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"title": "‘The League’ Joyfully Reframes the Heyday of Black Baseball",
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"content": "\u003cp>Everybody knows that baseball — the dominant sport in America for two-thirds of the 20th century — excluded Black players from its major leagues for decades, from the turn of the century until Jackie Robinson broke through in 1947. In most tellings, Negro League stars like Buck O’Neill, Josh Gibson and Satchel Paige are tragic figures: They were robbed of the opportunity to compete against Joe DiMaggio, et al, and to join the firmament of household names on the sports pages, in the record books and at Cooperstown.\u003c/p>\n\u003cp>A parallel history of baseball from a Black point of view, Sam Pollard’s fleet-footed, feature-length \u003cem>The League\u003c/em> offers a perspective that acknowledges segregation and racism — yet is closer to a house party than a lament. Meshing the recollections of numerous players and Negro League umpire Bob Motley (who died in 2017), a wealth of splendid vintage footage and interviews with young Black historians, it’s a solid double in the gap that fans of the game will enjoy even more than devotees of American social history.\u003c/p>\n\u003cfigure id=\"attachment_13931370\" class=\"wp-caption aligncenter\" style=\"max-width: 604px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/2.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931370\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/2.png\" alt=\"in a black and white photo an umpire leaps up into the air in the middle of the field calling a play\" width=\"604\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/2.png 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/2-160x127.png 160w\" sizes=\"(max-width: 604px) 100vw, 604px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Umpire Bob Motley in the air, in a still from ‘The League.’ \u003ccite>(Byron Motley, courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The League\u003c/em> is not as kinetic and enthralling as the prolific Pollard’s recent \u003cem>Sammy Davis, Jr.: I’ve Gotta Be Me (2017)\u003c/em> or last year’s \u003cem>Lowndes County and the Road to Black Power\u003c/em>. But that likely comes down to the episodic, pass-the-baton nature of the Negro Leagues’ evolution.\u003c/p>\n\u003cp>In the leadoff spot is Andrew “Rube” Foster, a crafty Black pitcher whom New York Giants manager John McGraw reportedly hired to secretly teach future Hall of Famer Christy Mathewson the fadeaway (a.k.a. screwball). Foster became an innovative manager and owner of the Chicago American Giants, where he pioneered an aggressive style of play built on speed, base-running and squeeze bunts (in contrast to the Major Leagues’ love affair with Babe Ruth’s home run jogs).\u003c/p>\n\u003cp>Foster’s biggest contribution, though, was persuading fellow Midwest team owners to form the Negro National League in 1920. Another group formed the Eastern Colored League in 1923, and the winners of the two leagues met in the first “colored” World Series the following year.\u003c/p>\n\u003cfigure id=\"attachment_13931372\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931372\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/3-800x323.jpg\" alt=\"a black and white photo of a Negro League baseball team\" width=\"800\" height=\"323\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-800x323.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-1020x411.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-160x65.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-768x310.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-1536x619.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-2048x826.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-1920x774.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rube Foster (center), managing the 1916 Chicago American Giants. \u003ccite>(Hake's Auction, courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Organized Black baseball created rivalries and birthed stars. Off the field, the effects were even more significant: Black communities proudly embraced their teams to such a degree that churches moved their Sunday services up an hour in deference to highly anticipated games. Meanwhile, the teams hired hundreds of ticket-takers, vendors and ushers, fueling the local economy.\u003c/p>\n\u003cp>Foster was disabled by gas poisoning in a hotel accident. His 1930 death, combined with the Great Depression, doomed the Negro National League. Pittsburgh Crawfords owner Gus Greenlee launched the second iteration in 1933, the same year he signed the likable catcher Joshua Gibson.[aside postid='arts_13875504']\u003c/p>\n\u003cp>Pittsburgh, which was on the main train line connecting East Coast cities as well as points west, was able to support another terrific Black team: The Homestead Grays, who signed away Gibson after four seasons with the Crawfords. (A career .365 hitter, Gibson’s mental health issues and premature death robbed him of a shot at the Major Leagues.)\u003c/p>\n\u003cp>As one would expect, \u003cem>The League\u003c/em> weaves important Black social movements into the narrative. The great migration of Southern Black Americans to northern cities after World War I was key to the success of the Negro National Leagues. During World War II, the \u003cem>Pittsburgh Courier\u003c/em> spearheaded the Double Victory campaign, which highlighted the contributions and bravery of Black soldiers fighting to free people overseas and lobbied for expanded freedoms at home — less discrimination and segregation — for Black Americans.\u003c/p>\n\u003cfigure id=\"attachment_13931371\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/6.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931371\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/6-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/6-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/6-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/6-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/6.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sam Pollard, director of ‘The League.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Batting cleanup in \u003cem>The League\u003c/em> is executive Effa Manley. She made her first mark leading a 1934 boycott of a Harlem department store until it hired Black salesgirls, and became co-owner of the Newark Eagles upon marrying its owner, Abe Manley, the following year. Effa excelled at managing the club’s business operations and advocating for all Negro League players.\u003c/p>\n\u003cp>If you harbor the notion that Branch Rickey is a hero for integrating Major League Baseball when he signed Jackie Robinson from the Kansas City Monarchs for his Brooklyn Dodgers, listen to Effa Manley. She was outspoken about Rickey’s crass failure to pay the team that developed him. (In contrast, Cleveland Indians owner Bill Veeck paid Manley a small sum for Larry Doby, who was the first Black player in the American League.)\u003c/p>\n\u003cp>Manley is perhaps the most fascinating figure in \u003cem>The League\u003c/em>. She is among the roughly three dozen Negro League greats inducted into the National Baseball Hall of Fame since 1971, and is still the only woman in the Hall.\u003c/p>\n\u003cfigure id=\"attachment_13931374\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/5-1.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931374\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/5-1-800x635.png\" alt=\"a black and white photo of a Negro League baseball team\" width=\"800\" height=\"635\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/5-1-800x635.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/5-1-160x127.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/5-1-768x610.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/5-1.png 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The 1942 AA Marines in a still from ‘The League. \u003ccite>(Library of Congress, courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area baseball fans will encounter surprisingly few local connections in \u003cem>The League\u003c/em>. Willie Mays played 13 games in 1948 for the Negro League’s Birmingham Black Barons — when he was 17 — and he makes a cameo appearance via a couple-decades-old videotaped interview and his unforgettable catch of Vic Wertz’s blast to deep centerfield in the opening game of the 1954 World Series. The Negro League will take a turn in the spotlight at the Black Barons’ ballpark, Rickwood Field, on June 20, 2024, when the Giants and Cardinals play a nationally televised regular season game.\u003c/p>\n\u003cp>While neither the filmmaker nor his cohort of learned interviewees express any regrets about the integration of Major League Baseball, it obviously led to the demise of the Negro Baseball League. Black fans preferred to see Robinson, or Doby, or Paige, or Monte Irvin, or Roy Campanella playing against and alongside white players rather than all-Black teams in all-Black leagues. Against the backdrop of a nascent civil rights movement, integrated Major League Baseball represented the future, while the Negro League was a holdover of the past. By the 1950s, it was game over.\u003c/p>\n\u003cp>Seventy years later, baseball fans lament the dearth of Black players in the game as so many athletes gravitate to football and basketball. But that’s another story. \u003cem>The League\u003c/em> transports us to a time when baseball was boss and every professional player was special. That includes the Negro Leagues, as well.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘The League’ screens July 9, 10 and 12 at the AMC Metreon 16 San Francisco, AMC Bay Street 16 Emeryville and AMC Eastridge 15 San Jose.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Everybody knows that baseball — the dominant sport in America for two-thirds of the 20th century — excluded Black players from its major leagues for decades, from the turn of the century until Jackie Robinson broke through in 1947. In most tellings, Negro League stars like Buck O’Neill, Josh Gibson and Satchel Paige are tragic figures: They were robbed of the opportunity to compete against Joe DiMaggio, et al, and to join the firmament of household names on the sports pages, in the record books and at Cooperstown.\u003c/p>\n\u003cp>A parallel history of baseball from a Black point of view, Sam Pollard’s fleet-footed, feature-length \u003cem>The League\u003c/em> offers a perspective that acknowledges segregation and racism — yet is closer to a house party than a lament. Meshing the recollections of numerous players and Negro League umpire Bob Motley (who died in 2017), a wealth of splendid vintage footage and interviews with young Black historians, it’s a solid double in the gap that fans of the game will enjoy even more than devotees of American social history.\u003c/p>\n\u003cfigure id=\"attachment_13931370\" class=\"wp-caption aligncenter\" style=\"max-width: 604px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/2.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931370\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/2.png\" alt=\"in a black and white photo an umpire leaps up into the air in the middle of the field calling a play\" width=\"604\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/2.png 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/2-160x127.png 160w\" sizes=\"(max-width: 604px) 100vw, 604px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Umpire Bob Motley in the air, in a still from ‘The League.’ \u003ccite>(Byron Motley, courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>The League\u003c/em> is not as kinetic and enthralling as the prolific Pollard’s recent \u003cem>Sammy Davis, Jr.: I’ve Gotta Be Me (2017)\u003c/em> or last year’s \u003cem>Lowndes County and the Road to Black Power\u003c/em>. But that likely comes down to the episodic, pass-the-baton nature of the Negro Leagues’ evolution.\u003c/p>\n\u003cp>In the leadoff spot is Andrew “Rube” Foster, a crafty Black pitcher whom New York Giants manager John McGraw reportedly hired to secretly teach future Hall of Famer Christy Mathewson the fadeaway (a.k.a. screwball). Foster became an innovative manager and owner of the Chicago American Giants, where he pioneered an aggressive style of play built on speed, base-running and squeeze bunts (in contrast to the Major Leagues’ love affair with Babe Ruth’s home run jogs).\u003c/p>\n\u003cp>Foster’s biggest contribution, though, was persuading fellow Midwest team owners to form the Negro National League in 1920. Another group formed the Eastern Colored League in 1923, and the winners of the two leagues met in the first “colored” World Series the following year.\u003c/p>\n\u003cfigure id=\"attachment_13931372\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931372\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/3-800x323.jpg\" alt=\"a black and white photo of a Negro League baseball team\" width=\"800\" height=\"323\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-800x323.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-1020x411.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-160x65.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-768x310.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-1536x619.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-2048x826.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/3-1920x774.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Rube Foster (center), managing the 1916 Chicago American Giants. \u003ccite>(Hake's Auction, courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Organized Black baseball created rivalries and birthed stars. Off the field, the effects were even more significant: Black communities proudly embraced their teams to such a degree that churches moved their Sunday services up an hour in deference to highly anticipated games. Meanwhile, the teams hired hundreds of ticket-takers, vendors and ushers, fueling the local economy.\u003c/p>\n\u003cp>Foster was disabled by gas poisoning in a hotel accident. His 1930 death, combined with the Great Depression, doomed the Negro National League. Pittsburgh Crawfords owner Gus Greenlee launched the second iteration in 1933, the same year he signed the likable catcher Joshua Gibson.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pittsburgh, which was on the main train line connecting East Coast cities as well as points west, was able to support another terrific Black team: The Homestead Grays, who signed away Gibson after four seasons with the Crawfords. (A career .365 hitter, Gibson’s mental health issues and premature death robbed him of a shot at the Major Leagues.)\u003c/p>\n\u003cp>As one would expect, \u003cem>The League\u003c/em> weaves important Black social movements into the narrative. The great migration of Southern Black Americans to northern cities after World War I was key to the success of the Negro National Leagues. During World War II, the \u003cem>Pittsburgh Courier\u003c/em> spearheaded the Double Victory campaign, which highlighted the contributions and bravery of Black soldiers fighting to free people overseas and lobbied for expanded freedoms at home — less discrimination and segregation — for Black Americans.\u003c/p>\n\u003cfigure id=\"attachment_13931371\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/6.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931371\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/6-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/6-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/6-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/6-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/6.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sam Pollard, director of ‘The League.’ \u003ccite>(Courtesy Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Batting cleanup in \u003cem>The League\u003c/em> is executive Effa Manley. She made her first mark leading a 1934 boycott of a Harlem department store until it hired Black salesgirls, and became co-owner of the Newark Eagles upon marrying its owner, Abe Manley, the following year. Effa excelled at managing the club’s business operations and advocating for all Negro League players.\u003c/p>\n\u003cp>If you harbor the notion that Branch Rickey is a hero for integrating Major League Baseball when he signed Jackie Robinson from the Kansas City Monarchs for his Brooklyn Dodgers, listen to Effa Manley. She was outspoken about Rickey’s crass failure to pay the team that developed him. (In contrast, Cleveland Indians owner Bill Veeck paid Manley a small sum for Larry Doby, who was the first Black player in the American League.)\u003c/p>\n\u003cp>Manley is perhaps the most fascinating figure in \u003cem>The League\u003c/em>. She is among the roughly three dozen Negro League greats inducted into the National Baseball Hall of Fame since 1971, and is still the only woman in the Hall.\u003c/p>\n\u003cfigure id=\"attachment_13931374\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/5-1.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931374\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/5-1-800x635.png\" alt=\"a black and white photo of a Negro League baseball team\" width=\"800\" height=\"635\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/5-1-800x635.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/5-1-160x127.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/5-1-768x610.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/5-1.png 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The 1942 AA Marines in a still from ‘The League. \u003ccite>(Library of Congress, courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area baseball fans will encounter surprisingly few local connections in \u003cem>The League\u003c/em>. Willie Mays played 13 games in 1948 for the Negro League’s Birmingham Black Barons — when he was 17 — and he makes a cameo appearance via a couple-decades-old videotaped interview and his unforgettable catch of Vic Wertz’s blast to deep centerfield in the opening game of the 1954 World Series. The Negro League will take a turn in the spotlight at the Black Barons’ ballpark, Rickwood Field, on June 20, 2024, when the Giants and Cardinals play a nationally televised regular season game.\u003c/p>\n\u003cp>While neither the filmmaker nor his cohort of learned interviewees express any regrets about the integration of Major League Baseball, it obviously led to the demise of the Negro Baseball League. Black fans preferred to see Robinson, or Doby, or Paige, or Monte Irvin, or Roy Campanella playing against and alongside white players rather than all-Black teams in all-Black leagues. Against the backdrop of a nascent civil rights movement, integrated Major League Baseball represented the future, while the Negro League was a holdover of the past. By the 1950s, it was game over.\u003c/p>\n\u003cp>Seventy years later, baseball fans lament the dearth of Black players in the game as so many athletes gravitate to football and basketball. But that’s another story. \u003cem>The League\u003c/em> transports us to a time when baseball was boss and every professional player was special. That includes the Negro Leagues, as well.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘The League’ screens July 9, 10 and 12 at the AMC Metreon 16 San Francisco, AMC Bay Street 16 Emeryville and AMC Eastridge 15 San Jose.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The egos are as vast and thorny as the gardens on the lush estate of a prominent author in \u003cem>The Lesson\u003c/em>, an entertaining and erudite chamber piece about a master, a tutor and a family after loss.\u003c/p>\n\u003cp>[aside postid='arts_13931189']This is a story that, in different hands, could have easily turned maudlin or melodramatic, but director Alice Troughton, writer Alex MacKeith and composer Isobel Waller-Bridge opted instead for wry lightness within the construct of a slow-burn thriller. It’s as though The Lesson, and everyone involved, is winking at the audience through the serious material that lingers, intentionally, on the fine line between pretentious and provocative.\u003c/p>\n\u003cp>Daryl McCormack, of \u003cem>Good Luck to You, Leo Grande\u003c/em> and \u003cem>Bad Sisters\u003c/em>, plays Liam Sommers, an aspiring writer who has accepted a job tutoring the son of world-famous author J.M. Sinclair (Richard E. Grant), who also happens to be his literary idol. But the film begins with Liam on a fancy stage, being interviewed about his novel about a fading patriarch and a grief-stricken family that the moderator calls one of the most striking debuts of the year. The movie is a memory prompted by that very standard interview question: What was your inspiration?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P0wnu-1_8-M\u003c/p>\n\u003cp>Anyone in the business of asking artists questions about inspiration knows, on a certain level, that at best you’re only getting a very brief version of one person’s highly sanitized truth. At worst it’s just a plausible sounding fabrication, safely constructed in the rearview mirror. J.M. Sinclair, in the YouTube interviews that Liam watches on repeat, coyly speaks about how all great writers steal but he’s not one, you imagine, who would publicly own any thievery. He is as precious about the singularity of his works and his talent as, in his words, the average writers who attempt originality and “fail universally” and the good writers who have the “sense to borrow.” But it all helps to plant the seed that you’re about to watch a literary heist unfold, though perhaps not the one you might expect.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Sinclair family is the picture of upper-class posturing, with a household staff and a feigned formality fitting of someone who is always in control of the narrative, even at the dinner table in the company of only his son, Bertie (Stephen McMillan), and wife, Hélène (Julie Delpy). When he queues up Rachmaninoff as their dining music and Bertie protests, he challenges his son to give him three good reasons why — a snobbish test that only shuts down the conversation. It’s also quite the introduction to an author whom Liam has worshipped. Never meet your idols, etc, etc.\u003c/p>\n\u003cfigure id=\"attachment_13931290\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931290\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Richard-e-g-800x523.png\" alt=\"A man in his sixties looks up sternly from a book, fist clenched. There is a book case full of encyclopdias behind him.\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-800x523.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-1020x667.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-768x502.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-1536x1004.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g.png 1744w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richard E. Grant stars as a cold and controlling novelist in ‘The Lesson.’ \u003ccite>(Bleecker Street)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liam is ostensibly there to help Bertie, a quiet and tortured Chalamet-type, prepare for entrance exams to study English literature at Oxford. But he has his own motives too — he’s writing a thesis about Sinclair and at work on his own book. Why would a family that insists on a nondisclosure agreement and utmost discretion hire someone with such a glaring conflict of interest? Well, that’s just one of the many mysteries for the audience to navigate in this maze of secrets, shame and scandals, including the somewhat recent suicide of the eldest Sinclair boy who was, it’s suggested, a more promising writer than Bertie.\u003c/p>\n\u003cp>[aside postid='arts_13930824']McCormack, Grant and Delpy are a deliriously captivating group to watch. Grant, so adept at comedy, is prickly and terrifying as this intellectual tyrant who is unafraid to crush anyone in his path with casual cruelty, as when he asks Liam for help because he’s “not a real writer.” And McCormack once again excels at playing a shrewd, underestimated outsider. Liam has a few Tom Ripley talents up his sleeve that he uses to his advantage at key moments.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As Liam says of Sinclair’s newest book, the third act in the film feels like a bit of a jarring departure from the fun escalating tension of the first two acts. But \u003cem>The Lesson\u003c/em> is worth a watch as a tightly crafted film made by and for adults unafraid of some rhododendron metaphors and casual Tchaikovsky talk.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This is a story that, in different hands, could have easily turned maudlin or melodramatic, but director Alice Troughton, writer Alex MacKeith and composer Isobel Waller-Bridge opted instead for wry lightness within the construct of a slow-burn thriller. It’s as though The Lesson, and everyone involved, is winking at the audience through the serious material that lingers, intentionally, on the fine line between pretentious and provocative.\u003c/p>\n\u003cp>Daryl McCormack, of \u003cem>Good Luck to You, Leo Grande\u003c/em> and \u003cem>Bad Sisters\u003c/em>, plays Liam Sommers, an aspiring writer who has accepted a job tutoring the son of world-famous author J.M. Sinclair (Richard E. Grant), who also happens to be his literary idol. But the film begins with Liam on a fancy stage, being interviewed about his novel about a fading patriarch and a grief-stricken family that the moderator calls one of the most striking debuts of the year. The movie is a memory prompted by that very standard interview question: What was your inspiration?\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/P0wnu-1_8-M'\n title='//www.youtube.com/embed/P0wnu-1_8-M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Anyone in the business of asking artists questions about inspiration knows, on a certain level, that at best you’re only getting a very brief version of one person’s highly sanitized truth. At worst it’s just a plausible sounding fabrication, safely constructed in the rearview mirror. J.M. Sinclair, in the YouTube interviews that Liam watches on repeat, coyly speaks about how all great writers steal but he’s not one, you imagine, who would publicly own any thievery. He is as precious about the singularity of his works and his talent as, in his words, the average writers who attempt originality and “fail universally” and the good writers who have the “sense to borrow.” But it all helps to plant the seed that you’re about to watch a literary heist unfold, though perhaps not the one you might expect.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Sinclair family is the picture of upper-class posturing, with a household staff and a feigned formality fitting of someone who is always in control of the narrative, even at the dinner table in the company of only his son, Bertie (Stephen McMillan), and wife, Hélène (Julie Delpy). When he queues up Rachmaninoff as their dining music and Bertie protests, he challenges his son to give him three good reasons why — a snobbish test that only shuts down the conversation. It’s also quite the introduction to an author whom Liam has worshipped. Never meet your idols, etc, etc.\u003c/p>\n\u003cfigure id=\"attachment_13931290\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931290\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Richard-e-g-800x523.png\" alt=\"A man in his sixties looks up sternly from a book, fist clenched. There is a book case full of encyclopdias behind him.\" width=\"800\" height=\"523\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-800x523.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-1020x667.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-768x502.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g-1536x1004.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Richard-e-g.png 1744w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richard E. Grant stars as a cold and controlling novelist in ‘The Lesson.’ \u003ccite>(Bleecker Street)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liam is ostensibly there to help Bertie, a quiet and tortured Chalamet-type, prepare for entrance exams to study English literature at Oxford. But he has his own motives too — he’s writing a thesis about Sinclair and at work on his own book. Why would a family that insists on a nondisclosure agreement and utmost discretion hire someone with such a glaring conflict of interest? Well, that’s just one of the many mysteries for the audience to navigate in this maze of secrets, shame and scandals, including the somewhat recent suicide of the eldest Sinclair boy who was, it’s suggested, a more promising writer than Bertie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cfigure id=\"attachment_13930997\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930997\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-800x600.jpg\" alt=\"The white Princess Leia dress worn by Carrie Fisher in ‘Star Wars’ is displayed between the General Maximus armor worn by Russell Crowe in ‘Gladiator,’ and the clown doll from ‘Poltergeist.’\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A dress worn by actress Carrie Fisher in the 1977 film ‘Star Wars’ is one of 1,400 items up for sale at a live auction of film and TV memorabilia in Los Angeles this week. \u003ccite>(FREDERIC J. BROWN/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who’ve ever dreamt of dressing like an authentic \u003cem>Star Wars\u003c/em> princess might find they have a little “New Hope”: A gown worn by Princess Leia (played by the late actress Carrie Fisher) in the first film of the blockbuster space saga is up for sale at this week’s Entertainment Memorabilia Live Auction.\u003c/p>\n\u003cp>But it comes with no small price tag. The gown is expected to fetch \u003ca href=\"https://propstoreauction.com/lot-details/index/catalog/347/lot/113092?url=%2Fauctions%2Fcatalog%2Fid%2F347%3Fpage%3D1%26view%3Dgrid%26catm%3Dany%26order%3Dorder_num%26xclosed%3Dyes%26featured%3Dno%26key%3Dstar%2Bwars\">up to $2 million\u003c/a>, with bids closing Wednesday.\u003c/p>\n\u003cp>The costume is believed to be the only surviving Princess Leia look from the film that launched a cultural phenomenon.\u003c/p>\n\u003ch3>The slim-fitting silk gown features in the final scene of \u003cem>A New Hope \u003c/em>\u003c/h3>\n\u003cp>The 1977 film, later subtitled \u003cem>Episode IV — a New Hope\u003c/em>, features the gown in \u003ca href=\"https://www.youtube.com/watch?v=yixG8pfncOs\">its final scene\u003c/a>, in which Princess Leia presents medals of honor to the newly minted heroes of the rebel alliance, Han Solo and Luke Skywalker.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yixG8pfncOs\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The white gown serves as the focal point of the mise-en-scène. It’s even the last object visible as the final shot transitions to the director’s credit, in the movie equivalent of what’d be a final bow on stage.\u003c/p>\n\u003cp>“The dress is a real relic. It’s an absolute piece of film history,” said Brandon Alinger, the chief operating officer of Propstore, the company behind Wednesday’s auction.\u003c/p>\n\u003cp>“When \u003cem>Star Wars\u003c/em> fans see it, they stop in their tracks, they gasp a bit at the sight of it, because they recognize the significance of it,” Alinger said.\u003c/p>\n\u003cp>[aside postid='pop_50308']The tone-setting dress helped its designer, John Mollo, win the Oscar for best costume design at \u003ca href=\"https://www.oscars.org/oscars/ceremonies/1978\">the 50th annual Academy Awards in March 1978. \u003c/a>\u003c/p>\n\u003cp>Referred to as Princess Leia’s ceremonial gown, the floor-sweeping frock is made of slim-fitting silk and adorned with a single silver-plated belt.\u003c/p>\n\u003cp>It’s in the senator’s signature color (white), but, notably, features a scooped neckline and empire waist, which leave it less conservative than the hooded, roomy garments Leia wears for most of the franchise.\u003c/p>\n\u003cp>(That excludes the gold bikini get-up, trademarked as “Slave Leia,” that’d come to define her later character transformation. The fact that \u003ca href=\"https://www.theguardian.com/film/2015/nov/05/slave-leia-controversy-star-wars-objectification\">the arguably more iconic\u003c/a> look \u003ca href=\"https://money.cnn.com/2015/10/02/news/princess-leia-bikini-auctioned-for-96000/\">only sold for $96,000 in 2015\u003c/a> underscores the significance of the ceremonial gown.)\u003c/p>\n\u003cfigure id=\"attachment_13930998\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930998\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-800x600.jpg\" alt=\"A wax figure of a white woman seated on the ground wearing a gold bikini with purple skirt attachment. Behind her is a large monster that resembles a slug.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A wax recreation of the famous scene featuring Princess Leia in a gold bikini was displayed at London’s Madame Tussauds in May 2015. \u003ccite>(Stuart C. Wilson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The original production had only \u003ca href=\"https://www.slashfilm.com/1231937/george-lucas-first-star-wars-draft-was-completely-different-from-a-new-hope/\">a humble budget of $11 million\u003c/a>, which may be why the costume team made just one single version of the ceremonial gown for filming and photos.\u003c/p>\n\u003cp>Those involved with the film thought that the piece had been destroyed alongside the original sets — until word got out that it was intact, collecting dust in a London attic.\u003c/p>\n\u003ch3>The dress, long thought to be gone, was swiped from the set and stored in an attic\u003c/h3>\n\u003cp>A crew member had swiped the dress from the burn pile, according to Alinger.\u003c/p>\n\u003cp>“It was 10 or 12 years ago that we first became aware of the piece,” he added. “It was such a moment when we first learned of this and then, ultimately, when the Star Wars fandom learned that this piece still existed.”\u003c/p>\n\u003cfigure id=\"attachment_13930999\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930999\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A poster of ‘Star Wars’ character Princess Leia and the refection of a storm trooper are seen at the ceremony for Carrie Fisher being honored posthumously with a star on the Hollywood Walk of Fame on May 04, 2023. \u003ccite>(VALERIE MACON/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Professional textile conservators conducted a “meticulous, museum-caliber” restoration of the garment, according to its auction description. It took a total of eight months for teams to remove the dust that had accumulated on the gown and patch tiny holes that’d appeared in the fabric’s fragile areas.\u003c/p>\n\u003cp>[aside postid='pop_103268']The hem and seams were restitched and restored with the highest archival standards — which ultimately means, the auction catalog implies, you could let the seams out if Fisher’s dimensions don’t match you perfectly.\u003c/p>\n\u003cp>But there’s a decent chance the piece is destined for a display collection and not for personal wear, given the prices.\u003c/p>\n\u003cp>Bidding, which is expected to end on Wednesday evening, opened at $500,000 and had already reached $750,000 in a special preview window as of 11 a.m. ET.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If your tastes match the dress, but not the price, there’s always \u003ca href=\"https://www.shopdisney.com/princess-leia-dress-for-adults-star-wars-2840057900342M.html?CMP=KNC-DSSGoogle&efc=179006\">the official Disney costume\u003c/a>, available in adult sizes, for a relative bargain: $129.99.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=An+original+Princess+Leia+dress+found+in+an+attic+could+be+yours+%E2%80%94+for+as+much+as+%242M&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13930997\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930997\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-800x600.jpg\" alt=\"The white Princess Leia dress worn by Carrie Fisher in ‘Star Wars’ is displayed between the General Maximus armor worn by Russell Crowe in ‘Gladiator,’ and the clown doll from ‘Poltergeist.’\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1257681638-1ab1977a31eb0d877cdee78173928100dbc65fcd-scaled-e1687974945462.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A dress worn by actress Carrie Fisher in the 1977 film ‘Star Wars’ is one of 1,400 items up for sale at a live auction of film and TV memorabilia in Los Angeles this week. \u003ccite>(FREDERIC J. BROWN/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Those who’ve ever dreamt of dressing like an authentic \u003cem>Star Wars\u003c/em> princess might find they have a little “New Hope”: A gown worn by Princess Leia (played by the late actress Carrie Fisher) in the first film of the blockbuster space saga is up for sale at this week’s Entertainment Memorabilia Live Auction.\u003c/p>\n\u003cp>But it comes with no small price tag. The gown is expected to fetch \u003ca href=\"https://propstoreauction.com/lot-details/index/catalog/347/lot/113092?url=%2Fauctions%2Fcatalog%2Fid%2F347%3Fpage%3D1%26view%3Dgrid%26catm%3Dany%26order%3Dorder_num%26xclosed%3Dyes%26featured%3Dno%26key%3Dstar%2Bwars\">up to $2 million\u003c/a>, with bids closing Wednesday.\u003c/p>\n\u003cp>The costume is believed to be the only surviving Princess Leia look from the film that launched a cultural phenomenon.\u003c/p>\n\u003ch3>The slim-fitting silk gown features in the final scene of \u003cem>A New Hope \u003c/em>\u003c/h3>\n\u003cp>The 1977 film, later subtitled \u003cem>Episode IV — a New Hope\u003c/em>, features the gown in \u003ca href=\"https://www.youtube.com/watch?v=yixG8pfncOs\">its final scene\u003c/a>, in which Princess Leia presents medals of honor to the newly minted heroes of the rebel alliance, Han Solo and Luke Skywalker.\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/yixG8pfncOs'\n title='//www.youtube.com/embed/yixG8pfncOs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The white gown serves as the focal point of the mise-en-scène. It’s even the last object visible as the final shot transitions to the director’s credit, in the movie equivalent of what’d be a final bow on stage.\u003c/p>\n\u003cp>“The dress is a real relic. It’s an absolute piece of film history,” said Brandon Alinger, the chief operating officer of Propstore, the company behind Wednesday’s auction.\u003c/p>\n\u003cp>“When \u003cem>Star Wars\u003c/em> fans see it, they stop in their tracks, they gasp a bit at the sight of it, because they recognize the significance of it,” Alinger said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The tone-setting dress helped its designer, John Mollo, win the Oscar for best costume design at \u003ca href=\"https://www.oscars.org/oscars/ceremonies/1978\">the 50th annual Academy Awards in March 1978. \u003c/a>\u003c/p>\n\u003cp>Referred to as Princess Leia’s ceremonial gown, the floor-sweeping frock is made of slim-fitting silk and adorned with a single silver-plated belt.\u003c/p>\n\u003cp>It’s in the senator’s signature color (white), but, notably, features a scooped neckline and empire waist, which leave it less conservative than the hooded, roomy garments Leia wears for most of the franchise.\u003c/p>\n\u003cp>(That excludes the gold bikini get-up, trademarked as “Slave Leia,” that’d come to define her later character transformation. The fact that \u003ca href=\"https://www.theguardian.com/film/2015/nov/05/slave-leia-controversy-star-wars-objectification\">the arguably more iconic\u003c/a> look \u003ca href=\"https://money.cnn.com/2015/10/02/news/princess-leia-bikini-auctioned-for-96000/\">only sold for $96,000 in 2015\u003c/a> underscores the significance of the ceremonial gown.)\u003c/p>\n\u003cfigure id=\"attachment_13930998\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930998\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-800x600.jpg\" alt=\"A wax figure of a white woman seated on the ground wearing a gold bikini with purple skirt attachment. Behind her is a large monster that resembles a slug.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-473041644-f114f9b653cc82396a80722bca0746271b627c58-scaled-e1687974202250.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A wax recreation of the famous scene featuring Princess Leia in a gold bikini was displayed at London’s Madame Tussauds in May 2015. \u003ccite>(Stuart C. Wilson/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The original production had only \u003ca href=\"https://www.slashfilm.com/1231937/george-lucas-first-star-wars-draft-was-completely-different-from-a-new-hope/\">a humble budget of $11 million\u003c/a>, which may be why the costume team made just one single version of the ceremonial gown for filming and photos.\u003c/p>\n\u003cp>Those involved with the film thought that the piece had been destroyed alongside the original sets — until word got out that it was intact, collecting dust in a London attic.\u003c/p>\n\u003ch3>The dress, long thought to be gone, was swiped from the set and stored in an attic\u003c/h3>\n\u003cp>A crew member had swiped the dress from the burn pile, according to Alinger.\u003c/p>\n\u003cp>“It was 10 or 12 years ago that we first became aware of the piece,” he added. “It was such a moment when we first learned of this and then, ultimately, when the Star Wars fandom learned that this piece still existed.”\u003c/p>\n\u003cfigure id=\"attachment_13930999\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930999\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/gettyimages-1252647808-c5332b718901ad4e9327414882779e89ab352ad9-scaled-e1687974451123.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A poster of ‘Star Wars’ character Princess Leia and the refection of a storm trooper are seen at the ceremony for Carrie Fisher being honored posthumously with a star on the Hollywood Walk of Fame on May 04, 2023. \u003ccite>(VALERIE MACON/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Professional textile conservators conducted a “meticulous, museum-caliber” restoration of the garment, according to its auction description. It took a total of eight months for teams to remove the dust that had accumulated on the gown and patch tiny holes that’d appeared in the fabric’s fragile areas.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The hem and seams were restitched and restored with the highest archival standards — which ultimately means, the auction catalog implies, you could let the seams out if Fisher’s dimensions don’t match you perfectly.\u003c/p>\n\u003cp>But there’s a decent chance the piece is destined for a display collection and not for personal wear, given the prices.\u003c/p>\n\u003cp>Bidding, which is expected to end on Wednesday evening, opened at $500,000 and had already reached $750,000 in a special preview window as of 11 a.m. ET.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If your tastes match the dress, but not the price, there’s always \u003ca href=\"https://www.shopdisney.com/princess-leia-dress-for-adults-star-wars-2840057900342M.html?CMP=KNC-DSSGoogle&efc=179006\">the official Disney costume\u003c/a>, available in adult sizes, for a relative bargain: $129.99.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=An+original+Princess+Leia+dress+found+in+an+attic+could+be+yours+%E2%80%94+for+as+much+as+%242M&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "tune-yards-boots-riley-im-a-virgo",
"title": "How Tune-Yards Became the House Band for the Boots Riley Cinematic Universe",
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"headTitle": "How Tune-Yards Became the House Band for the Boots Riley Cinematic Universe | KQED",
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"content": "\u003cfigure id=\"attachment_13930965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930965\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/tuneyards.square-800x800.jpg\" alt=\"a white man and a woman pose on a rock in front of a lake\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/tuneyards.square-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/tuneyards.square-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/tuneyards.square-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/tuneyards.square-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/tuneyards.square-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/tuneyards.square-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/tuneyards.square.jpg 1976w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nate Brenner and Merrill Garbus are Tune-Yards, whose experimental indie pop sets the tone for Boots Riley’s new show, ‘I’m A Virgo.’ \u003ccite>(Pooneh Ghana)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Given the many delightfully strange elements packed into \u003ca href=\"https://www.google.com/url?q=https://www.kqed.org/arts/13836455/in-sorry-to-bother-you-an-alternate-universe-oakland-is-still-true-and-familiar&sa=D&source=docs&ust=1687838246775907&usg=AOvVaw1djNgiIIFJwO-81Fyq3ZsQ\">\u003cem>Sorry to Bother You\u003c/em>\u003c/a>, Boots Riley’s 2018 directorial debut, one could be forgiven for overlooking its musical score. But from start to finish, the vocal-looped compositions created by Tune-Yards (Merrill Garbus and Nate Brenner) play a key role in bringing Riley’s surreal version of Oakland to life.\u003c/p>\n\u003cp>[aside postid='arts_13836455']The same is true in \u003cem>I’m A Virgo\u003c/em>, Riley’s new series for Amazon Prime, which debuted on June 23 to rave reviews. The story, which follows a 13-foot-tall 19-year-old named Cootie (Jharrel Jerome) as he first discovers life outside his house, spans tones and genres; the plot contains elements of a superhero story, a heist movie, a romance, a buddy movie — there’s even an animated show-within-the-show.\u003c/p>\n\u003cp>What’s consistent is the score, which works subtly but powerfully, almost as its own character. No one in modern pop music uses vocals as an instrument quite the way Tune-Yards does. Garbus’ voice surrounds the viewer, becoming a siren, then percussion; it’s layered into a Greek chorus; its timbre shifts nimbly with the show’s mood. The effect here is expansive — it adds weight to the storyline’s central tragedy, brings a light sweetness to Cootie’s experience of falling in love, and imbues action scenes with a colorful, off-kilter urgency.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DYfpWY330mM\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003c/p>\n\u003cp>\u003cem>Virgo\u003c/em> also seems to confirm that Tune-Yards has become the house band for the Boots Riley cinematic universe — the Danny Elfman to his Tim Burton, if you will — which means we can likely expect more from the partnership in years to come. (Riley has said he thinks of \u003cem>Sorry to Bother You\u003c/em> and \u003cem>I’m A Virgo\u003c/em> as tracks No. 1 and 2 in a \u003ca href=\"https://www.rollingstone.com/tv-movies/tv-movie-features/boots-riley-interview-im-a-virgo-anti-capitalist-revolution-amazon-prime-1234772623/\">seven- or eight-track “cinematic album.”\u003c/a>)\u003c/p>\n\u003cp>While Garbus and Brenner work on material for a new Tune-Yards record, the score to \u003cem>I’m A Virgo\u003c/em> should be released on vinyl later this year. We called them up to hear more.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Emma Silvers: How did you and Boots meet? Were you fans of each other’s work first?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Nate Brenner:\u003c/strong> I believe \u003ca href=\"https://www.instagram.com/gabbylalamusic/?hl=en\">Gabby [La La]\u003c/a>, his wife, liked Tune-Yards, and showed him some of our music. And then maybe he saw us at Stern Grove? But the first time we really met was New Year’s Eve 2012, when he opened for Erykah Badu at the Fox. His energy when he performed was just unbelievable.\u003c/p>\n\u003cp>\u003cstrong>Merrill Garbus: \u003c/strong>[His son] Django was only a couple months old at the time, and he was like, wearing him, with the little headphones on, hanging out between sets at the Fox.\u003c/p>\n\u003cp>[aside postid='arts_13927554']I grew up on the East Coast, so I only knew of the Coup peripherally, but once I started listening it was just completely up my alley. Coming from where I come from — my grandparents kind of hovered around the communism of New York Jews in the ’40s and ’50s, and I have a background in a lot of the stuff that I was hearing in the music.\u003c/p>\n\u003cp>\u003cstrong>Had you ever scored a film before \u003cem>Sorry to Bother You\u003c/em>? How did that part of your partnership begin?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Merrill Garbus:\u003c/strong> He was like “I’m making a movie, and I want you to do the music. Can I send you the screenplay?” A lot of times when people say they want Tune-Yards to score something, they mean they want us to write “Bizness” over again, or they want us to write “Water Fountain” over again. But with Boots, I had a feeling he was like, “No, I want all the weird of you.”\u003c/p>\n\u003cp>Honestly, it sounded too amazing to ever be made into a movie. But I was like, sure, I’ll make some weird music. So we started demoing and recording, and we’d meet at Awaken Cafe and just talk. He wanted a lot of my vocals, and I was using a lot of this harmonizer pedal I was into at that time.\u003c/p>\n\u003cp>But no, we had never scored a film before. If you had asked me before if I wanted to, I probably would have been like “Ha! Sure.” But — maybe because I didn’t go to school for music — it always seemed out of the realm of possibility for me.\u003c/p>\n\u003cp>https://www.instagram.com/reel/CtsDLj7g_oF/?hl=en\u003c/p>\n\u003cp>\u003cstrong>What was your process like for the \u003cem>I’m A Virgo\u003c/em> score?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Nate Brenner:\u003c/strong> We had a lot of time before they even started filming, on both \u003cem>Sorry to Bother You\u003c/em> and \u003cem>I’m A Virgo\u003c/em>. We uploaded probably 100 demos to a SoundCloud, and he was still writing the script while he was listening to those. So he’d be like, ‘Oh, that was cool, you guys sent me that thing and I changed the script to fit it.’ I think he also wound up playing demos for the cast as they were shooting.\u003c/p>\n\u003cp>\u003cstrong>Merrill Garbus:\u003c/strong> Boots is really clear about the sounds in his head, including instrumentation. When he told us the concept of the show, I was like ‘Oh, do you want superhero music?’ and he was like ‘No, I don’t. Here is what I want.’ And he gave us a couple references that were wildly different than what I ever would have conceived of: carillon bells; the 1956 Japanese film\u003cem> Street of Shame\u003c/em>, with music by [avant-garde composer] Toshiro Mayuzumi; \u003cem>Cape Fear\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>Nate Brenner:\u003c/strong> Throughout the process he’d text us at, like, midnight on a Sunday, being like “Check this out! I don’t want it to sound \u003cem>like\u003c/em> this, but maybe have a similar vibe…”\u003c/p>\n\u003cfigure id=\"attachment_13931048\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/vrgo_s1_ut_100_221024_leepet-00563.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/vrgo_s1_ut_100_221024_leepet-00563-800x534.jpeg\" alt=\"a man and a woman in a music studio, the woman is wearing headphones and sitting at a computer and giving a thumbs up\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/vrgo_s1_ut_100_221024_leepet-00563-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/vrgo_s1_ut_100_221024_leepet-00563-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/vrgo_s1_ut_100_221024_leepet-00563-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/vrgo_s1_ut_100_221024_leepet-00563-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/vrgo_s1_ut_100_221024_leepet-00563.jpeg 1499w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tune-Yards at their studio, working on the score for ‘I’m A Virgo.’ \u003ccite>(Pete Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Merrill Garbus:\u003c/strong> Having a really strong melody was important to him. He didn’t want it to be abstract music. But he also didn’t want it to be repetitive, like in \u003cem>White Lotus\u003c/em> where you hear the theme over and over again and you can’t get it out of your head … so a lot of the intuition about how to be musicians scoring a television show went out the window. As it did with \u003cem>Sorry to Bother You\u003c/em>. We’d be like “Well, typically in movie scores they do this…” and he’d be like, “Erase that from your mind! I don’t want to do typical movie music.”\u003c/p>\n\u003cp>\u003cstrong>Nate Brenner:\u003c/strong> Also, he remembers \u003cem>everything\u003c/em>. He’d come over, like, two nights a week after our kid went to bed, and we’d play him something, and he’d give us notes. “OK, what if we tried a tambourine on this one?” And then we’d have a million things to do, and he’s busy, but four weeks later he’d be like “Let’s hear that tambourine.” He’s always throwing out so many ideas, you think he can’t possibly be keeping track of all of them. But he is.\u003c/p>\n\u003cp>https://www.instagram.com/p/CtkKuRkyH8U/\u003c/p>\n\u003cp>\u003cstrong>This show is set in a surreal version of Oakland. Were you consciously thinking about the sound of the Town when you were writing this score?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Merrill Garbus:\u003c/strong> I think about Oakland and Oakland music traditions all the time, with the discomfort and self-consciousness of not growing up here, having moved here in 2009. I think Nate and Boots share a lot more of the George Clinton and Bootsy [Collins] thing, Nate grew up listening to that music. But I came to the Coup late, I came to E-40 late. I grew up on the East Coast with New York hip-hop and, like, Dave Matthews Band, the music of suburban Connecticut.\u003c/p>\n\u003cp>Which is all to say, with the exception of the our very first record, all our albums — the music that has really made Tune-Yards Tune-Yards — has been when I’ve lived in Oakland, and it’s \u003cem>always\u003c/em> me trying to figure myself out here, myself as a white person here. I almost want to say “as an expat.”[aside postid='arts_13894750']\u003c/p>\n\u003cp>With this show, though, I thought a lot about wanting to honor the fact that he asked \u003cem>us\u003c/em> to do this, he wanted Tune-Yards music. So we’re gonna do Tune-Yards music, knowing that Oakland is being filtered through us. Or maybe we’re being filtered through Oakland. Also, the references he gave us were so out there — like, from a Japanese film from the ’50s. If he wanted music that came from Oakland, he knows how to do that. But he wanted the world. He wants everything.\u003c/p>\n\u003cfigure id=\"attachment_13931049\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/iav-1705.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931049\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/iav-1705-800x534.jpeg\" alt=\"a woman sitting on the floor and a man sitting on a couch in a music studio\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/iav-1705-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/iav-1705-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/iav-1705-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/iav-1705-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/iav-1705.jpeg 1499w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Merrill Garbus and Boots Riley, working on the score for ‘I’m A Virgo.’ \u003ccite>(Pete Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Were there any particularly challenging scenes or elements?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Merrill Garbus:\u003c/strong> Definitely the psychic theater [a few segments in which Jones, an organizer played by Kara Young, delivers monologues about capitalism]. The last one is like seven and a half minutes of a character breaking down the exploitative and racist nature of capitalism. It really needs the music to help an audience stick around for that — even though Kara’s acting is amazing, and it’s extremely dynamic. But that’s another problem: how do you use music to move it along and also not get in the way of the dialogue?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lpagmvYZKRc\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Those scenes are so wild to watch — for me, there was an element of “I can’t believe this is real, that this is going to be on a TV show distributed by Amazon.”\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Merrill Garbus:\u003c/strong> It’s definitely the first time I’ve seen an organizer as the main character in a TV show. There are just so many things [in this show that] we haven’t seen in mainstream culture. But there are organizers all over this country. And now someone could see that and think, ‘Oh, I want to do that in my community. I’ve never seen it before.’ It feels really instructive of how to use art in a way that can tap into people’s imaginations, open them up to different futures.\u003c/p>\n\u003cp>I’ll just say I hope this continues to be the time in our lives where we get to keep working with Boots Riley. \u003cem>Sorry to Bother You\u003c/em> was a big change for me, and how I related to music. I think that indie pop, Pitchfork-y world of the mid-2000s that Tune-Yards came up in — I started to feel kind of constricted as an artist, as a creator. And it’s so satisfying to see Boots kind of bloom in pop culture at this particular moment in time. Just to be around him and be part of his creative universe has really opened my mind … It’s reinvigorated my sense of curiosity and inventiveness and wanting to do things that have never been done before.\u003c/p>\n\u003cp>We worked harder on \u003cem>I’m A Virgo\u003c/em> than we have in a really long time, up late at night after our kid went to bed. Even just the amount of music that we wrote … it was all super intense.\u003c/p>\n\u003cp>\u003cstrong>Nate Brenner: \u003c/strong>It’s one of those where, when you’re in the middle of it, you’re like, oh, we need a vacation as soon as this is over. But then when it’s over you’re like … what am I doing? And you just want to be working on it again.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘I’m A Virgo’ is streaming now on Amazon Prime. Tune-Yards is scheduled to perform at Gundlach Bundschu Winery in Sonoma on Aug. 22 and at the Center for the Arts in Grass Valley on Aug. 23; \u003ca href=\"https://tune-yards.com/tourdates/\">details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "The Oakland indie pop duo discusses their score for the rapper-activist-filmmaker's wild new show, 'I'm A Virgo.'",
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"title": "How Tune-Yards Became the House Band for the Boots Riley Cinematic Universe | KQED",
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"headline": "How Tune-Yards Became the House Band for the Boots Riley Cinematic Universe",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13930965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930965\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/tuneyards.square-800x800.jpg\" alt=\"a white man and a woman pose on a rock in front of a lake\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/tuneyards.square-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/tuneyards.square-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/tuneyards.square-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/tuneyards.square-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/tuneyards.square-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/tuneyards.square-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/tuneyards.square.jpg 1976w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nate Brenner and Merrill Garbus are Tune-Yards, whose experimental indie pop sets the tone for Boots Riley’s new show, ‘I’m A Virgo.’ \u003ccite>(Pooneh Ghana)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Given the many delightfully strange elements packed into \u003ca href=\"https://www.google.com/url?q=https://www.kqed.org/arts/13836455/in-sorry-to-bother-you-an-alternate-universe-oakland-is-still-true-and-familiar&sa=D&source=docs&ust=1687838246775907&usg=AOvVaw1djNgiIIFJwO-81Fyq3ZsQ\">\u003cem>Sorry to Bother You\u003c/em>\u003c/a>, Boots Riley’s 2018 directorial debut, one could be forgiven for overlooking its musical score. But from start to finish, the vocal-looped compositions created by Tune-Yards (Merrill Garbus and Nate Brenner) play a key role in bringing Riley’s surreal version of Oakland to life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The same is true in \u003cem>I’m A Virgo\u003c/em>, Riley’s new series for Amazon Prime, which debuted on June 23 to rave reviews. The story, which follows a 13-foot-tall 19-year-old named Cootie (Jharrel Jerome) as he first discovers life outside his house, spans tones and genres; the plot contains elements of a superhero story, a heist movie, a romance, a buddy movie — there’s even an animated show-within-the-show.\u003c/p>\n\u003cp>What’s consistent is the score, which works subtly but powerfully, almost as its own character. No one in modern pop music uses vocals as an instrument quite the way Tune-Yards does. Garbus’ voice surrounds the viewer, becoming a siren, then percussion; it’s layered into a Greek chorus; its timbre shifts nimbly with the show’s mood. The effect here is expansive — it adds weight to the storyline’s central tragedy, brings a light sweetness to Cootie’s experience of falling in love, and imbues action scenes with a colorful, off-kilter urgency.\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/DYfpWY330mM'\n title='//www.youtube.com/embed/DYfpWY330mM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003c/p>\n\u003cp>\u003cem>Virgo\u003c/em> also seems to confirm that Tune-Yards has become the house band for the Boots Riley cinematic universe — the Danny Elfman to his Tim Burton, if you will — which means we can likely expect more from the partnership in years to come. (Riley has said he thinks of \u003cem>Sorry to Bother You\u003c/em> and \u003cem>I’m A Virgo\u003c/em> as tracks No. 1 and 2 in a \u003ca href=\"https://www.rollingstone.com/tv-movies/tv-movie-features/boots-riley-interview-im-a-virgo-anti-capitalist-revolution-amazon-prime-1234772623/\">seven- or eight-track “cinematic album.”\u003c/a>)\u003c/p>\n\u003cp>While Garbus and Brenner work on material for a new Tune-Yards record, the score to \u003cem>I’m A Virgo\u003c/em> should be released on vinyl later this year. We called them up to hear more.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Emma Silvers: How did you and Boots meet? Were you fans of each other’s work first?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Nate Brenner:\u003c/strong> I believe \u003ca href=\"https://www.instagram.com/gabbylalamusic/?hl=en\">Gabby [La La]\u003c/a>, his wife, liked Tune-Yards, and showed him some of our music. And then maybe he saw us at Stern Grove? But the first time we really met was New Year’s Eve 2012, when he opened for Erykah Badu at the Fox. His energy when he performed was just unbelievable.\u003c/p>\n\u003cp>\u003cstrong>Merrill Garbus: \u003c/strong>[His son] Django was only a couple months old at the time, and he was like, wearing him, with the little headphones on, hanging out between sets at the Fox.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>I grew up on the East Coast, so I only knew of the Coup peripherally, but once I started listening it was just completely up my alley. Coming from where I come from — my grandparents kind of hovered around the communism of New York Jews in the ’40s and ’50s, and I have a background in a lot of the stuff that I was hearing in the music.\u003c/p>\n\u003cp>\u003cstrong>Had you ever scored a film before \u003cem>Sorry to Bother You\u003c/em>? How did that part of your partnership begin?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Merrill Garbus:\u003c/strong> He was like “I’m making a movie, and I want you to do the music. Can I send you the screenplay?” A lot of times when people say they want Tune-Yards to score something, they mean they want us to write “Bizness” over again, or they want us to write “Water Fountain” over again. But with Boots, I had a feeling he was like, “No, I want all the weird of you.”\u003c/p>\n\u003cp>Honestly, it sounded too amazing to ever be made into a movie. But I was like, sure, I’ll make some weird music. So we started demoing and recording, and we’d meet at Awaken Cafe and just talk. He wanted a lot of my vocals, and I was using a lot of this harmonizer pedal I was into at that time.\u003c/p>\n\u003cp>But no, we had never scored a film before. If you had asked me before if I wanted to, I probably would have been like “Ha! Sure.” But — maybe because I didn’t go to school for music — it always seemed out of the realm of possibility for me.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>What was your process like for the \u003cem>I’m A Virgo\u003c/em> score?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Nate Brenner:\u003c/strong> We had a lot of time before they even started filming, on both \u003cem>Sorry to Bother You\u003c/em> and \u003cem>I’m A Virgo\u003c/em>. We uploaded probably 100 demos to a SoundCloud, and he was still writing the script while he was listening to those. So he’d be like, ‘Oh, that was cool, you guys sent me that thing and I changed the script to fit it.’ I think he also wound up playing demos for the cast as they were shooting.\u003c/p>\n\u003cp>\u003cstrong>Merrill Garbus:\u003c/strong> Boots is really clear about the sounds in his head, including instrumentation. When he told us the concept of the show, I was like ‘Oh, do you want superhero music?’ and he was like ‘No, I don’t. Here is what I want.’ And he gave us a couple references that were wildly different than what I ever would have conceived of: carillon bells; the 1956 Japanese film\u003cem> Street of Shame\u003c/em>, with music by [avant-garde composer] Toshiro Mayuzumi; \u003cem>Cape Fear\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>Nate Brenner:\u003c/strong> Throughout the process he’d text us at, like, midnight on a Sunday, being like “Check this out! I don’t want it to sound \u003cem>like\u003c/em> this, but maybe have a similar vibe…”\u003c/p>\n\u003cfigure id=\"attachment_13931048\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/vrgo_s1_ut_100_221024_leepet-00563.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/vrgo_s1_ut_100_221024_leepet-00563-800x534.jpeg\" alt=\"a man and a woman in a music studio, the woman is wearing headphones and sitting at a computer and giving a thumbs up\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/vrgo_s1_ut_100_221024_leepet-00563-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/vrgo_s1_ut_100_221024_leepet-00563-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/vrgo_s1_ut_100_221024_leepet-00563-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/vrgo_s1_ut_100_221024_leepet-00563-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/vrgo_s1_ut_100_221024_leepet-00563.jpeg 1499w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Tune-Yards at their studio, working on the score for ‘I’m A Virgo.’ \u003ccite>(Pete Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Merrill Garbus:\u003c/strong> Having a really strong melody was important to him. He didn’t want it to be abstract music. But he also didn’t want it to be repetitive, like in \u003cem>White Lotus\u003c/em> where you hear the theme over and over again and you can’t get it out of your head … so a lot of the intuition about how to be musicians scoring a television show went out the window. As it did with \u003cem>Sorry to Bother You\u003c/em>. We’d be like “Well, typically in movie scores they do this…” and he’d be like, “Erase that from your mind! I don’t want to do typical movie music.”\u003c/p>\n\u003cp>\u003cstrong>Nate Brenner:\u003c/strong> Also, he remembers \u003cem>everything\u003c/em>. He’d come over, like, two nights a week after our kid went to bed, and we’d play him something, and he’d give us notes. “OK, what if we tried a tambourine on this one?” And then we’d have a million things to do, and he’s busy, but four weeks later he’d be like “Let’s hear that tambourine.” He’s always throwing out so many ideas, you think he can’t possibly be keeping track of all of them. But he is.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>This show is set in a surreal version of Oakland. Were you consciously thinking about the sound of the Town when you were writing this score?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Merrill Garbus:\u003c/strong> I think about Oakland and Oakland music traditions all the time, with the discomfort and self-consciousness of not growing up here, having moved here in 2009. I think Nate and Boots share a lot more of the George Clinton and Bootsy [Collins] thing, Nate grew up listening to that music. But I came to the Coup late, I came to E-40 late. I grew up on the East Coast with New York hip-hop and, like, Dave Matthews Band, the music of suburban Connecticut.\u003c/p>\n\u003cp>Which is all to say, with the exception of the our very first record, all our albums — the music that has really made Tune-Yards Tune-Yards — has been when I’ve lived in Oakland, and it’s \u003cem>always\u003c/em> me trying to figure myself out here, myself as a white person here. I almost want to say “as an expat.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With this show, though, I thought a lot about wanting to honor the fact that he asked \u003cem>us\u003c/em> to do this, he wanted Tune-Yards music. So we’re gonna do Tune-Yards music, knowing that Oakland is being filtered through us. Or maybe we’re being filtered through Oakland. Also, the references he gave us were so out there — like, from a Japanese film from the ’50s. If he wanted music that came from Oakland, he knows how to do that. But he wanted the world. He wants everything.\u003c/p>\n\u003cfigure id=\"attachment_13931049\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/iav-1705.jpeg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931049\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/iav-1705-800x534.jpeg\" alt=\"a woman sitting on the floor and a man sitting on a couch in a music studio\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/iav-1705-800x534.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/iav-1705-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/iav-1705-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/iav-1705-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/iav-1705.jpeg 1499w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Merrill Garbus and Boots Riley, working on the score for ‘I’m A Virgo.’ \u003ccite>(Pete Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Were there any particularly challenging scenes or elements?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Merrill Garbus:\u003c/strong> Definitely the psychic theater [a few segments in which Jones, an organizer played by Kara Young, delivers monologues about capitalism]. The last one is like seven and a half minutes of a character breaking down the exploitative and racist nature of capitalism. It really needs the music to help an audience stick around for that — even though Kara’s acting is amazing, and it’s extremely dynamic. But that’s another problem: how do you use music to move it along and also not get in the way of the dialogue?\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/lpagmvYZKRc'\n title='//www.youtube.com/embed/lpagmvYZKRc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003c/p>\n\u003cp>\u003cstrong>Those scenes are so wild to watch — for me, there was an element of “I can’t believe this is real, that this is going to be on a TV show distributed by Amazon.”\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Merrill Garbus:\u003c/strong> It’s definitely the first time I’ve seen an organizer as the main character in a TV show. There are just so many things [in this show that] we haven’t seen in mainstream culture. But there are organizers all over this country. And now someone could see that and think, ‘Oh, I want to do that in my community. I’ve never seen it before.’ It feels really instructive of how to use art in a way that can tap into people’s imaginations, open them up to different futures.\u003c/p>\n\u003cp>I’ll just say I hope this continues to be the time in our lives where we get to keep working with Boots Riley. \u003cem>Sorry to Bother You\u003c/em> was a big change for me, and how I related to music. I think that indie pop, Pitchfork-y world of the mid-2000s that Tune-Yards came up in — I started to feel kind of constricted as an artist, as a creator. And it’s so satisfying to see Boots kind of bloom in pop culture at this particular moment in time. Just to be around him and be part of his creative universe has really opened my mind … It’s reinvigorated my sense of curiosity and inventiveness and wanting to do things that have never been done before.\u003c/p>\n\u003cp>We worked harder on \u003cem>I’m A Virgo\u003c/em> than we have in a really long time, up late at night after our kid went to bed. Even just the amount of music that we wrote … it was all super intense.\u003c/p>\n\u003cp>\u003cstrong>Nate Brenner: \u003c/strong>It’s one of those where, when you’re in the middle of it, you’re like, oh, we need a vacation as soon as this is over. But then when it’s over you’re like … what am I doing? And you just want to be working on it again.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘I’m A Virgo’ is streaming now on Amazon Prime. Tune-Yards is scheduled to perform at Gundlach Bundschu Winery in Sonoma on Aug. 22 and at the Center for the Arts in Grass Valley on Aug. 23; \u003ca href=\"https://tune-yards.com/tourdates/\">details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "‘Hit Girls’ Explores Early, Female-Led Bay Area Punk at the San Francisco Library",
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"content": "\u003cp>In January, 2023, Jen B. Larson released \u003ca href=\"https://bookshop.org/p/books/hit-girls-women-of-punk-in-the-usa-1975-1983-jen-b-larson/17273216?ean=9781627311236\">\u003cem>Hit Girls: Women of Punk in the USA, 1975-1983\u003c/em>\u003c/a>. The book was a comprehensive overview of the under-sung female artists who lit up punk scenes across America in the genre’s earliest days. Broken down by region, the “West Coast (North)” section of the book compiled some of the Bay Area’s most influential women, including members of Avengers, Frightwig, The Nuns, Romeo Void, Mary Monday and the Bitches and many more.\u003c/p>\n\u003cp>[aside postid='arts_13902953']This week, in support of \u003cem>Hit Girls,\u003c/em> Larson is appearing at the San Francisco Public Library in conversation with \u003ca href=\"http://frightwig.org/?page_id=36\">Frightwig\u003c/a>‘s Deanna Mitchell and Avengers’ \u003ca href=\"https://www.penelope.net/\">Penelope Houston\u003c/a>. (They will be moderated by \u003ca href=\"https://www.sfai.edu/bios/nicholas-gamso\">Nicholas Gamso\u003c/a>.) Houston is no stranger to the venue; she’s both a longtime library employee and the person responsible for starting a punk rock archive at the San Francisco History Center. (Houston also recently showcased some of her own art on the sixth floor, featuring \u003ca href=\"https://www.kqed.org/arts/13926347/identities-penelope-houston-xandra-ibarra-mugshots-sfpl\">historic mugshots from San Francisco\u003c/a>.)\u003c/p>\n\u003cp>[aside postid='arts_13928586']Together, the women will be sharing anecdotes and discussing what the Bay Area punk community was like in its earliest days, as well as examining its influence on later periods of punk and riot grrrl. A slideshow will highlight other female punk artists of the period, as well as fans and figures from the scene. Larson will also expand on the making of \u003cem>Hit Girls\u003c/em> and what she learned in the writing, research and interview process.\u003c/p>\n\u003cdiv>\n\u003cp>As \u003cem>Hit Girls\u003c/em> emphasizes repeatedly in its pages, the earliest days of punk, particularly in San Francisco, were some of the most open, experimental and beautifully chaotic times for the genre. The combination of Mitchell and Houston’s firsthand experiences with Larson’s expertise is sure to make this a fascinating look back at what made it all so special.\u003c/p>\n\u003cp>As musician and actress \u003ca href=\"https://en.wikipedia.org/wiki/Ann_Magnuson\">Ann Magnuson\u003c/a> wrote so passionately in the foreword to \u003cem>Hit Girls\u003c/em>:\u003c/p>\n\u003cblockquote>\u003cp>[These artists] were dismembering the old concepts of womanhood — to a primal beat … It was as if all the female Beatles fans screaming in the stands at Shea Stadium fled the bleachers, trampled the cops and rushed the stage, pushing aside the Fab Four, grabbing their instruments and proclaiming ‘I don’t wanna hold your hand, I wanna play your guitar.’ Danger is still in the air.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003c/div>\n\u003cdiv>\n\u003cp>\u003cem>Jen B. Larson will be in conversation with Deanna Mitchell and Penelope Houston at the San Francisco Public Library (100 Larkin St.) on Thursday, June 29 at 3:30 p.m. \u003ca href=\"https://sfpl.org/events/2023/06/29/panel-hit-girls-women-punk-usa-1975-1983\">Details here\u003c/a>. Houston’s band Avengers will be performing at Mosswood Meltdown (Mosswood Park, Oakland) on Sunday, July 2. \u003ca href=\"https://mosswoodmeltdown.com/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In January, 2023, Jen B. Larson released \u003ca href=\"https://bookshop.org/p/books/hit-girls-women-of-punk-in-the-usa-1975-1983-jen-b-larson/17273216?ean=9781627311236\">\u003cem>Hit Girls: Women of Punk in the USA, 1975-1983\u003c/em>\u003c/a>. The book was a comprehensive overview of the under-sung female artists who lit up punk scenes across America in the genre’s earliest days. Broken down by region, the “West Coast (North)” section of the book compiled some of the Bay Area’s most influential women, including members of Avengers, Frightwig, The Nuns, Romeo Void, Mary Monday and the Bitches and many more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This week, in support of \u003cem>Hit Girls,\u003c/em> Larson is appearing at the San Francisco Public Library in conversation with \u003ca href=\"http://frightwig.org/?page_id=36\">Frightwig\u003c/a>‘s Deanna Mitchell and Avengers’ \u003ca href=\"https://www.penelope.net/\">Penelope Houston\u003c/a>. (They will be moderated by \u003ca href=\"https://www.sfai.edu/bios/nicholas-gamso\">Nicholas Gamso\u003c/a>.) Houston is no stranger to the venue; she’s both a longtime library employee and the person responsible for starting a punk rock archive at the San Francisco History Center. (Houston also recently showcased some of her own art on the sixth floor, featuring \u003ca href=\"https://www.kqed.org/arts/13926347/identities-penelope-houston-xandra-ibarra-mugshots-sfpl\">historic mugshots from San Francisco\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Together, the women will be sharing anecdotes and discussing what the Bay Area punk community was like in its earliest days, as well as examining its influence on later periods of punk and riot grrrl. A slideshow will highlight other female punk artists of the period, as well as fans and figures from the scene. Larson will also expand on the making of \u003cem>Hit Girls\u003c/em> and what she learned in the writing, research and interview process.\u003c/p>\n\u003cdiv>\n\u003cp>As \u003cem>Hit Girls\u003c/em> emphasizes repeatedly in its pages, the earliest days of punk, particularly in San Francisco, were some of the most open, experimental and beautifully chaotic times for the genre. The combination of Mitchell and Houston’s firsthand experiences with Larson’s expertise is sure to make this a fascinating look back at what made it all so special.\u003c/p>\n\u003cp>As musician and actress \u003ca href=\"https://en.wikipedia.org/wiki/Ann_Magnuson\">Ann Magnuson\u003c/a> wrote so passionately in the foreword to \u003cem>Hit Girls\u003c/em>:\u003c/p>\n\u003cblockquote>\u003cp>[These artists] were dismembering the old concepts of womanhood — to a primal beat … It was as if all the female Beatles fans screaming in the stands at Shea Stadium fled the bleachers, trampled the cops and rushed the stage, pushing aside the Fab Four, grabbing their instruments and proclaiming ‘I don’t wanna hold your hand, I wanna play your guitar.’ Danger is still in the air.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003c/div>\n\u003cdiv>\n\u003cp>\u003cem>Jen B. Larson will be in conversation with Deanna Mitchell and Penelope Houston at the San Francisco Public Library (100 Larkin St.) on Thursday, June 29 at 3:30 p.m. \u003ca href=\"https://sfpl.org/events/2023/06/29/panel-hit-girls-women-punk-usa-1975-1983\">Details here\u003c/a>. Houston’s band Avengers will be performing at Mosswood Meltdown (Mosswood Park, Oakland) on Sunday, July 2. \u003ca href=\"https://mosswoodmeltdown.com/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A Husband and Wife Reimagine Fairy Tales with Black Children in Mind",
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"content": "\u003cfigure id=\"attachment_13930688\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930688\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/golden-locks_custom-9aaf06bccab6c7fdea1d5e54cd9dd44ad1442d37-800x998.jpg\" alt=\"A young Black girl sits on a gold throne, wearing a cream and gold gown, her long hair in perfect red locks. She is holding up a tea cup and saucer, as if poised to drink.\" width=\"800\" height=\"998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/golden-locks_custom-9aaf06bccab6c7fdea1d5e54cd9dd44ad1442d37-800x998.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/golden-locks_custom-9aaf06bccab6c7fdea1d5e54cd9dd44ad1442d37-1020x1273.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/golden-locks_custom-9aaf06bccab6c7fdea1d5e54cd9dd44ad1442d37-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/golden-locks_custom-9aaf06bccab6c7fdea1d5e54cd9dd44ad1442d37-768x959.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/golden-locks_custom-9aaf06bccab6c7fdea1d5e54cd9dd44ad1442d37.jpg 1197w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A new vision of Goldilocks, sipping tea. \u003ccite>(CROWNED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is Goldilocks like you’ve never seen her.\u003c/p>\n\u003cp>Bathed in a golden light, she looks out from a photo resembling a fashion magazine spread with a commanding stare, surrounded by massive teddy bears. Instead of yellow curly hair, she wears thick, afro-textured, honey blonde locs.\u003c/p>\n\u003cp>[aside postid='arts_13894928']This is the Goldilocks of \u003cem> from the Diaspora\u003c/em> by husband and wife photographers Kahran and Regis Bethencourt. The two have reimagined familiar stories with photographs of Black children and, occasionally, new plot points, in an elaborate book of 141 photos.\u003c/p>\n\u003cp>It’s the sequel to 2021’s \u003cem>GLORY: Magical Visions of Black Beauty.\u003c/em>\u003c/p>\n\u003cp>The book is broken down into three categories: Classic fairy tales, African and African American Folktales and original stories. The couple intentionally casts Black children of different ages, skin tones and hair textures in traditionally white roles, like Cinderella.\u003c/p>\n\u003cfigure id=\"attachment_13930696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930696\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.22.50-AM-800x1001.png\" alt=\"A young Black girl stands proudly before a regal blue curtain. She is wearing a blue, green and pink gown.\" width=\"800\" height=\"1001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.22.50-AM-800x1001.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.22.50-AM-1020x1276.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.22.50-AM-160x200.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.22.50-AM-768x961.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.22.50-AM.png 1036w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cinderella becomes Asha in this retelling. \u003ccite>(CROWNED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the retelling of Cinderella, “Asha the Little Cinder Girl,” Asha wears an extravagant blue gown with purple tulle shooting from the bottom as Jamal, her Prince Charming, slides on a white high-top sneaker instead of a glass slipper.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Perhaps the most striking element in the picture is Asha’s hair, a structure of carefully placed black braids and white pearls piled high on top of her head.\u003c/p>\n\u003cp>“I think it’s important for, specifically, Black and brown kids to be able to see themselves reflected in the stories that they read growing up,” Kahran said.\u003c/p>\n\u003cp>The Bethencourts began their photography careers in Atlanta in 2009. For a while, they worked in the children’s fashion industry, capturing headshots for adolescent actors and shooting campaigns for kids’ brands. But they noticed a specific and unsettling pattern among Black children in the industry.\u003c/p>\n\u003cfigure id=\"attachment_13930697\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930697\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.24.47-AM-800x1003.png\" alt=\"A young Black boy wears a gold crown and read leather top featuring traditional African textile detailing.\" width=\"800\" height=\"1003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.24.47-AM-800x1003.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.24.47-AM-1020x1279.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.24.47-AM-160x201.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.24.47-AM-768x963.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.24.47-AM.png 1032w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poisoned Apple, from the book CROWNED, which casts Black children as the central characters in fairy and folk tales. \u003ccite>(CROWNED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We realized that a lot of the kids that had natural Afro hair would come in to get their headshots and the parents would have their hair straightened because they thought that’s what they needed to do to get their kids into the industry,” Kahran said.\u003c/p>\n\u003cp>[aside postid='arts_13872372']“We thought, ‘Gosh, wow! At an early age we’re teaching our kids that they’re not acceptable, that their looks are not good enough.'”\u003c/p>\n\u003cp>The two began doing personal projects where Black children were encouraged to wear their natural hair in fashionable settings. Staying connected to the industry helped them build enough clientele to create their own photography company, CreativeSoul.\u003c/p>\n\u003cfigure id=\"attachment_13930699\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930699\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.27.25-AM-800x1003.png\" alt=\"A young Black girl wears a puffy gown that appears to be made from candy, wrappers and tulle. She is clutching a miniature cake in her hands.\" width=\"800\" height=\"1003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.27.25-AM-800x1003.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.27.25-AM-1020x1279.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.27.25-AM-160x201.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.27.25-AM-768x963.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.27.25-AM.png 1032w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Candyland, from the book ‘CROWNED’, which retells familiar stories with Black children. \u003ccite>(CROWNED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>CROWNED\u003c/em> is a visual representation of the CreativeSoul original mission: celebrate and embrace natural Black beauty. But the book also showcases Regis and Kahran’s ability to imagine and translate new worlds.\u003c/p>\n\u003cp>[aside postid='arts_13919105']“Goldi: The Girl with the Golden Locks” was the favorite story for Regis to retell because the original story “didn’t really have a lesson at the end.”\u003c/p>\n\u003cp>“It pretty much was a story about a privileged girl going in and just eating everything and just leaving and going back home,” he said. “No lesson learned.”\u003c/p>\n\u003cp>In \u003cem>CROWNED\u003c/em>, Goldi is still a privileged girl, but she is welcomed into the bears’ home. The bears don’t have much, but they have each other and a once-haughty Goldi leaves the house with three new friends and an appreciation for nurturing her relationships.\u003c/p>\n\u003cp>Changing the ending “was so cool for me because I feel like we’re actually changing history,” Regis said.\u003c/p>\n\u003cfigure id=\"attachment_13930701\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930701\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.38.46-AM-800x1003.png\" alt=\"A little Black girl, dressed as a mermaid with an exaggeratedly large hairdo stands in a sea scape, looking poised.\" width=\"800\" height=\"1003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.38.46-AM-800x1003.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.38.46-AM-1020x1278.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.38.46-AM-160x201.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.38.46-AM-768x963.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.38.46-AM.png 1034w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Treasures from the sea nestle in the little mermaid’s rosy hair as she strikes a royal pose. \u003ccite>(CROWNED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The book was released May 23, three days before the live action film \u003cem>The Little Mermaid\u003c/em> premiered with Halle Bailey, a Black woman with natural locs, as Ariel, a princess and the main character.\u003c/p>\n\u003cp>[aside postid='arts_13926336']Like the live-action adaption of \u003cem>The Little Mermaid\u003c/em>, the Bethencourts’ version is setting the standard for Black representation in traditionally white spaces.\u003c/p>\n\u003cp>The husband and wife duo dress Aliyah, the little mermaid, in silver jewels and colorful pearls from head-to-toe. As she floats under the sea, she plays in her big red flowing hair filled with loose braids, shells, leaves and bright red tulle.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Aliyah holds her head high in every shot like the most confident, royal figures. She stares off into the distance and also directly at the camera, as if to say this story was always her own.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+husband+and+wife+reimagine+fairy+tales+with+Black+children+in+mind&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13930688\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930688\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/golden-locks_custom-9aaf06bccab6c7fdea1d5e54cd9dd44ad1442d37-800x998.jpg\" alt=\"A young Black girl sits on a gold throne, wearing a cream and gold gown, her long hair in perfect red locks. She is holding up a tea cup and saucer, as if poised to drink.\" width=\"800\" height=\"998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/golden-locks_custom-9aaf06bccab6c7fdea1d5e54cd9dd44ad1442d37-800x998.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/golden-locks_custom-9aaf06bccab6c7fdea1d5e54cd9dd44ad1442d37-1020x1273.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/golden-locks_custom-9aaf06bccab6c7fdea1d5e54cd9dd44ad1442d37-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/golden-locks_custom-9aaf06bccab6c7fdea1d5e54cd9dd44ad1442d37-768x959.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/golden-locks_custom-9aaf06bccab6c7fdea1d5e54cd9dd44ad1442d37.jpg 1197w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A new vision of Goldilocks, sipping tea. \u003ccite>(CROWNED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is Goldilocks like you’ve never seen her.\u003c/p>\n\u003cp>Bathed in a golden light, she looks out from a photo resembling a fashion magazine spread with a commanding stare, surrounded by massive teddy bears. Instead of yellow curly hair, she wears thick, afro-textured, honey blonde locs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This is the Goldilocks of \u003cem> from the Diaspora\u003c/em> by husband and wife photographers Kahran and Regis Bethencourt. The two have reimagined familiar stories with photographs of Black children and, occasionally, new plot points, in an elaborate book of 141 photos.\u003c/p>\n\u003cp>It’s the sequel to 2021’s \u003cem>GLORY: Magical Visions of Black Beauty.\u003c/em>\u003c/p>\n\u003cp>The book is broken down into three categories: Classic fairy tales, African and African American Folktales and original stories. The couple intentionally casts Black children of different ages, skin tones and hair textures in traditionally white roles, like Cinderella.\u003c/p>\n\u003cfigure id=\"attachment_13930696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930696\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.22.50-AM-800x1001.png\" alt=\"A young Black girl stands proudly before a regal blue curtain. She is wearing a blue, green and pink gown.\" width=\"800\" height=\"1001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.22.50-AM-800x1001.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.22.50-AM-1020x1276.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.22.50-AM-160x200.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.22.50-AM-768x961.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.22.50-AM.png 1036w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cinderella becomes Asha in this retelling. \u003ccite>(CROWNED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the retelling of Cinderella, “Asha the Little Cinder Girl,” Asha wears an extravagant blue gown with purple tulle shooting from the bottom as Jamal, her Prince Charming, slides on a white high-top sneaker instead of a glass slipper.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Perhaps the most striking element in the picture is Asha’s hair, a structure of carefully placed black braids and white pearls piled high on top of her head.\u003c/p>\n\u003cp>“I think it’s important for, specifically, Black and brown kids to be able to see themselves reflected in the stories that they read growing up,” Kahran said.\u003c/p>\n\u003cp>The Bethencourts began their photography careers in Atlanta in 2009. For a while, they worked in the children’s fashion industry, capturing headshots for adolescent actors and shooting campaigns for kids’ brands. But they noticed a specific and unsettling pattern among Black children in the industry.\u003c/p>\n\u003cfigure id=\"attachment_13930697\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930697\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.24.47-AM-800x1003.png\" alt=\"A young Black boy wears a gold crown and read leather top featuring traditional African textile detailing.\" width=\"800\" height=\"1003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.24.47-AM-800x1003.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.24.47-AM-1020x1279.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.24.47-AM-160x201.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.24.47-AM-768x963.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.24.47-AM.png 1032w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poisoned Apple, from the book CROWNED, which casts Black children as the central characters in fairy and folk tales. \u003ccite>(CROWNED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We realized that a lot of the kids that had natural Afro hair would come in to get their headshots and the parents would have their hair straightened because they thought that’s what they needed to do to get their kids into the industry,” Kahran said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We thought, ‘Gosh, wow! At an early age we’re teaching our kids that they’re not acceptable, that their looks are not good enough.'”\u003c/p>\n\u003cp>The two began doing personal projects where Black children were encouraged to wear their natural hair in fashionable settings. Staying connected to the industry helped them build enough clientele to create their own photography company, CreativeSoul.\u003c/p>\n\u003cfigure id=\"attachment_13930699\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930699\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.27.25-AM-800x1003.png\" alt=\"A young Black girl wears a puffy gown that appears to be made from candy, wrappers and tulle. She is clutching a miniature cake in her hands.\" width=\"800\" height=\"1003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.27.25-AM-800x1003.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.27.25-AM-1020x1279.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.27.25-AM-160x201.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.27.25-AM-768x963.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.27.25-AM.png 1032w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Candyland, from the book ‘CROWNED’, which retells familiar stories with Black children. \u003ccite>(CROWNED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>CROWNED\u003c/em> is a visual representation of the CreativeSoul original mission: celebrate and embrace natural Black beauty. But the book also showcases Regis and Kahran’s ability to imagine and translate new worlds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Goldi: The Girl with the Golden Locks” was the favorite story for Regis to retell because the original story “didn’t really have a lesson at the end.”\u003c/p>\n\u003cp>“It pretty much was a story about a privileged girl going in and just eating everything and just leaving and going back home,” he said. “No lesson learned.”\u003c/p>\n\u003cp>In \u003cem>CROWNED\u003c/em>, Goldi is still a privileged girl, but she is welcomed into the bears’ home. The bears don’t have much, but they have each other and a once-haughty Goldi leaves the house with three new friends and an appreciation for nurturing her relationships.\u003c/p>\n\u003cp>Changing the ending “was so cool for me because I feel like we’re actually changing history,” Regis said.\u003c/p>\n\u003cfigure id=\"attachment_13930701\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930701\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.38.46-AM-800x1003.png\" alt=\"A little Black girl, dressed as a mermaid with an exaggeratedly large hairdo stands in a sea scape, looking poised.\" width=\"800\" height=\"1003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.38.46-AM-800x1003.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.38.46-AM-1020x1278.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.38.46-AM-160x201.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.38.46-AM-768x963.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-20-at-11.38.46-AM.png 1034w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Treasures from the sea nestle in the little mermaid’s rosy hair as she strikes a royal pose. \u003ccite>(CROWNED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The book was released May 23, three days before the live action film \u003cem>The Little Mermaid\u003c/em> premiered with Halle Bailey, a Black woman with natural locs, as Ariel, a princess and the main character.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Like the live-action adaption of \u003cem>The Little Mermaid\u003c/em>, the Bethencourts’ version is setting the standard for Black representation in traditionally white spaces.\u003c/p>\n\u003cp>The husband and wife duo dress Aliyah, the little mermaid, in silver jewels and colorful pearls from head-to-toe. As she floats under the sea, she plays in her big red flowing hair filled with loose braids, shells, leaves and bright red tulle.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Aliyah holds her head high in every shot like the most confident, royal figures. She stares off into the distance and also directly at the camera, as if to say this story was always her own.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+husband+and+wife+reimagine+fairy+tales+with+Black+children+in+mind&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Americana, Told Wes Anderson-style, in Star-Filled ‘Asteroid City’",
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"content": "\u003cp>Wes Anderson gets back to the heart of things in \u003cem>Asteroid City\u003c/em>, a film about grief, performance, storytelling, the cosmos and, well, everything. Or, as one character, a playwright played by Edward Norton, says when asked what his work is about: “It’s about infinity and I don’t know what else.”\u003c/p>\n\u003cp>Meticulously designed and choreographed, with a beautiful, starry cast reading his and Roman Coppola’s droll words, \u003cem>Asteroid City\u003c/em> is very, very Wes Anderson. Aren’t they all? But \u003cem>Asteroid City\u003c/em> also represents a return to form (or at least the form most people preferred) after his past two films, \u003cem>Isle of Dogs\u003c/em> and \u003cem>The French Dispatch\u003c/em>, divided even his disciples. They worried, among other things, if style and form had finally usurped his storytelling. Regardless of whether you thought they were fun or painful or some dreadful in between, there was a palpable detachment to both films. Authentic emotion, when there at all, was strained.\u003c/p>\n\u003cp>[aside postid='arts_13828289']In this way, \u003cem>Asteroid City\u003c/em> seems like a response to all of that — an earnest and self-conscious case for making art, putting on the play, telling the story, acting the part even if you (and your audience) aren’t entirely sure what you’re saying. It is wrapped in a labored and stylized conceit — a play within a play that’s being broadcast on a television network (the 1950s show \u003cem>Playhouse 90\u003c/em>, worldlier people have noted, is the reference). And because it’s a play, the American midcentury Desert West can look as set designed as Anderson wants. He didn’t need a justification. Nonetheless, it’s a sly deflection — as is the idea that no one is really sure what the point is, embodied by Jason Schwartzman playing an actor playing a recently widowed war photographer, Augie Steenbeck, who has traveled to the desert with his brainiac son, Woodrow (Jake Ryan) and 6-year-old triplets (truly standouts).\u003c/p>\n\u003cp>They come to Asteroid City, population 87, for the Junior Stargazer Convention, a government organized science competition in which genius kids show off inventions (jet packs, blasters, etc.) which the government then owns, as Jeffrey Wright’s Gen. Grif Gibson explains. It is post-war in an anxious America where scientists are a key part of the nation’s defense strategy. In the distance, atomic bombs are being tested, too. Was something in the air while things like \u003cem>Asteroid City\u003c/em>, \u003cem>Oppenheimer\u003c/em> and even the documentary \u003cem>A Compassionate Spy\u003c/em> were coming together? Here, the mushroom clouds are not terribly threatening though. They are, for lack of a better word, adorable.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Gmmq7sVA0Jo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This Stargazer convention allows for an assemblage of a quirky ensemble with government types (Fisher Stevens), the brainiac kids (Grace Edwards, Sophia Lillis, Ethan Josh Lee, Aristou Meehan), their parents (Scarlett Johansson, Liev Schreiber, Hope Davis, Steve Park), the head scientist (Tilda Swinton’s Dr. Hickenlooper) a school group led by Maya Hawke and some musically inclined cowboys (among them, Rupert Friend) who, I think, just missed their bus. Locals include Hank the mechanic (Matt Dillon) and the motel manager (Steve Carrell). Tom Hanks is Stanley Zak, Augie’s father-in-law and a wealthy Palm Springs retiree who wears a gun in his plaid pants\u003c/p>\n\u003cp>In the world of the play being put on, there is the director (Adrien Brody), his soon-to-be ex-wife (Hong Chau), the Lee Strasberg-y acting teacher Saltzburg Keitel (Willem Dafoe), the actress whose scene was cut (Margot Robbie), the host of the television program (Bryan Cranston) and Jeff Goldblum as, well, you’ll see. As always, the names are a delightful treat. And all the actors make a meal out of their parts, no matter how small.\u003c/p>\n\u003cp>[aside postid='pop_11491']But if there are characters with something like an arc to spotlight, that would be Schwartzman and Johansson, whose understated 50s movie star Midge Campbell might be one of her very best performances. Augie and Midge have a brief romance, mostly emotional, in that very repressed Wes Anderson way.\u003c/p>\n\u003cp>Is this all a little confusing? Don’t dismay, I think that might be part of the point. Maybe. Probably. And, in any event, it works — \u003cem>Asteroid City\u003c/em>, with its sprawling cast, beautiful hues, mumbled jokes, box-within-a-box setup, references that only the 80+ crowd may truly get and retro-cool soundtrack, actually makes you feel things even if it can’t quite make sense of itself.\u003c/p>\n\u003cp>“Just keep telling the story,” as Brody Schubert Green says to his actor looking for answers and motivations, is advice that could be interpreted as a shrug. Or maybe it’s actually everything — \u003cem>Asteroid City\u003c/em> makes a pretty compelling case.\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Asteroid City’ is released nationwide on June 23, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In this way, \u003cem>Asteroid City\u003c/em> seems like a response to all of that — an earnest and self-conscious case for making art, putting on the play, telling the story, acting the part even if you (and your audience) aren’t entirely sure what you’re saying. It is wrapped in a labored and stylized conceit — a play within a play that’s being broadcast on a television network (the 1950s show \u003cem>Playhouse 90\u003c/em>, worldlier people have noted, is the reference). And because it’s a play, the American midcentury Desert West can look as set designed as Anderson wants. He didn’t need a justification. Nonetheless, it’s a sly deflection — as is the idea that no one is really sure what the point is, embodied by Jason Schwartzman playing an actor playing a recently widowed war photographer, Augie Steenbeck, who has traveled to the desert with his brainiac son, Woodrow (Jake Ryan) and 6-year-old triplets (truly standouts).\u003c/p>\n\u003cp>They come to Asteroid City, population 87, for the Junior Stargazer Convention, a government organized science competition in which genius kids show off inventions (jet packs, blasters, etc.) which the government then owns, as Jeffrey Wright’s Gen. Grif Gibson explains. It is post-war in an anxious America where scientists are a key part of the nation’s defense strategy. In the distance, atomic bombs are being tested, too. Was something in the air while things like \u003cem>Asteroid City\u003c/em>, \u003cem>Oppenheimer\u003c/em> and even the documentary \u003cem>A Compassionate Spy\u003c/em> were coming together? Here, the mushroom clouds are not terribly threatening though. They are, for lack of a better word, adorable.\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/Gmmq7sVA0Jo'\n title='//www.youtube.com/embed/Gmmq7sVA0Jo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This Stargazer convention allows for an assemblage of a quirky ensemble with government types (Fisher Stevens), the brainiac kids (Grace Edwards, Sophia Lillis, Ethan Josh Lee, Aristou Meehan), their parents (Scarlett Johansson, Liev Schreiber, Hope Davis, Steve Park), the head scientist (Tilda Swinton’s Dr. Hickenlooper) a school group led by Maya Hawke and some musically inclined cowboys (among them, Rupert Friend) who, I think, just missed their bus. Locals include Hank the mechanic (Matt Dillon) and the motel manager (Steve Carrell). Tom Hanks is Stanley Zak, Augie’s father-in-law and a wealthy Palm Springs retiree who wears a gun in his plaid pants\u003c/p>\n\u003cp>In the world of the play being put on, there is the director (Adrien Brody), his soon-to-be ex-wife (Hong Chau), the Lee Strasberg-y acting teacher Saltzburg Keitel (Willem Dafoe), the actress whose scene was cut (Margot Robbie), the host of the television program (Bryan Cranston) and Jeff Goldblum as, well, you’ll see. As always, the names are a delightful treat. And all the actors make a meal out of their parts, no matter how small.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But if there are characters with something like an arc to spotlight, that would be Schwartzman and Johansson, whose understated 50s movie star Midge Campbell might be one of her very best performances. Augie and Midge have a brief romance, mostly emotional, in that very repressed Wes Anderson way.\u003c/p>\n\u003cp>Is this all a little confusing? Don’t dismay, I think that might be part of the point. Maybe. Probably. And, in any event, it works — \u003cem>Asteroid City\u003c/em>, with its sprawling cast, beautiful hues, mumbled jokes, box-within-a-box setup, references that only the 80+ crowd may truly get and retro-cool soundtrack, actually makes you feel things even if it can’t quite make sense of itself.\u003c/p>\n\u003cp>“Just keep telling the story,” as Brody Schubert Green says to his actor looking for answers and motivations, is advice that could be interpreted as a shrug. Or maybe it’s actually everything — \u003cem>Asteroid City\u003c/em> makes a pretty compelling case.\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Asteroid City’ is released nationwide on June 23, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In ‘Blue Jean,’ a Nuanced Picture of Life as a Lesbian in Margaret Thatcher’s Britain",
"headTitle": "In ‘Blue Jean,’ a Nuanced Picture of Life as a Lesbian in Margaret Thatcher’s Britain | KQED",
"content": "\u003cp>A high school gym teacher grappling with her sexual identity is challenged on both a micro and macro level in 1988 England in \u003cem>Blue Jean\u003c/em>, a quietly complex portrait of compartmentalization and self-actualization.\u003c/p>\n\u003cp>[aside postid='arts_13929913']In October 1987, British Prime Minister Margaret Thatcher gave a speech in which she bemoaned the state of education and said that “Children who need to be taught to respect traditional moral values are being taught that they have an inalienable right to be gay.” This was just part of her critique of the state of education and the agenda of “extremist teachers” pushing “political slogans” and “anti-racist mathematics” who are cheating children out of a “sound start in life.” By May of 1988, a law was passed (Section 28) that would “prohibit the promotion of homosexuality” and would remain in effect in some form until 2003. Don’t worry if the law doesn’t sound familiar either — it was news to both the film’s director and star.\u003c/p>\n\u003cp>The film, which opens in limited release Friday, is the assured directorial debut of Georgia Oakley, who focuses her script not on the women who went out to protest as the House of Lords debated Section 28, but on one who was still coming to terms with her own identity. Jean (Rosy McEwen) is not terribly political, and, like most teachers, keeps her private life to herself. But she’s also one whose livelihood and passion (teaching) would be directly threatened by the law. Her journey in the film is a human one — there are mistakes, deep regrets, and casualties — and it’s her flaws that make her relatable. She is not, in other words, exactly an inspirational hero.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mGGRNmIU7fc\u003c/p>\n\u003cp>At the beginning, Jean leads a quiet life. She lives alone in an apartment and commutes to teach gym to high schoolers and coach the girls’ netball team. She loves her work and takes it seriously but keeps a distance from both the students and her fellow teachers, eating alone at lunch and declining persistent requests to go out for a pint after work. Some nights she meets up with her girlfriend, Viv (Kerrie Hayes), and a group of other lesbians at an underground bar. Unlike Jean, who is described as a deer in headlights, these other women are out and proud. When an older woman sneers at Jean and Viv eating together, Jean shrinks while Viv goes on the offensive. In the background, radio news broadcasts speak about the looming Section 28.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The message Jean takes from all of this is to hide. In her mind, this makes sense because teachers need to set boundaries with their students and co-workers. But then a new girl arrives at school, Lois (Lucy Halliday) who is also gay, and Jean’s meticulously segregated life starts to crumble — especially after Lois sees her out with Viv and friends, and Jean retreats further into herself. Is it her responsibility to look, protect or guide Lois through this aspect of her life? Jean will make a shocking decision before the end of the film.\u003c/p>\n\u003cfigure id=\"attachment_13930351\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930351\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM-800x478.png\" alt=\"A woman with a shaved head and a blonde woman sit in a pub at a table, pints of beer in front of them. Two friends sit opposite them.\" width=\"800\" height=\"478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM-800x478.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM-1020x610.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM-768x459.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM.png 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kerrie Hayes, background left, and Rosy McEwen in a scene from ‘Blue Jean.’ \u003ccite>(Magnolia Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jean is both an introvert and a product of her environment — she doesn’t speak to her mother anymore and her more conservative, heterosexual sister’s attempts at supporting Jean mostly make her feel worse. She scolds Jean for exposing her 5-year-old son to Viv, even though she drops the kid off at her apartment without any warning. Jean is also scolded by Viv for telling her nephew that she’s “a friend.”\u003c/p>\n\u003cp>[aside postid='arts_13930047']Oakley has said she wanted to present a protagonist “without glamorization or misrepresentation,” inspired by filmmakers like Kelly Reichardt and Chantal Akerman.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Blue Jean\u003c/em> is a perfect film to debut during Pride. It’s a reminder of the very recent past and the generational effects of institutionalized homophobia.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In October 1987, British Prime Minister Margaret Thatcher gave a speech in which she bemoaned the state of education and said that “Children who need to be taught to respect traditional moral values are being taught that they have an inalienable right to be gay.” This was just part of her critique of the state of education and the agenda of “extremist teachers” pushing “political slogans” and “anti-racist mathematics” who are cheating children out of a “sound start in life.” By May of 1988, a law was passed (Section 28) that would “prohibit the promotion of homosexuality” and would remain in effect in some form until 2003. Don’t worry if the law doesn’t sound familiar either — it was news to both the film’s director and star.\u003c/p>\n\u003cp>The film, which opens in limited release Friday, is the assured directorial debut of Georgia Oakley, who focuses her script not on the women who went out to protest as the House of Lords debated Section 28, but on one who was still coming to terms with her own identity. Jean (Rosy McEwen) is not terribly political, and, like most teachers, keeps her private life to herself. But she’s also one whose livelihood and passion (teaching) would be directly threatened by the law. Her journey in the film is a human one — there are mistakes, deep regrets, and casualties — and it’s her flaws that make her relatable. She is not, in other words, exactly an inspirational hero.\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/mGGRNmIU7fc'\n title='//www.youtube.com/embed/mGGRNmIU7fc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At the beginning, Jean leads a quiet life. She lives alone in an apartment and commutes to teach gym to high schoolers and coach the girls’ netball team. She loves her work and takes it seriously but keeps a distance from both the students and her fellow teachers, eating alone at lunch and declining persistent requests to go out for a pint after work. Some nights she meets up with her girlfriend, Viv (Kerrie Hayes), and a group of other lesbians at an underground bar. Unlike Jean, who is described as a deer in headlights, these other women are out and proud. When an older woman sneers at Jean and Viv eating together, Jean shrinks while Viv goes on the offensive. In the background, radio news broadcasts speak about the looming Section 28.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The message Jean takes from all of this is to hide. In her mind, this makes sense because teachers need to set boundaries with their students and co-workers. But then a new girl arrives at school, Lois (Lucy Halliday) who is also gay, and Jean’s meticulously segregated life starts to crumble — especially after Lois sees her out with Viv and friends, and Jean retreats further into herself. Is it her responsibility to look, protect or guide Lois through this aspect of her life? Jean will make a shocking decision before the end of the film.\u003c/p>\n\u003cfigure id=\"attachment_13930351\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930351\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM-800x478.png\" alt=\"A woman with a shaved head and a blonde woman sit in a pub at a table, pints of beer in front of them. Two friends sit opposite them.\" width=\"800\" height=\"478\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM-800x478.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM-1020x610.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM-768x459.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-09-at-11.11.28-AM.png 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kerrie Hayes, background left, and Rosy McEwen in a scene from ‘Blue Jean.’ \u003ccite>(Magnolia Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jean is both an introvert and a product of her environment — she doesn’t speak to her mother anymore and her more conservative, heterosexual sister’s attempts at supporting Jean mostly make her feel worse. She scolds Jean for exposing her 5-year-old son to Viv, even though she drops the kid off at her apartment without any warning. Jean is also scolded by Viv for telling her nephew that she’s “a friend.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Oakley has said she wanted to present a protagonist “without glamorization or misrepresentation,” inspired by filmmakers like Kelly Reichardt and Chantal Akerman.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Blue Jean\u003c/em> is a perfect film to debut during Pride. It’s a reminder of the very recent past and the generational effects of institutionalized homophobia.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Why Can't Hollywood Get Pop Stardom Right?",
"headTitle": "Why Can’t Hollywood Get Pop Stardom Right? | KQED",
"content": "\u003cp>These days, according to the parlance of stan armies, you’re either a “main pop girl,” or you’re not. Main pop girl-ism is nebulous, but, like pornography, you know it when you see it. She emerges into the spotlight according to album “eras” (what ancient civilizations once referred to as \u003cem>cycles\u003c/em>). At some point she has, via red carpet outfit or awards performance or interaction with paparazzi, minorly scandalized a nation. “Authenticity” is not a word that appears in her marketing plan. She can often \u003cem>actually dance\u003c/em>. Drag queens impersonate her, and rockists bicker over the number of writers credited to her hits.\u003c/p>\n\u003cp>[aside postid='arts_13891785']She may or may not actually, by pure album sales or streaming numbers or radio plays, be \u003cem>popular\u003c/em>. The domination of her type peaked in the late 2000s to early 2010s, when the American charts were crowded with muscled, alpha entertainers like Britney, Christina, Beyoncé, Rihanna, Gaga etc. But there isn’t just one main pop girl; rather, it’s an \u003ca href=\"https://www.billboard.com/music/music-news/dua-lipa-pop-girl-energy-dazed-interview-1235335755/\">energy\u003c/a> \u003ca href=\"https://www.rollingstone.com/music/music-features/charli-xcx-new-album-crash-alone-together-1297016/\">to embody\u003c/a> — fantasy aware it’s serving fantasy, Bush-era raunch. Music is just one part of her celebrity to consume, along with relationships cataloged in the press, her breakdowns and traumas (to which many documentaries are likely dedicated).\u003c/p>\n\u003cp>Jocelyn, the superstar around whom the plot of the contentious \u003ca href=\"https://www.npr.org/2023/06/05/1180083160/tv-review-hbo-the-idol-premiere\">new HBO show \u003cem>The Idol\u003c/em>\u003c/a> swarms, has main pop girl energy. Played by Lily-Rose Depp, the singer is about to release a new single called “World Class Sinner” (the lyrics of which are about being a freak and not much else, and the quality of which wouldn’t earn a spot on Ava Max’s next record) and is still processing her mothers’ death from cancer. We meet her in the middle of a sexy photoshoot, hospital wristband still on her arm. When a compromising photo of Jocelyn leaks and becomes “the number one trending topic on Twitter,” her team leaps into damage control, worried about her suffering from another “psychotic break.”\u003c/p>\n\u003cp>“I think what Britney and Jocelyn have gone through is really unique, but ultimately universal, you know?” one handler, played by Dan Levy, says. There’s a lot for Jocelyn to prove, from her ability to execute perfect choreography to the illusion of mental stamina (“prioritizing wellness,” one team member calls it). When a shady club-owner played by The Weeknd’s Abel Tesfaye comes into her life, she seems attracted to his honesty when so few people exercise it with her. “When you’re famous, everyone lies to you,” she tells him.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xVYUKxF0wMc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jocelyn’s suffering and alienation under the weight of her surveilled pop career feels all too familiar. She’s the young woman ensnared in the music industry machine, coached by handlers, every bit of her body lit flatteringly for the camera, her personality and humanity sanded down for the sake of the brand. You’ve seen her in film or television before. Take, for instance, Natalie Portman’s role as Celeste in 2018’s \u003cem>Vox Lux\u003c/em>, which follows the character as a teenager after she pens a proto-viral track following her survival of a school shooting in the early ’00s. Immediately, she’s signed by a team eager to capitalize on her trauma, whisked away to New York City, then Stockholm. Celeste transforms from innocent into self-destructive megastar, battling drug and alcohol abuse, sneering at journalists and riding fame so immense she can’t walk down the street without being accosted by fans dressed in her image.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fMCYE9hKP68\u003c/p>\n\u003cp>The pressure cooker is similarly distressing for Noni (Gugu Mbatha-Raw), the star in 2014’s \u003cem>Beyond the Lights\u003c/em>, a singer in the image of early Rihanna or Ciara (though if she had it her way, she’d be the next Nina Simone.) Groomed for fame by an overbearing momager, Noni’s life is a cycle of producing indecipherable hits, topless photoshoots and a label-orchestrated romance. When she tries to jump off a balcony, she’s stopped by a cop (Nate Parker) and the two fall in love. As her handlers try to contain her image, tainted by her near-suicide, Noni ultimately strips down to her true self, the one who wants to write and perform her own music.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rieoWn9BdrQ\u003c/p>\n\u003cp>We see that careful industry transformation in reverse in 2018’s \u003cem>A Star is Born\u003c/em>, as Lady Gaga’s Ally becomes a lip-syncing, orange-haired pop singer, her husband Jackson (Bradley Cooper) disgusted by the artifice that creeps into her performances. It’s never quite clear whether Ally’s transformative choices were her own or that of her new handler, but the film positions the character’s makeover as an affront and a threat to the artistic and romantic bond between her and Jackson. And despite the fact that Ally’s songs, co-written by Gaga, \u003cem>were\u003c/em> bangers (they may have sounded intentionally dated but I won’t tolerate “\u003ca href=\"https://www.youtube.com/watch?v=01nGbIaT4Wk\">Hair Body Face\u003c/a>” slander), the new Ally was positioned as a veneer over the “real” artist lurking still underneath.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nSbzyEJ8X9E\u003c/p>\n\u003cp>There’s something exhausting about Hollywood’s copy-paste of the bubblegum star as the vessel through which all the industry’s worst impulses can be articulated or satirized. In Jocelyn’s case, her troubles also don’t feel in step with what’s demanded of mainstream music stars in 2023. The extreme, over-sexed artifice championed by her team hasn’t been en vogue these days among the tween audience I imagine her label is trying to court, who’d sooner find themselves in the lived-in songwriting of stars like Olivia Rodrigo, Lizzy McAlpine, SZA, Lana Del Rey and Taylor Swift.\u003c/p>\n\u003cp>[aside postid='pop_112407']There’s also the issue of what could erupt an artist’s career at Jocelyn’s level; pop stars cancel global tours \u003ca href=\"https://www.theguardian.com/music/2022/sep/22/this-should-not-be-normalised-why-musicians-are-cancelling-tours-to-protect-their-mental-health\">to protect\u003c/a> their “mental health” regularly, after all, and many go so far as to make that mission a marketing angle or the central thesis of a new project. \u003cem>The Idol\u003c/em> may bill itself as a project “from the gutters of Hollywood,” but have Jocelyn’s Hollywood peers ever been tamer? So removed from the glare of any \u003cem>TMZ \u003c/em>camera crew, you’re more likely to be inundated with pap photos of stars carting $14 Erewhon smoothies to pilates than sloppily stumbling out of a club at 4 a.m.? Dua Lipa is too busy \u003ca href=\"https://www.npr.org/2022/04/28/1094567222/in-dua-lipas-ever-expanding-world-theres-no-time-limit-and-theres-no-what-ifs\">podcasting\u003c/a>, anyway.\u003c/p>\n\u003cp>I can’t help but think about what on-screen depictions of messy music superstardom would look like if they turned their gaze away from pop girls like Jocelyn. The genres that soapy TV shows like \u003cem>Nashville \u003c/em>and \u003cem>Empire\u003c/em> first mined nearly a decade ago, country and hip-hop respectively, now indisputably produce America’s most popular music stars. Where is the show about the handling of an artist like Morgan Wallen? The country star was \u003ca href=\"https://www.npr.org/2021/02/03/963664999/country-star-morgan-wallen-suspended-by-label-dropped-by-radio-cmt-after-using-s\">suspended by\u003c/a> his record label, pulled from radio rotation and banned from the CMA Awards after a video surfaced of him using a racial slur. And yet it only seemed to make him \u003cem>more\u003c/em> popular — album sales for his 2021 album \u003cem>Dangerous\u003c/em> \u003ca href=\"https://www.nytimes.com/2021/02/15/arts/music/wallen-dangerous-billboard.html\">increased\u003c/a> after the scandal, and his most recent album \u003cem>One Thing at a Time\u003c/em> \u003ca href=\"https://www.nytimes.com/2023/05/30/arts/music/morgan-wallen-one-thing-at-a-time-chart.html\">dominated\u003c/a> the charts for 12 straight weeks.\u003c/p>\n\u003cp>If we had to hold a contest for who actually embodies “main pop girl” spirit and chaos in the \u003cem>Billboard\u003c/em>-charting set, Drake might actually be closer to the title than any current popstress. Or even The Weeknd himself, who is positioned as a dorky, rat-tailed scumbag in \u003cem>The Idol \u003c/em>rather than a dark, sexy singer prone to debauchery (as he was, briefly stealing Howard Ratner’s girl, in his \u003cem>Uncut Gems\u003c/em> cameo).\u003c/p>\n\u003cp>There is also a wealth of stories worth telling about the music industry’s predations and unspoken rules beyond the cliched respectability web in which Jocelyn and her fictional pop girl brethren are often caught. I’m reminded of the hip-hop drama \u003cem>Atlanta\u003c/em>, its episodes grounded in Donald Glover’s experiences with the music industry. That show depicted the way a local scene could become a viral, global export, and the co-option of hip-hop’s stories and aesthetics by white companies and benefactors Earn and Paper Boi mingle with. An early scene in which the two of them visit a Spotify-type company and witness a rapper dancing atop a table for an audience of white start-up office workers, or episodes like the final season’s “Born 2 Die” in which the concept of the “YWA” (“Young White Avatar”) is introduced as a pathway for Paper Boi out of music-making, feel far more cutting than \u003cem>The Idol\u003c/em>‘s goofy jabs at publicists trying to control a star’s X-rated photo being leaked.\u003c/p>\n\u003cp>[aside postid='arts_13909218']Of course, a more holistic on-screen depiction of the music industry’s careful narrative-building around its stars may not be nearly as titillating to someone like Levinson, whose \u003ca href=\"https://www.npr.org/2022/02/22/1082288241/unlocking-the-sensory-overload-of-euphoria#:~:text=Press-,Unlocking%20the%20sensory%20overload%20of%20'Euphoria'%20%3A%20Pop%20Culture%20Happy,violence%2C%20and%20so%20much%20more.\">body of work\u003c/a> thrives on titillation. \u003cem>The Idol\u003c/em>‘s first episode isn’t about the music industry, so much as it is about carefully maintaining a certain strain of celebrity.\u003c/p>\n\u003cp>“Pop music is the ultimate Trojan Horse,” Tesfaye’s character Tedros tells Jocelyn. “You get people to dance. You get people to sing along.” The issue is that \u003cem>The Idol\u003c/em>‘s thin conception of what pop music sounds like (not to mention the femininity Jocelyn is selling), wouldn’t actually be as popular in today’s landscape as the show’s world makes it out to be. That a character \u003cem>within\u003c/em> the show has to evoke Britney Spears as Jocelyn’s spiritual counterpart confirms Levinson’s dated ideas about stardom and the pop music that facilitates it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Modern pop music \u003cem>can\u003c/em> be a Trojan Horse for transgressive or revolutionary ideas — \u003ca href=\"https://www.npr.org/2019/12/10/786451710/billie-eilish-is-the-class-of-2019s-weird-achiever\">about identity\u003c/a>, \u003ca href=\"https://www.npr.org/2021/12/28/1068323960/lil-nas-x-pop-revolutionary\">about sex\u003c/a>, about \u003ca href=\"https://www.npr.org/sections/therecord/2016/04/26/475629479/close-to-home-a-conversation-about-beyonc-s-lemonade\">real hardship and trauma\u003c/a>. But \u003cem>The Idol\u003c/em> is yet another project about a fictional star that swerves past reality in favor of a focus on trappings of a fame that feels chained to a bygone era, one where main pop girls reigned supreme.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+can%27t+Hollywood+get+pop+stardom+right%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>These days, according to the parlance of stan armies, you’re either a “main pop girl,” or you’re not. Main pop girl-ism is nebulous, but, like pornography, you know it when you see it. She emerges into the spotlight according to album “eras” (what ancient civilizations once referred to as \u003cem>cycles\u003c/em>). At some point she has, via red carpet outfit or awards performance or interaction with paparazzi, minorly scandalized a nation. “Authenticity” is not a word that appears in her marketing plan. She can often \u003cem>actually dance\u003c/em>. Drag queens impersonate her, and rockists bicker over the number of writers credited to her hits.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She may or may not actually, by pure album sales or streaming numbers or radio plays, be \u003cem>popular\u003c/em>. The domination of her type peaked in the late 2000s to early 2010s, when the American charts were crowded with muscled, alpha entertainers like Britney, Christina, Beyoncé, Rihanna, Gaga etc. But there isn’t just one main pop girl; rather, it’s an \u003ca href=\"https://www.billboard.com/music/music-news/dua-lipa-pop-girl-energy-dazed-interview-1235335755/\">energy\u003c/a> \u003ca href=\"https://www.rollingstone.com/music/music-features/charli-xcx-new-album-crash-alone-together-1297016/\">to embody\u003c/a> — fantasy aware it’s serving fantasy, Bush-era raunch. Music is just one part of her celebrity to consume, along with relationships cataloged in the press, her breakdowns and traumas (to which many documentaries are likely dedicated).\u003c/p>\n\u003cp>Jocelyn, the superstar around whom the plot of the contentious \u003ca href=\"https://www.npr.org/2023/06/05/1180083160/tv-review-hbo-the-idol-premiere\">new HBO show \u003cem>The Idol\u003c/em>\u003c/a> swarms, has main pop girl energy. Played by Lily-Rose Depp, the singer is about to release a new single called “World Class Sinner” (the lyrics of which are about being a freak and not much else, and the quality of which wouldn’t earn a spot on Ava Max’s next record) and is still processing her mothers’ death from cancer. We meet her in the middle of a sexy photoshoot, hospital wristband still on her arm. When a compromising photo of Jocelyn leaks and becomes “the number one trending topic on Twitter,” her team leaps into damage control, worried about her suffering from another “psychotic break.”\u003c/p>\n\u003cp>“I think what Britney and Jocelyn have gone through is really unique, but ultimately universal, you know?” one handler, played by Dan Levy, says. There’s a lot for Jocelyn to prove, from her ability to execute perfect choreography to the illusion of mental stamina (“prioritizing wellness,” one team member calls it). When a shady club-owner played by The Weeknd’s Abel Tesfaye comes into her life, she seems attracted to his honesty when so few people exercise it with her. “When you’re famous, everyone lies to you,” she tells him.\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/xVYUKxF0wMc'\n title='//www.youtube.com/embed/xVYUKxF0wMc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jocelyn’s suffering and alienation under the weight of her surveilled pop career feels all too familiar. She’s the young woman ensnared in the music industry machine, coached by handlers, every bit of her body lit flatteringly for the camera, her personality and humanity sanded down for the sake of the brand. You’ve seen her in film or television before. Take, for instance, Natalie Portman’s role as Celeste in 2018’s \u003cem>Vox Lux\u003c/em>, which follows the character as a teenager after she pens a proto-viral track following her survival of a school shooting in the early ’00s. Immediately, she’s signed by a team eager to capitalize on her trauma, whisked away to New York City, then Stockholm. Celeste transforms from innocent into self-destructive megastar, battling drug and alcohol abuse, sneering at journalists and riding fame so immense she can’t walk down the street without being accosted by fans dressed in her image.\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/fMCYE9hKP68'\n title='//www.youtube.com/embed/fMCYE9hKP68'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The pressure cooker is similarly distressing for Noni (Gugu Mbatha-Raw), the star in 2014’s \u003cem>Beyond the Lights\u003c/em>, a singer in the image of early Rihanna or Ciara (though if she had it her way, she’d be the next Nina Simone.) Groomed for fame by an overbearing momager, Noni’s life is a cycle of producing indecipherable hits, topless photoshoots and a label-orchestrated romance. When she tries to jump off a balcony, she’s stopped by a cop (Nate Parker) and the two fall in love. As her handlers try to contain her image, tainted by her near-suicide, Noni ultimately strips down to her true self, the one who wants to write and perform her own music.\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/rieoWn9BdrQ'\n title='//www.youtube.com/embed/rieoWn9BdrQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We see that careful industry transformation in reverse in 2018’s \u003cem>A Star is Born\u003c/em>, as Lady Gaga’s Ally becomes a lip-syncing, orange-haired pop singer, her husband Jackson (Bradley Cooper) disgusted by the artifice that creeps into her performances. It’s never quite clear whether Ally’s transformative choices were her own or that of her new handler, but the film positions the character’s makeover as an affront and a threat to the artistic and romantic bond between her and Jackson. And despite the fact that Ally’s songs, co-written by Gaga, \u003cem>were\u003c/em> bangers (they may have sounded intentionally dated but I won’t tolerate “\u003ca href=\"https://www.youtube.com/watch?v=01nGbIaT4Wk\">Hair Body Face\u003c/a>” slander), the new Ally was positioned as a veneer over the “real” artist lurking still underneath.\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/nSbzyEJ8X9E'\n title='//www.youtube.com/embed/nSbzyEJ8X9E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There’s something exhausting about Hollywood’s copy-paste of the bubblegum star as the vessel through which all the industry’s worst impulses can be articulated or satirized. In Jocelyn’s case, her troubles also don’t feel in step with what’s demanded of mainstream music stars in 2023. The extreme, over-sexed artifice championed by her team hasn’t been en vogue these days among the tween audience I imagine her label is trying to court, who’d sooner find themselves in the lived-in songwriting of stars like Olivia Rodrigo, Lizzy McAlpine, SZA, Lana Del Rey and Taylor Swift.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There’s also the issue of what could erupt an artist’s career at Jocelyn’s level; pop stars cancel global tours \u003ca href=\"https://www.theguardian.com/music/2022/sep/22/this-should-not-be-normalised-why-musicians-are-cancelling-tours-to-protect-their-mental-health\">to protect\u003c/a> their “mental health” regularly, after all, and many go so far as to make that mission a marketing angle or the central thesis of a new project. \u003cem>The Idol\u003c/em> may bill itself as a project “from the gutters of Hollywood,” but have Jocelyn’s Hollywood peers ever been tamer? So removed from the glare of any \u003cem>TMZ \u003c/em>camera crew, you’re more likely to be inundated with pap photos of stars carting $14 Erewhon smoothies to pilates than sloppily stumbling out of a club at 4 a.m.? Dua Lipa is too busy \u003ca href=\"https://www.npr.org/2022/04/28/1094567222/in-dua-lipas-ever-expanding-world-theres-no-time-limit-and-theres-no-what-ifs\">podcasting\u003c/a>, anyway.\u003c/p>\n\u003cp>I can’t help but think about what on-screen depictions of messy music superstardom would look like if they turned their gaze away from pop girls like Jocelyn. The genres that soapy TV shows like \u003cem>Nashville \u003c/em>and \u003cem>Empire\u003c/em> first mined nearly a decade ago, country and hip-hop respectively, now indisputably produce America’s most popular music stars. Where is the show about the handling of an artist like Morgan Wallen? The country star was \u003ca href=\"https://www.npr.org/2021/02/03/963664999/country-star-morgan-wallen-suspended-by-label-dropped-by-radio-cmt-after-using-s\">suspended by\u003c/a> his record label, pulled from radio rotation and banned from the CMA Awards after a video surfaced of him using a racial slur. And yet it only seemed to make him \u003cem>more\u003c/em> popular — album sales for his 2021 album \u003cem>Dangerous\u003c/em> \u003ca href=\"https://www.nytimes.com/2021/02/15/arts/music/wallen-dangerous-billboard.html\">increased\u003c/a> after the scandal, and his most recent album \u003cem>One Thing at a Time\u003c/em> \u003ca href=\"https://www.nytimes.com/2023/05/30/arts/music/morgan-wallen-one-thing-at-a-time-chart.html\">dominated\u003c/a> the charts for 12 straight weeks.\u003c/p>\n\u003cp>If we had to hold a contest for who actually embodies “main pop girl” spirit and chaos in the \u003cem>Billboard\u003c/em>-charting set, Drake might actually be closer to the title than any current popstress. Or even The Weeknd himself, who is positioned as a dorky, rat-tailed scumbag in \u003cem>The Idol \u003c/em>rather than a dark, sexy singer prone to debauchery (as he was, briefly stealing Howard Ratner’s girl, in his \u003cem>Uncut Gems\u003c/em> cameo).\u003c/p>\n\u003cp>There is also a wealth of stories worth telling about the music industry’s predations and unspoken rules beyond the cliched respectability web in which Jocelyn and her fictional pop girl brethren are often caught. I’m reminded of the hip-hop drama \u003cem>Atlanta\u003c/em>, its episodes grounded in Donald Glover’s experiences with the music industry. That show depicted the way a local scene could become a viral, global export, and the co-option of hip-hop’s stories and aesthetics by white companies and benefactors Earn and Paper Boi mingle with. An early scene in which the two of them visit a Spotify-type company and witness a rapper dancing atop a table for an audience of white start-up office workers, or episodes like the final season’s “Born 2 Die” in which the concept of the “YWA” (“Young White Avatar”) is introduced as a pathway for Paper Boi out of music-making, feel far more cutting than \u003cem>The Idol\u003c/em>‘s goofy jabs at publicists trying to control a star’s X-rated photo being leaked.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Of course, a more holistic on-screen depiction of the music industry’s careful narrative-building around its stars may not be nearly as titillating to someone like Levinson, whose \u003ca href=\"https://www.npr.org/2022/02/22/1082288241/unlocking-the-sensory-overload-of-euphoria#:~:text=Press-,Unlocking%20the%20sensory%20overload%20of%20'Euphoria'%20%3A%20Pop%20Culture%20Happy,violence%2C%20and%20so%20much%20more.\">body of work\u003c/a> thrives on titillation. \u003cem>The Idol\u003c/em>‘s first episode isn’t about the music industry, so much as it is about carefully maintaining a certain strain of celebrity.\u003c/p>\n\u003cp>“Pop music is the ultimate Trojan Horse,” Tesfaye’s character Tedros tells Jocelyn. “You get people to dance. You get people to sing along.” The issue is that \u003cem>The Idol\u003c/em>‘s thin conception of what pop music sounds like (not to mention the femininity Jocelyn is selling), wouldn’t actually be as popular in today’s landscape as the show’s world makes it out to be. That a character \u003cem>within\u003c/em> the show has to evoke Britney Spears as Jocelyn’s spiritual counterpart confirms Levinson’s dated ideas about stardom and the pop music that facilitates it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Modern pop music \u003cem>can\u003c/em> be a Trojan Horse for transgressive or revolutionary ideas — \u003ca href=\"https://www.npr.org/2019/12/10/786451710/billie-eilish-is-the-class-of-2019s-weird-achiever\">about identity\u003c/a>, \u003ca href=\"https://www.npr.org/2021/12/28/1068323960/lil-nas-x-pop-revolutionary\">about sex\u003c/a>, about \u003ca href=\"https://www.npr.org/sections/therecord/2016/04/26/475629479/close-to-home-a-conversation-about-beyonc-s-lemonade\">real hardship and trauma\u003c/a>. But \u003cem>The Idol\u003c/em> is yet another project about a fictional star that swerves past reality in favor of a focus on trappings of a fame that feels chained to a bygone era, one where main pop girls reigned supreme.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+can%27t+Hollywood+get+pop+stardom+right%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the tender slice-of-life film \u003ca href=\"https://festival2023.qwocmap.org/featured-screening-ginger-honey-milk/\">\u003cem>Ginger & Honey Milk\u003c/em>\u003c/a>, university student Atsushi learns that when he signed “I like you” to his deaf Japanese sign language buddy Kento, his platonic intentions were completely misunderstood. “‘Like’ in sign language is used only for love,” another student explains, clasping her hands together in exasperation. Later, a heartbroken Kento cries alone in his room, overwhelmed by the pain of the rejection, pandemic isolation and coming to terms with being gay.\u003c/p>\n\u003cp>Directed by queer and deaf filmmaker Mika Imai, \u003cem>Ginger & Honey Milk\u003c/em> is one of 30 films at the 19th annual \u003ca href=\"https://festival2023.qwocmap.org/\">Queer Women of Color Film Festival\u003c/a>, which runs from June 9–11 at San Francisco’s \u003ca href=\"https://www.presidiotheatre.org/\">Presidio Theatre\u003c/a>. Organized by the \u003ca href=\"https://www.instagram.com/qwocmap/\">Queer Women of Color Media Arts Project\u003c/a> (QWOCMAP), the festival has long provided a welcoming space for queer people of color and allies to celebrate, discuss and reflect on contemporary films that highlight intersectional queer and trans narratives. Beyond its film offerings, QWOCMAP aims to inspire attendees to imagine a world in which these stories are pushed to the forefront.\u003c/p>\n\u003cp>“We’re basically creating a very temporary time period and small space [that is] the kind of world we want to live in: a world that is accessible. It’s free and anybody can participate. It is safe for sick and disabled people,” says T. Kebo Drew, QWOCMAP’s managing director.\u003c/p>\n\u003cp>This year’s festival theme is “Forever Rooted” and contemplates the underlying connections between different queer identities, stories and traditions. \u003ca href=\"https://www.instagram.com/ashleishyne/\">Ashlei Shyne\u003c/a>’s \u003cem>Sia \u003c/em>explores the issue of navigating intimacy through the pandemic, while Jordana Allen-Shim’s \u003cem>Lavender: A Lesbian Love Story\u003c/em> that digs into the plight of many queer individuals who go through with so-called lavender marriages to appease their families.\u003c/p>\n\u003cfigure id=\"attachment_13930070\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/QWOCMAP-Ginger-and-Honey-Milk.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930070\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/QWOCMAP-Ginger-and-Honey-Milk-800x447.png\" alt=\"two young Asian women with masks around their chins walk on the street in a still from a film\" width=\"800\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/QWOCMAP-Ginger-and-Honey-Milk-800x447.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/QWOCMAP-Ginger-and-Honey-Milk-1020x570.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/QWOCMAP-Ginger-and-Honey-Milk-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/QWOCMAP-Ginger-and-Honey-Milk-768x430.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/QWOCMAP-Ginger-and-Honey-Milk-1536x859.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/QWOCMAP-Ginger-and-Honey-Milk-1920x1074.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/QWOCMAP-Ginger-and-Honey-Milk.png 2042w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Japanese filmmaker Mika Imai’s ‘Ginger & Honey Milk’ is a heartfelt exploration of deaf and queer university students struggling with love and identity through the pandemic. \u003ccite>(Courtesy of QWOCMAP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each story is different, yet they are intertwined in their meditations on what it means to survive as a queer person of color today. With each film, the various connective roots become apparent: there are threads of unrequited desire and self-exploration. There are roots that take people home — and lead them to entirely new ones.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We’ve had people over the years walk in and then stay and come back. There’s a sense of: ‘I can be here. I don’t feel isolated. I feel like I’m part of something,’” says Drew. The festival emphasizes a feeling of collective care and generative love in queer friendships, romantic relationships and found families. “Folks have come to the film festival and walked away saying, ‘If I don’t have a love like that in my life, then I don’t want it.’”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The 19th annual Queer Women of Color Film Festival takes place June 9–11 at the Presidio Theatre in San Francisco. All films will include subtitles, audio descriptions and ASL interpretation. There will also be a panel on disability justice in film on June 10 and a virtual online screening available at the end of the month. The festival is free to attend; \u003ca href=\"https://festival2023.qwocmap.org/tickets/\">more information here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the tender slice-of-life film \u003ca href=\"https://festival2023.qwocmap.org/featured-screening-ginger-honey-milk/\">\u003cem>Ginger & Honey Milk\u003c/em>\u003c/a>, university student Atsushi learns that when he signed “I like you” to his deaf Japanese sign language buddy Kento, his platonic intentions were completely misunderstood. “‘Like’ in sign language is used only for love,” another student explains, clasping her hands together in exasperation. Later, a heartbroken Kento cries alone in his room, overwhelmed by the pain of the rejection, pandemic isolation and coming to terms with being gay.\u003c/p>\n\u003cp>Directed by queer and deaf filmmaker Mika Imai, \u003cem>Ginger & Honey Milk\u003c/em> is one of 30 films at the 19th annual \u003ca href=\"https://festival2023.qwocmap.org/\">Queer Women of Color Film Festival\u003c/a>, which runs from June 9–11 at San Francisco’s \u003ca href=\"https://www.presidiotheatre.org/\">Presidio Theatre\u003c/a>. Organized by the \u003ca href=\"https://www.instagram.com/qwocmap/\">Queer Women of Color Media Arts Project\u003c/a> (QWOCMAP), the festival has long provided a welcoming space for queer people of color and allies to celebrate, discuss and reflect on contemporary films that highlight intersectional queer and trans narratives. Beyond its film offerings, QWOCMAP aims to inspire attendees to imagine a world in which these stories are pushed to the forefront.\u003c/p>\n\u003cp>“We’re basically creating a very temporary time period and small space [that is] the kind of world we want to live in: a world that is accessible. It’s free and anybody can participate. It is safe for sick and disabled people,” says T. Kebo Drew, QWOCMAP’s managing director.\u003c/p>\n\u003cp>This year’s festival theme is “Forever Rooted” and contemplates the underlying connections between different queer identities, stories and traditions. \u003ca href=\"https://www.instagram.com/ashleishyne/\">Ashlei Shyne\u003c/a>’s \u003cem>Sia \u003c/em>explores the issue of navigating intimacy through the pandemic, while Jordana Allen-Shim’s \u003cem>Lavender: A Lesbian Love Story\u003c/em> that digs into the plight of many queer individuals who go through with so-called lavender marriages to appease their families.\u003c/p>\n\u003cfigure id=\"attachment_13930070\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/QWOCMAP-Ginger-and-Honey-Milk.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930070\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/QWOCMAP-Ginger-and-Honey-Milk-800x447.png\" alt=\"two young Asian women with masks around their chins walk on the street in a still from a film\" width=\"800\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/QWOCMAP-Ginger-and-Honey-Milk-800x447.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/QWOCMAP-Ginger-and-Honey-Milk-1020x570.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/QWOCMAP-Ginger-and-Honey-Milk-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/QWOCMAP-Ginger-and-Honey-Milk-768x430.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/QWOCMAP-Ginger-and-Honey-Milk-1536x859.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/QWOCMAP-Ginger-and-Honey-Milk-1920x1074.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/QWOCMAP-Ginger-and-Honey-Milk.png 2042w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Japanese filmmaker Mika Imai’s ‘Ginger & Honey Milk’ is a heartfelt exploration of deaf and queer university students struggling with love and identity through the pandemic. \u003ccite>(Courtesy of QWOCMAP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Each story is different, yet they are intertwined in their meditations on what it means to survive as a queer person of color today. With each film, the various connective roots become apparent: there are threads of unrequited desire and self-exploration. There are roots that take people home — and lead them to entirely new ones.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We’ve had people over the years walk in and then stay and come back. There’s a sense of: ‘I can be here. I don’t feel isolated. I feel like I’m part of something,’” says Drew. The festival emphasizes a feeling of collective care and generative love in queer friendships, romantic relationships and found families. “Folks have come to the film festival and walked away saying, ‘If I don’t have a love like that in my life, then I don’t want it.’”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The 19th annual Queer Women of Color Film Festival takes place June 9–11 at the Presidio Theatre in San Francisco. All films will include subtitles, audio descriptions and ASL interpretation. There will also be a panel on disability justice in film on June 10 and a virtual online screening available at the end of the month. The festival is free to attend; \u003ca href=\"https://festival2023.qwocmap.org/tickets/\">more information here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Most Frequently Performed Plays and Musicals in High Schools This Year",
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"content": "\u003cp>The Educational Theatre Association has released its top-10 lists of plays and musicals performed in high schools during the 2022-2023 school year. More than 2,300 public and private high school teachers across the U.S. participated.\u003c/p>\n\u003cp>\u003cem>The Addams Family\u003c/em> topped the list of full-length musicals, followed by \u003cem>Mamma Mia!\u003c/em>\u003c/p>\n\u003cp>The No. 1 full length play was \u003cem>Clue,\u003c/em> followed by \u003cem>Puffs. \u003c/em>Disney’s\u003cem> Frozen JR\u003c/em> held the top spot among short musicals.\u003c/p>\n\u003cp>And \u003cem>10 Ways to Survive the Zombie Apocalypse \u003c/em>tied with \u003cem>Check Please \u003c/em>for the most popular short play.\u003c/p>\n\u003cp>You can see the \u003ca href=\"https://schooltheatre.org/2023-play-survey-reveals-most-popular-high-school-shows\">full list here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The \u003ca href=\"https://schooltheatre.org/\">EdTA\u003c/a> calls the survey a “snapshot” of both what’s popular with high school theater departments and “the educational climate.” Eighty five percent of respondents reported being, “at least somewhat concerned about censorship” and 67% said that, “censorship concerns” are influencing their selections for next year.\u003c/p>\n\u003ch3>Changing tastes and values reflected in the Play Survey\u003c/h3>\n\u003cp>Jennifer Katona, executive director of EdTA, believes \u003cem>The Addams Family\u003c/em>‘s popularity, “has a lot to do with our students love of the Netflix show \u003cem>Wednesday\u003c/em>.” Another hit this year: \u003cem>The SpongeBob Musical. \u003c/em>“It’s got a lot of music from a lot of different lyricists and musicians, so the students in the schools are really enjoying that one, too\u003cem>.”\u003c/em>\u003c/p>\n\u003cp>This is the first year\u003cem> Mean Girls: High School Version\u003c/em> has been licensed to schools and it jumped to the #10 spot of full-length musicals. It helps that the musical based on \u003ca href=\"https://www.npr.org/2018/04/06/599813454/on-broadway-they-wear-pink-mean-girls-is-now-a-musical\">Tina Fey’s popular movie\u003c/a> had a successful Broadway run not too long ago, and that the cast is largely female. High school theatre programs often attract more girls than boys.\u003c/p>\n\u003cp>[aside postid='education_536534']The annual Play Survey began in 1938. NPR’s Education Desk did an eye-opening \u003ca href=\"https://www.npr.org/sections/ed/2019/07/31/427138970/the-most-popular-high-school-plays-and-musicals\">analysis\u003c/a> of how high school plays have tracked over the survey’s 85 year history.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2021/02/13/967600332/returning-to-our-town-why-the-play-still-hits-home-after-80-years\">\u003cem>Our Town\u003c/em>\u003c/a>\u003cem>, \u003c/em>for example\u003cem>, \u003c/em>was consistently among the top 10 plays “by decade,” from the 1940s-2010s. In the last two surveys, Thornton Wilder’s eternal classic held the number 10 spot but didn’t make the list this year. Katona says high school drama departments are “diversifying their repertoires.”\u003c/p>\n\u003cp>“Schools have really made an effort to bring in different playwrights and have different representation of voices on their stages,” she says.\u003c/p>\n\u003ch3>Stymied over censorship concerns\u003c/h3>\n\u003cp>With school boards and local governments \u003ca href=\"https://www.npr.org/2023/03/09/1160731547/spelling-bee-high-school-theater\">cancelling\u003c/a> theater productions and banning books, the EdTA survey also found that drama teachers are nervous.\u003c/p>\n\u003cfigure id=\"attachment_13930074\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930074\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/batb-thurs-283_enl-6230905e3bbe9394e482a55585f9aa1ac477e8ac-800x1202.jpg\" alt=\"A young man sits on the edge of a fake fountain on stage, with a young women resting her head on him. They are dressed in 18th century costume.\" width=\"800\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/batb-thurs-283_enl-6230905e3bbe9394e482a55585f9aa1ac477e8ac-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/batb-thurs-283_enl-6230905e3bbe9394e482a55585f9aa1ac477e8ac-1020x1532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/batb-thurs-283_enl-6230905e3bbe9394e482a55585f9aa1ac477e8ac-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/batb-thurs-283_enl-6230905e3bbe9394e482a55585f9aa1ac477e8ac-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/batb-thurs-283_enl-6230905e3bbe9394e482a55585f9aa1ac477e8ac-1023x1536.jpg 1023w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/batb-thurs-283_enl-6230905e3bbe9394e482a55585f9aa1ac477e8ac-1364x2048.jpg 1364w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/batb-thurs-283_enl-6230905e3bbe9394e482a55585f9aa1ac477e8ac-1920x2884.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/batb-thurs-283_enl-6230905e3bbe9394e482a55585f9aa1ac477e8ac-scaled.jpg 1704w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Erik Martinez and Shelby Brown in New Albany High School’s production of Disney’s ‘Beauty and the Beast’ in New Albany, Ind. The show tied for fifth place (with ‘The Little Mermaid’) in the full-length musical category. \u003ccite>(Educational Theatre Association)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Teachers know that they need to be smart about what they’re putting on their stages,” says Katona, “They’re making choices that will allow them to keep their theater programs.” She adds, “Theater has always been a safe space for a lot of our students.”\u003c/p>\n\u003cp>Danny Issa teaches theater at Washington-Liberty High School in Arlington, Va. While he says, while he always involves students in the play selection process, he also makes sure school officials are well aware of content that some might find inappropriate.\u003c/p>\n\u003cp>[aside postid='arts_13928405']“The arts in general are in such a precarious position at all times. Are we going to have funding? Are we going to be able to make it through another season?” Issa reflects. “Just a single complaint from a parent can have a show pulled.” That includes losing, “all the money that you’ve pumped into a production.”\u003c/p>\n\u003cp>Still, Issa’s concerns did not stop him — and lots of other high school theater teachers — from staging \u003cem>Almost, Maine, \u003c/em>a play about love and relationships that includes gay characters\u003cem>. \u003c/em>\u003c/p>\n\u003cp>Despite facing challenges in \u003ca href=\"https://www.record-eagle.com/news/local_news/canceled-show-prompts-outcry/article_d52c9763-7814-5c6e-b7c0-e93de9fecbf5.html\">Michigan\u003c/a> and \u003ca href=\"https://www.wfae.org/arts-culture/2015-01-13/almost-maine-goes-on-without-school-support\">North Carolina\u003c/a> in recent years, \u003cem>Almost, Maine\u003c/em> held the No. 6 spot on this year’s list of full-length plays.\u003c/p>\n\u003ch3>High school theater programs are “rebounding from the pandemic”\u003c/h3>\n\u003cp>Culture wars aside, the Play Survey found that, on average, attendance is up and theater programs are ramping up production.\u003c/p>\n\u003cp>“The average audience size across all performances in a school season increased 13 percent over last year to 1,967,” EdTA writes in a statement.\u003c/p>\n\u003cfigure id=\"attachment_13930077\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930077\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-05-at-11.56.12-AM-800x514.png\" alt=\"A girl stands on a table in the center of a stage. Around her, other teens are gathered and mid-dance routine. 'Welcome to the Lion's Den' is projected above them on the stage.\" width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-05-at-11.56.12-AM-800x514.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-05-at-11.56.12-AM-1020x656.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-05-at-11.56.12-AM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-05-at-11.56.12-AM-768x494.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-05-at-11.56.12-AM-1536x987.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-05-at-11.56.12-AM.png 1646w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Mean Girls: High School Version’ made its debut on the list this year in the full-length musical category. Above, a production at J.J. Pearce High School in Richardson, Texas. \u003ccite>(Educational Theatre Association)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Coming out of the pandemic, I think everyone was really excited to just be able to see theater again,” says Issa.\u003c/p>\n\u003cp>[aside postid='news_11947769']Washington-Liberty High School’s musical — \u003cem>The Prom\u003c/em> — sold more than $10,000 in tickets, up more than $4,000 from last year’s musical, according to Issa.\u003c/p>\n\u003cp>\u003cem>Almost, Maine\u003c/em> also did well\u003cem>. “\u003c/em>We ended up opening our balcony in the auditorium,” Issa says. “Just because of the sheer number of people that showed up for closing night.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Audio and \u003c/em>\u003ca href=\"http://npr.org/\">\u003cem>NPR.org\u003c/em>\u003c/a>\u003cem> versions of this story were edited by Rose Friedman and adapted to \u003c/em>\u003ca href=\"http://npr.org/\">\u003cem>NPR.org\u003c/em>\u003c/a>\u003cem> by Beth Novey.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=These+were+the+most+frequently+performed+plays+and+musicals+in+high+schools+this+year&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "‘The Addams Family,’ ‘Mamma Mia!’ and ‘Frozen JR’ were among the most popular shows, according to a new survey.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Educational Theatre Association has released its top-10 lists of plays and musicals performed in high schools during the 2022-2023 school year. More than 2,300 public and private high school teachers across the U.S. participated.\u003c/p>\n\u003cp>\u003cem>The Addams Family\u003c/em> topped the list of full-length musicals, followed by \u003cem>Mamma Mia!\u003c/em>\u003c/p>\n\u003cp>The No. 1 full length play was \u003cem>Clue,\u003c/em> followed by \u003cem>Puffs. \u003c/em>Disney’s\u003cem> Frozen JR\u003c/em> held the top spot among short musicals.\u003c/p>\n\u003cp>And \u003cem>10 Ways to Survive the Zombie Apocalypse \u003c/em>tied with \u003cem>Check Please \u003c/em>for the most popular short play.\u003c/p>\n\u003cp>You can see the \u003ca href=\"https://schooltheatre.org/2023-play-survey-reveals-most-popular-high-school-shows\">full list here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"https://schooltheatre.org/\">EdTA\u003c/a> calls the survey a “snapshot” of both what’s popular with high school theater departments and “the educational climate.” Eighty five percent of respondents reported being, “at least somewhat concerned about censorship” and 67% said that, “censorship concerns” are influencing their selections for next year.\u003c/p>\n\u003ch3>Changing tastes and values reflected in the Play Survey\u003c/h3>\n\u003cp>Jennifer Katona, executive director of EdTA, believes \u003cem>The Addams Family\u003c/em>‘s popularity, “has a lot to do with our students love of the Netflix show \u003cem>Wednesday\u003c/em>.” Another hit this year: \u003cem>The SpongeBob Musical. \u003c/em>“It’s got a lot of music from a lot of different lyricists and musicians, so the students in the schools are really enjoying that one, too\u003cem>.”\u003c/em>\u003c/p>\n\u003cp>This is the first year\u003cem> Mean Girls: High School Version\u003c/em> has been licensed to schools and it jumped to the #10 spot of full-length musicals. It helps that the musical based on \u003ca href=\"https://www.npr.org/2018/04/06/599813454/on-broadway-they-wear-pink-mean-girls-is-now-a-musical\">Tina Fey’s popular movie\u003c/a> had a successful Broadway run not too long ago, and that the cast is largely female. High school theatre programs often attract more girls than boys.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The annual Play Survey began in 1938. NPR’s Education Desk did an eye-opening \u003ca href=\"https://www.npr.org/sections/ed/2019/07/31/427138970/the-most-popular-high-school-plays-and-musicals\">analysis\u003c/a> of how high school plays have tracked over the survey’s 85 year history.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2021/02/13/967600332/returning-to-our-town-why-the-play-still-hits-home-after-80-years\">\u003cem>Our Town\u003c/em>\u003c/a>\u003cem>, \u003c/em>for example\u003cem>, \u003c/em>was consistently among the top 10 plays “by decade,” from the 1940s-2010s. In the last two surveys, Thornton Wilder’s eternal classic held the number 10 spot but didn’t make the list this year. Katona says high school drama departments are “diversifying their repertoires.”\u003c/p>\n\u003cp>“Schools have really made an effort to bring in different playwrights and have different representation of voices on their stages,” she says.\u003c/p>\n\u003ch3>Stymied over censorship concerns\u003c/h3>\n\u003cp>With school boards and local governments \u003ca href=\"https://www.npr.org/2023/03/09/1160731547/spelling-bee-high-school-theater\">cancelling\u003c/a> theater productions and banning books, the EdTA survey also found that drama teachers are nervous.\u003c/p>\n\u003cfigure id=\"attachment_13930074\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930074\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/batb-thurs-283_enl-6230905e3bbe9394e482a55585f9aa1ac477e8ac-800x1202.jpg\" alt=\"A young man sits on the edge of a fake fountain on stage, with a young women resting her head on him. They are dressed in 18th century costume.\" width=\"800\" height=\"1202\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/batb-thurs-283_enl-6230905e3bbe9394e482a55585f9aa1ac477e8ac-800x1202.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/batb-thurs-283_enl-6230905e3bbe9394e482a55585f9aa1ac477e8ac-1020x1532.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/batb-thurs-283_enl-6230905e3bbe9394e482a55585f9aa1ac477e8ac-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/batb-thurs-283_enl-6230905e3bbe9394e482a55585f9aa1ac477e8ac-768x1154.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/batb-thurs-283_enl-6230905e3bbe9394e482a55585f9aa1ac477e8ac-1023x1536.jpg 1023w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/batb-thurs-283_enl-6230905e3bbe9394e482a55585f9aa1ac477e8ac-1364x2048.jpg 1364w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/batb-thurs-283_enl-6230905e3bbe9394e482a55585f9aa1ac477e8ac-1920x2884.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/batb-thurs-283_enl-6230905e3bbe9394e482a55585f9aa1ac477e8ac-scaled.jpg 1704w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Erik Martinez and Shelby Brown in New Albany High School’s production of Disney’s ‘Beauty and the Beast’ in New Albany, Ind. The show tied for fifth place (with ‘The Little Mermaid’) in the full-length musical category. \u003ccite>(Educational Theatre Association)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Teachers know that they need to be smart about what they’re putting on their stages,” says Katona, “They’re making choices that will allow them to keep their theater programs.” She adds, “Theater has always been a safe space for a lot of our students.”\u003c/p>\n\u003cp>Danny Issa teaches theater at Washington-Liberty High School in Arlington, Va. While he says, while he always involves students in the play selection process, he also makes sure school officials are well aware of content that some might find inappropriate.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The arts in general are in such a precarious position at all times. Are we going to have funding? Are we going to be able to make it through another season?” Issa reflects. “Just a single complaint from a parent can have a show pulled.” That includes losing, “all the money that you’ve pumped into a production.”\u003c/p>\n\u003cp>Still, Issa’s concerns did not stop him — and lots of other high school theater teachers — from staging \u003cem>Almost, Maine, \u003c/em>a play about love and relationships that includes gay characters\u003cem>. \u003c/em>\u003c/p>\n\u003cp>Despite facing challenges in \u003ca href=\"https://www.record-eagle.com/news/local_news/canceled-show-prompts-outcry/article_d52c9763-7814-5c6e-b7c0-e93de9fecbf5.html\">Michigan\u003c/a> and \u003ca href=\"https://www.wfae.org/arts-culture/2015-01-13/almost-maine-goes-on-without-school-support\">North Carolina\u003c/a> in recent years, \u003cem>Almost, Maine\u003c/em> held the No. 6 spot on this year’s list of full-length plays.\u003c/p>\n\u003ch3>High school theater programs are “rebounding from the pandemic”\u003c/h3>\n\u003cp>Culture wars aside, the Play Survey found that, on average, attendance is up and theater programs are ramping up production.\u003c/p>\n\u003cp>“The average audience size across all performances in a school season increased 13 percent over last year to 1,967,” EdTA writes in a statement.\u003c/p>\n\u003cfigure id=\"attachment_13930077\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13930077\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/06/Screen-Shot-2023-06-05-at-11.56.12-AM-800x514.png\" alt=\"A girl stands on a table in the center of a stage. Around her, other teens are gathered and mid-dance routine. 'Welcome to the Lion's Den' is projected above them on the stage.\" width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-05-at-11.56.12-AM-800x514.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-05-at-11.56.12-AM-1020x656.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-05-at-11.56.12-AM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-05-at-11.56.12-AM-768x494.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-05-at-11.56.12-AM-1536x987.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/06/Screen-Shot-2023-06-05-at-11.56.12-AM.png 1646w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Mean Girls: High School Version’ made its debut on the list this year in the full-length musical category. Above, a production at J.J. Pearce High School in Richardson, Texas. \u003ccite>(Educational Theatre Association)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Coming out of the pandemic, I think everyone was really excited to just be able to see theater again,” says Issa.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Washington-Liberty High School’s musical — \u003cem>The Prom\u003c/em> — sold more than $10,000 in tickets, up more than $4,000 from last year’s musical, according to Issa.\u003c/p>\n\u003cp>\u003cem>Almost, Maine\u003c/em> also did well\u003cem>. “\u003c/em>We ended up opening our balcony in the auditorium,” Issa says. “Just because of the sheer number of people that showed up for closing night.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Audio and \u003c/em>\u003ca href=\"http://npr.org/\">\u003cem>NPR.org\u003c/em>\u003c/a>\u003cem> versions of this story were edited by Rose Friedman and adapted to \u003c/em>\u003ca href=\"http://npr.org/\">\u003cem>NPR.org\u003c/em>\u003c/a>\u003cem> by Beth Novey.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=These+were+the+most+frequently+performed+plays+and+musicals+in+high+schools+this+year&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Avant to Live’ Is a Monument to Beloved Mission Filmmaker Craig Baldwin",
"headTitle": "‘Avant to Live’ Is a Monument to Beloved Mission Filmmaker Craig Baldwin | KQED",
"content": "\u003cp>An enjoyable exception to the usual prestige books about artists, \u003cem>Craig Baldwin: Avant to Live!\u003c/em> evokes the iconoclastic personality of San Francisco’s preeminent underground filmmaker and The Other Cinema curator.\u003c/p>\n\u003cp>Written and compiled by Bay Area artists and curators Brett Kashmere and Steve Polta (and just published by their respective organizations, INCITE Journal of Experimental Media and \u003ca href=\"https://www.sfcinematheque.org/avant-to-live-events/\" target=\"_blank\" rel=\"noopener\">San Francisco Cinematheque\u003c/a>), the massive tome frontloads a veritable trove of reminiscences, anecdotes, interviews and tributes before presenting an array of critical analyses.\u003c/p>\n\u003cp>For more than 40 years, Craig Baldwin has reappropriated images from discarded and forgotten educational and industrial movies (found footage, in the vernacular of experimental film) to craft brilliant, hyper-dense 16mm films critiquing U.S. exceptionalism, colonialism, capitalism and moviemaking. Given that his works — \u003cem>Tribulation 99: Alien Anomalies Under America\u003c/em>, \u003cem>¡O No Coronado!\u003c/em>, \u003cem>Sonic Outlaws\u003c/em>, \u003cem>Spectres of the Spectrum\u003c/em>, \u003cem>Mock Up on Mu \u003c/em>— are subversive mashups of experimental documentary, science-fiction fantasia and essay film, it’s fitting that \u003cem>Craig Baldwin: Avant to Live\u003c/em> is a hybrid zine, scrapbook, academic treatise and alternate social history of post-1970s San Francisco.\u003c/p>\n\u003cp>The \u003ca href=\"https://roxie.com/series/craig-baldwin-avant-to-live/\" target=\"_blank\" rel=\"noopener\">Roxie\u003c/a> hosts a celebration of the book Sunday, May 28 and a retrospective of Baldwin’s films May 30–31. I met the Mission’s whirling dervish at his home base, the Artists’ Television Access space on Valencia St., for a typically chatty, digressive conversation. Baldwin greeted me with a lament about the current state of the building, where he’s screened thousands of alternative films since the ‘80s, and a brief history of the punk artists who preceded him.\u003c/p>\n\u003cfigure id=\"attachment_13929714\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/AVANT_FrontCover-900x1148-1.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929714\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/AVANT_FrontCover-900x1148-1-800x1020.png\" alt=\"a book cover in black and white that reads 'Craig Baldwin' in white and in red 'Avant to live!'\" width=\"800\" height=\"1020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/AVANT_FrontCover-900x1148-1-800x1020.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/AVANT_FrontCover-900x1148-1-160x204.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/AVANT_FrontCover-900x1148-1-768x980.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/AVANT_FrontCover-900x1148-1.png 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Craig Baldwin: Avant to Live!’ was recently published by San Francisco Cinematheque and INCITE: Journal of Experimental Media. \u003ccite>(Courtesy San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Craig Baldwin:\u003c/strong> The history of this space [is that] it was too big — I think it was a bakery and a family could live here.\u003c/p>\n\u003cp>\u003cstrong>KQED Arts:\u003c/strong> \u003cstrong>A business in the front and the family lived upstairs.\u003c/strong>\u003c/p>\n\u003cp>I think it’s a brilliant idea. And you know what I call it? Live/work. [ATA and The Other] happened to be the destination space for people from the ‘burbs who would check this place out on a Saturday. You can’t get down the sidewalk. I’m not putting that down, by the way. I’m glad they come to the city. It’s too bad it doesn’t happen in their own neighborhoods but I’m glad to be presenting an alternative.\u003c/p>\n\u003cp>But we can hardly afford the rent. You know what’s two doors down? Dogue. If you want to serve your dog a $75 meal. Do you believe that? That is just m************ outrageous.\u003c/p>\n\u003cp>\u003cstrong>I’m here on account of \u003cem>Avant to Live\u003c/em>, which has more love per page than the Kama Sutra.\u003c/strong>\u003c/p>\n\u003cp>I like that. The writers are pouring love on me, if that’s what you mean.\u003c/p>\n\u003cfigure id=\"attachment_13929710\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/FIG_13_FlickSkin_018-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929710\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/FIG_13_FlickSkin_018-1-800x581.jpg\" alt=\"a still from a black and white film of a young woman with light hair\" width=\"800\" height=\"581\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_13_FlickSkin_018-1-800x581.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_13_FlickSkin_018-1-1020x741.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_13_FlickSkin_018-1-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_13_FlickSkin_018-1-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_13_FlickSkin_018-1-1536x1116.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_13_FlickSkin_018-1-1920x1395.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_13_FlickSkin_018-1.jpg 1922w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A still from Craig Baldwin’s ‘FlickSkin.’ \u003ccite>(Courtesy of San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Do you recall a formative moment when motion pictures, moving images, captured you more than theater, sports writing and your other adolescent creative pursuits?\u003c/strong>\u003c/p>\n\u003cp>The first movie I ever saw, at the Village Theater when I was growing up in Sacramento. \u003cem>Lorna Doone\u003c/em>. You could look it up. Black-and-white. Anyone can come up with an anecdote like that. There’s nothing particularly meaningful about that … that probably happens to every kid who goes to see their first movie. But I remember that moment to this day.\u003c/p>\n\u003cp>\u003cstrong>But that experience didn’t make you a filmmaker.\u003c/strong>\u003c/p>\n\u003cp>What made me a maker was Super 8. The generation coming up now, they don’t have their Super 8. It was the tractability, flexibility, mutability, portability, ease, comfort of Super 8 that anyone in high school would be doing.\u003c/p>\n\u003cp>You could borrow your best friend’s camera, or your parents might have a camera, and just go out and shoot. That’s probably it. But the found-footage thing, the Craig Baldwin thing, there is a story in the book about \u003cem>Stolen Movie\u003c/em>, which is playing at the Roxie [May 30] and \u003cem>FlickSkin\u003c/em>, the film that I made to get into the film program at [SF] State. I had my paintings in the Crocker Art Gallery in Sacramento. My mother probably sensed something, and she would drive me on a Saturday … many mothers do that, take their kids to art classes.\u003c/p>\n\u003cfigure id=\"attachment_13929709\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/StolenMovie.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929709\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/StolenMovie-800x573.jpg\" alt=\"A blurry still from a movie, with a man in a red shirt with long blond hair\" width=\"800\" height=\"573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StolenMovie-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StolenMovie-1020x731.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StolenMovie-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StolenMovie-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StolenMovie-1536x1101.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StolenMovie-2048x1468.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StolenMovie-1920x1376.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A still from ‘Stolen Movie.’ \u003ccite>(Courtesy of San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Then what made you different?\u003c/strong>\u003c/p>\n\u003cp>Good question. The subcultural thing [for one] … I was impoverished the whole time. I never went the pro route. Accident or nature or coincidence or God or whatever, I ended up having a roommate who had an uncle who ran a porn theater. I ended up sleeping in the projection booth. I saw what film was. Found film, to me —\u003c/p>\n\u003cp>\u003cstrong>That is, film intended for one purpose —\u003c/strong>\u003c/p>\n\u003cp>That I could re-use. But it was more the materiality. It could have been another way but I was in the porn field, I was close to the film, I was demystified, I was radicalized, I understood what it was, just light through a strip of celluloid. This was a public thing that people paid money to see, and it was nothing but that. And the way it was treated in that porn theater was not professional, you understand? It was devalued. It was degraded. It was the lowest, the gutter, and that’s what radicalized me. As a found-footage maker, I realized I could do that. For me, [film was] the artistic opportunity, the potential, the attraction, the allure, the eros, the desire to get your hands on it.\u003c/p>\n\u003cfigure id=\"attachment_13929717\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/FIG_78_Baldwin_editing.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13929717 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/FIG_78_Baldwin_editing-800x549.jpg\" alt=\"a young man in a black and white striped shirt is seen looking at film \" width=\"800\" height=\"549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_78_Baldwin_editing-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_78_Baldwin_editing-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_78_Baldwin_editing-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_78_Baldwin_editing-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_78_Baldwin_editing.jpg 1494w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Craig Baldwin in his editing niche at the Russians, cutting RocketKitKongoKit (1986), circa 1984. \u003ccite>(Photographer unknown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Anything else you recall about that porn house?\u003c/strong>\u003c/p>\n\u003cp>It was a very famous theater on the corner of Jones and Golden Gate. It was more like a pickup joint. People would just be standing, the screen would be there and people would be walking around. There were seats, but you weren’t expected to sit down. I said, ‘This is almost like an installation.’ Naïve, you understand. [I realized] film is not untouchable, film is not above me, not something I can’t reach. It is something at my level, it is free, cheap, like what I do here. [Baldwin waves his hand.] All these pieces of furniture were just found on the street. I wouldn’t buy a piece of furniture. It was just the way our generation lived. [Or at least] the way I did.\u003c/p>\n\u003cp>\u003cstrong>The tactile experience of shooting and editing film has been replaced by digital equipment. So what is the meaning of an image now? How does a 20-year-old maker connect with image-making, and does it matter?\u003c/strong>\u003c/p>\n\u003cp>I just don’t know. It’s a rhetorical question. It’s more difficult for me to personally connect, which has something to do with my generation, but also has to do with my sensibility, which is more like a sculptor or a painter. It’s more assemblage.\u003c/p>\n\u003cp>That’s why Bruce Conner connected with me. \u003cem>A Movie\u003c/em> (Conner’s 1958 collage film that became a touchstone of experimental film) was part of an assemblage, part of an installation, of which there were a million things, the projector was part of it and the film was running on the projector. And he just said, “Let’s make this a standalone, let’s take the projector and the film and show it in a theater as opposed to a gallery.” That’s kind of an “aha” moment. Conner always identified himself as a sculptor, a visual artist. Moviemaker came way later in his career.\u003c/p>\n\u003cp>\u003cstrong>Viewers are somewhat more media-savvy than when you were editing shots from 1950s films into \u003cem>Tribulation 99\u003c/em> (1991). Do you think people trust images less than when you started out?\u003c/strong>\u003c/p>\n\u003cp>I never did trust it. I was always doing the fake news thing. Industrial films, educational films — for me the word is ideology. I was always trying to see through, X-ray, strip the whatever: capitalism, sexism, blah blah blah. I was radicalized. I happened to see the Bank of America burn in Isla Vista [in 1970] when I was 17 years old. I lived through it. For me, it was indulgent, silly, trivial to make films that weren’t addressing class war. That’s the dialectical materialism, that’s what you’re talking about. Class war almost seems like a quaint term, though I still believe in it. That’s what I’m still trying to get to.\u003c/p>\n\u003cfigure id=\"attachment_13929711\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/TRIB99_creature-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929711\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/TRIB99_creature-800x552.jpg\" alt=\"a still from a black and white movie with a sea monster\" width=\"800\" height=\"552\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TRIB99_creature-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TRIB99_creature-1020x704.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TRIB99_creature-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TRIB99_creature-768x530.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TRIB99_creature-1536x1060.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TRIB99_creature-2048x1413.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TRIB99_creature-1920x1325.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A still from Craig Baldwin’s ‘Tribulation 99.’ \u003ccite>(Courtesy of San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>One of the pieces in the book describes a lifestyle that you came to embrace called “masochism on the margins.” \u003c/strong>\u003c/p>\n\u003cp>I’m not saying I change the world, or culture jam. Not that there’s just two paths, but by engagement with the more corporate model, which is the larger model, that doesn’t necessarily guarantee that you are going to be able to make a difference, either. It’s a lose-lose situation, I guess you could say. So I choose the grind-me-up, self-sacrifice, marginal, the first guy they shoot kind of thing.\u003c/p>\n\u003cp>I always point to Jonas Salk, my hero. My father had polio. Big deal. He got through. And I did, because we had our polio shots. A small group of people can make a big difference. It’s not just elite people, like Salk certainly was. But people can propose ideas, and those people themselves might not be “successful,” but their ideas can live a little bit, down the line.\u003c/p>\n\u003cp>\u003cstrong>I learned from the book that you have a work in progress called \u003cem>Invisible Insurrection\u003c/em>. What can you tell me about it?\u003c/strong>\u003c/p>\n\u003cp>I’m not very far along. I’ll finish that film. It’s all down there [points to the basement]. I just haven’t had the time. I’m just crying, screaming, raging overwhelmed right now. It’s a little bit of a review of a cultural history, and this moment where there was a resistance against the Bomb and then there was the move to suburbia, which I’m a product of, and then there were the beatniks, and so on.\u003c/p>\n\u003cp>What happened is, there are particular humans that we can point to and say, “Well, that guy had a pretty good idea what was going on,” and [one] was William Burroughs. Now, how many movies are there about William Burroughs? A lot. In France, the same postwar, the same malaise, “something’s wrong, something’s being screwed up.” The generation there that comes up, that’s the same as Burroughs, had their coterie of thinkers that we might call the Situationists. So it’s a Situationist film.\u003c/p>\n\u003cp>What happens is Burroughs shoots his wife, ends up in Africa, writes \u003cem>Naked Lunch\u003c/em>, puts it together in Paris. Here’s Guy Debord, the guy who wrote \u003cem>The Society of the Spectacle\u003c/em> (1967), which is also filled with quotes and aphorisms and citations — just like Burroughs. So these guys are developing a style which is a little bit reminiscent of everything we’ve been talking about today, which is this acknowledgement of philosophy and ideas that we have inherited that we think might be good, and putting together new combinations postwar, post-Bomb. They’re both writing [what] are arguably the most important books of our generation: \u003cem>Naked Lunch\u003c/em> and \u003cem>The Society of the Spectacle\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13929715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Spectres-of-the-Spectrum-1.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929715\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Spectres-of-the-Spectrum-1-800x611.png\" alt=\"a still from a black and white movie of a woman sitting looking into a microsope\" width=\"800\" height=\"611\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Spectres-of-the-Spectrum-1-800x611.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Spectres-of-the-Spectrum-1-1020x779.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Spectres-of-the-Spectrum-1-160x122.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Spectres-of-the-Spectrum-1-768x587.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Spectres-of-the-Spectrum-1-1536x1173.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Spectres-of-the-Spectrum-1-1920x1466.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Spectres-of-the-Spectrum-1.png 2040w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A still from Baldwin’s ‘Spectres of the Spectrum.’ \u003ccite>(Courtesy of San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What does your project do with those works?\u003c/strong>\u003c/p>\n\u003cp>What I am doing is having a conversation, a fistfight, between Burroughs and Debord, set in ’59 in France. I have a trillion French-language films, you understand. The right period, but also a little bit self-reflexive and hilarious. But I could use the voices of Debord and Burroughs. And I can certainly use the actual words, that is to say, what they wrote. Technology has provided that for us: You can get more text than you want.\u003c/p>\n\u003cp>So I can actually have those guys talking. I could recreate something that never happened. They never met. The point is I’m bringing them together. I will be able to have this discussion about intellectual history, about philosophical discourse, but in a para-narrative way. I [just] made that up. We see not only the discussion between Burroughs and Debord that never happened, but also the meeting of these two generations, the subcultures, the undergrounds, the progenitors of the ‘60s. Planting the seeds of resistance. A way of creating this moment postwar, our generation, in which these guys hash it out, in an essay form but not in a written linguistic form — in an enacted, embodied, imagistic form.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Craig Baldwin: Avant to Live!’ takes place May 28–31 at the Roxie Theater in San Francisco, kicking off with a book launch on May 28, screenings of Baldwin’s work May 30–31, and in-person appearances by the filmmaker at all events. \u003ca href=\"https://roxie.com/series/craig-baldwin-avant-to-live/\">Tickets and more info here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An enjoyable exception to the usual prestige books about artists, \u003cem>Craig Baldwin: Avant to Live!\u003c/em> evokes the iconoclastic personality of San Francisco’s preeminent underground filmmaker and The Other Cinema curator.\u003c/p>\n\u003cp>Written and compiled by Bay Area artists and curators Brett Kashmere and Steve Polta (and just published by their respective organizations, INCITE Journal of Experimental Media and \u003ca href=\"https://www.sfcinematheque.org/avant-to-live-events/\" target=\"_blank\" rel=\"noopener\">San Francisco Cinematheque\u003c/a>), the massive tome frontloads a veritable trove of reminiscences, anecdotes, interviews and tributes before presenting an array of critical analyses.\u003c/p>\n\u003cp>For more than 40 years, Craig Baldwin has reappropriated images from discarded and forgotten educational and industrial movies (found footage, in the vernacular of experimental film) to craft brilliant, hyper-dense 16mm films critiquing U.S. exceptionalism, colonialism, capitalism and moviemaking. Given that his works — \u003cem>Tribulation 99: Alien Anomalies Under America\u003c/em>, \u003cem>¡O No Coronado!\u003c/em>, \u003cem>Sonic Outlaws\u003c/em>, \u003cem>Spectres of the Spectrum\u003c/em>, \u003cem>Mock Up on Mu \u003c/em>— are subversive mashups of experimental documentary, science-fiction fantasia and essay film, it’s fitting that \u003cem>Craig Baldwin: Avant to Live\u003c/em> is a hybrid zine, scrapbook, academic treatise and alternate social history of post-1970s San Francisco.\u003c/p>\n\u003cp>The \u003ca href=\"https://roxie.com/series/craig-baldwin-avant-to-live/\" target=\"_blank\" rel=\"noopener\">Roxie\u003c/a> hosts a celebration of the book Sunday, May 28 and a retrospective of Baldwin’s films May 30–31. I met the Mission’s whirling dervish at his home base, the Artists’ Television Access space on Valencia St., for a typically chatty, digressive conversation. Baldwin greeted me with a lament about the current state of the building, where he’s screened thousands of alternative films since the ‘80s, and a brief history of the punk artists who preceded him.\u003c/p>\n\u003cfigure id=\"attachment_13929714\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/AVANT_FrontCover-900x1148-1.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929714\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/AVANT_FrontCover-900x1148-1-800x1020.png\" alt=\"a book cover in black and white that reads 'Craig Baldwin' in white and in red 'Avant to live!'\" width=\"800\" height=\"1020\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/AVANT_FrontCover-900x1148-1-800x1020.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/AVANT_FrontCover-900x1148-1-160x204.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/AVANT_FrontCover-900x1148-1-768x980.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/AVANT_FrontCover-900x1148-1.png 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Craig Baldwin: Avant to Live!’ was recently published by San Francisco Cinematheque and INCITE: Journal of Experimental Media. \u003ccite>(Courtesy San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Craig Baldwin:\u003c/strong> The history of this space [is that] it was too big — I think it was a bakery and a family could live here.\u003c/p>\n\u003cp>\u003cstrong>KQED Arts:\u003c/strong> \u003cstrong>A business in the front and the family lived upstairs.\u003c/strong>\u003c/p>\n\u003cp>I think it’s a brilliant idea. And you know what I call it? Live/work. [ATA and The Other] happened to be the destination space for people from the ‘burbs who would check this place out on a Saturday. You can’t get down the sidewalk. I’m not putting that down, by the way. I’m glad they come to the city. It’s too bad it doesn’t happen in their own neighborhoods but I’m glad to be presenting an alternative.\u003c/p>\n\u003cp>But we can hardly afford the rent. You know what’s two doors down? Dogue. If you want to serve your dog a $75 meal. Do you believe that? That is just m************ outrageous.\u003c/p>\n\u003cp>\u003cstrong>I’m here on account of \u003cem>Avant to Live\u003c/em>, which has more love per page than the Kama Sutra.\u003c/strong>\u003c/p>\n\u003cp>I like that. The writers are pouring love on me, if that’s what you mean.\u003c/p>\n\u003cfigure id=\"attachment_13929710\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/FIG_13_FlickSkin_018-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929710\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/FIG_13_FlickSkin_018-1-800x581.jpg\" alt=\"a still from a black and white film of a young woman with light hair\" width=\"800\" height=\"581\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_13_FlickSkin_018-1-800x581.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_13_FlickSkin_018-1-1020x741.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_13_FlickSkin_018-1-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_13_FlickSkin_018-1-768x558.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_13_FlickSkin_018-1-1536x1116.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_13_FlickSkin_018-1-1920x1395.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_13_FlickSkin_018-1.jpg 1922w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A still from Craig Baldwin’s ‘FlickSkin.’ \u003ccite>(Courtesy of San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Do you recall a formative moment when motion pictures, moving images, captured you more than theater, sports writing and your other adolescent creative pursuits?\u003c/strong>\u003c/p>\n\u003cp>The first movie I ever saw, at the Village Theater when I was growing up in Sacramento. \u003cem>Lorna Doone\u003c/em>. You could look it up. Black-and-white. Anyone can come up with an anecdote like that. There’s nothing particularly meaningful about that … that probably happens to every kid who goes to see their first movie. But I remember that moment to this day.\u003c/p>\n\u003cp>\u003cstrong>But that experience didn’t make you a filmmaker.\u003c/strong>\u003c/p>\n\u003cp>What made me a maker was Super 8. The generation coming up now, they don’t have their Super 8. It was the tractability, flexibility, mutability, portability, ease, comfort of Super 8 that anyone in high school would be doing.\u003c/p>\n\u003cp>You could borrow your best friend’s camera, or your parents might have a camera, and just go out and shoot. That’s probably it. But the found-footage thing, the Craig Baldwin thing, there is a story in the book about \u003cem>Stolen Movie\u003c/em>, which is playing at the Roxie [May 30] and \u003cem>FlickSkin\u003c/em>, the film that I made to get into the film program at [SF] State. I had my paintings in the Crocker Art Gallery in Sacramento. My mother probably sensed something, and she would drive me on a Saturday … many mothers do that, take their kids to art classes.\u003c/p>\n\u003cfigure id=\"attachment_13929709\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/StolenMovie.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929709\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/StolenMovie-800x573.jpg\" alt=\"A blurry still from a movie, with a man in a red shirt with long blond hair\" width=\"800\" height=\"573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StolenMovie-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StolenMovie-1020x731.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StolenMovie-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StolenMovie-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StolenMovie-1536x1101.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StolenMovie-2048x1468.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/StolenMovie-1920x1376.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A still from ‘Stolen Movie.’ \u003ccite>(Courtesy of San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Then what made you different?\u003c/strong>\u003c/p>\n\u003cp>Good question. The subcultural thing [for one] … I was impoverished the whole time. I never went the pro route. Accident or nature or coincidence or God or whatever, I ended up having a roommate who had an uncle who ran a porn theater. I ended up sleeping in the projection booth. I saw what film was. Found film, to me —\u003c/p>\n\u003cp>\u003cstrong>That is, film intended for one purpose —\u003c/strong>\u003c/p>\n\u003cp>That I could re-use. But it was more the materiality. It could have been another way but I was in the porn field, I was close to the film, I was demystified, I was radicalized, I understood what it was, just light through a strip of celluloid. This was a public thing that people paid money to see, and it was nothing but that. And the way it was treated in that porn theater was not professional, you understand? It was devalued. It was degraded. It was the lowest, the gutter, and that’s what radicalized me. As a found-footage maker, I realized I could do that. For me, [film was] the artistic opportunity, the potential, the attraction, the allure, the eros, the desire to get your hands on it.\u003c/p>\n\u003cfigure id=\"attachment_13929717\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/FIG_78_Baldwin_editing.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13929717 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/FIG_78_Baldwin_editing-800x549.jpg\" alt=\"a young man in a black and white striped shirt is seen looking at film \" width=\"800\" height=\"549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_78_Baldwin_editing-800x549.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_78_Baldwin_editing-1020x700.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_78_Baldwin_editing-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_78_Baldwin_editing-768x527.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/FIG_78_Baldwin_editing.jpg 1494w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Craig Baldwin in his editing niche at the Russians, cutting RocketKitKongoKit (1986), circa 1984. \u003ccite>(Photographer unknown)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Anything else you recall about that porn house?\u003c/strong>\u003c/p>\n\u003cp>It was a very famous theater on the corner of Jones and Golden Gate. It was more like a pickup joint. People would just be standing, the screen would be there and people would be walking around. There were seats, but you weren’t expected to sit down. I said, ‘This is almost like an installation.’ Naïve, you understand. [I realized] film is not untouchable, film is not above me, not something I can’t reach. It is something at my level, it is free, cheap, like what I do here. [Baldwin waves his hand.] All these pieces of furniture were just found on the street. I wouldn’t buy a piece of furniture. It was just the way our generation lived. [Or at least] the way I did.\u003c/p>\n\u003cp>\u003cstrong>The tactile experience of shooting and editing film has been replaced by digital equipment. So what is the meaning of an image now? How does a 20-year-old maker connect with image-making, and does it matter?\u003c/strong>\u003c/p>\n\u003cp>I just don’t know. It’s a rhetorical question. It’s more difficult for me to personally connect, which has something to do with my generation, but also has to do with my sensibility, which is more like a sculptor or a painter. It’s more assemblage.\u003c/p>\n\u003cp>That’s why Bruce Conner connected with me. \u003cem>A Movie\u003c/em> (Conner’s 1958 collage film that became a touchstone of experimental film) was part of an assemblage, part of an installation, of which there were a million things, the projector was part of it and the film was running on the projector. And he just said, “Let’s make this a standalone, let’s take the projector and the film and show it in a theater as opposed to a gallery.” That’s kind of an “aha” moment. Conner always identified himself as a sculptor, a visual artist. Moviemaker came way later in his career.\u003c/p>\n\u003cp>\u003cstrong>Viewers are somewhat more media-savvy than when you were editing shots from 1950s films into \u003cem>Tribulation 99\u003c/em> (1991). Do you think people trust images less than when you started out?\u003c/strong>\u003c/p>\n\u003cp>I never did trust it. I was always doing the fake news thing. Industrial films, educational films — for me the word is ideology. I was always trying to see through, X-ray, strip the whatever: capitalism, sexism, blah blah blah. I was radicalized. I happened to see the Bank of America burn in Isla Vista [in 1970] when I was 17 years old. I lived through it. For me, it was indulgent, silly, trivial to make films that weren’t addressing class war. That’s the dialectical materialism, that’s what you’re talking about. Class war almost seems like a quaint term, though I still believe in it. That’s what I’m still trying to get to.\u003c/p>\n\u003cfigure id=\"attachment_13929711\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/TRIB99_creature-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929711\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/TRIB99_creature-800x552.jpg\" alt=\"a still from a black and white movie with a sea monster\" width=\"800\" height=\"552\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TRIB99_creature-800x552.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TRIB99_creature-1020x704.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TRIB99_creature-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TRIB99_creature-768x530.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TRIB99_creature-1536x1060.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TRIB99_creature-2048x1413.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/TRIB99_creature-1920x1325.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A still from Craig Baldwin’s ‘Tribulation 99.’ \u003ccite>(Courtesy of San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>One of the pieces in the book describes a lifestyle that you came to embrace called “masochism on the margins.” \u003c/strong>\u003c/p>\n\u003cp>I’m not saying I change the world, or culture jam. Not that there’s just two paths, but by engagement with the more corporate model, which is the larger model, that doesn’t necessarily guarantee that you are going to be able to make a difference, either. It’s a lose-lose situation, I guess you could say. So I choose the grind-me-up, self-sacrifice, marginal, the first guy they shoot kind of thing.\u003c/p>\n\u003cp>I always point to Jonas Salk, my hero. My father had polio. Big deal. He got through. And I did, because we had our polio shots. A small group of people can make a big difference. It’s not just elite people, like Salk certainly was. But people can propose ideas, and those people themselves might not be “successful,” but their ideas can live a little bit, down the line.\u003c/p>\n\u003cp>\u003cstrong>I learned from the book that you have a work in progress called \u003cem>Invisible Insurrection\u003c/em>. What can you tell me about it?\u003c/strong>\u003c/p>\n\u003cp>I’m not very far along. I’ll finish that film. It’s all down there [points to the basement]. I just haven’t had the time. I’m just crying, screaming, raging overwhelmed right now. It’s a little bit of a review of a cultural history, and this moment where there was a resistance against the Bomb and then there was the move to suburbia, which I’m a product of, and then there were the beatniks, and so on.\u003c/p>\n\u003cp>What happened is, there are particular humans that we can point to and say, “Well, that guy had a pretty good idea what was going on,” and [one] was William Burroughs. Now, how many movies are there about William Burroughs? A lot. In France, the same postwar, the same malaise, “something’s wrong, something’s being screwed up.” The generation there that comes up, that’s the same as Burroughs, had their coterie of thinkers that we might call the Situationists. So it’s a Situationist film.\u003c/p>\n\u003cp>What happens is Burroughs shoots his wife, ends up in Africa, writes \u003cem>Naked Lunch\u003c/em>, puts it together in Paris. Here’s Guy Debord, the guy who wrote \u003cem>The Society of the Spectacle\u003c/em> (1967), which is also filled with quotes and aphorisms and citations — just like Burroughs. So these guys are developing a style which is a little bit reminiscent of everything we’ve been talking about today, which is this acknowledgement of philosophy and ideas that we have inherited that we think might be good, and putting together new combinations postwar, post-Bomb. They’re both writing [what] are arguably the most important books of our generation: \u003cem>Naked Lunch\u003c/em> and \u003cem>The Society of the Spectacle\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13929715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Spectres-of-the-Spectrum-1.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929715\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Spectres-of-the-Spectrum-1-800x611.png\" alt=\"a still from a black and white movie of a woman sitting looking into a microsope\" width=\"800\" height=\"611\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Spectres-of-the-Spectrum-1-800x611.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Spectres-of-the-Spectrum-1-1020x779.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Spectres-of-the-Spectrum-1-160x122.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Spectres-of-the-Spectrum-1-768x587.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Spectres-of-the-Spectrum-1-1536x1173.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Spectres-of-the-Spectrum-1-1920x1466.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Spectres-of-the-Spectrum-1.png 2040w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A still from Baldwin’s ‘Spectres of the Spectrum.’ \u003ccite>(Courtesy of San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What does your project do with those works?\u003c/strong>\u003c/p>\n\u003cp>What I am doing is having a conversation, a fistfight, between Burroughs and Debord, set in ’59 in France. I have a trillion French-language films, you understand. The right period, but also a little bit self-reflexive and hilarious. But I could use the voices of Debord and Burroughs. And I can certainly use the actual words, that is to say, what they wrote. Technology has provided that for us: You can get more text than you want.\u003c/p>\n\u003cp>So I can actually have those guys talking. I could recreate something that never happened. They never met. The point is I’m bringing them together. I will be able to have this discussion about intellectual history, about philosophical discourse, but in a para-narrative way. I [just] made that up. We see not only the discussion between Burroughs and Debord that never happened, but also the meeting of these two generations, the subcultures, the undergrounds, the progenitors of the ‘60s. Planting the seeds of resistance. A way of creating this moment postwar, our generation, in which these guys hash it out, in an essay form but not in a written linguistic form — in an enacted, embodied, imagistic form.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Craig Baldwin: Avant to Live!’ takes place May 28–31 at the Roxie Theater in San Francisco, kicking off with a book launch on May 28, screenings of Baldwin’s work May 30–31, and in-person appearances by the filmmaker at all events. \u003ca href=\"https://roxie.com/series/craig-baldwin-avant-to-live/\">Tickets and more info here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"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.",
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"meta": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"id": "latino-usa",
"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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},
"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/",
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"source": "American Public Media"
},
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},
"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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"meta": {
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"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>",
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"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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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",
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"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",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"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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},
"link": "/radio/program/on-the-media",
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"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
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},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
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"officialWebsiteLink": "/perspectives/",
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"order": 14
},
"link": "/perspectives",
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"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"meta": {
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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