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"content": "\u003cdiv class=\"post-body\">\u003cp>Those wanting to get their Kristofferson fix among like-minded admirers have two opportunities in the next week.\u003c/p>\n\u003cp>On Monday, Oct. 14, \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/litquak-presents-double-feature-film-noircomics-noir-hosted-by-robert-mailer-anderson-amp-peter-hoey\">the 4-Star Theater in San Francisco screens \u003cem>A Star Is Born\u003c/em>\u003c/a>, the 1976 Oscar-winning classic with Kristofferson and co-star Barbra Streisand. The screening, planned before Kristofferson’s death, is a benefit for the \u003ca href=\"https://billgrahamfoundation.org/\">Bill Graham Memorial Foundation\u003c/a>; Bob Barsotti, who began his decades-long working relationship with Bill Graham in 1970, hosts. \u003ca href=\"https://www.4-star-movies.com/calendar-of-events/litquak-presents-double-feature-film-noircomics-noir-hosted-by-robert-mailer-anderson-amp-peter-hoey\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On Friday, Oct. 11, \u003ca href=\"https://thelostchurch.my.salesforce-sites.com/ticket/patronticket__publicticketapp#/instances/a0FTU00000BHN6j2AH\">the Lost Church in Santa Rosa hosts a A Tribute to Kris Kristofferson\u003c/a>, with local musicians like John Courage, Solid Air, Schlee, Sally Haggard and others performing his songs. Expect deeper cuts alongside the big hits — “Help Me Make It Through the Night,” “Sunday Mornin’ Comin’ Down,” “For the Good Times.” (I see no other way to end a night like this than a grand-finale singalong to “Me and Bobby McGee.”) \u003ca href=\"https://thelostchurch.my.salesforce-sites.com/ticket/patronticket__publicticketapp#/instances/a0FTU00000BHN6j2AH\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Scumdance Film Festival Gleefully Celebrates Lowbrow, B-Movie Culture",
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"content": "\u003cp>Festival director George Sukara describes the films that make up the one-day program of the \u003ca href=\"https://www.scum.dance/\">Scumdance Film Festival\u003c/a> as really sleazy, really gory and really goofy. But he has a disclaimer: “I think at the core they’re made by genuinely nice people.”\u003c/p>\n\u003cp>For this year’s festival, he and a jury sifted through over 100 submissions of shorts and feature-length films from around the world, selecting 24 that will screen at San Francisco’s The Lost Church on Saturday, Sept. 28, starting at 3 p.m.\u003c/p>\n\u003cp>Obviously, this is no Sundance, as the groan-inducing festival title suggests.\u003c/p>\n\u003cp>Scumdance specializes in “the best (and worst) of lowbrow culture.” That means genre offerings like underground, horror, splatter, grindcore, exploitation, punk, hot-rod, rock and roll, and biker films. Tonally, the movies can range from self-knowing musical spoofs to dark horror underpinned with social commentary. \u003c/p>\n\u003cp>In that vein, last year, the best feature winner was \u003ci>\u003ca href=\"https://www.intotheshedmovie.com/\">Into the Shed\u003c/a>\u003c/i>, a 52-minute stoner horror movie made by four friends on MiniDV during the pandemic lockdown. The audience favorite short was \u003ci>\u003ca href=\"https://www.kylemangionesmith.com/annihilator\">Annihilator\u003c/a>\u003c/i>, about a young man obsessed with snuff films who fantasizes about starring in one.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/YRDxUj0vzCw?feature=shared\u003c/p>\n\u003cp>“For the most part, the movies have very, very small budgets and they’re a total labor of love,” Sukara says. “And sometimes we’re the only festival to accept some of the movies. So it’s kind of nice to be giving people a voice regardless of how much money they have. And that’s why we haven’t changed the price.”\u003c/p>\n\u003cp>It costs filmmakers between $10 and $30 to submit their films to the festival, though Sukara also lists out numerous instances of fee waivers for students and international filmmakers. “I end up becoming Instagram friends with all of the filmmakers and watching their success,” he says. “It’s really exciting to see.” \u003c/p>\n\u003cp>This year, the festival’s eighth, he’s especially excited to show \u003ci>Mr. Sun\u003c/i>, a short by former Bay Area resident \u003ca href=\"https://avivasiegel.com/\">Aviva Siegal\u003c/a>, co-producer of the beloved live comedy show \u003ca href=\"https://www.instagram.com/talkiescomedy/\">Talkies\u003c/a> (now also transplanted to Los Angeles). Then there’s a documentary about legendary B-movie director Albert Pyun, who made the fantasy film \u003ci>The Sword and the Sorcerer\u003c/i> (1982), the Jean-Claude Van Damme flick \u003ci>Cyborg\u003c/i> (1989), and many, many straight-to-video cult classics. \u003c/p>\n\u003cp>Another highlight: \u003ci>\u003ca href=\"https://www.instagram.com/p/C_t7wUUy5LZ/\">Flavedoom 2\u003c/a>\u003c/i>, made by Bay Area choreographers and dancers Karla Quintero and Shareen DeRyan, who are also die-hard horror fans. “It’s really effective,” Sukara says. “I’m excited to show that, I think it’s our first dance piece that we’ve had.” \u003c/p>\n\u003cfigure id=\"attachment_13965375\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Friends-With-Myself-1_web.jpg\" alt=\"blob with eyeball in dreamy purple and pink cosmic scene\" width=\"1920\" height=\"1014\" class=\"size-full wp-image-13965375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Friends-With-Myself-1_web.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Friends-With-Myself-1_web-800x423.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Friends-With-Myself-1_web-1020x539.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Friends-With-Myself-1_web-160x85.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Friends-With-Myself-1_web-768x406.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Friends-With-Myself-1_web-1536x811.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Friends With Myself,’ a short screening at the 2024 Scumdance Film Festival. \u003ccite>(Courtesy of Scumdance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A gleeful enthusiasm for making and watching movies of all stripes presides over the entire Scumdance endeavor. Sukara, for his part, has been involved with the festival since it started in Reno in 2017. \u003ci>HELL!\u003c/i>, a rock-and-roll musical comedy he co-wrote and co-directed, won the audience award for best feature at the very first Scumdance. “I loved it,” Sukara remembers. “I loved seeing all the different stuff, the really low-budget stuff.” \u003c/p>\n\u003cp>He became fast friends with festival founder Travis Calvert and remained involved in various capacities, jurying submissions over the years. Sukara took over from Calvert as organizer last year, when the festival moved to San Francisco. His personal experience with the festival’s capacity for camaraderie helps fuel his own enthusiasm for the event. \u003c/p>\n\u003cp>While not every filmmaker can make it in person to Saturday’s festival, Sukara expects a number of them (close to 10!) to be present. At the end of the seven-hour long event, the awards ceremony involves bestowing an actual trophy upon each of the winners.\u003c/p>\n\u003cp>“There’s no quick and easy way to pick out what’s a Scumdance movie,” Sukara explains, but of one thing he is certain: “People show up and movies get shown and people have a good time.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The \u003ca href=\"https://www.scum.dance/\">Scumdance Film Festival\u003c/a> takes place at The Lost Church (988 Columbus Ave., San Francisco) on Saturday, Sept. 28, 3–10 p.m.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Festival director George Sukara describes the films that make up the one-day program of the \u003ca href=\"https://www.scum.dance/\">Scumdance Film Festival\u003c/a> as really sleazy, really gory and really goofy. But he has a disclaimer: “I think at the core they’re made by genuinely nice people.”\u003c/p>\n\u003cp>For this year’s festival, he and a jury sifted through over 100 submissions of shorts and feature-length films from around the world, selecting 24 that will screen at San Francisco’s The Lost Church on Saturday, Sept. 28, starting at 3 p.m.\u003c/p>\n\u003cp>Obviously, this is no Sundance, as the groan-inducing festival title suggests.\u003c/p>\n\u003cp>Scumdance specializes in “the best (and worst) of lowbrow culture.” That means genre offerings like underground, horror, splatter, grindcore, exploitation, punk, hot-rod, rock and roll, and biker films. Tonally, the movies can range from self-knowing musical spoofs to dark horror underpinned with social commentary. \u003c/p>\n\u003cp>In that vein, last year, the best feature winner was \u003ci>\u003ca href=\"https://www.intotheshedmovie.com/\">Into the Shed\u003c/a>\u003c/i>, a 52-minute stoner horror movie made by four friends on MiniDV during the pandemic lockdown. The audience favorite short was \u003ci>\u003ca href=\"https://www.kylemangionesmith.com/annihilator\">Annihilator\u003c/a>\u003c/i>, about a young man obsessed with snuff films who fantasizes about starring in one.\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/YRDxUj0vzCw'\n title='//www.youtube.com/embed/YRDxUj0vzCw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“For the most part, the movies have very, very small budgets and they’re a total labor of love,” Sukara says. “And sometimes we’re the only festival to accept some of the movies. So it’s kind of nice to be giving people a voice regardless of how much money they have. And that’s why we haven’t changed the price.”\u003c/p>\n\u003cp>It costs filmmakers between $10 and $30 to submit their films to the festival, though Sukara also lists out numerous instances of fee waivers for students and international filmmakers. “I end up becoming Instagram friends with all of the filmmakers and watching their success,” he says. “It’s really exciting to see.” \u003c/p>\n\u003cp>This year, the festival’s eighth, he’s especially excited to show \u003ci>Mr. Sun\u003c/i>, a short by former Bay Area resident \u003ca href=\"https://avivasiegel.com/\">Aviva Siegal\u003c/a>, co-producer of the beloved live comedy show \u003ca href=\"https://www.instagram.com/talkiescomedy/\">Talkies\u003c/a> (now also transplanted to Los Angeles). Then there’s a documentary about legendary B-movie director Albert Pyun, who made the fantasy film \u003ci>The Sword and the Sorcerer\u003c/i> (1982), the Jean-Claude Van Damme flick \u003ci>Cyborg\u003c/i> (1989), and many, many straight-to-video cult classics. \u003c/p>\n\u003cp>Another highlight: \u003ci>\u003ca href=\"https://www.instagram.com/p/C_t7wUUy5LZ/\">Flavedoom 2\u003c/a>\u003c/i>, made by Bay Area choreographers and dancers Karla Quintero and Shareen DeRyan, who are also die-hard horror fans. “It’s really effective,” Sukara says. “I’m excited to show that, I think it’s our first dance piece that we’ve had.” \u003c/p>\n\u003cfigure id=\"attachment_13965375\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Friends-With-Myself-1_web.jpg\" alt=\"blob with eyeball in dreamy purple and pink cosmic scene\" width=\"1920\" height=\"1014\" class=\"size-full wp-image-13965375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Friends-With-Myself-1_web.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Friends-With-Myself-1_web-800x423.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Friends-With-Myself-1_web-1020x539.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Friends-With-Myself-1_web-160x85.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Friends-With-Myself-1_web-768x406.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Friends-With-Myself-1_web-1536x811.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A still from ‘Friends With Myself,’ a short screening at the 2024 Scumdance Film Festival. \u003ccite>(Courtesy of Scumdance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A gleeful enthusiasm for making and watching movies of all stripes presides over the entire Scumdance endeavor. Sukara, for his part, has been involved with the festival since it started in Reno in 2017. \u003ci>HELL!\u003c/i>, a rock-and-roll musical comedy he co-wrote and co-directed, won the audience award for best feature at the very first Scumdance. “I loved it,” Sukara remembers. “I loved seeing all the different stuff, the really low-budget stuff.” \u003c/p>\n\u003cp>He became fast friends with festival founder Travis Calvert and remained involved in various capacities, jurying submissions over the years. Sukara took over from Calvert as organizer last year, when the festival moved to San Francisco. His personal experience with the festival’s capacity for camaraderie helps fuel his own enthusiasm for the event. \u003c/p>\n\u003cp>While not every filmmaker can make it in person to Saturday’s festival, Sukara expects a number of them (close to 10!) to be present. At the end of the seven-hour long event, the awards ceremony involves bestowing an actual trophy upon each of the winners.\u003c/p>\n\u003cp>“There’s no quick and easy way to pick out what’s a Scumdance movie,” Sukara explains, but of one thing he is certain: “People show up and movies get shown and people have a good time.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The \u003ca href=\"https://www.scum.dance/\">Scumdance Film Festival\u003c/a> takes place at The Lost Church (988 Columbus Ave., San Francisco) on Saturday, Sept. 28, 3–10 p.m.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The pandemic’s Verzuz battles were meant to have no winner, but anyone who witnessed \u003ca href=\"https://www.youtube.com/watch?v=nP4_0d1npjk\">Dipset getting their lunch eaten in real time by The Lox\u003c/a> will tell you: it was a jubilant massacre, and a masterclass in coming prepared. \u003c/p>\n\u003cp>That The Lox are still killing shows almost three decades in should be no surprise. Rather than slinging alcohol like other seasoned rap veterans, the group’s Styles P has found entrepreneurship in \u003ca href=\"https://web.archive.org/web/20231201075120/https://gothamist.com/arts-entertainment/after-25-years-of-rapping-nycs-styles-p-is-ready-to-focus-on-his-wellness-empire\">wellness\u003c/a> and runs \u003ca href=\"https://farmacares.org/\">a vegan nonprofit\u003c/a>. Jadakiss has a \u003ca href=\"https://www.kisscafecoffee.com/\">coffee brand\u003c/a>. Sheek Louch invests in \u003ca href=\"https://editionml.com/sheek-louch-real-estate-tips-music-interview\">real estate\u003c/a>. They’re taking care of themselves. \u003c/p>\n\u003cp>Fresh off an \u003ca href=\"https://www.npr.org/2024/08/01/g-s1-14761/the-lox-tiny-desk-concert\">NPR Tiny Desk appearance\u003c/a>, the Yonkers trio is currently on tour during \u003ca href=\"https://www.nytimes.com/2024/09/19/podcasts/the-sean-diddy-combs-charges-explained.html\">some bombshell revelations about their former label boss\u003c/a>, and one can only imagine the conversations on the tour bus. The Lox famously dumped Diddy after their debut album \u003cem>Money, Power & Respect\u003c/em>, and took shots at him on their follow-up \u003cem>We Are The Streets\u003c/em>; by the time they reach San Francisco on Sunday night, expect an extra bit of fire in their delivery.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>The Lox perform with Tony Moxberg, Stunnaman02 and C5 on Sunday, Sept. 22, at the Regency Ballroom in San Francisco. \u003ca href=\"https://www.theregencyballroom.com/events/detail/?event_id=538357\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The pandemic’s Verzuz battles were meant to have no winner, but anyone who witnessed \u003ca href=\"https://www.youtube.com/watch?v=nP4_0d1npjk\">Dipset getting their lunch eaten in real time by The Lox\u003c/a> will tell you: it was a jubilant massacre, and a masterclass in coming prepared. \u003c/p>\n\u003cp>That The Lox are still killing shows almost three decades in should be no surprise. Rather than slinging alcohol like other seasoned rap veterans, the group’s Styles P has found entrepreneurship in \u003ca href=\"https://web.archive.org/web/20231201075120/https://gothamist.com/arts-entertainment/after-25-years-of-rapping-nycs-styles-p-is-ready-to-focus-on-his-wellness-empire\">wellness\u003c/a> and runs \u003ca href=\"https://farmacares.org/\">a vegan nonprofit\u003c/a>. Jadakiss has a \u003ca href=\"https://www.kisscafecoffee.com/\">coffee brand\u003c/a>. Sheek Louch invests in \u003ca href=\"https://editionml.com/sheek-louch-real-estate-tips-music-interview\">real estate\u003c/a>. They’re taking care of themselves. \u003c/p>\n\u003cp>Fresh off an \u003ca href=\"https://www.npr.org/2024/08/01/g-s1-14761/the-lox-tiny-desk-concert\">NPR Tiny Desk appearance\u003c/a>, the Yonkers trio is currently on tour during \u003ca href=\"https://www.nytimes.com/2024/09/19/podcasts/the-sean-diddy-combs-charges-explained.html\">some bombshell revelations about their former label boss\u003c/a>, and one can only imagine the conversations on the tour bus. The Lox famously dumped Diddy after their debut album \u003cem>Money, Power & Respect\u003c/em>, and took shots at him on their follow-up \u003cem>We Are The Streets\u003c/em>; by the time they reach San Francisco on Sunday night, expect an extra bit of fire in their delivery.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>The Lox perform with Tony Moxberg, Stunnaman02 and C5 on Sunday, Sept. 22, at the Regency Ballroom in San Francisco. \u003ca href=\"https://www.theregencyballroom.com/events/detail/?event_id=538357\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Review: Love Is an Argentinian Tango in ACT’s ‘Private Lives’",
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"content": "\u003cp>The tango is a luscious expression of lost love, nostalgia and melancholia — and a staple of Argentinian life.\u003c/p>\n\u003cp>In the hands of Elyot and Amanda, their tango is perfect: a soft kick here, a gentle spin there, with bodies that flutter close together to turn their hot breath into hotter fire. But when the dance pauses, the fire of their passion turns to embers, reminding them why they got divorced in the first place. \u003c/p>\n\u003cp>The aesthetically pleasing production of Noël Coward’s \u003cem>Private Lives\u003c/em> at American Conservatory Theater (ACT), running through Oct. 6, conveys an irresistible sensuality. Tanya Orellana’s scenic design is its own star of the show, with bright splashes of color that contrast with the darkness of Coward’s heady script. The terrific cast of four is guided masterfully by director KJ Sanchez (paired smoothly with tango instructor Lisette Perelle), who pulls every little ditty of physical humor out of Coward’s pithy comedy of manners.\u003c/p>\n\u003cfigure id=\"attachment_13965260\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_154.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13965260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_154.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_154-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_154-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_154-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_154-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_154-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_154-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hugo E. Carbajal and Sarita Ocón in Noël Coward’s ‘Private Lives’ at A.C.T.’s Toni Rembe Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unfortunately, there aren’t nearly enough of those ditties to sustain the humor over the play’s two-hour run time. Too many moments lack purposeful urgency. The script itself is a relic and meanders far too long, oftentimes being overly chatty without saying much. The task of a modern production like ACT’s — one in which it mostly succeeds — is to gloss over these deficiencies with aplomb.\u003c/p>\n\u003cp>[aside postID='arts_13963021']Elyot Chase (Hugo E. Carbajal) and his new bride Sibyl (Gianna DeGregorio Rivera) are on their honeymoon, toasting to new beginnings. Elyot’s marriage to Amanda (Sarita Ocón) is a thing of the past, and Amanda is now the bride of Victor (Brady Morales-Woolery). \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As fate would have it, only a small fence separates the couples at their honeymoon hotel. On the hotel balcony, love, lust and loathing overtake Elyot and Amanda in equal measure; their harmonious accord as dance partners makes the inadequacies of prior passions easy to forget.\u003c/p>\n\u003cfigure id=\"attachment_13965256\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_197.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13965256\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_197.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_197-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_197-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_197-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_197-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_197-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_197-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Hugo E. Carbajal, Gianna DiGregorio Rivera and Brady Morales-Woolery in Noël Coward’s ‘Private Lives’ at A.C.T.’s Toni Rembe Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As is to be expected in a genre where social conventions are upended by manipulative characters shallower than a dry puddle, Amanda and Elyot take turns being more awful than the other, all while consuming an endless fountain of brandy. Negotiating the whims of Elyot and Amanda is its own dance for Sibyl and Victor, collateral damage in the selfish pursuits of two who treat marriage as less important than an elementary school promise ring.\u003c/p>\n\u003cp>While the dialogue drags, the production positively soars in the machinations of physicality. You can feel the creativity of Sanchez oozing into every little onstage step, stutter and shake. As Elyot, Carbajal’s motions are loaded with spry dexterity. (Take note of his stylized pushups, his fantastically sensual bit with a robe, and his command of the tango.) Even moments of the script’s problematic nature, dealing with domestic violence, are treated softly and skillfully with highly choreographed and playful physicality from the entire talented cast. \u003c/p>\n\u003cp>Every bit Carbajal’s equal is Ocón, a phenomenal performer built for both classic and contemporary interpretations. While her Amanda is putty in the hands of Elyot’s smooth sauntering, Ocón’s ability with some of Coward’s most universe-revealing lines in response to Elyot’s raging misogyny is a marvel. \u003c/p>\n\u003cfigure id=\"attachment_13965258\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_235.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13965258\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_235.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_235-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_235-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_235-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_235-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_235-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_235-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sarita Ocón, Hugo E Carbajal, Gianna DiGregorio Rivera and Brady Morales-Woolery in Noël Coward’s ‘Private Lives’ at A.C.T.’s Toni Rembe Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Both Rivera and Morales-Woolery force their characters to disrupt the chaos that Elyot and Amanda bring, and their subtlety at allowing Coward’s humor to flow naturally presents delightful foils to their counterparts. They are part of an overall cast unified with skill and substance.\u003c/p>\n\u003cp>There are a million reasons why the characters in \u003cem>Private Lives\u003c/em> shouldn’t be anywhere near a relationship with another human. But if this reinvention of Coward’s classic proves anything, it’s that when a problem comes face-to-face with the tango, the stirring and sophisticated dance has always been, and forever will be, undefeated. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Private Lives’ runs through Sunday, Oct. 6, at the Toni Rembe Theater in San Francisco. \u003ca href=\"https://www.act-sf.org/whats-on/2024-25-season/private-lives/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"headline": "Review: Love Is an Argentinian Tango in ACT’s ‘Private Lives’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The tango is a luscious expression of lost love, nostalgia and melancholia — and a staple of Argentinian life.\u003c/p>\n\u003cp>In the hands of Elyot and Amanda, their tango is perfect: a soft kick here, a gentle spin there, with bodies that flutter close together to turn their hot breath into hotter fire. But when the dance pauses, the fire of their passion turns to embers, reminding them why they got divorced in the first place. \u003c/p>\n\u003cp>The aesthetically pleasing production of Noël Coward’s \u003cem>Private Lives\u003c/em> at American Conservatory Theater (ACT), running through Oct. 6, conveys an irresistible sensuality. Tanya Orellana’s scenic design is its own star of the show, with bright splashes of color that contrast with the darkness of Coward’s heady script. The terrific cast of four is guided masterfully by director KJ Sanchez (paired smoothly with tango instructor Lisette Perelle), who pulls every little ditty of physical humor out of Coward’s pithy comedy of manners.\u003c/p>\n\u003cfigure id=\"attachment_13965260\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_154.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13965260\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_154.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_154-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_154-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_154-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_154-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_154-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_154-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Hugo E. Carbajal and Sarita Ocón in Noël Coward’s ‘Private Lives’ at A.C.T.’s Toni Rembe Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unfortunately, there aren’t nearly enough of those ditties to sustain the humor over the play’s two-hour run time. Too many moments lack purposeful urgency. The script itself is a relic and meanders far too long, oftentimes being overly chatty without saying much. The task of a modern production like ACT’s — one in which it mostly succeeds — is to gloss over these deficiencies with aplomb.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Elyot Chase (Hugo E. Carbajal) and his new bride Sibyl (Gianna DeGregorio Rivera) are on their honeymoon, toasting to new beginnings. Elyot’s marriage to Amanda (Sarita Ocón) is a thing of the past, and Amanda is now the bride of Victor (Brady Morales-Woolery). \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As fate would have it, only a small fence separates the couples at their honeymoon hotel. On the hotel balcony, love, lust and loathing overtake Elyot and Amanda in equal measure; their harmonious accord as dance partners makes the inadequacies of prior passions easy to forget.\u003c/p>\n\u003cfigure id=\"attachment_13965256\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_197.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13965256\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_197.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_197-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_197-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_197-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_197-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_197-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_197-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Hugo E. Carbajal, Gianna DiGregorio Rivera and Brady Morales-Woolery in Noël Coward’s ‘Private Lives’ at A.C.T.’s Toni Rembe Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As is to be expected in a genre where social conventions are upended by manipulative characters shallower than a dry puddle, Amanda and Elyot take turns being more awful than the other, all while consuming an endless fountain of brandy. Negotiating the whims of Elyot and Amanda is its own dance for Sibyl and Victor, collateral damage in the selfish pursuits of two who treat marriage as less important than an elementary school promise ring.\u003c/p>\n\u003cp>While the dialogue drags, the production positively soars in the machinations of physicality. You can feel the creativity of Sanchez oozing into every little onstage step, stutter and shake. As Elyot, Carbajal’s motions are loaded with spry dexterity. (Take note of his stylized pushups, his fantastically sensual bit with a robe, and his command of the tango.) Even moments of the script’s problematic nature, dealing with domestic violence, are treated softly and skillfully with highly choreographed and playful physicality from the entire talented cast. \u003c/p>\n\u003cp>Every bit Carbajal’s equal is Ocón, a phenomenal performer built for both classic and contemporary interpretations. While her Amanda is putty in the hands of Elyot’s smooth sauntering, Ocón’s ability with some of Coward’s most universe-revealing lines in response to Elyot’s raging misogyny is a marvel. \u003c/p>\n\u003cfigure id=\"attachment_13965258\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_235.jpg\" alt=\"\" width=\"2000\" height=\"1331\" class=\"size-full wp-image-13965258\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_235.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_235-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_235-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_235-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_235-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_235-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/PVL_235-1920x1278.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Sarita Ocón, Hugo E Carbajal, Gianna DiGregorio Rivera and Brady Morales-Woolery in Noël Coward’s ‘Private Lives’ at A.C.T.’s Toni Rembe Theater. \u003ccite>(Kevin Berne)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Both Rivera and Morales-Woolery force their characters to disrupt the chaos that Elyot and Amanda bring, and their subtlety at allowing Coward’s humor to flow naturally presents delightful foils to their counterparts. They are part of an overall cast unified with skill and substance.\u003c/p>\n\u003cp>There are a million reasons why the characters in \u003cem>Private Lives\u003c/em> shouldn’t be anywhere near a relationship with another human. But if this reinvention of Coward’s classic proves anything, it’s that when a problem comes face-to-face with the tango, the stirring and sophisticated dance has always been, and forever will be, undefeated. \u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Private Lives’ runs through Sunday, Oct. 6, at the Toni Rembe Theater in San Francisco. \u003ca href=\"https://www.act-sf.org/whats-on/2024-25-season/private-lives/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "pieter-hugo-californian-wildflowers-jonathan-carver-moore-review",
"title": "Decade-Old Tenderloin Portraits Glow With Multidimensional Light",
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"content": "\u003cp>A decade ago, South African photographer \u003ca href=\"https://pieterhugo.com/\">Pieter Hugo\u003c/a> came to the Bay Area for a residency at Headlands Center for the Arts. He’d been to the city once before, as a teenager, when he had the formative experience of his first mugging. He was planning on using his time at Headlands to organize his archive, having just made the shift from film to digital photography. Instead, he photographed residents of San Francisco’s Tenderloin neighborhood.\u003c/p>\n\u003cp>[aside postID='arts_13963016']A selection from the series, titled \u003ca href=\"https://pieterhugo.com/Californian-Wildflowers\">\u003cem>Californian Wildflowers\u003c/em>\u003c/a>, is on view for the first time in San Francisco at Jonathan Carver Moore’s eponymous Market Street gallery, in the very neighborhood where the work was made. The show coincides with an expansive monograph of the same title, forthcoming from \u003ca href=\"https://tbwbooks.com/\">TBW Books\u003c/a>. The series shines an ebullient light on a neighborhood central to the high-profile narrative of San Francisco’s demise, and makes a case for its vibrant humanity.\u003c/p>\n\u003cp>The prints in the show, all untitled, offer their subjects up larger than life, both in physical scale and personal demeanor. A woman clad in a fur coat and curly blonde wig dramatically puffs a cigarette through metallic red lipstick, matching her heavy eyeshadow, echoing the orange wall behind her. A man in a bright green coat and scarf with a pattern of purple hearts practically vogues for the camera, a purse slung jauntily over one shoulder. He’s also prominently clutching keys in his hand, giving an added weight to his air of superior, if theatrical, defiance.\u003c/p>\n\u003cfigure id=\"attachment_13964948\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000.jpg\" alt=\"Black man looks over shoulder while holding bag in lime green jacket\" width=\"2000\" height=\"1503\" class=\"size-full wp-image-13964948\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000-1020x767.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000-1536x1154.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000-1920x1443.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pieter Hugo, ‘Untitled, San Francisco,’ 2014. \u003ccite>(Courtesy the artist and Jonathan Carver Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where local artists like \u003ca href=\"https://www.sfexaminer.com/culture/visual-arts/tenderloin-photo-project-aims-to-capture-neighborhood-spirit/article_b48543ec-d1ce-11ee-8133-2b3b667b073e.html\">Amos Gregory\u003c/a>, who has also photographed residents of the Tenderloin extensively, utilize the context of the studio setting to emphasize his subjects’ dignity, Hugo shoots them in their own element. A striking aspect of the series is how contemporary it looks; these pictures could have been taken yesterday.\u003c/p>\n\u003cp>One subject reclines seductively on the sidewalk, holding a dripping popsicle to their lips. Personal belongings and the corner of a tent can be seen in the background, just out of focus. In another shot, a tough-looking greaser holds his chihuahua up to his face for a kiss; his knuckle tattoos read FUCK COPS. It is in these contrasts that Hugo’s subjects reveal themselves, undefined by their circumstances as much as they remain the very fabric of the neighborhood.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The issues the work raises dip into both art history and local politics. Both concern the agency of the people pictured.\u003c/p>\n\u003cp>On the art historical side, there’s a question of ethics and exploitation. Some subjects — those included in this exhibition — were willing participants, clearly posing for the camera, while others in the larger series were clearly not, and can be seen experiencing episodes of mental illness. In the case of willing participants, portraiture offers its subjects an opportunity to be seen on their own terms. Even so, there’s an argument to be made that this kind of photography exploits its subject’s hardships for art’s sake. Such concerns are one of the reasons Hugo sat on the work for so long.\u003c/p>\n\u003cfigure id=\"attachment_13964952\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000.jpg\" alt=\"Corner of white-walled gallery with three large-scale color photographs\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13964952\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Californian Wildflowers’ at Jonathan Carver Moore. \u003ccite>(Courtesy Jonathan Carver Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Photography is inherently voyeuristic,” Hugo says. “That’s its problem, but also its energy. And you’re never going to resolve that.”\u003c/p>\n\u003cp>In two different pictures hanging on opposite walls of the gallery, women stare earnestly at the camera, one smiling, one frowning, both less interested in the opportunity to perform than with the chance to be seen. Their elegiac expressions reveal a lack of any pretense, just an attempt to make a direct connection with the camera. Were they yearning to be seen? Could they know their likenesses would hang on a gallery wall, 10 years later? Or were they imploring Hugo for something — something more than a picture?\u003c/p>\n\u003cp>Representation, agency and their underlying power dynamics have long troubled documentary photography, and raise questions perhaps as tired as they are essential to the discourse. There’s a grand tradition of photographers turning their lenses on subjects less fortunate than themselves, including \u003ca href=\"https://fraenkelgallery.com/artists/diane-arbus\">Diane Arbus\u003c/a>, who photographed social outcasts; \u003ca href=\"https://jimgoldberg.com/\">Jim Goldberg\u003c/a>, who documented teen homelessness with \u003ci>\u003ca href=\"https://jimgoldberg.com/projects/raised-by-wolves\">Raised by Wolves\u003c/a>\u003c/i>; or Katy Grannan, whose series \u003cem>\u003ca href=\"https://fraenkelgallery.com/exhibitions/katy-grannan-boulevard\">Boulevard\u003c/a>\u003c/em> presents strangers the artist met on the streets of San Francisco and Los Angeles.\u003c/p>\n\u003cfigure id=\"attachment_13964949\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000.jpg\" alt=\"Person sits on sidewalk with popsicle in hand, looks directly at camera\" width=\"2000\" height=\"1503\" class=\"size-full wp-image-13964949\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000-1020x767.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000-1536x1154.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000-1920x1443.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pieter Hugo, ‘Untitled, San Francisco,’ 2014. \u003ccite>(Courtesy the artist and Jonathan Carver Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Questions of agency and representation are also part of the larger narrative surrounding the Tenderloin, where unhoused residents are often described with \u003ca href=\"https://www.sfexaminer.com/news/housing/jordan-neely-death-a-violent-result-of-anti-homeless-views/article_c982c2c8-ef4e-11ed-a904-2f05e1ba149a.html\">dehumanizing rhetoric\u003c/a>. San Francisco officials have recently \u003ca href=\"https://www.kqed.org/news/12000606/scenes-from-san-franciscos-unhoused-encampment-sweeps\">intensified sweeps of homeless encampments\u003c/a> under threat from Governor Gavin Newsom. In January, the city’s Department of Homelessness and Supportive Housing identified 8,323 people as unhoused in the \u003ca href=\"https://hsh.sfgov.org/about/research-and-reports/pit/\">annual point-in-time count\u003c/a>, including 1,198 unhoused youth.\u003c/p>\n\u003cp>“People are going to have to go somewhere,” Hugo says, speaking to the potential ineffectiveness of the sweeps and \u003ca href=\"https://www.kqed.org/news/11999880/we-gotta-be-somewhere-unhoused-californians-react-to-newsoms-crackdown\">echoing the sentiments\u003c/a> of unhoused individuals themselves. “You might as well actually deal with the issue because it’s not going to just go away.”\u003c/p>\n\u003cp>\u003cem>Californian Wildflowers\u003c/em> insists on the presence of people who the less marginalized apparently don’t want to see. Hugo’s photographs cast them in a multidimensional light, making clear the humanity of a community, all too often overlooked, even by fellow San Franciscans. \u003c/p>\n\u003cp>“People in the surrounding neighborhoods look at the people in the Tenderloin like they’re so different from them,” says Moore, who has lived in the neighborhood since moving to San Francisco in 2016. “I don’t see it that way. When I lived at Golden Gate and Larkin, in the thick of the Tenderloin, there was open drug dealing and things happening out there and those were the same people who would open the door for me to get into my building when I was carrying groceries.”\u003c/p>\n\u003cp>There’s beauty here, Hugo’s work shows us. What does it tell us about ourselves that it may take the reframing of that beauty as art in order for us to see it?\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.jonathancarvermoore.com/exhibitions/15-californian-wildflowers-solo-presentation-from-pieter-hugo/overview/\">Californian Wildflowers\u003c/a>’ is on view at Jonathan Carver Moore (966 Market St., San Francisco) through Nov. 9, 2024.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A selection from the series, titled \u003ca href=\"https://pieterhugo.com/Californian-Wildflowers\">\u003cem>Californian Wildflowers\u003c/em>\u003c/a>, is on view for the first time in San Francisco at Jonathan Carver Moore’s eponymous Market Street gallery, in the very neighborhood where the work was made. The show coincides with an expansive monograph of the same title, forthcoming from \u003ca href=\"https://tbwbooks.com/\">TBW Books\u003c/a>. The series shines an ebullient light on a neighborhood central to the high-profile narrative of San Francisco’s demise, and makes a case for its vibrant humanity.\u003c/p>\n\u003cp>The prints in the show, all untitled, offer their subjects up larger than life, both in physical scale and personal demeanor. A woman clad in a fur coat and curly blonde wig dramatically puffs a cigarette through metallic red lipstick, matching her heavy eyeshadow, echoing the orange wall behind her. A man in a bright green coat and scarf with a pattern of purple hearts practically vogues for the camera, a purse slung jauntily over one shoulder. He’s also prominently clutching keys in his hand, giving an added weight to his air of superior, if theatrical, defiance.\u003c/p>\n\u003cfigure id=\"attachment_13964948\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000.jpg\" alt=\"Black man looks over shoulder while holding bag in lime green jacket\" width=\"2000\" height=\"1503\" class=\"size-full wp-image-13964948\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000-1020x767.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000-1536x1154.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_lime_2000-1920x1443.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pieter Hugo, ‘Untitled, San Francisco,’ 2014. \u003ccite>(Courtesy the artist and Jonathan Carver Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Where local artists like \u003ca href=\"https://www.sfexaminer.com/culture/visual-arts/tenderloin-photo-project-aims-to-capture-neighborhood-spirit/article_b48543ec-d1ce-11ee-8133-2b3b667b073e.html\">Amos Gregory\u003c/a>, who has also photographed residents of the Tenderloin extensively, utilize the context of the studio setting to emphasize his subjects’ dignity, Hugo shoots them in their own element. A striking aspect of the series is how contemporary it looks; these pictures could have been taken yesterday.\u003c/p>\n\u003cp>One subject reclines seductively on the sidewalk, holding a dripping popsicle to their lips. Personal belongings and the corner of a tent can be seen in the background, just out of focus. In another shot, a tough-looking greaser holds his chihuahua up to his face for a kiss; his knuckle tattoos read FUCK COPS. It is in these contrasts that Hugo’s subjects reveal themselves, undefined by their circumstances as much as they remain the very fabric of the neighborhood.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The issues the work raises dip into both art history and local politics. Both concern the agency of the people pictured.\u003c/p>\n\u003cp>On the art historical side, there’s a question of ethics and exploitation. Some subjects — those included in this exhibition — were willing participants, clearly posing for the camera, while others in the larger series were clearly not, and can be seen experiencing episodes of mental illness. In the case of willing participants, portraiture offers its subjects an opportunity to be seen on their own terms. Even so, there’s an argument to be made that this kind of photography exploits its subject’s hardships for art’s sake. Such concerns are one of the reasons Hugo sat on the work for so long.\u003c/p>\n\u003cfigure id=\"attachment_13964952\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000.jpg\" alt=\"Corner of white-walled gallery with three large-scale color photographs\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13964952\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_install_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Californian Wildflowers’ at Jonathan Carver Moore. \u003ccite>(Courtesy Jonathan Carver Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Photography is inherently voyeuristic,” Hugo says. “That’s its problem, but also its energy. And you’re never going to resolve that.”\u003c/p>\n\u003cp>In two different pictures hanging on opposite walls of the gallery, women stare earnestly at the camera, one smiling, one frowning, both less interested in the opportunity to perform than with the chance to be seen. Their elegiac expressions reveal a lack of any pretense, just an attempt to make a direct connection with the camera. Were they yearning to be seen? Could they know their likenesses would hang on a gallery wall, 10 years later? Or were they imploring Hugo for something — something more than a picture?\u003c/p>\n\u003cp>Representation, agency and their underlying power dynamics have long troubled documentary photography, and raise questions perhaps as tired as they are essential to the discourse. There’s a grand tradition of photographers turning their lenses on subjects less fortunate than themselves, including \u003ca href=\"https://fraenkelgallery.com/artists/diane-arbus\">Diane Arbus\u003c/a>, who photographed social outcasts; \u003ca href=\"https://jimgoldberg.com/\">Jim Goldberg\u003c/a>, who documented teen homelessness with \u003ci>\u003ca href=\"https://jimgoldberg.com/projects/raised-by-wolves\">Raised by Wolves\u003c/a>\u003c/i>; or Katy Grannan, whose series \u003cem>\u003ca href=\"https://fraenkelgallery.com/exhibitions/katy-grannan-boulevard\">Boulevard\u003c/a>\u003c/em> presents strangers the artist met on the streets of San Francisco and Los Angeles.\u003c/p>\n\u003cfigure id=\"attachment_13964949\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000.jpg\" alt=\"Person sits on sidewalk with popsicle in hand, looks directly at camera\" width=\"2000\" height=\"1503\" class=\"size-full wp-image-13964949\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000-1020x767.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000-1536x1154.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/Hugo_untitled_popsicle_2000-1920x1443.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Pieter Hugo, ‘Untitled, San Francisco,’ 2014. \u003ccite>(Courtesy the artist and Jonathan Carver Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Questions of agency and representation are also part of the larger narrative surrounding the Tenderloin, where unhoused residents are often described with \u003ca href=\"https://www.sfexaminer.com/news/housing/jordan-neely-death-a-violent-result-of-anti-homeless-views/article_c982c2c8-ef4e-11ed-a904-2f05e1ba149a.html\">dehumanizing rhetoric\u003c/a>. San Francisco officials have recently \u003ca href=\"https://www.kqed.org/news/12000606/scenes-from-san-franciscos-unhoused-encampment-sweeps\">intensified sweeps of homeless encampments\u003c/a> under threat from Governor Gavin Newsom. In January, the city’s Department of Homelessness and Supportive Housing identified 8,323 people as unhoused in the \u003ca href=\"https://hsh.sfgov.org/about/research-and-reports/pit/\">annual point-in-time count\u003c/a>, including 1,198 unhoused youth.\u003c/p>\n\u003cp>“People are going to have to go somewhere,” Hugo says, speaking to the potential ineffectiveness of the sweeps and \u003ca href=\"https://www.kqed.org/news/11999880/we-gotta-be-somewhere-unhoused-californians-react-to-newsoms-crackdown\">echoing the sentiments\u003c/a> of unhoused individuals themselves. “You might as well actually deal with the issue because it’s not going to just go away.”\u003c/p>\n\u003cp>\u003cem>Californian Wildflowers\u003c/em> insists on the presence of people who the less marginalized apparently don’t want to see. Hugo’s photographs cast them in a multidimensional light, making clear the humanity of a community, all too often overlooked, even by fellow San Franciscans. \u003c/p>\n\u003cp>“People in the surrounding neighborhoods look at the people in the Tenderloin like they’re so different from them,” says Moore, who has lived in the neighborhood since moving to San Francisco in 2016. “I don’t see it that way. When I lived at Golden Gate and Larkin, in the thick of the Tenderloin, there was open drug dealing and things happening out there and those were the same people who would open the door for me to get into my building when I was carrying groceries.”\u003c/p>\n\u003cp>There’s beauty here, Hugo’s work shows us. What does it tell us about ourselves that it may take the reframing of that beauty as art in order for us to see it?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘\u003ca href=\"https://www.jonathancarvermoore.com/exhibitions/15-californian-wildflowers-solo-presentation-from-pieter-hugo/overview/\">Californian Wildflowers\u003c/a>’ is on view at Jonathan Carver Moore (966 Market St., San Francisco) through Nov. 9, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"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.",
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"masters-of-scale": {
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"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?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"order": 5
},
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
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