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"content": "\u003cp>For a filmmaker once synonymous with slackerdom, \u003ca href=\"https://www.kqed.org/forum/201407171000/richard-linklater-elevates-the-ordinary-in-boyhood-2\">Richard Linklater\u003c/a> has proven to be one of the most prodigious and consistently excellent American filmmakers. A small but rich vein of the two dozen features he’s made have been portraits of artists, including \u003cem>Me and Orson Welles\u003c/em> and, if you like, \u003cem>School of Rock\u003c/em>.\u003c/p>\n\u003cp>This fall brings two more, one set at the dawn of a great career (\u003cem>Nouvelle Vague\u003c/em>, about \u003ca href=\"https://www.kqed.org/arts/13919055/jean-luc-godard-iconic-french-new-wave-director-dies-at-91\">Jean-Luc Godard\u003c/a> and the birth of the French New Wave) and another on the cusp of its tragic end: \u003cem>Blue Moon\u003c/em>, about lyricist \u003ca href=\"https://www.pbs.org/wnet/broadway/stars/lorenz-hart/\">Lorenz Hart\u003c/a>. Both are, in their way, joyous celebrations of brilliant, stubbornly uncompromising creative visionaries. And both are a grand time at the movies.\u003c/p>\n\u003cp>[aside postid='arts_13982072']\u003cem>Blue Moon\u003c/em>, the first to arrive of the two, is one of the more sheerly delightful movies of the year. It takes place at Sardi’s, in New York, on March 31, 1943. Down the street, \u003cem>Oklahoma!\u003c/em> is premiering, a debut that for Hart (Ethan Hawke) stings. His longtime collaborator, the composer Richard Rodgers, has made it not with Hart but with his new songwriting partner, Oscar Hammerstein II. Six months from this night, Hart will die from pneumonia after spending a cold night passed out outside an 8th Avenue bar. He was 48.\u003c/p>\n\u003cp>But while Broadway’s focus is on \u003cem>Oklahoma!\u003c/em> ours is on Larry, as everyone calls him. He’s holding court at Sardi’s before Rodgers (Andrew Scott) and the \u003cem>Oklahoma!\u003c/em> crowd rushes in. There, he is regaling Eddie the bartender (Bobby Cannavale) and a few others (including E.B. White, played by Patrick Kennedy) in a free-flowing monologue, as he tries to resist the glass of whiskey on the bar, laments the imminent sensation of \u003cem>Oklahoma!\u003c/em> and waxes poetic about some of his best lines.\u003c/p>\n\u003cp>“I’ve written a handful of words that are going to cheat death,” says Larry. Hart’s best work included American songbook standards like “My Funny Valentine,” “The Lady Is a Tramp,” “Bewitched, Bothered and Bewildered” and, of course, “Blue Moon.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But his appreciation for language goes far beyond himself. As much as he does a warm sip of bourbon, Larry savors any good quip, turn of phrase or mot juste. His favorite quote from \u003cem>Casablanca\u003c/em>, for example, is a telling one: “Nobody ever loved me that much.” Larry adores the movie and, in particular, Bogart, whom, he notes, is both short and a leading man. “Which proves you can be both,” Hart says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qo7gRHip0lI\u003c/p>\n\u003cp>Larry is, himself, diminutive, with greasy strands of hair combed over his bald head. The physical transformation for Hawke is a little extreme and potentially distracting. There’s little superficial in the role — including that Hart was a closeted gay man — that screams Hawke. Yet the actor has simply never been better. Hawke’s Larry is a magnetic raconteur and an increasingly desperate has-been whose last-ditch attempts to reingratiate himself to Rodgers are limited as much by his excessive drinking as his refusal to hold his tongue. He is, to put it simply, extraordinarily good company.\u003c/p>\n\u003cp>\u003cem>Oklahoma!\u003c/em> Larry realizes, is going to be performed from that moment “until Doomsday.” Even that exclamation point irks him. But more than that, the success of \u003cem>Oklahoma!\u003c/em> — a musical Larry deems a “fraudulent” portrait of America — casts his sorry situation in a poignant light. This is the dawn of a mainstream Americana that doesn’t have room for an unconventional man like Larry or his blue songs.\u003c/p>\n\u003cp>[aside postid='arts_13982403']That makes this night at Sardi’s a bittersweet salvation and a tender eulogy. Larry has an audience of only a few, but they’re a fine crew (Cannavale is perfect) and their quiet, quip-filled toasts have an abiding warmth. On the outskirts of this group is Elizabeth Weiland (Margaret Qualley), a 20-year-old Yale student with whom Larry is infatuated. To others, Larry’s obsession seems incongruous with his sexuality, but he retorts that he “drinks beauty wherever he finds it.”\u003c/p>\n\u003cp>Robert Kaplow, whose novel \u003cem>Me and Orson Welles\u003c/em> was the basis of Linklater’s film, drew from the real-life correspondence between Hart and Weiland for his script to \u003cem>Blue Moon\u003c/em>. In the film, Elizabeth is ambitious and busy mingling with the \u003cem>Oklahoma!\u003c/em> party. That she’s destined to join them, not Larry, is obvious to us. But his oblivious, irrational hope is one of the reasons to love him.\u003c/p>\n\u003cp>Linklater’s \u003cem>Nouvelle Vague\u003c/em> is a wider story that, while the focus is on Godard, makes room for all the central characters of the New Wave. It’s a teeming movie, bursting at the seams with personalities. \u003cem>Blue Moon\u003c/em>, though, is a solo act. And a magnificent one, at that. In its finest moments, Linklater’s film pays homage not just to Hart but to all the forgotten writers who couldn’t cheat death, but could tell one heck of a yarn.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Blue Moon’ is released nationwide on Oct. 24, 2025.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/spike-lee\">Spike Lee\u003c/a>’s \u003cem>Highest 2 Lowest\u003c/em> takes some time to find its groove. But once it does, when the film leaves the high rises and puts its feet on the New York pavement, it really sings.\u003c/p>\n\u003cp>A reimagining of Akira Kurosawa’s 1963 crime thriller \u003cem>High and Low\u003c/em>, Lee brings the story to a modern-day \u003ca href=\"https://www.kqed.org/arts/tag/new-york-city\">New York\u003c/a> where a music mogul, played by \u003ca href=\"https://www.kqed.org/arts/12516215/fences-a-major-american-play-finally-makes-it-to-screen-it-was-worth-the-wait\">Denzel Washington\u003c/a>, is faced with a moral dilemma: Save a kidnapped kid or his flagging empire. Both will cost nearly everything he has.\u003c/p>\n\u003cp>We toss around the term “auteur” pretty casually these days. It’s become almost a shorthand for any filmmaker with an ounce of style. But \u003cem>Highest 2 Lowest\u003c/em> is a film that has Lee’s DNA in every frame — a symphonic blend of his influences and passions: cinema, New York City, sports, Black stories, great needle drops and, of course, Washington. It’s easy enough to just go along for the ride, trusting that it will end up somewhere worthwhile, even when the green screen is a little off, the score a little distracting or the dialogue a little unnatural.\u003c/p>\n\u003cp>[aside postid='arts_13980003']But it will require some audience patience nonetheless. In its first half, \u003cem>Highest 2 Lowest\u003c/em> plays a bit like a melodrama crossed with a sitcom, where the beats are stilted and the dialogue feels like dialogue. There’s an awkward artificiality to the whole thing, which is likely more metaphor than accident, but it’s also not the most engaging stretch.\u003c/p>\n\u003cp>Washington’s character David King is a music executive and founder of a record label whose biggest days are behind him. You wouldn’t necessarily know it to look at his palatial apartment with its panoramic views of the Brooklyn Bridge and the Manhattan skyline, but the money isn’t exactly coming in like it used to. The realities of the music business, social media and the attention economy have muddled the plot. The guy who once had the “best ears in the business” can’t seem to get a handle on what works anymore. He has the chance to cash out and sell the business, but against the wishes of everyone around him, decides he wants to take back ownership of the thing he created.\u003c/p>\n\u003cfigure id=\"attachment_13980106\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980106\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/h2l-movie.png\" alt=\"A Black man in blue jeans and a t-shirt sits on a public bench with his arm around an attractive mixed race woman wearing a colorful dress. They are touching their foreheads together.\" width=\"2000\" height=\"1283\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/h2l-movie.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/h2l-movie-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/h2l-movie-768x493.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/h2l-movie-1536x985.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Washington and Ilfenesh Hadera in a scene from ‘Highest 2 Lowest.’ \u003ccite>(A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When his beautiful wife Pam (Ilfenesh Hadera, either miscast or terribly underwritten) says she’s going to pledge half a million dollars to an arts organization, he asks her to hold off. “But we’ve always supported young Black artists,” she replies, though you suspect part of the worry is about keeping up appearances. Things come into focus quickly, however, when David learns that his son Trey (Aubrey Joseph) has been kidnapped. The ransom is $17.5 million.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There is a twist, which perhaps shouldn’t be spoiled, but it soon becomes less obvious to the Kings whether they should pay up. It’s an interesting conundrum, and a potent one for these greedy times, but also difficult to empathize with on a certain level. This is a guy with a lot of assets to his name and the ability to get his hands on $17.5 million. For the audience, the choice will seem obvious. It’s never quite clear what his life will look like if that money disappears, but the bottom doesn’t seem like a possibility.\u003c/p>\n\u003cp>But this is all just a lead up to the more exciting and compelling cat-and-mouse portion of the film, where the kidnapper, an aspiring, down-on-his-luck rapper named Yung Felon (played by a magnetic A$AP Rocky) is finally introduced. His showdown with King is fun, tense and even includes a rap battle. A$AP Rocky more than holds his own with Washington.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KU44alTInfo\u003c/p>\n\u003cp>In a different timeline, in a world where King listened to as many new artists as he did when he was starting out, their stories might have been different. Yung Felon might have been discovered, instead of just being one of the aggrieved talents languishing in obscurity and plotting violent revenge.\u003c/p>\n\u003cp>[aside postid='arts_13979521']There is a lot going on in Alan Fox’s script for \u003cem>Highest 2 Lowest\u003c/em>, which attempts to present a realistic picture of New York and all its contradictions, from the billionaire boardrooms to the Puerto Rican festivals in the Bronx to the lively Yankees fans on the subway. Jeffrey Wright, who also gets some great scenes with Washington, plays King’s friend and driver, Paul. He too is looking for his son Kyle (real-life son Elijah Wright) but gets far less respect and attention from the cops. The inequalities and prejudices run deep, and at a certain point David and Paul set off on their own to solve the case, vigilantes in a Rolls-Royce.\u003c/p>\n\u003cp>\u003cem>Highest 2 Lowest\u003c/em> may not reach the heights of some of Lee’s best films, but it’s the kind film that makes you hope Lee and Washington have more to make together.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Highest 2 Lowest’ is released nationwide on Aug. 15, 2025.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/spike-lee\">Spike Lee\u003c/a>’s \u003cem>Highest 2 Lowest\u003c/em> takes some time to find its groove. But once it does, when the film leaves the high rises and puts its feet on the New York pavement, it really sings.\u003c/p>\n\u003cp>A reimagining of Akira Kurosawa’s 1963 crime thriller \u003cem>High and Low\u003c/em>, Lee brings the story to a modern-day \u003ca href=\"https://www.kqed.org/arts/tag/new-york-city\">New York\u003c/a> where a music mogul, played by \u003ca href=\"https://www.kqed.org/arts/12516215/fences-a-major-american-play-finally-makes-it-to-screen-it-was-worth-the-wait\">Denzel Washington\u003c/a>, is faced with a moral dilemma: Save a kidnapped kid or his flagging empire. Both will cost nearly everything he has.\u003c/p>\n\u003cp>We toss around the term “auteur” pretty casually these days. It’s become almost a shorthand for any filmmaker with an ounce of style. But \u003cem>Highest 2 Lowest\u003c/em> is a film that has Lee’s DNA in every frame — a symphonic blend of his influences and passions: cinema, New York City, sports, Black stories, great needle drops and, of course, Washington. It’s easy enough to just go along for the ride, trusting that it will end up somewhere worthwhile, even when the green screen is a little off, the score a little distracting or the dialogue a little unnatural.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But it will require some audience patience nonetheless. In its first half, \u003cem>Highest 2 Lowest\u003c/em> plays a bit like a melodrama crossed with a sitcom, where the beats are stilted and the dialogue feels like dialogue. There’s an awkward artificiality to the whole thing, which is likely more metaphor than accident, but it’s also not the most engaging stretch.\u003c/p>\n\u003cp>Washington’s character David King is a music executive and founder of a record label whose biggest days are behind him. You wouldn’t necessarily know it to look at his palatial apartment with its panoramic views of the Brooklyn Bridge and the Manhattan skyline, but the money isn’t exactly coming in like it used to. The realities of the music business, social media and the attention economy have muddled the plot. The guy who once had the “best ears in the business” can’t seem to get a handle on what works anymore. He has the chance to cash out and sell the business, but against the wishes of everyone around him, decides he wants to take back ownership of the thing he created.\u003c/p>\n\u003cfigure id=\"attachment_13980106\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13980106\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/h2l-movie.png\" alt=\"A Black man in blue jeans and a t-shirt sits on a public bench with his arm around an attractive mixed race woman wearing a colorful dress. They are touching their foreheads together.\" width=\"2000\" height=\"1283\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/h2l-movie.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/h2l-movie-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/h2l-movie-768x493.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/08/h2l-movie-1536x985.png 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Washington and Ilfenesh Hadera in a scene from ‘Highest 2 Lowest.’ \u003ccite>(A24 via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When his beautiful wife Pam (Ilfenesh Hadera, either miscast or terribly underwritten) says she’s going to pledge half a million dollars to an arts organization, he asks her to hold off. “But we’ve always supported young Black artists,” she replies, though you suspect part of the worry is about keeping up appearances. Things come into focus quickly, however, when David learns that his son Trey (Aubrey Joseph) has been kidnapped. The ransom is $17.5 million.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There is a twist, which perhaps shouldn’t be spoiled, but it soon becomes less obvious to the Kings whether they should pay up. It’s an interesting conundrum, and a potent one for these greedy times, but also difficult to empathize with on a certain level. This is a guy with a lot of assets to his name and the ability to get his hands on $17.5 million. For the audience, the choice will seem obvious. It’s never quite clear what his life will look like if that money disappears, but the bottom doesn’t seem like a possibility.\u003c/p>\n\u003cp>But this is all just a lead up to the more exciting and compelling cat-and-mouse portion of the film, where the kidnapper, an aspiring, down-on-his-luck rapper named Yung Felon (played by a magnetic A$AP Rocky) is finally introduced. His showdown with King is fun, tense and even includes a rap battle. A$AP Rocky more than holds his own with Washington.\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/KU44alTInfo'\n title='//www.youtube.com/embed/KU44alTInfo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In a different timeline, in a world where King listened to as many new artists as he did when he was starting out, their stories might have been different. Yung Felon might have been discovered, instead of just being one of the aggrieved talents languishing in obscurity and plotting violent revenge.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There is a lot going on in Alan Fox’s script for \u003cem>Highest 2 Lowest\u003c/em>, which attempts to present a realistic picture of New York and all its contradictions, from the billionaire boardrooms to the Puerto Rican festivals in the Bronx to the lively Yankees fans on the subway. Jeffrey Wright, who also gets some great scenes with Washington, plays King’s friend and driver, Paul. He too is looking for his son Kyle (real-life son Elijah Wright) but gets far less respect and attention from the cops. The inequalities and prejudices run deep, and at a certain point David and Paul set off on their own to solve the case, vigilantes in a Rolls-Royce.\u003c/p>\n\u003cp>\u003cem>Highest 2 Lowest\u003c/em> may not reach the heights of some of Lee’s best films, but it’s the kind film that makes you hope Lee and Washington have more to make together.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Highest 2 Lowest’ is released nationwide on Aug. 15, 2025.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "new-talking-heads-biography-review-jonathan-gould-david-byrne",
"title": "A New Biography Goes Deep on the Rise and Fall of Talking Heads",
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"content": "\u003cfigure id=\"attachment_13977669\" class=\"wp-caption aligncenter\" style=\"max-width: 1368px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977669\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/talking-heads-book.png\" alt=\"A book cover featuring a black and white photo of three young white men and a white woman, all wearing early 1980s-era clothing.\" width=\"1368\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/talking-heads-book.png 1368w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/talking-heads-book-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/talking-heads-book-768x1123.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/talking-heads-book-1051x1536.png 1051w\" sizes=\"auto, (max-width: 1368px) 100vw, 1368px\">\u003cfigcaption class=\"wp-caption-text\">‘Burning Down the House: Talking Heads and the New York Scene That Transformed Rock’ by Jonathan Gould. \u003ccite>(Mariner Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Talking Heads fans, rejoice! Hard on the heels of the re-release of \u003cem>Stop Making Sense\u003c/em>, the 1984 \u003ca href=\"https://www.kqed.org/arts/13112975/jonathan-demme-director-of-silence-of-the-lambs-dies-at-73\">Jonathan Demme\u003c/a> film widely considered the best concert movie ever made, Jonathan Gould has published a comprehensive biography of the seminal band that injected an art school vibe into popular music and forever changed rock ‘n’ roll.\u003c/p>\n\u003cp>Gould, the author of well-received books on Otis Redding and the Beatles, chronicles in meticulous detail the rise and fall of the band that got its start in \u003ca href=\"https://www.kqed.org/arts/tag/new-york-city\">New York City\u003c/a>’s underground punk scene and ended up touring the world with a repertoire shaped by blues, funk and jazz.\u003c/p>\n\u003cp>[aside postid='arts_13975692']He begins \u003cem>Burning Down the House: Talking Heads and the New York Scene That Transformed Rock\u003c/em> with a vivid description of the drizzly June night in 1975 when the original trio — singer/songwriter \u003ca href=\"https://www.kqed.org/arts/12232234/david-byrnes-theatrical-thought-experiment-in-silicon-valley\">David Byrne\u003c/a>, bassist Tina Weymouth and drummer Chris Frantz — made its debut at the seedy club CBGB in downtown Manhattan, opening for the Ramones before a handful of patrons. With their “unremarkable haircuts” and “nondescript casual clothes,” they offered a sharp contrast to the “baroque turn” that rock fashion had taken in the 1970s, Gould observes.\u003c/p>\n\u003cp>“The qualities that characterized this neophyte group in their first public performance centered on the awkward, disquieting intensity of their singer-guitarist, \u003ca href=\"https://www.kqed.org/arts/tag/david-byrne\">David Byrne\u003c/a>, their sketchy, skeletal arrangements, and the quirky intelligence of their songs,” Gould writes. “Tall and thin, with a long neck and an anxious, wide-eyed stare, Byrne stood stiffly at the microphone, his upper body jerking and jiggling like a shadow puppet as he scratched out chords on his guitar. … Instead of doing his best to command the stage and the room, Byrne looked trapped by his surroundings, as if he were prepared, at any moment, to make a break for the door.”\u003c/p>\n\u003cp>Within a couple years of their zeitgeist-changing performances, they enlisted keyboardist/guitarist Jerry Harrison, adding a much-needed dose of professionalism to the band. Gould, a former professional musician, writes exceedingly well about music but suffers from a kind of completism, cramming in an almost mind-numbing level of detail including the name of the elementary school in Pittsburgh where a young Frantz first took up drums to every military posting of Weymouth’s naval aviator father.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though much of the material is fascinating, including his observations about how Byrne’s then-undiagnosed Asperger’s syndrome may have influenced his music and relationships with the other band members, it is likely to be a bit too much for all but the most diehard fans.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Burning Down the House: Talking Heads and the New York Scene That Transformed Rock’ by Jonathan Gould is released on June 17, 2025, via Mariner Books.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13977669\" class=\"wp-caption aligncenter\" style=\"max-width: 1368px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977669\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/talking-heads-book.png\" alt=\"A book cover featuring a black and white photo of three young white men and a white woman, all wearing early 1980s-era clothing.\" width=\"1368\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/talking-heads-book.png 1368w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/talking-heads-book-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/talking-heads-book-768x1123.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/talking-heads-book-1051x1536.png 1051w\" sizes=\"auto, (max-width: 1368px) 100vw, 1368px\">\u003cfigcaption class=\"wp-caption-text\">‘Burning Down the House: Talking Heads and the New York Scene That Transformed Rock’ by Jonathan Gould. \u003ccite>(Mariner Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Talking Heads fans, rejoice! Hard on the heels of the re-release of \u003cem>Stop Making Sense\u003c/em>, the 1984 \u003ca href=\"https://www.kqed.org/arts/13112975/jonathan-demme-director-of-silence-of-the-lambs-dies-at-73\">Jonathan Demme\u003c/a> film widely considered the best concert movie ever made, Jonathan Gould has published a comprehensive biography of the seminal band that injected an art school vibe into popular music and forever changed rock ‘n’ roll.\u003c/p>\n\u003cp>Gould, the author of well-received books on Otis Redding and the Beatles, chronicles in meticulous detail the rise and fall of the band that got its start in \u003ca href=\"https://www.kqed.org/arts/tag/new-york-city\">New York City\u003c/a>’s underground punk scene and ended up touring the world with a repertoire shaped by blues, funk and jazz.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>He begins \u003cem>Burning Down the House: Talking Heads and the New York Scene That Transformed Rock\u003c/em> with a vivid description of the drizzly June night in 1975 when the original trio — singer/songwriter \u003ca href=\"https://www.kqed.org/arts/12232234/david-byrnes-theatrical-thought-experiment-in-silicon-valley\">David Byrne\u003c/a>, bassist Tina Weymouth and drummer Chris Frantz — made its debut at the seedy club CBGB in downtown Manhattan, opening for the Ramones before a handful of patrons. With their “unremarkable haircuts” and “nondescript casual clothes,” they offered a sharp contrast to the “baroque turn” that rock fashion had taken in the 1970s, Gould observes.\u003c/p>\n\u003cp>“The qualities that characterized this neophyte group in their first public performance centered on the awkward, disquieting intensity of their singer-guitarist, \u003ca href=\"https://www.kqed.org/arts/tag/david-byrne\">David Byrne\u003c/a>, their sketchy, skeletal arrangements, and the quirky intelligence of their songs,” Gould writes. “Tall and thin, with a long neck and an anxious, wide-eyed stare, Byrne stood stiffly at the microphone, his upper body jerking and jiggling like a shadow puppet as he scratched out chords on his guitar. … Instead of doing his best to command the stage and the room, Byrne looked trapped by his surroundings, as if he were prepared, at any moment, to make a break for the door.”\u003c/p>\n\u003cp>Within a couple years of their zeitgeist-changing performances, they enlisted keyboardist/guitarist Jerry Harrison, adding a much-needed dose of professionalism to the band. Gould, a former professional musician, writes exceedingly well about music but suffers from a kind of completism, cramming in an almost mind-numbing level of detail including the name of the elementary school in Pittsburgh where a young Frantz first took up drums to every military posting of Weymouth’s naval aviator father.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though much of the material is fascinating, including his observations about how Byrne’s then-undiagnosed Asperger’s syndrome may have influenced his music and relationships with the other band members, it is likely to be a bit too much for all but the most diehard fans.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Burning Down the House: Talking Heads and the New York Scene That Transformed Rock’ by Jonathan Gould is released on June 17, 2025, via Mariner Books.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The new \u003ca href=\"https://www.kqed.org/news/89156/watch-the-trailer-vince-vaughn-and-owen-wilson-as-google-interns\">Vince Vaughn\u003c/a> movie \u003cem>Nonnas\u003c/em> aspires to be a bit of cinematic comfort food. It’s based on a heartwarming true story, features a lot of shots of simmering Sunday sauces and touts a lovable cast of veteran Italian American actors in Talia Shire, Lorraine Bracco, Brenda Vaccaro and \u003ca href=\"https://www.kqed.org/arts/13897161/thirty-years-after-thelma-louise-feminist-revenge-movie-endings-still-suck\">Susan Sarandon\u003c/a>. One would hope that those are the kind of ingredients that would be difficult to mess up too badly.\u003c/p>\n\u003cp>And \u003cem>Nonnas\u003c/em>, streaming on \u003ca href=\"https://www.kqed.org/arts/tag/netflix\">Netflix\u003c/a>, is what it wants to be: A glossy, movie version of the local joint. Nothing’s groundbreaking or particularly unexpected, the story beats are predictable, and the music choices and Italian American stereotypes a bit cliché. And yet it’s done with an evident earnestness and kindness that makes it impossible to write off. Is it a sign of the times that a bunch of people just being kind to one another is basically enough?\u003c/p>\n\u003cp>[aside postid='arts_13975892']\u003cem>Nonnas\u003c/em> was directed by Stephen Chbosky (\u003cem>Perks of Being a Wallflower\u003c/em>) working off of a script by Liz Maccie, whom he is married to, and based on the true story of a New Yorker named Joe Scaravella (Vince Vaughn) who starts a Staten Island restaurant with Italian grandmothers as the chefs.\u003c/p>\n\u003cp>Joe has no business savvy or restaurant knowledge, just an idea after the loss of his own mother and grandmother. He just wants to pay tribute to the way that they always made him feel with their cooking in the kitchen. There’s a gauzy, sun soaked flashback to the neighborhood in the 1960s showing a young Joe watching his mother and grandmother make the Sunday sauce that’s so idealized, so full of smiles as substitute for character, it might as well be a Prego commercial.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rDJxJd3FzDY\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There is an obvious reverence for cultural predecessors like \u003cem>Moonstruck\u003c/em> and \u003cem>My Cousin Vinny\u003c/em> baked into \u003cem>Nonnas\u003c/em>, though it can’t quite find the natural rhythm that might have made it work better. It whiplashes between big comedic swings (including a food fight between the feuding nonnas) and utter sincerity and it is in no rush to get anywhere fast.\u003c/p>\n\u003cp>But perhaps the greatest miscalculation is centering the story on Joe instead of the women. The nonnas are met where they are in life — a former nun (Shire), a hair salon owner (Sarandon), a retiree (Bracco) who’s estranged from her kids and a widow (Vaccaro) who needs to get out of the house. It seems like there was a missed opportunity to get to know their stories and recipes more. If food is love, give the audience a chance to fall in love with them through their favorite dishes. Instead, they bond not over food or new appreciation of one another’s heritage, but a makeover.\u003c/p>\n\u003cp>[aside postid='arts_13975175']Still, it’s worth noting that \u003cem>Nonnas\u003c/em> is not nearly as gimmicky as it could have been. Vaughn is good in a more subdued role — the stereotypes-for-comedy’s-sake are left for his friends ( Joe Manganiello and Drea de Matteo) to live and die by. A love story with his old prom date (played by Linda Cardellini) feels a little tacked on to everything else, but I suppose is also just another layer to the second chances narrative.\u003c/p>\n\u003cp>Chbosky and his cinematographer Florian Ballhaus take care to shoot working class Staten Island beautifully, without gimmicks to overromanticize the reality. Even the “before” images of the restaurant have a glint to them, drawing the audience in to see the potential that Joe sees. Be sure to keep watching through the credits for a little real-life coda.\u003c/p>\n\u003cp>\u003cem>Nonnas\u003c/em>, like comfort food, may be a little obvious, a little safe, but that’s the point.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Nonnas’ is streaming now, via Netflix.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The new \u003ca href=\"https://www.kqed.org/news/89156/watch-the-trailer-vince-vaughn-and-owen-wilson-as-google-interns\">Vince Vaughn\u003c/a> movie \u003cem>Nonnas\u003c/em> aspires to be a bit of cinematic comfort food. It’s based on a heartwarming true story, features a lot of shots of simmering Sunday sauces and touts a lovable cast of veteran Italian American actors in Talia Shire, Lorraine Bracco, Brenda Vaccaro and \u003ca href=\"https://www.kqed.org/arts/13897161/thirty-years-after-thelma-louise-feminist-revenge-movie-endings-still-suck\">Susan Sarandon\u003c/a>. One would hope that those are the kind of ingredients that would be difficult to mess up too badly.\u003c/p>\n\u003cp>And \u003cem>Nonnas\u003c/em>, streaming on \u003ca href=\"https://www.kqed.org/arts/tag/netflix\">Netflix\u003c/a>, is what it wants to be: A glossy, movie version of the local joint. Nothing’s groundbreaking or particularly unexpected, the story beats are predictable, and the music choices and Italian American stereotypes a bit cliché. And yet it’s done with an evident earnestness and kindness that makes it impossible to write off. Is it a sign of the times that a bunch of people just being kind to one another is basically enough?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There is an obvious reverence for cultural predecessors like \u003cem>Moonstruck\u003c/em> and \u003cem>My Cousin Vinny\u003c/em> baked into \u003cem>Nonnas\u003c/em>, though it can’t quite find the natural rhythm that might have made it work better. It whiplashes between big comedic swings (including a food fight between the feuding nonnas) and utter sincerity and it is in no rush to get anywhere fast.\u003c/p>\n\u003cp>But perhaps the greatest miscalculation is centering the story on Joe instead of the women. The nonnas are met where they are in life — a former nun (Shire), a hair salon owner (Sarandon), a retiree (Bracco) who’s estranged from her kids and a widow (Vaccaro) who needs to get out of the house. It seems like there was a missed opportunity to get to know their stories and recipes more. If food is love, give the audience a chance to fall in love with them through their favorite dishes. Instead, they bond not over food or new appreciation of one another’s heritage, but a makeover.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Still, it’s worth noting that \u003cem>Nonnas\u003c/em> is not nearly as gimmicky as it could have been. Vaughn is good in a more subdued role — the stereotypes-for-comedy’s-sake are left for his friends ( Joe Manganiello and Drea de Matteo) to live and die by. A love story with his old prom date (played by Linda Cardellini) feels a little tacked on to everything else, but I suppose is also just another layer to the second chances narrative.\u003c/p>\n\u003cp>Chbosky and his cinematographer Florian Ballhaus take care to shoot working class Staten Island beautifully, without gimmicks to overromanticize the reality. Even the “before” images of the restaurant have a glint to them, drawing the audience in to see the potential that Joe sees. Be sure to keep watching through the credits for a little real-life coda.\u003c/p>\n\u003cp>\u003cem>Nonnas\u003c/em>, like comfort food, may be a little obvious, a little safe, but that’s the point.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Nonnas’ is streaming now, via Netflix.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Taxicab Confessions With Dakota Johnson and Sean Penn in ‘Daddio’",
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"content": "\u003cfigure id=\"attachment_13960333\" class=\"wp-caption aligncenter\" style=\"max-width: 1698px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13960333\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.46.52-AM.png\" alt=\"A male taxi driver looks over his shoulder and looks at the woman in the back of his cab.\" width=\"1698\" height=\"1130\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.46.52-AM.png 1698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.46.52-AM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.46.52-AM-1020x679.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.46.52-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.46.52-AM-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Screen-Shot-2024-06-26-at-10.46.52-AM-1536x1022.png 1536w\" sizes=\"(max-width: 1698px) 100vw, 1698px\">\u003cfigcaption class=\"wp-caption-text\">Dakota Johnson and Sean Penn star in ‘Daddio.’ \u003ccite>(Sony Pictures Classics via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s late at night when Dakota Johnson hops into a yellow taxicab at Kennedy airport in the new film \u003cem>Daddio\u003c/em>. She’s just going home to Manhattan, 44th Street, between 9th and 10th avenues. And her cab driver (Sean Penn) decides to strike up a conversation that will last the duration of this nearly 100-minute ride. There is no “quiet” setting cab.\u003c/p>\n\u003cp>This is not a horror movie, though for some a chatty driver on an unexpectedly long trip might be close. It’s not the beginning of a wild \u003cem>Collateral\u003c/em>-style night either. No, these two people from different generations, different life experiences and different classes just talk about everything — life, mistakes, technology, human nature, what makes a New Yorker, absentee fathers, affairs, human nature and love.\u003c/p>\n\u003cp>[aside postid='arts_13959268']\u003cem>Daddio\u003c/em> was written and directed by Christy Hall, a playwright. Though we are also technically stuck in a cab with Girlie (Johnson) and Clark (Penn), Hall makes it feel rather cinematic, whether her camera is in close up on her actors, a rear-view mirror, a phone screen or letting us breathe for a moment with a shot outside of the cab, on the New York skyline. Claustrophobic it is not.\u003c/p>\n\u003cp>That’s not to say that some of the conversations won’t have you squirming in your skin a bit. The vast majority of those come from Clark, a Boomer with a heart of gold and some ideas about life that haven’t aged particularly well.\u003c/p>\n\u003cp>Taboo subjects and ideas that might get a person “cancelled” on social media are of course part of the point of this journey, in which two people who wouldn’t ever find themselves in an extended, soul-bearing conversation with each other under normal circumstances do.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PJrr2amlFyc\u003c/p>\n\u003cp>Clark is one of those self-proclaimed truth-tellers who believes in his ability to read a person immediately, well-honed after 20 years of driving taxis in New York. He lures his passenger in with flattery about her New York savvy (giving cross streets instead of an address and not worrying about the meter) and shocks her when he’s able to immediately discern that the person she’s dating, and texting, is married. Her guard up a bit at the beginning with short, impersonal responses to Clark, who would ungenerously be described as a chronic mansplainer, but pretty soon they’re both in a therapy session (though mostly for her).\u003c/p>\n\u003cp>[aside postid='arts_13960040']It’s an interesting and captivating pairing of actors, borne out of Johnson’s friendship with Penn (they’re neighbors in Malibu). He’s believable as this working class guy with no filter and she is as a woman with a lot on her mind. Movies like this and \u003ca href=\"https://www.kqed.org/arts/13959268/am-i-ok-review-dakota-johnson-coming-out-movie-comedy-friendship\">\u003cem>AM I OK?\u003c/em>\u003c/a>, are a nice reminder how Johnson thrives with material she connects with.\u003c/p>\n\u003cp>\u003cem>Daddio\u003c/em>, in theaters Friday, is ultimately a fascinating and imperfect experiment in rich lineage of modest two-handers that take on an epic scope. There are dull moments and off-putting tangents that seem to exist only to provoke, but the message at its core is a nice one about connection and empathy and occasionally uncomfortable intergenerational conversations that don’t end with someone being silenced. It might just have you thinking about starting a random chat with a stranger, too.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Daddio’ is released nationwide on June 28, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Daddio\u003c/em> was written and directed by Christy Hall, a playwright. Though we are also technically stuck in a cab with Girlie (Johnson) and Clark (Penn), Hall makes it feel rather cinematic, whether her camera is in close up on her actors, a rear-view mirror, a phone screen or letting us breathe for a moment with a shot outside of the cab, on the New York skyline. Claustrophobic it is not.\u003c/p>\n\u003cp>That’s not to say that some of the conversations won’t have you squirming in your skin a bit. The vast majority of those come from Clark, a Boomer with a heart of gold and some ideas about life that haven’t aged particularly well.\u003c/p>\n\u003cp>Taboo subjects and ideas that might get a person “cancelled” on social media are of course part of the point of this journey, in which two people who wouldn’t ever find themselves in an extended, soul-bearing conversation with each other under normal circumstances do.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s an interesting and captivating pairing of actors, borne out of Johnson’s friendship with Penn (they’re neighbors in Malibu). He’s believable as this working class guy with no filter and she is as a woman with a lot on her mind. Movies like this and \u003ca href=\"https://www.kqed.org/arts/13959268/am-i-ok-review-dakota-johnson-coming-out-movie-comedy-friendship\">\u003cem>AM I OK?\u003c/em>\u003c/a>, are a nice reminder how Johnson thrives with material she connects with.\u003c/p>\n\u003cp>\u003cem>Daddio\u003c/em>, in theaters Friday, is ultimately a fascinating and imperfect experiment in rich lineage of modest two-handers that take on an epic scope. There are dull moments and off-putting tangents that seem to exist only to provoke, but the message at its core is a nice one about connection and empathy and occasionally uncomfortable intergenerational conversations that don’t end with someone being silenced. It might just have you thinking about starting a random chat with a stranger, too.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Daddio’ is released nationwide on June 28, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There is a scene in \u003cem>Problemista\u003c/em> where Craigslist becomes an actual physical entity. The listings website is personified by a large flamboyant man floating in space. Wrapped in junk and tech garbage, he whispers intensely about sex work in one breath and Ikea Billy bookcases the next. Strange though this may sound, this entity is acutely (and hilariously) familiar to any human that has ever casually browsed that website.\u003c/p>\n\u003cp>This kind of surrealist vision is not unusual in \u003cem>Problemista\u003c/em> even though the movie is grounded, at its core, in harsh realities. In the film, Alejandro (Julio Torres, who also wrote and directed it) is an aspiring toy designer from El Salvador who takes an unpaid job with Elizabeth (Tilda Swinton) after losing his U.S. visa. Alejandro is childlike, moves through the world in tiny hops like a cartoon, and is full of dark whimsy. (He wants all of the toys he designs to have “tension and intrigue.” Like Cabbage Patch Dolls contending with bitchy text messages, and snakes that leap out of cans with signs attached to them that read: “I’m sorry, I was trapped in this can and scaring you was the only way out.”)\u003c/p>\n\u003cp>[aside postid='arts_13952779']In contrast to Alejandro, Elizabeth is harsh, entitled and tightly wound in a way that’s unbearable for almost everyone in her vicinity. Still, the two strike a deal: If Alejandro helps Elizabeth put together an art show of her deceased husband’s work, she will sponsor his immigration application. All of which might make for a bleak story were it not for Torres’ penchant for embracing weirdness.\u003c/p>\n\u003cp>At one point, the quagmire of immigration law becomes a series of floating diagonal boxes that must be navigated via trapdoors and vents — a little bit like an un-winnable game of shoots and ladders. These small moments of surreality don’t just serve as an engaging way to tell \u003cem>Problemista’\u003c/em>s story, they make the circumstances of the main character more viscerally relatable.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zbsk4okRUds\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In addition to the mind-bending scenery,\u003cem> Problemista\u003c/em> is elevated by an exceptionally funny script. Many of the best lines are served up by Swinton leaning full force into her character’s casual indifference to other people’s hardships. (Her utterance of the line “There is an underbelly of closeted fishermen” is, in particular, a masterpiece of dry comedic acting, but her tone stays on point throughout.)\u003c/p>\n\u003cp>Once upon a time many years ago, I — like Alejandro — worked as a personal assistant in New York City. Like Elizabeth, my boss was an eccentric, blunt, supremely demanding woman who owned a variety of homes in expensive places. At the time, I was a broke freelancer with a variety of immigration issues, hustling to make ends meet and living, like Alejandro, in Bushwick. To say I related to this movie would be a gross understatement. By this story’s unpredictable — and surprisingly heartwarming — end, however, I realized that the themes of \u003cem>Problemista \u003c/em>are actually very universal.\u003c/p>\n\u003cp>[aside postid='arts_13953095']\u003cem>Problemista\u003c/em> is a story about the hardships that come with chasing your dreams — any dreams at all. It’s about the inhumanity of gratuitous bureaucracy and needlessly complicated technology. (FileMaker Pro is a running joke throughout). It’s about how, so often, wanting to work in an artistic profession makes one’s life more difficult, but also infinitely more joyful. Ultimately, \u003cem>Problemista \u003c/em>is about finding lessons and friendship in unusual places, slaying personal dragons and the importance of standing up for yourself.\u003c/p>\n\u003cp>If it’s not already obvious, this movie contains multitudes. (I haven’t even covered Isabella Rossellini’s delightful narration or the side storyline about cryogenesis…) And presented through Torres’ eyes, Alejandro’s difficult but dreamlike little world becomes a joy to visit — even when it’s being partially operated by Craigslist demons.\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>‘Problemista’ screens at select San Francisco theaters on March 8, and nationwide on March 22, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In addition to the mind-bending scenery,\u003cem> Problemista\u003c/em> is elevated by an exceptionally funny script. Many of the best lines are served up by Swinton leaning full force into her character’s casual indifference to other people’s hardships. (Her utterance of the line “There is an underbelly of closeted fishermen” is, in particular, a masterpiece of dry comedic acting, but her tone stays on point throughout.)\u003c/p>\n\u003cp>Once upon a time many years ago, I — like Alejandro — worked as a personal assistant in New York City. Like Elizabeth, my boss was an eccentric, blunt, supremely demanding woman who owned a variety of homes in expensive places. At the time, I was a broke freelancer with a variety of immigration issues, hustling to make ends meet and living, like Alejandro, in Bushwick. To say I related to this movie would be a gross understatement. By this story’s unpredictable — and surprisingly heartwarming — end, however, I realized that the themes of \u003cem>Problemista \u003c/em>are actually very universal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Problemista\u003c/em> is a story about the hardships that come with chasing your dreams — any dreams at all. It’s about the inhumanity of gratuitous bureaucracy and needlessly complicated technology. (FileMaker Pro is a running joke throughout). It’s about how, so often, wanting to work in an artistic profession makes one’s life more difficult, but also infinitely more joyful. Ultimately, \u003cem>Problemista \u003c/em>is about finding lessons and friendship in unusual places, slaying personal dragons and the importance of standing up for yourself.\u003c/p>\n\u003cp>If it’s not already obvious, this movie contains multitudes. (I haven’t even covered Isabella Rossellini’s delightful narration or the side storyline about cryogenesis…) And presented through Torres’ eyes, Alejandro’s difficult but dreamlike little world becomes a joy to visit — even when it’s being partially operated by Craigslist demons.\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>‘Problemista’ screens at select San Francisco theaters on March 8, and nationwide on March 22, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Tale of Two 'Traviatas'",
"headTitle": "A Tale of Two ‘Traviatas’ | KQED",
"content": "\u003cfigure id=\"attachment_13921894\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Traviata.MAIN_.jpg\" alt=\"A Black woman in a red dress stands against a parlor wall of deep red, adorned with paintings\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13921894\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Traviata.MAIN_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Traviata.MAIN_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Traviata.MAIN_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Traviata.MAIN_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Traviata.MAIN_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Traviata.MAIN_-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pretty Yende as Violetta in Verdi’s ‘La Traviata’ at San Francisco Opera. \u003ccite>(Cory Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’m used to New York looking down on the Bay Area, but I never realized until recently that its condescension extended to, of all things, opera. \u003c/p>\n\u003cp>Scene: I’m at Lincoln Center in New York a couple weeks ago to see Verdi’s \u003cem>La Traviata\u003c/em>, and a man nearby strikes up a conversation. When he learns I’m from the Bay Area, he furrows his brow: “Oh, I have heard about San Francisco opera. Not so good.” \u003c/p>\n\u003cp>[aside postID='arts_13919101']Coupled with \u003ci>The New York Times\u003c/i> \u003ca href=\"https://www.nytimes.com/2022/09/11/arts/music/john-adams-antony-cleopatra-opera.html\">weirdly slamming\u003c/a> Berkeley-based composer John Adams’ San Francisco premiere of \u003cem>Antony and Cleopatra\u003c/em>, a original and engrossing work, I had to wonder: what gives?\u003c/p>\n\u003cp>Seeing \u003cem>La Traviata\u003c/em> as a first-time visitor to the Met in New York, I couldn’t help but be a little awed by its elegant red-and-white lobby, ascending chandeliers and famous facade. As for the top-notch performance of Nadine Sierra as Violetta? It brought me to tears. \u003c/p>\n\u003cp>But if the package comes with haughtiness, like so many things in New York do (see: the Yankees’ fanbase, Notorious B.I.G. zealots, \u003ca href=\"https://www.nytimes.com/2022/08/29/arts/design/san-francisco-art-market.html\">whatever this Grade-A horse manure is\u003c/a>), then gimme San Francisco’s brand of opera any day.\u003c/p>\n\u003cfigure id=\"attachment_13921896\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/LaTraviataGroup.jpg\" alt=\"A Black woman in a blue dress stands above a crowd engaged in revelry \" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13921896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/LaTraviataGroup.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/LaTraviataGroup-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/LaTraviataGroup-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/LaTraviataGroup-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/LaTraviataGroup-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/LaTraviataGroup-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pretty Yende as Violetta among members of the ensemble in Verdi’s ‘La Traviata’ at San Francisco Opera. \u003ccite>(Cory Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I decided to see \u003cem>La Traviata\u003c/em> again, at SF Opera, just a week after seeing it at the Met, to compare. The primary difference is that the casting is simply more interesting. At the Met, Sierra may have the more gossamer timbre. But in San Francisco, soprano Pretty Yende brings a wholly different dimension to the role, extracting more of the wonder and pathos of Violetta’s predicament. (Jonathan Tetelman as Alfredo and Simone Piazzola as Giorgio, both making their SF Opera debuts, deliver convincing performances as well.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The set in New York? Virtually unchanging, save for some furniture swaps, as well as towers of wooden lattice to convey “the country.” In San Francisco, meanwhile, the audience audibly gasped when the curtain rose on the beautiful, decor-laden deep red set for Act II’s party scene. \u003c/p>\n\u003cp>San Francisco’s \u003cem>Traviata\u003c/em> is also directed by a woman, Shawna Lucey — which, considering its tensions over a woman’s place in society and the men who have the power to reduce it, should be the rule for every staging of \u003cem>La Traviata\u003c/em>. \u003c/p>\n\u003cp>In short, the Met is nice, but we’ve got something special here in the Bay Area. I can guarantee one other difference, too: unlike at the Met, a cup of coffee and a cookie at intermission won’t set you back $19.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘La Traviata’ runs through Saturday, Dec. 3, at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/la-traviata/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "A report on seeing both the Met’s ‘La Traviata’ and SF Opera’s ‘La Traviata’ in the same week.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13921894\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Traviata.MAIN_.jpg\" alt=\"A Black woman in a red dress stands against a parlor wall of deep red, adorned with paintings\" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13921894\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Traviata.MAIN_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Traviata.MAIN_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Traviata.MAIN_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Traviata.MAIN_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Traviata.MAIN_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Traviata.MAIN_-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pretty Yende as Violetta in Verdi’s ‘La Traviata’ at San Francisco Opera. \u003ccite>(Cory Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I’m used to New York looking down on the Bay Area, but I never realized until recently that its condescension extended to, of all things, opera. \u003c/p>\n\u003cp>Scene: I’m at Lincoln Center in New York a couple weeks ago to see Verdi’s \u003cem>La Traviata\u003c/em>, and a man nearby strikes up a conversation. When he learns I’m from the Bay Area, he furrows his brow: “Oh, I have heard about San Francisco opera. Not so good.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Coupled with \u003ci>The New York Times\u003c/i> \u003ca href=\"https://www.nytimes.com/2022/09/11/arts/music/john-adams-antony-cleopatra-opera.html\">weirdly slamming\u003c/a> Berkeley-based composer John Adams’ San Francisco premiere of \u003cem>Antony and Cleopatra\u003c/em>, a original and engrossing work, I had to wonder: what gives?\u003c/p>\n\u003cp>Seeing \u003cem>La Traviata\u003c/em> as a first-time visitor to the Met in New York, I couldn’t help but be a little awed by its elegant red-and-white lobby, ascending chandeliers and famous facade. As for the top-notch performance of Nadine Sierra as Violetta? It brought me to tears. \u003c/p>\n\u003cp>But if the package comes with haughtiness, like so many things in New York do (see: the Yankees’ fanbase, Notorious B.I.G. zealots, \u003ca href=\"https://www.nytimes.com/2022/08/29/arts/design/san-francisco-art-market.html\">whatever this Grade-A horse manure is\u003c/a>), then gimme San Francisco’s brand of opera any day.\u003c/p>\n\u003cfigure id=\"attachment_13921896\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/LaTraviataGroup.jpg\" alt=\"A Black woman in a blue dress stands above a crowd engaged in revelry \" width=\"1920\" height=\"1280\" class=\"size-full wp-image-13921896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/LaTraviataGroup.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/LaTraviataGroup-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/LaTraviataGroup-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/LaTraviataGroup-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/LaTraviataGroup-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/LaTraviataGroup-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Pretty Yende as Violetta among members of the ensemble in Verdi’s ‘La Traviata’ at San Francisco Opera. \u003ccite>(Cory Weaver)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I decided to see \u003cem>La Traviata\u003c/em> again, at SF Opera, just a week after seeing it at the Met, to compare. The primary difference is that the casting is simply more interesting. At the Met, Sierra may have the more gossamer timbre. But in San Francisco, soprano Pretty Yende brings a wholly different dimension to the role, extracting more of the wonder and pathos of Violetta’s predicament. (Jonathan Tetelman as Alfredo and Simone Piazzola as Giorgio, both making their SF Opera debuts, deliver convincing performances as well.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The set in New York? Virtually unchanging, save for some furniture swaps, as well as towers of wooden lattice to convey “the country.” In San Francisco, meanwhile, the audience audibly gasped when the curtain rose on the beautiful, decor-laden deep red set for Act II’s party scene. \u003c/p>\n\u003cp>San Francisco’s \u003cem>Traviata\u003c/em> is also directed by a woman, Shawna Lucey — which, considering its tensions over a woman’s place in society and the men who have the power to reduce it, should be the rule for every staging of \u003cem>La Traviata\u003c/em>. \u003c/p>\n\u003cp>In short, the Met is nice, but we’ve got something special here in the Bay Area. I can guarantee one other difference, too: unlike at the Met, a cup of coffee and a cookie at intermission won’t set you back $19.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘La Traviata’ runs through Saturday, Dec. 3, at the War Memorial Opera House in San Francisco. \u003ca href=\"https://www.sfopera.com/operas/la-traviata/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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