts soar when the clouds of adolescence part for even the briefest of moments. \u003c/p>\n\u003cp>The unsung hero is AJ (Wesley Barker), who feels no threat by having a roommate many others would never allow in their presence. AJ is playful, handsome and deep. With AJ, Pharus can embrace his full self, accepting the soft in his dorm room as he deals constantly with the rough everywhere else. Barker advocates beautifully for AJ in a perceptive performance.\u003c/p>\n\u003cfigure id=\"attachment_13966180\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ.jpg\" alt=\"\" width=\"2000\" height=\"1408\" class=\"size-full wp-image-13966180\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ-1020x718.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ-1536x1081.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ-1920x1352.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Wesley Barker as AJ in Shotgun Players’ production of Tarell Alvin McCraney’s ‘Choir Boy.’ \u003ccite>(Ben Krantz/Courtesy Shotgun Players)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Others round out the cast swimmingly. David (Omar Stewart) carries a mysterious bent, harboring secrets of his own, with Stewart keeping his David on the periphery of fuller engagement. Yet his voice is unmistakable, each note coming from a darker and more guttural place that ultimately leads to his brutal gut punch.\u003c/p>\n\u003cp>As Mr. Pendleton, the only white character, Malcolm B. Rodgers is able to offer the cringiest cringe while still assuring that his turn as the bumbling teacher has some depth. And as the headmaster, Pitts nicely portrays conflicts that so many carry when reckoning with the issues of authority, morality and tolerance. \u003c/p>\n\u003cp>In one of the play’s tenderest and most poignant moments, AJ invites Pharus into his bed at the end of a long day. It turns out, with the weight of the world on Pharus’ broad, suffocated shoulders, the offer of a shared pillow and some sweet bonding over a good night’s sleep is the most beautiful gift one friend can offer the other.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Choir Boy’ runs through Oct. 26 at Shotgun Players’ Ashby Stage in Berkeley. \u003ca href=\"https://shotgunplayers.org/Online/default.asp\">Details here\u003c/a>.\u003c/em> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pharus Jonathan Young is gifted beyond measure, and affirms that fact every time he opens his mouth to sing. \u003c/p>\n\u003cp>You see, there’s a sheen on his pipes, informed by his ancestry, the self-assured values of his theology and the knowledge that he, and no one else, needs to be the centerpiece of the choir at Charles R. Drew Preparatory School for Boys.\u003c/p>\n\u003cp>But young men who aren’t terribly masculine-presenting don’t get the privilege of being themselves. While Pharus’ quick and sly tongue matches his perfect pitch, every note he sings with persuasion is a threat to the other young Black men at the school.\u003c/p>\n\u003cfigure id=\"attachment_13966179\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13966179\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/221_Miles_Meckling_Lockeroom-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Miles Meckling as Bobby in Shotgun Players’ production of Tarell Alvin McCraney’s ‘Choir Boy.’ \u003ccite>(Ben Krantz/Courtesy Shotgun Players)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Shotgun Players’ tension-rich production of Tarell Alvin McCraney’s \u003cem>Choir Boy\u003c/em>, a young, effeminate teen faces self-imposed pressure. But the weight he creates for himself can’t compare to the heaviness placed on him by others. \u003c/p>\n\u003cp>With a voice built and blessed by the Lord, Pharus (William Schmidt) is a high school junior who is chosen to lead the choir at commencement exercises. Yet after Pharus decides to react onstage to a homophobic slur quietly delivered mid-song by Bobby (Miles Meckling), Headmaster Marrow (Fred Pitts) must take punitive action. After all, the audience had been loaded with well-connected Drew men, and words like “honor” and “integrity” are bandied about constantly at Drew, issued to students as a way of life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While the headmaster demands answers, Pharus’ commitment to being all-Drew through and through means that outing the homophobe isn’t an option. \u003c/p>\n\u003cp>It is too simplistic to suggest Choir Boy is a coming-of-age tale, but the nuances of similar plays about teens navigating very specific challenges are present in McCraney’s story. Director Darryl V. Jones implements an insightful staging that allows the flow of information and ideas to move smoothly through 110 consecutive minutes, even with a fair share of different locations. And while at times the acting can be uneven, even a little hokey, the devices that tell the story are implemented with a keen, sharp eye. \u003c/p>\n\u003cfigure id=\"attachment_13966178\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing.jpg\" alt=\"\" width=\"2000\" height=\"1185\" class=\"size-full wp-image-13966178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing-800x474.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing-1020x604.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing-768x455.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing-1536x910.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/122_BoysDancing-1920x1138.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) William Schmidt as Pharus, Omar Stewart as David, Wesley Barker as AJ, Brandon DiPaola – Ensemble, Miles Meckling as Bobby and Chachi Delgado as Junior in Shotgun Players’ production of Tarell Alvin McCraney’s ‘Choir Boy.’ \u003ccite>(Ben Krantz/Courtesy Shotgun Players)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A highlight is how music and dance is built to express the richness of the story, and its intersection of religion and sexuality. Luscious harmonies are carefully crafted by music director Daniel Alley, and recordings of multiple numbers, brilliantly engineered by Michael Kelly, create a smoking-hot fusion of sound that houses many surprises expressed through Ashby Stage’s speakers. The stepping in the show, driven home with a thunderous, authoritative boom, is masterful in the hands of choreographer AeJay Anotonis Marquis.\u003c/p>\n\u003cp>The strength of McCraney’s script, as well as Jones implementing his specific vision, is found in the fact that stock characteristics of teenage students do not dominate the storytelling. The students have piercing conversations about a variety of topics: how honor and trust applies in real time, gospel’s true role during chattel slavery, how to live an authentic life while not asking and not telling. Their brittle hearts break with each new discovery that shapes their future worldview, but those same hearts soar when the clouds of adolescence part for even the briefest of moments. \u003c/p>\n\u003cp>The unsung hero is AJ (Wesley Barker), who feels no threat by having a roommate many others would never allow in their presence. AJ is playful, handsome and deep. With AJ, Pharus can embrace his full self, accepting the soft in his dorm room as he deals constantly with the rough everywhere else. Barker advocates beautifully for AJ in a perceptive performance.\u003c/p>\n\u003cfigure id=\"attachment_13966180\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ.jpg\" alt=\"\" width=\"2000\" height=\"1408\" class=\"size-full wp-image-13966180\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ-1020x718.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ-1536x1081.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/076Wesley_Barker_as_AJ-1920x1352.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Wesley Barker as AJ in Shotgun Players’ production of Tarell Alvin McCraney’s ‘Choir Boy.’ \u003ccite>(Ben Krantz/Courtesy Shotgun Players)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Others round out the cast swimmingly. David (Omar Stewart) carries a mysterious bent, harboring secrets of his own, with Stewart keeping his David on the periphery of fuller engagement. Yet his voice is unmistakable, each note coming from a darker and more guttural place that ultimately leads to his brutal gut punch.\u003c/p>\n\u003cp>As Mr. Pendleton, the only white character, Malcolm B. Rodgers is able to offer the cringiest cringe while still assuring that his turn as the bumbling teacher has some depth. And as the headmaster, Pitts nicely portrays conflicts that so many carry when reckoning with the issues of authority, morality and tolerance. \u003c/p>\n\u003cp>In one of the play’s tenderest and most poignant moments, AJ invites Pharus into his bed at the end of a long day. It turns out, with the weight of the world on Pharus’ broad, suffocated shoulders, the offer of a shared pillow and some sweet bonding over a good night’s sleep is the most beautiful gift one friend can offer the other.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Choir Boy’ runs through Oct. 26 at Shotgun Players’ Ashby Stage in Berkeley. \u003ca href=\"https://shotgunplayers.org/Online/default.asp\">Details here\u003c/a>.\u003c/em> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For most of its history, Hollywood made its money by putting stars the public liked to watch in stories that wouldn’t be worth watching without them. These days, such star-driven films are falling out of fashion — except on our streamers.\u003c/p>\n\u003cp>That’s where you’ll find \u003cem>Wolfs\u003c/em>, an AppleTV+ vehicle that features \u003ca href=\"https://www.kqed.org/arts/13890684/george-clooney-says-midnight-sky-is-about-our-desperate-need-to-be-with-loved-ones\">George Clooney\u003c/a> and \u003ca href=\"https://www.kqed.org/pop/tag/brad-pitt\">Brad Pitt\u003c/a> skating through a crime plot in glamorously grizzled mode. They play two professional “fixers” — they’ll do \u003cem>anything \u003c/em>to clean up a client’s mess — who collide while working the same job. Written and directed by Jon Watts (who did a popular \u003ca href=\"https://www.kqed.org/pop/91487/origin-al-sin-what-hollywood-must-learn-from-spider-man-homecoming\">Spider-Man\u003c/a> reboot), \u003cem>Wolfs\u003c/em> matters more for its stars than for the characters they play.\u003c/p>\n\u003cp>[aside postid='arts_13966048']The action begins when a New York politico played by Amy Ryan has a casual fling at a posh hotel that goes terribly wrong. She calls Clooney, a seasoned pro who knows how to make trouble disappear. He’s doing just that when they’re interrupted. Enter Pitt who, as it turns out, is working for the hotel, which also wants the problem to go away. Because Clooney and Pitt (their characters don’t use names) always work alone, both bristle at each other’s presence.\u003c/p>\n\u003cp>The two bicker and gibe and question each other’s expertise — Pitt keeps hinting that Clooney’s an old man. And naturally, they discover that their task is more challenging than it looked.\u003c/p>\n\u003cp>All too soon they’re dealing with four bricks of stolen drugs, a goofy college kid and a group of murderous gangsters. Over the course of a long night the two come to a kind of understanding — not only with one another, but about their larger role in the world.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wLJUPjiRbAM\u003c/p>\n\u003cp>If I’d paid to see \u003cem>Wolfs\u003c/em> in a theater rather than screened it on TV — which has the lowered expectations of in-flight viewing — I’d probably have been bugged by its lack of imagination and urgency. Watts’ script gives you no singing dialogue a la Elmore Leonard or \u003ca href=\"https://www.kqed.org/arts/11191894/tarantino-holes-up-a-few-outlaws-in-the-hateful-eight\">Quentin Tarantino\u003c/a>, none of the stinging emotional force you find in comparable two-hander stories — Elaine May’s \u003cem>Mikey and Nicky\u003c/em>, say, or Martin McDonagh’s \u003cem>In Bruges\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13965877']And yet the movie’s still enjoyable. Clooney and Pitt are such deft, charismatic actors that, even in a lazy, low-key picture like this one, you get a lot of pleasure from their barbed asides and mocking silences. It’s clear why they’ve been stars for three decades.\u003c/p>\n\u003cp>Thirty years ago, one would have wagered that Clooney, a smart man with a wide-ranging mind, would wind up with the weightier resume of the two. And indeed, he’s been in lots of terrific movies, like \u003cem>Out of Sight\u003c/em>, \u003cem>Up in the Air\u003c/em> and his work with the \u003ca href=\"https://www.kqed.org/arts/11762007/coen-brothers-inspired-dark-comedy-with-actors-from-veep-true-blood\">Coen Brothers\u003c/a>. Yet just as he’s drawn to the idea of Frank Sinatra’s Rat Pack — he has one of his own — he often throws himself into projects that feel like throwbacks to the 1950s or ‘60s. He’s an old-fashioned kind of star. And while a lot of his movies are fun — think \u003ca href=\"https://video.kqed.org/video/oceans-11-web-extra-kbfvd7/\">\u003cem>Ocean’s Eleven\u003c/em>\u003c/a> — they rarely resonate in the culture as much as he does off the screen.\u003c/p>\n\u003cp>For all his prettiness and ubiquity in the tabloids, Pitt’s movies do. Maybe because he’s always been running away from his beauty — he’s never happier than when scruffed up — he’s chosen a more adventurous path. From \u003ca href=\"https://www.kqed.org/arts/13897161/thirty-years-after-thelma-louise-feminist-revenge-movie-endings-still-suck\">\u003cem>Thelma & Louise\u003c/em>\u003c/a> and \u003cem>Se7en\u003c/em>, to \u003cem>Fight Club\u003c/em> and \u003ca href=\"https://www.kqed.org/arts/56273/the_tree_of_life\">\u003cem>The Tree of Life\u003c/em>\u003c/a>, to \u003ca href=\"https://www.kqed.org/arts/128101/for_a_free_spirit_a_grim_12_years_in_chains\">\u003cem>12 Years a Slave\u003c/em> \u003c/a>and \u003ca href=\"https://www.kqed.org/news/tag/moneyball\">\u003cem>Moneyball\u003c/em> \u003c/a>and \u003ca href=\"https://www.kqed.org/pop/113016/tarantinos-turned-on-tuned-in-tinseltown-once-upon-a-time-in-hollywood\">\u003cem>Once Upon a Time in … Hollywood\u003c/em>\u003c/a>, he’s made movies that feel in touch with our present moment.\u003c/p>\n\u003cp>[aside postid='arts_13965858']What Clooney and Pitt share, beyond friendship, is that both achieved stardom by doing the kind of movies that rarely get made anymore. That’s why, even though \u003cem>Wolfs\u003c/em> is slight, I can see how they might find it meaningful.\u003c/p>\n\u003cp>After all, this is a story about two old pros who each start out thinking he’s irreplaceable — the only one who can do this special job. Then each discovers that, far from being unique, there’s somebody else who does exactly what they do. And so far from being indispensable, they’re working for soulless people who have no qualms about getting rid of them and hiring somebody new. Which is to say, \u003cem>Wolfs\u003c/em> isn’t really a film about being a fixer. It’s a film about being an aging movie star.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Wolfs’ is streaming on Apple TV+ now.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For most of its history, Hollywood made its money by putting stars the public liked to watch in stories that wouldn’t be worth watching without them. These days, such star-driven films are falling out of fashion — except on our streamers.\u003c/p>\n\u003cp>That’s where you’ll find \u003cem>Wolfs\u003c/em>, an AppleTV+ vehicle that features \u003ca href=\"https://www.kqed.org/arts/13890684/george-clooney-says-midnight-sky-is-about-our-desperate-need-to-be-with-loved-ones\">George Clooney\u003c/a> and \u003ca href=\"https://www.kqed.org/pop/tag/brad-pitt\">Brad Pitt\u003c/a> skating through a crime plot in glamorously grizzled mode. They play two professional “fixers” — they’ll do \u003cem>anything \u003c/em>to clean up a client’s mess — who collide while working the same job. Written and directed by Jon Watts (who did a popular \u003ca href=\"https://www.kqed.org/pop/91487/origin-al-sin-what-hollywood-must-learn-from-spider-man-homecoming\">Spider-Man\u003c/a> reboot), \u003cem>Wolfs\u003c/em> matters more for its stars than for the characters they play.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The action begins when a New York politico played by Amy Ryan has a casual fling at a posh hotel that goes terribly wrong. She calls Clooney, a seasoned pro who knows how to make trouble disappear. He’s doing just that when they’re interrupted. Enter Pitt who, as it turns out, is working for the hotel, which also wants the problem to go away. Because Clooney and Pitt (their characters don’t use names) always work alone, both bristle at each other’s presence.\u003c/p>\n\u003cp>The two bicker and gibe and question each other’s expertise — Pitt keeps hinting that Clooney’s an old man. And naturally, they discover that their task is more challenging than it looked.\u003c/p>\n\u003cp>All too soon they’re dealing with four bricks of stolen drugs, a goofy college kid and a group of murderous gangsters. Over the course of a long night the two come to a kind of understanding — not only with one another, but about their larger role in the world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/wLJUPjiRbAM'\n title='//www.youtube.com/embed/wLJUPjiRbAM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If I’d paid to see \u003cem>Wolfs\u003c/em> in a theater rather than screened it on TV — which has the lowered expectations of in-flight viewing — I’d probably have been bugged by its lack of imagination and urgency. Watts’ script gives you no singing dialogue a la Elmore Leonard or \u003ca href=\"https://www.kqed.org/arts/11191894/tarantino-holes-up-a-few-outlaws-in-the-hateful-eight\">Quentin Tarantino\u003c/a>, none of the stinging emotional force you find in comparable two-hander stories — Elaine May’s \u003cem>Mikey and Nicky\u003c/em>, say, or Martin McDonagh’s \u003cem>In Bruges\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And yet the movie’s still enjoyable. Clooney and Pitt are such deft, charismatic actors that, even in a lazy, low-key picture like this one, you get a lot of pleasure from their barbed asides and mocking silences. It’s clear why they’ve been stars for three decades.\u003c/p>\n\u003cp>Thirty years ago, one would have wagered that Clooney, a smart man with a wide-ranging mind, would wind up with the weightier resume of the two. And indeed, he’s been in lots of terrific movies, like \u003cem>Out of Sight\u003c/em>, \u003cem>Up in the Air\u003c/em> and his work with the \u003ca href=\"https://www.kqed.org/arts/11762007/coen-brothers-inspired-dark-comedy-with-actors-from-veep-true-blood\">Coen Brothers\u003c/a>. Yet just as he’s drawn to the idea of Frank Sinatra’s Rat Pack — he has one of his own — he often throws himself into projects that feel like throwbacks to the 1950s or ‘60s. He’s an old-fashioned kind of star. And while a lot of his movies are fun — think \u003ca href=\"https://video.kqed.org/video/oceans-11-web-extra-kbfvd7/\">\u003cem>Ocean’s Eleven\u003c/em>\u003c/a> — they rarely resonate in the culture as much as he does off the screen.\u003c/p>\n\u003cp>For all his prettiness and ubiquity in the tabloids, Pitt’s movies do. Maybe because he’s always been running away from his beauty — he’s never happier than when scruffed up — he’s chosen a more adventurous path. From \u003ca href=\"https://www.kqed.org/arts/13897161/thirty-years-after-thelma-louise-feminist-revenge-movie-endings-still-suck\">\u003cem>Thelma & Louise\u003c/em>\u003c/a> and \u003cem>Se7en\u003c/em>, to \u003cem>Fight Club\u003c/em> and \u003ca href=\"https://www.kqed.org/arts/56273/the_tree_of_life\">\u003cem>The Tree of Life\u003c/em>\u003c/a>, to \u003ca href=\"https://www.kqed.org/arts/128101/for_a_free_spirit_a_grim_12_years_in_chains\">\u003cem>12 Years a Slave\u003c/em> \u003c/a>and \u003ca href=\"https://www.kqed.org/news/tag/moneyball\">\u003cem>Moneyball\u003c/em> \u003c/a>and \u003ca href=\"https://www.kqed.org/pop/113016/tarantinos-turned-on-tuned-in-tinseltown-once-upon-a-time-in-hollywood\">\u003cem>Once Upon a Time in … Hollywood\u003c/em>\u003c/a>, he’s made movies that feel in touch with our present moment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>What Clooney and Pitt share, beyond friendship, is that both achieved stardom by doing the kind of movies that rarely get made anymore. That’s why, even though \u003cem>Wolfs\u003c/em> is slight, I can see how they might find it meaningful.\u003c/p>\n\u003cp>After all, this is a story about two old pros who each start out thinking he’s irreplaceable — the only one who can do this special job. Then each discovers that, far from being unique, there’s somebody else who does exactly what they do. And so far from being indispensable, they’re working for soulless people who have no qualms about getting rid of them and hiring somebody new. Which is to say, \u003cem>Wolfs\u003c/em> isn’t really a film about being a fixer. It’s a film about being an aging movie star.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Wolfs’ is streaming on Apple TV+ now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Meanwhile, Smith’s relationship with photographer Lynn Goldsmith, who three years after \u003cem>Horses\u003c/em> shot the cover for Smith’s commercial breakthrough \u003cem>Easter\u003c/em>, is the subject of another book, \u003cem>Before Easter After\u003c/em> (Rizzoli; $65). Combining Goldsmith’s striking color portraits with Smith’s poetry and reflections of the era, it chronicles a secondary but no less important relationship between Smith and the camera lens.\u003c/p>\n\u003cp>On the heels of Smith’s appearance at the Hardly Strictly Bluegrass Festival in Golden Gate Park, she and Goldsmith appear Monday in a conversation moderated by KQED contributor Emma Silvers. Along with Goldsmith’s photography and the pair’s stories of a pivotal era, the night also marks the public reopening of the Calvin Simmons Theatre, located in Oakland’s historic Henry J. Kaiser Center for the Arts, after a renovation. \u003c/p>\n\u003chr>\n\u003cp>\u003cem>Patti Smith and Lynn Goldsmith appear in conversation on Monday, Oct. 7, at the Calvin Simmons Theatre in Oakland. \u003ca href=\"http://events.noisepop.com/events/2024/10/7/an-intimate-evening-with-lynn-goldsmith-and-patti-smith-in-conversation-tickets\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>“Painting is a ritual to confront the past and heal what is broken,” Mabel Valdiviezo says in the first moments of her film, \u003cem>\u003ca href=\"https://www.prodigaldaughterthemovie.com/\">Prodigal Daughter\u003c/a>\u003c/em>. “It reveals layers that the camera cannot capture and obscures what we would rather forget.”\u003c/p>\n\u003cp>[aside postid='arts_13964034']Art is present throughout the documentary. It’s Valdiviezo’s only consistent anchor as she navigates stormy and uncertain waters. As a teenager growing up mired in the political turbulence of 1980s and ’90s Peru, she made experimental videos that helped her express ideas about politics and patriarchy. At the age of 25, when Valdiviezo fled the dictatorship that had just taken over her home country, she chose San Francisco as her destination because of its reputation as a “haven for artists.” After the artist found work dancing in the strip clubs of North Beach, she channeled her feelings about female power into her collages and paintings. And as Valdiviezo struggled with family trauma and resentments, she reframed photos from her past using painted embellishments.\u003c/p>\n\u003cp>\u003cem>Prodigal Daughter\u003c/em> captures Valdiviezo as she returns to her family in Peru after 16 years of no contact. The journey of reconnection that she goes on with her parents, brother and centenarian grandmother is a swirling mess of painful confessions, guilt, forgiveness and healing. There are moments of culture clash too, as Valdiviezo tries to process old wounds with parents who would rather keep uncomfortable truths hidden behind closed mouths and locked doors. Valdiviezo’s more Californian sensibilities are simply not understood by the people who raised her.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yzzq3BWjmhQ\u003c/p>\n\u003cp>Hanging over the film are the impossible decisions undocumented immigrants are forced to make. Valdiviezo first opted to cease all contact with her family because she believed they misunderstood and were ashamed of her. However, it’s clear that her prolonged disconnection from them was indelibly linked to her precarious legal situation in the U.S. Without any official status, Valdiviezo was unable to leave her life in America without being barred from returning to it altogether. The journey home to Peru is only possible after marriage to her Filipino American partner earns her a green card.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Prodigal Daughter\u003c/em> offers jumping off points to explain Peru’s turbulent political history, and the resistance that sprang up around that. More details about the country’s rebel groups — including \u003ca href=\"https://www.dni.gov/nctc/ftos/shining_path_fto.html\">Shining Path\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/T%C3%BApac_Amaru_Revolutionary_Movement\">Túpac Amaru Revolutionary Movement\u003c/a>, as well as the punk rock \u003cem>subtes\u003c/em> subculture — would have been a welcome addition here. Valdiviezo is far more interested in exploring her personal history than that of her home country, however. And that’s fair enough.\u003c/p>\n\u003cp>[aside postid='arts_13964538']A fourth act twist brings the family closer together, inspires more honesty and prompts an exploration of lineage. In the end, it’s not just Valdiviezo who finds solace in making art. Her mother came to painting later in life, once her children were grown. Her style is different from her daughter’s and pays homage to her Incan roots, incorporating traditional Indigenous illustration, as well as \u003ca href=\"https://en.wikipedia.org/wiki/Nazca_lines\">Nazca lines\u003c/a>. As the two women paint side by side, their paintbrushes build a bridge that finally obscures their differences.\u003c/p>\n\u003cp>By the time the once-estranged daughter and mother share exhibition space at San Francisco’s \u003ca href=\"https://www.missionculturalcenter.org/\">Mission Cultural Center for Latino Arts\u003c/a>, it’s clear that, when it comes to Valdiviezo’s life, art is a greater healer than words, international pilgrimages and perhaps, even this wonderful film.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.prodigaldaughterthemovie.com/\">Prodigal Daughter\u003c/a>’ premieres at the \u003ca href=\"https://roxie.com/film/sf-latino-film-festival-prodigal-daughter/\">Roxie Theater\u003c/a> on Oct. 11, 2024 at 6:30 p.m. as part of the \u003ca href=\"https://www.cinemassf.org/\">Cine+Mas San Francisco Latino Film Festival\u003c/a>. It will also screen at the \u003ca href=\"https://ybca.org/\">Yerba Buena Center for the Arts\u003c/a> on Nov. 2 at 2 p.m and at the \u003ca href=\"https://www.missionculturalcenter.org/shop/p/prodigal-daughter-film-or-prodigal-film-workshop\">Mission Cultural Center\u003c/a> on April 4, 2025 at 6:30 p.m.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A fourth act twist brings the family closer together, inspires more honesty and prompts an exploration of lineage. In the end, it’s not just Valdiviezo who finds solace in making art. Her mother came to painting later in life, once her children were grown. Her style is different from her daughter’s and pays homage to her Incan roots, incorporating traditional Indigenous illustration, as well as \u003ca href=\"https://en.wikipedia.org/wiki/Nazca_lines\">Nazca lines\u003c/a>. As the two women paint side by side, their paintbrushes build a bridge that finally obscures their differences.\u003c/p>\n\u003cp>By the time the once-estranged daughter and mother share exhibition space at San Francisco’s \u003ca href=\"https://www.missionculturalcenter.org/\">Mission Cultural Center for Latino Arts\u003c/a>, it’s clear that, when it comes to Valdiviezo’s life, art is a greater healer than words, international pilgrimages and perhaps, even this wonderful film.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.prodigaldaughterthemovie.com/\">Prodigal Daughter\u003c/a>’ premieres at the \u003ca href=\"https://roxie.com/film/sf-latino-film-festival-prodigal-daughter/\">Roxie Theater\u003c/a> on Oct. 11, 2024 at 6:30 p.m. as part of the \u003ca href=\"https://www.cinemassf.org/\">Cine+Mas San Francisco Latino Film Festival\u003c/a>. It will also screen at the \u003ca href=\"https://ybca.org/\">Yerba Buena Center for the Arts\u003c/a> on Nov. 2 at 2 p.m and at the \u003ca href=\"https://www.missionculturalcenter.org/shop/p/prodigal-daughter-film-or-prodigal-film-workshop\">Mission Cultural Center\u003c/a> on April 4, 2025 at 6:30 p.m.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>TikTok’s algorithm revives all manner of cultural errata: the Cocteau Twins, baggy jeans, \u003cem>Juno\u003c/em>. Some of it is inexplicable (“Running Up That Hill”? Really?), while other Gen Z revivals make complete sense, like the 2008 musical \u003cem>Ride the Cyclone\u003c/em>. \u003c/p>\n\u003cp>In the show, a group of high school choir students thrown from a derailed roller coaster at a local carnival are sent into purgatory, where they must vote unanimously for only one among them to go back to Earth and experience life anew. \u003c/p>\n\u003cp>Death, competition, popularity, sex — these are constant obsessions of the American teenager. So it’s no surprise that \u003cem>Ride the Cyclone\u003c/em>’s run at the New Conservatory Theatre Center in San Francisco has been extended due to high demand. What may be a surprise is that, in the hands of director Stephanie Temple, the production is thoroughly enjoyable, no matter if you’re 13 or 59. \u003c/p>\n\u003cfigure id=\"attachment_13966074\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Front-Center_-Sage-Alberto.-Back-Ensemble.-Photo-by-Jenni-Chapman.jpg\" alt=\"\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13966074\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Front-Center_-Sage-Alberto.-Back-Ensemble.-Photo-by-Jenni-Chapman.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Front-Center_-Sage-Alberto.-Back-Ensemble.-Photo-by-Jenni-Chapman-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Front-Center_-Sage-Alberto.-Back-Ensemble.-Photo-by-Jenni-Chapman-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Front-Center_-Sage-Alberto.-Back-Ensemble.-Photo-by-Jenni-Chapman-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Front-Center_-Sage-Alberto.-Back-Ensemble.-Photo-by-Jenni-Chapman-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Sage Alberto, center, in ‘Ride the Cyclone’ at the New Conservatory Theatre Center in San Francisco. \u003ccite>(Jenni Chapman/Courtesy NCTC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Anne Norland adroitly drives the action as Ocean, a peppy overachiever who immediately argues for herself to be the one that gets to return to life. As her deferential friend Constance, Sage Alberto displays expert dry wit and comic timing that turns to introspection when she assesses her place in the social hierarchy. Kaylyn Dowd nails the role of The Amazing Karnak, the Zoltar-esque fortune telling machine that orchestrates the students’ game of mortality.\u003c/p>\n\u003cp>Meanwhile, Noel (an effervescent Jon Gary Harris) is overdramatic, very gay, and yearning for a grittier life — or, at least, one more meaningful than working at the Taco Bell in the mall. Mischa (Matt Skinner) puts on a gangsta veneer to cloak his passion, and Milo Boland’s Ricky, mute on Earth but reacquainted with his voice in purgatory, gets to speak his innermost desires (spoiler alert: it involves cats). \u003c/p>\n\u003cfigure id=\"attachment_13966081\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Jon-Gary-Harris.-Photo-by-Jenni-Chapman-1_comp.jpg\" alt=\"Black actor with feather boa, white woman in pink wig smiles big\" width=\"2000\" height=\"1483\" class=\"size-full wp-image-13966081\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Jon-Gary-Harris.-Photo-by-Jenni-Chapman-1_comp.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Jon-Gary-Harris.-Photo-by-Jenni-Chapman-1_comp-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Jon-Gary-Harris.-Photo-by-Jenni-Chapman-1_comp-1020x756.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Jon-Gary-Harris.-Photo-by-Jenni-Chapman-1_comp-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Jon-Gary-Harris.-Photo-by-Jenni-Chapman-1_comp-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Jon-Gary-Harris.-Photo-by-Jenni-Chapman-1_comp-1536x1139.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Jon-Gary-Harris.-Photo-by-Jenni-Chapman-1_comp-1920x1424.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">L: Jon Gary Harris in ‘Ride the Cyclone’; R: Kaylyn Down as The Amazing Karnak. \u003ccite>(Jenni Chapman/Courtesy NCTC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If the story hangs a little raggedly at times, it at least avoids the cliché of putting each student into a different high school clique, focusing instead on their family background, personality and outlook on life. And while each character’s featured song doesn’t always work as an argument to be brought back to life (most, in fact, are simply teen fantasies writ large), the larger purpose, I think, is to show the hopes, dreams and fragility of young lives. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s as evident in Ocean’s razzle-dazzle opener, “What the World Needs,” as it is in Mischa’s novelty rap number “This Song Is Awesome” or Constance’s “Jawbreaker.” Although Noel’s sultry “Noel’s Lament” is a crowd-pleasing showstopper, the most jaw-dropping song here is from Grace Margaret Craig as a girl whose remains were so mangled that she could not be identified — a Jane Doe — and whose incredible range propels “The Ballad of Jane Doe.” \u003c/p>\n\u003cfigure id=\"attachment_13966072\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC_-Grace-Margaret-Craig.-Photo-by-Jenni-Chapman.jpg\" alt=\"\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13966072\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC_-Grace-Margaret-Craig.-Photo-by-Jenni-Chapman.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC_-Grace-Margaret-Craig.-Photo-by-Jenni-Chapman-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC_-Grace-Margaret-Craig.-Photo-by-Jenni-Chapman-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC_-Grace-Margaret-Craig.-Photo-by-Jenni-Chapman-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC_-Grace-Margaret-Craig.-Photo-by-Jenni-Chapman-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Grace Margaret Craig in ‘Ride the Cyclone’ at the New Conservatory Theatre Center in San Francisco. \u003ccite>(Jenni Chapman/Courtesy NCTC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With moving character development, moments of hilarity and an unexpectedly emotional ending, \u003cem>Ride the Cyclone\u003c/em> is a rousing 90 minutes — and a reminder to make the most of the other minutes you’ve got. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Ride the Cyclone’ runs through Oct. 27 at the New Conservatory Theatre Center in San Francisco. \u003ca href=\"https://nctcsf.org/event/ride-the-cyclone/\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "In San Francisco, the popular show about dead teenagers who strive to live again is both fun and poignant.",
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"title": "‘Ride the Cyclone’ Musical Review: Mortality Is a Game | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>TikTok’s algorithm revives all manner of cultural errata: the Cocteau Twins, baggy jeans, \u003cem>Juno\u003c/em>. Some of it is inexplicable (“Running Up That Hill”? Really?), while other Gen Z revivals make complete sense, like the 2008 musical \u003cem>Ride the Cyclone\u003c/em>. \u003c/p>\n\u003cp>In the show, a group of high school choir students thrown from a derailed roller coaster at a local carnival are sent into purgatory, where they must vote unanimously for only one among them to go back to Earth and experience life anew. \u003c/p>\n\u003cp>Death, competition, popularity, sex — these are constant obsessions of the American teenager. So it’s no surprise that \u003cem>Ride the Cyclone\u003c/em>’s run at the New Conservatory Theatre Center in San Francisco has been extended due to high demand. What may be a surprise is that, in the hands of director Stephanie Temple, the production is thoroughly enjoyable, no matter if you’re 13 or 59. \u003c/p>\n\u003cfigure id=\"attachment_13966074\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Front-Center_-Sage-Alberto.-Back-Ensemble.-Photo-by-Jenni-Chapman.jpg\" alt=\"\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13966074\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Front-Center_-Sage-Alberto.-Back-Ensemble.-Photo-by-Jenni-Chapman.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Front-Center_-Sage-Alberto.-Back-Ensemble.-Photo-by-Jenni-Chapman-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Front-Center_-Sage-Alberto.-Back-Ensemble.-Photo-by-Jenni-Chapman-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Front-Center_-Sage-Alberto.-Back-Ensemble.-Photo-by-Jenni-Chapman-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Front-Center_-Sage-Alberto.-Back-Ensemble.-Photo-by-Jenni-Chapman-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Sage Alberto, center, in ‘Ride the Cyclone’ at the New Conservatory Theatre Center in San Francisco. \u003ccite>(Jenni Chapman/Courtesy NCTC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Anne Norland adroitly drives the action as Ocean, a peppy overachiever who immediately argues for herself to be the one that gets to return to life. As her deferential friend Constance, Sage Alberto displays expert dry wit and comic timing that turns to introspection when she assesses her place in the social hierarchy. Kaylyn Dowd nails the role of The Amazing Karnak, the Zoltar-esque fortune telling machine that orchestrates the students’ game of mortality.\u003c/p>\n\u003cp>Meanwhile, Noel (an effervescent Jon Gary Harris) is overdramatic, very gay, and yearning for a grittier life — or, at least, one more meaningful than working at the Taco Bell in the mall. Mischa (Matt Skinner) puts on a gangsta veneer to cloak his passion, and Milo Boland’s Ricky, mute on Earth but reacquainted with his voice in purgatory, gets to speak his innermost desires (spoiler alert: it involves cats). \u003c/p>\n\u003cfigure id=\"attachment_13966081\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Jon-Gary-Harris.-Photo-by-Jenni-Chapman-1_comp.jpg\" alt=\"Black actor with feather boa, white woman in pink wig smiles big\" width=\"2000\" height=\"1483\" class=\"size-full wp-image-13966081\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Jon-Gary-Harris.-Photo-by-Jenni-Chapman-1_comp.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Jon-Gary-Harris.-Photo-by-Jenni-Chapman-1_comp-800x593.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Jon-Gary-Harris.-Photo-by-Jenni-Chapman-1_comp-1020x756.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Jon-Gary-Harris.-Photo-by-Jenni-Chapman-1_comp-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Jon-Gary-Harris.-Photo-by-Jenni-Chapman-1_comp-768x569.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Jon-Gary-Harris.-Photo-by-Jenni-Chapman-1_comp-1536x1139.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC-Jon-Gary-Harris.-Photo-by-Jenni-Chapman-1_comp-1920x1424.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">L: Jon Gary Harris in ‘Ride the Cyclone’; R: Kaylyn Down as The Amazing Karnak. \u003ccite>(Jenni Chapman/Courtesy NCTC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If the story hangs a little raggedly at times, it at least avoids the cliché of putting each student into a different high school clique, focusing instead on their family background, personality and outlook on life. And while each character’s featured song doesn’t always work as an argument to be brought back to life (most, in fact, are simply teen fantasies writ large), the larger purpose, I think, is to show the hopes, dreams and fragility of young lives. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s as evident in Ocean’s razzle-dazzle opener, “What the World Needs,” as it is in Mischa’s novelty rap number “This Song Is Awesome” or Constance’s “Jawbreaker.” Although Noel’s sultry “Noel’s Lament” is a crowd-pleasing showstopper, the most jaw-dropping song here is from Grace Margaret Craig as a girl whose remains were so mangled that she could not be identified — a Jane Doe — and whose incredible range propels “The Ballad of Jane Doe.” \u003c/p>\n\u003cfigure id=\"attachment_13966072\" class=\"wp-caption aligncenter\" style=\"max-width: 1024px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC_-Grace-Margaret-Craig.-Photo-by-Jenni-Chapman.jpg\" alt=\"\" width=\"1024\" height=\"683\" class=\"size-full wp-image-13966072\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC_-Grace-Margaret-Craig.-Photo-by-Jenni-Chapman.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC_-Grace-Margaret-Craig.-Photo-by-Jenni-Chapman-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC_-Grace-Margaret-Craig.-Photo-by-Jenni-Chapman-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC_-Grace-Margaret-Craig.-Photo-by-Jenni-Chapman-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/RideTheCycloneNCTC_-Grace-Margaret-Craig.-Photo-by-Jenni-Chapman-768x512.jpg 768w\" sizes=\"(max-width: 1024px) 100vw, 1024px\">\u003cfigcaption class=\"wp-caption-text\">Grace Margaret Craig in ‘Ride the Cyclone’ at the New Conservatory Theatre Center in San Francisco. \u003ccite>(Jenni Chapman/Courtesy NCTC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With moving character development, moments of hilarity and an unexpectedly emotional ending, \u003cem>Ride the Cyclone\u003c/em> is a rousing 90 minutes — and a reminder to make the most of the other minutes you’ve got. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Ride the Cyclone’ runs through Oct. 27 at the New Conservatory Theatre Center in San Francisco. \u003ca href=\"https://nctcsf.org/event/ride-the-cyclone/\">Tickets and details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The California Report",
"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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"rss": "https://ww2.kqed.org/news/tag/tcram/feed/podcast"
}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Magazine-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"rss": "https://ww2.kqed.org/news/tag/tcrmag/feed/podcast"
}
},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
"link": "/podcasts/closealltabs",
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"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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},
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"id": "freakonomics-radio",
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"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"rss": "https://feeds.npr.org/510308/podcast.xml"
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
"tuneIn": "https://tunein.com/radio/On-Our-Watch-p1436229/",
"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
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